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Posts Tagged ‘someone dies 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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Burning BowlIn thinking about letting go in a development journey, we could also think about the idea of removing blockages, because we are designed to be in the flow of life, but we have become blocked from it by our egos and personalized identities. Developing means dropping the things that prevent, just like removing a clog lets the water flow smoothly. So we’re really talking about a kind of mindful consciousness about what we are doing and why. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I only remembered a few of my dreams from last night. The first dream it seemed to be these images of there’s a rock star, like Steven Tyler, and I’m looking at the energy behind something that he did and I notice that it kind of scatters, or pushes things out, in the room because it has a little too much force to it. That was the first dream.

John: The only thing I can denote about this is the theme of the dreaming has to do with things that bother, or perturb, or get in the way of a process where you let go to a flow, that you’re able to catch up and hear, that you’re not able to do when there is something in one’s nature that is creating or getting in the way, by maintaining or holding onto something that stifles the flow.

So you’re observing something and how you observe it often times has to do with where you’re at. And if you’re seeing something like Steven Tyler in a way that bothers you, then in that same way you’re bothered to some degree in the outer, accordingly.

Jeane: Then I think I lost some middle dreams and there are a couple last dreams. One dream you and I are going over to visit a friend of mine who, he’s done writing, consulting, that sort of thing, and I haven’t seen him for a while. Anyway, we go over to his house and he’s in the other room when I first get there, but he has this little dog that’s on the floor so it’s like I have gotten down on the floor and I’m playing with the dog, ruffling it and you know how you kind of rub its belly and scratch its back. It’s a cute little thing.

And he comes in when I’m still on the floor. You’re kind of behind me yet, and it seems like his mother has died recently. And he has his sister, but you feel like there’s a little estrangement there. But he has this necklace of his mother’s and he’s put it around my neck – and it’s a very long amethyst necklace. He’s talking to me about the necklace, and I don’t know if he’s just having me wear it, or if he’s giving it to me. It almost feels like he’s giving it to me instead of to his sister. That’s that dream.

John: Not only is the theme about having things that one imposes in terms of how they see themselves, or how they carry themselves, that stifles something from coming through as a flow. But once you quit doing that, or if you stop doing that, you’re able to access a consciousness that is all around you. In this case you’re able to catch up with a necklace, or something that’s given to you, that just naturally then is something that you can wear, in which the quality of that can become you. Now how did the dream start?

Jeane: Well we’re just going over to his house to visit him, haven’t seen him for a long time. He’s kind of sitting behind me and I play with the dog when I get there. His mother has died.

John: Yeah, all of those are scenes of releasing. In other words, something has passed away, which means something has been removed or has gotten let go of, something that might be stifling even, that precludes one from having an access that you’re able to recognize and appreciate the dog, which is the friend. You’re able to play with that, so that it keeps you in a free flow.

And then he comes out and gives you a necklace?

Jeane: Yes, he’s actually kneeling on the floor with me, talking to me while he has put the necklace around my neck.

John: Yes, which shows a rite of passage even, too, because an energetic that normally would be in the way, goes away, and the rite of passage is so that can open up, or so that you can receive the necklace.

Jeane: So in the last dream it’s like I’m in bed with you and it’s like we’re going to make love or something, but then suddenly I notice that you’re actually on the right of me and it’s the doctor that’s on top of me, this woman doctor. And then she gets up and she makes a comment to me because she actually did a little surgery, like removed a polyp or something that she just was tired of it being there, and I’m just a little shocked. I didn’t feel any pain, but she did something almost without telling me about it, I mean ahead of time, but she was just tired of it so she removed it.

John: There’s something in there again as a nuance or mannerism, that way that you’re seeing yourself, or carrying yourself. In other words there’s a vibration in there that was keeping you disoriented or distracted from going into things quite the way the flow needs to be. So there is a concern or something that’s plaguing you. Whenever you get something that plagues you, you have to kind of try to pay attention to why it keeps plaguing you because not only does it affect an intended flow, but it could also be spawning a mannerism that is off – by the way or nature in which the body is meant to hold things, that would then go into the body and be held.

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A-Bridge Between Two Worlds-Judith ShawIn her second dream (see Feeding the Whole), Jeane again is wrestling with the concept of dying to this life, seen in the form of a soldier who dies. As John describes, it is not the life of manifestation that we seek to let go of, it is the aspects of our personal life that keep us forever separate from the natural connections to manifestation and, indeed, everything.  (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Then it feels like when the dream shifts that there’s been a soldier who can do a certain maneuver, like sometimes they do marching maneuvers with their rifle and everything, and he does a particularly interesting set of maneuvers. And we want access to that, or to be able to observe it, or learn it, or something.

And the there’s someone in authority who doesn’t want us to do that. So as a result we’ve gone to court to get access. Because we know that it’s been almost like a tradition that if you were in a certain place and time and you were observing that that was allowed, but then there’s somebody that doesn’t want to allow it anymore. So we’ve gone to court.

And while we’re in the courtroom I’m thinking that tradition is on our side, but still, someone in authority will decide this, it’s like I learn that the soldier has died. So then I’m wondering about whether the whole court proceeding is respectful, or how do you keep it respectful, because you can still learn about the maneuver because it can be done by other people like us.

But still, how do you do all that respectfully? And I’m just kind of wondering about how this changes things.

John: That component is pretty rebellious. It’s rebellious because you actually are putting in question a statement, which is incomplete, that at some particular point you storm the gates. You storm heaven, so to speak.

And that statement implies that in doing so, you’re leaving something behind – in terms of creation. However, if life is really the macrocosm and the microcosm, and manifestation is actually the microcosm and the macrocosm, then you don’t completely die to what exists on this plane, either. You hold both levels. You actually are, using another statement, a soldier of the two worlds. 

And that you find yourself having to struggle to stay grounded in order to sustain that because there is the “as above, so below” quality that can never get lost. If you take and expunge yourself from what is going on in the surroundings, then you end up not actually being spiritually well. In other words, you can’t really take in the expansiveness of God in a state that exists on this whole other level.

You can’t really take that in the way that it is meant to be taken in, which means that, from the perspective of God, there has to be the eyes and the ears of everything on all levels. And that man is like a person who is in creation, in manifestation, working with the energy of, say, sound more than light, who really doesn’t see the true light, but understands somehow the sound being a contracted version of the light, the same-sameness from the standpoint of the microcosm, so that the two become one, and are one, and the same.

So, in your dream, you have the soldier to have access to, and a person who is in creation, or in manifestation, is like a soldier in life, and yet this soldier has died. And so then you wonder, what’s all the hoopla of having to struggle and go to court or, in other words, go through the price of admission of contending with what this soldier’s energetically, in his loudness, was all about in manifestation.

So what you’re basically saying is that you’re going to die to that quality or that effect. You’re going to purge that because you realize that that mannerism has come to an end – it’s not really real.

Thus you hold on to what exists in manifestation and creation.You don’t go beyond it. So this shows another level of paradox to the saying that you die before you die. Yes you do, but you don’t do it in such a way that you go into an amnesic condition. You always try to get more and more grounded. You keep trying to come down and keep trying to come down.

Because if you truly die, in the sense that the mind wants to grab this, then what you’re doing is you’re denying the virtue of this plane of existence in terms of the macrocosm that it represents – a form or a manner through which you can get close to God. You can’t get really closer to God just aspiring to something that is transcendent. You can’t hold that transcendent without the rapport of the immanence.

And so your dream was throwing you a conundrum and, as you indicated, you wanted to maintain the honor, the appreciation, and the recognition of the soldier. And so to put it in slightly other words, in terms of the other aspect of the dream, it had to do with being able to recognize the flip-side of all that there is, that you are part of everything that’s created.

And that the biggest spiritual illusion is to think that you can leave this behind. That you don’t really go anywhere, that this stuff becomes one and the same. It’s just at, so to speak, different energetics, or different speeds, or there maybe appear to be veils because of the difference between light and sound. But it’s all one and the same.

And to think that you drop one to get to the other – yes, to a kind of a degree to which you are misaligned you kind of do, but ultimately you come to recognize that you can’t annihilate anything.

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