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Posts Tagged ‘obstacles in a dream’

Logo-DWhen we encounter obstacles in our dreams, quite often those obstacles are created by us. In this dream image we see a whirl of things happening, multiple people and movements from place to place, a desire to keep up with the pace of things, and even the death of a friend. So it is remarkable that our heroine in the dream, our main character, overcomes everything she faces, and that what she needs appears in a timely way to enable her progress to continue. In the myriad of events that happen in our lives, we seek to have the deeper connection that will provide us with the intelligence or intuition about how best to proceed. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So I just remember part of my last dream and, in that dream, I know that somewhere near the beginning of the dream Lew and his wife, at least, I don’t know who else, are living at my maternal grandmother’s house because we’ve been there visiting them. But, at this point, we’ve gone out to some kind of a city.

You’re there. I don’t remember his wife being there, but I remember Lew’s there, you’re there, Dean’s there. And it’s almost like an older city that has a large marketplace, and whatever meeting that all of us went to, a gathering, it was more in this marketplace area. And even like when I want to go to one of the bathrooms, it’s like there’s almost like semi-open stalls, and you wander around in the marketplace and find them.

And, as the meeting breaks up, I’m following you, but you’re traveling a little bit fast, and we’re going to be someplace next, and I know it’s going to be somewhere where Dean goes. But we’re also kind of notified, in the midst of all this, that Lew has died. And one of the effects it has on you is that you happen to notice this woman who sat down at a booth, and she has like three different kinds of cloth cut out in front of her, different colors of cloth, and you realize that at least one and maybe two of them were stolen from you before.

So you go back and you take the cloth that was stolen from you, and you leave and take one more. I wasn’t clear if you were taking that to kind of make a point, or if it was one that she had taken from you also. I just wasn’t clear on that because it’s like I’m kind of just trying to keep up at this point.

And then you kind of take off in the direction that Dean went and I take off after you; you’re carrying the cloth. Now the family of the woman with the cloth, she has a husband and a kid or two, they start following after us. And we get to a very busy street and you get across the street in front of me, and it feels like there’s obstacles that come up to my crossing the street. And I get across half of the street, and when I try to go through the other half of the street it’s like there’s these bulldozers that are all lined up with their blades, but there’s one bulldozer that’s shaped a little differently. The blade is shaped differently.

And half the street is blocked off by bulldozers, but I’ve already gotten across that half. In the next half I can see some machinery coming out and trying to block off the way. Dean has gotten across, and you’ve gotten across. I can’t see where you are anymore, but I can still keep Dean in my sights.

So I actually kind of get up and run along the back of part of the machinery and, that way, I get across the street. But now, suddenly, there’s something I have to climb up that’s like an open-type ladder. I’m running out of steam a bit. I’m getting a little tired. That’s when I can’t see you at all, but I can kind of see Dean, but if I don’t get up the ladder pretty soon I’m going to lose sight of him – so I’m really kind of pushing myself.

Because it’s so strenuous getting up the ladder, the family of the woman that had been following us give up at this point. And I’m just trying to keep my eye on Dean because I realize we’re in an area of town I’ve never been in before. It’s traveling away from the direction where we’ve always gone in the past and, you know, I don’t know my way around. And I’m real tired, but I’m pulling myself up over the top of this kind of see-through ladder so I can get across the last little bit. That’s all of the dream.

John: So the dream is about the feminine trait of being able to be in a general overall spatiality. In other words, you might say it’s an octave dream to the kind of perspective in which the feminine is the container that takes and sustains something in a large, overall schematic way.

Now it’s like a type of scoping, in which what is sustained, in a natural overall way, has levels of depth. In other words, to say that it’s like a container puts an awkward image in the mind, but when you look at it from the standpoint of how it is in an energetic, inner to outer overallness, it has a greater clarity to it. In other words, the setting is a deep, deep, deep depth within, which is something that you hold as a kind of inner vibration which is your grandmother.

And so what you’re doing is you’re accessing, within the recesses of yourself, a quality and characteristic that the family carries. I’ve even seen this in your niece, that she really likes the idea that she has something, or can associate with something, in terms of your mother. In other words, there is some sense of whatever it was that your mother stood for, as an aspect or quality inside of herself, and to her there is value in her being able to flash back to that.

So that’s an example of how a scenario scene vibratorally is set. And so, in your case, within the setting of that scene of an overall space, you have gone back and, within that overall space, everything is there. In other words, you’ve got Lew, and you’ve got his wife, you’ve got Dean, you’ve got everything that’s there. And, when everything is there, that’s as good as it gets.

I mean you sustain, and maintain, and hold that sort of thing, and you have a natural knowingness in that quality of overall spatiality. As you maintain this overall spatiality, nothing gets lost. In other words, if all of a sudden you don’t see Lew’s wife, because you did see her in that home of your grandmother, she’s still there, somewhere.

When there’s the need for something to be supplemented, or replaced, like if Lew dies, and then the essence of what that represents can strike you as, oh, okay, there’s a loss, something is gone. No, it’s not gone because the data of that, the three claws of something that was lost, is now able to be brought forward.

Now what you’re noticing, this bringing of it forward, is a bringing forward of a quality of natural overall knowingness. You see it as coming in as a natural data that just emerges as if lost from long before. You see it as being like something exogenous to yourself. What is yourself is this overallness, of which this is in that overallness. Everything is findable in that overallness.

So what your dream is doing is it’s telling you that you don’t have to go looking for anything, per se. You just have to hold that spatiality, and that orientation to that spatiality, and it’s all there.

And where the dream is telling you that it works that way, is it’s showing you that as you are finding yourself, and you’re finding life fascinating holding that space, when it gets to where you think that there is something that you have to do, that is outside of the holding, and the attention, to that space – that’s when you hit roadblocks.

Which means that you’re finding that whenever anything is needed, for you to have to know, it comes naturally to you. And that you’re finding that you don’t make efforts in that regard, you just put your attention upon the overall spatiality. You experience, you feel, you exemplify that and everything stays full.

You think that you have to go off in some sort of scrambling capacity on your own that you run into roadblocks. In other words, there is no scrambling capacity that needs to be made, on your own, that’s going to find anything out of the ordinary, in the ordinary, holding the spatiality. It’s all there. That’s what your dream’s telling you. Isn’t that interesting? That’s a fabulous dream.

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i00sEverything we see and know works within a system: galaxies, planets, flora, and fauna. Nothing can survive, or thrive, or evolve, without the interactions, and integrations, with other aspects within the system. For the human, that system is not limited to the ecology and environment of the planet, but is, potentially, the entire system of the universe. But we can’t integrate ourselves within that universal system all by ourselves, we need to become integrated through an energetic alignment to the purposes of the whole. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: In the next dream I seem to be in a house. It must be with my fiancé, or someone, because it feels like maybe it’s even his house. And I’m exploring some of the rooms in the house because the house has different levels, and his parents live on one floor, and there’s some floors that are maybe even rented out, and there’s other floors that we’re staying at, plus there’s some room where my parents will visit.

And there seems to be a ground level where when my mother comes, that’s where we go, but at one point I want to take her, or take my parents, and take them up through kind of a narrow hallway and a doorway, and some rooms have been remodeled that are even kind of ugly, or need remodeling yet, but haven’t been, and take her or them to where I can introduce them to my fiancé’s parents, and show them the rooms where the parents stay, which are a little bit nicer rooms, more finished.

John: So, the parents, what do you think the parents represent in this case? What do you think the fiancé represents?

Jeane: Well, to me, sometimes the parents represent an energy that’s already settled, you know…

John: Right.

Jeane: The fiancé represents kind of a new energy and we’re remodeling still.

John: Right, right. I would say it in more of a masculine way, by saying that the fiancé kind of represents God, and the parents represent qualities of change agents, of a depth within that, that have yet to become settled, that is astir.

And so this is a dream that is seeking to add to, correct, or modify, adjust what you dreamt before. And so, what you dreamt before is there’s a greater stillness, there’s a greater stillness requiring a greater letting go, and then there is the requirement of having to take into account… you know, you can’t come down in your usual, singular way. You have to go around and come down on this other trail that involves incorporating, and intertwining, with something more that is absolving, and resolving, and coming into a wholeness.

Whenever you take and you subject, and introduce, yourself to something that is unique and different, it’s like embracing something new, and you now have to adjust to that. And so this dream is indicating that the confusion and the chaos that you experience is not really grief, it’s having to adjust with the fact that it has to be done in a different and new way. You have to let go to that as the process.

It isn’t something well settled, and so that’s what you’re adding. In other words, you’re explaining why it is that something has changed. What you’re doing is you’re explaining that, because something has changed, it is having its effect upon the overallness of your being. And it’s going to take awhile for you to figure out how to incorporate that as a settled out, greater beingness, which would be a stillness, but initially it’s not a stillness. Initially it’s like this and that, and that and that and that, all over the place. And that’s why a person tends to hold to a singular note is because they think the closer to a stillness that way, but, in this particular case, so much is going on, things are speeding up, one has in order to incorporate it all one has to reach out and take it all in, and initially, that can be discombobulating. But that’s the shorter way.

Jeane: So the last little image I had was I seem to be reaching into this really narrow, small room. I think I want to remove a kitten or something from the room, and I have a little piece of cardboard in my hand because there’s a bee in the room, and I keep trying to move the bee out of the room, or out of the way, so that I can grasp the kitten and remove the kitten from the room.

But the room is so tight that I really can’t do it without getting stung by the bee, which makes me feel sad because then I know the bee will die. I’ve been trying to keep moving the bee out of the way so it didn’t sting the kitten, or me, and it could live, but it doesn’t seem to work that way.

John: You have your way of dealing with the cute little kitten, and then the area of the bee, and how are you going to do this without creating some sort of grief? Because you can’t get in there, and to save the kitten the quarters are such that the bee’s going to sting. And then the bee’s going to die. How are you going to do this? When you see it in there, how do you get it out? What’s the trick?

This all has to do with an aspect of kind of a quality of a depth of letting go. Which came first, the chicken, or the egg? All these have to do with the letting go. And then you have the stillness, and you know.

This is the schematic, you might say, in terms of what was awkward last night. It’s the schematic, but the inflection that I got was the schematic is going to be awkward because, as pointed out in your dreams, you can’t unfold that way in a singular way. You have to go around, you have to tie in with others, and then the coming down then is the faster way.

So you’re tying in with others that are going through the obstacles, because the mountain is the obstacle to come down, in order to contend with the way things have been moved around. The deck chairs have been moved around in the ship to contend with that.

Now the ship could still be the Titanic or something, but this is how you do it. Chances are it won’t be. It will be if it’s one of grief because you’ll keep tearing it down, because you will not properly let go, but it can be one of joy, and peace, too, and stillness. It can go one of both ways, of either way.

And it can seem like it’s all askew because to have to contend with these other notes in life, to integrate all of that, is going to create a bit of a peculiarity. That’s so interesting about your dream with the fiancé. The fiancé is like God, and then the attributes of God are like the parents, or the components. In other words, to properly pull all of that together, you have to take all of that into account. They all have to meet and come together and, until they do, things are in a bit of a disarray.

It’s as if all of it has been laid out, but then there’s this bifurcation that’s suddenly there. Is it purposeful, or is it caught in a whiplash, a back step or something? Because one has learned and understood all that’s necessary to understand. In other words, you know that it’s inner into outer, and you know that God is a still essence, and that you know that creation is a hidden treasure that longs to be known, in order to cause something to be seen. You know that there’s the integration of the stillness.

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