Posts Tagged ‘spiders in a dream’

The spider creates a web that can be imagined as the map of its terrain. When something is ensnared by the stickiness of the web, the spider senses vibrationally that something in its world has changed and goes to investigate. We can treat our psychologies in a similar way by becoming conscious when they get snared in the map of ourselves, by letting go of them, or just staying consciously aware of their outplay, which lessens their impact. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: This next one’s quite a strange story, too. I am with a boy whose father… Actually it starts off with, I’ve been hired as a kind of an investigator or something, and I’m with this family. And it’s a father, a mother, and a son. 

And what we’re to do is the father’s been accused of murder. And so we have to see what the evidence is. It’s almost like something’s in a type of amnesia, because why would the father take and want to retrace his steps? I don’t know. I mean, the dream doesn’t say. You wonder, did he actually do something? Or not? Does he actually even know, or is he just playing coy to see if there’s anything that could be used against him? 

And so the father and the mother proceed up a particular road, or trail, or route, of the past. And I and the boy, I’m being investigator and I go with the boy who is very, very innocent, and there’s a quality of his innocence that I find interesting. And we go over hill and dale, you know, we don’t go in the road, we go maybe off over hill and dale parallelling the road. 

And so, as I’m going with this boy, who’s very innocent, I ask him if there are any ideas he has about the issue. In other words, is there anything he has as a sense because I don’t know about the father, but I know the boy’s innocence, and whether he reflects anything. And he says that nothing could have happened in this particular initial phase of the journey that we’re on, or his spider, which probes out on a web in front of him, would retreat, would retract. 

And that makes sense to me. That’s important information; I like that. So we’re able to speed along at a very fast pace. The father and the mother may be on the road, but we’re going over hill and dale just watching the spider knowing that he will give us a head’s up if there is a dead body nearby. 

So the meaning is, the boy is an innocence and his purity enables him to free flow without recrimination. Where there is any guilt or repressed beingness the acute senses will mirror this back. The spider detects shadow energy and a repressed Kundalini as it travels through the outer conditions of life. In other words if there’s anything awry, it will leave a stigma in the air. 

The deeper meaning is I have access to a sense of knowingness that comes from within, and the boy and spider are the symbolic inflection of that. And the scenario of the past is I used to use astrology to peek through insightfully. I mean, it’s kind of like an excuse, kind of like a ticket. It’d create an inflection and then I could take that inflection even further. The astrology was just kind of like something that opened the window or something, but then all of a sudden everything popped through. But nowadays there is the dream world and more refined correlation.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: The Spider Detects

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ChaosThe dream yesterday began with an inner perspective, but then it shifted to dealing with events in the outer world (see A Visionary Effect). And, just as in waking life, when we are faced with what is unfolding in the outer, things begin to get chaotic. Nothing works quite right, and more and more detours are required to handle everything. It’s interesting to see our dreams in this light: are things unraveling, or are things working out? This can tell us where we are in our struggle. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: So when I go to the outside again there’s a lot of people, and some of the first people that you run into, of course, are the people that you wouldn’t let into the inside before. But I just seem to kind of ignore them. And I’m walking around the lawn and exploring the area, and there’s a woman who wears white, an older woman who wears white, that I see as owns the area, or it’s her area anyway. And at one point, then, you’re there, and then I think of her as your mother.

You and I decide to go on a hike up the side of the hill and, as we go up the hill, it’s very muddy and there’s kind of like a stream beside it that has pooled up in different places. And as we’re about some distance up there, then you notice a place where it’s almost like a pool with some steam coming off of it has pooled among the rocks. And you want to go in the water.

I don’t really want you to go in the water because I feel like we can’t tell how hot it is. It might be quite volcanic, or it might just be like a hot pool. I just don’t know, but you just jump in. But when you do that, it’s like part of the side breaks down and it sweeps you down the mountain a little ways and you get all muddy.

So you kind of holler at me and I have to come and pull you out and back up onto the trail. And then we have to go down to the house because you have to go change clothes or whatever, get the mud off you.

When we’re down there, it’s like your mother really wants me to leave. There’s also been an Indian man that I feel like was wanting to be in a relationship with her, or someone there, and he’s left.

Before I can leave, I’m looking around for some things that need to be done, and then a little spider lands on my glasses. You know, I don’t like spiders near my hair or anything, so I kind of take off the glasses and ask you to help get the spider out, shake my head. That’s just kind of disturbing.

And then she seems to have left for a few minutes and you’ve gone to clean up and, because she wants me to leave and it’s her house, I feel like I’m going to have to – but I make a phone call. It must be about a cab or something. And when I make that phone call, somehow I get hooked up to the house of the Indian man and I find out he has a wife, even though he’d been there trying to maybe have a relationship with your mother or someone else.

So that was kind of like information that we didn’t know that I know it might even upset her, but at least I’ve got the information. Also, before I leave I see these white clothes all around, and I’m picking them up, and I feel like they need to be washed before I go. And as she comes and she’s gathering up some of the white clothes, too, I’m trying to sort them out a little bit more from colored clothes or other clothes that are with them, and get them in a washing machine that’s outside with everything else. I think that’s when the dream ended.

John: So when you put all of that that goes on in the inner in which you can have a certain knowingness, when you put this into the outer, you repeat over and over and over and over and over again all of the various variances.

And, to begin with, things just keep becoming more abstract, meaning separating from this overallness and this wholeness in which there is a sense, an acuity to every little nuance that is able to take place in terms of the effect as something changes in an inner way of something coming through.

But in the outer, you start off in which, fresh off of the inner, you have the sense of the various relationships, or parts. In other words, you have a sense of the effect of the mother, you have the sense of the effect of this, and the sense of the effect of that, and it’s still kind of within the metrics of an overallness, but with separate distinctions.

And then as the dream progresses, the vagaries get more and more askew. You know, you get the white clothes, and the colored clothes, and you’ve got the this and you’ve got the that, and you’ve got to handle this a little differently than you handle that. And it becomes more and more askew, meaning more and more like in a separateness.

And the more and more it goes like that in the outer, the further and further and further away you get from a higher-self acuity that you had on the inner. And yet that is how it is played in the outer, because in the outer you have your senses, and your senses are only able to pick up what is in your immediate environment around you.

And so you have to conduct and act off of that. And as you conduct and act off of that, can you hold onto, can you be in this innerness, at the same time you’re in the multiplicity? Because the multiplicity isn’t really a multiplicity. To begin with, you know that it’s kind of a part of you this way, and a part of your environment in this way, and a part of your environment in that way.

But in the end the images and the variances and all of the stuff that you’re going through sound estranged, sound like you know just things that you have to contend with, and you tend to lose more and more and more in the separation. You lose more and more and more of the union, or the oneness of things.

So when you dream on the inner, you pull more and more into a huge oneness, and world soul of yourself, in which that which goes on you can be in rhythm with. And when you go outward, there is an amnesia that sets in, in which the parts all to begin with have a relationship, but in the end that relationship can break down and you can become completely bewildered by the duality of things – as if they are things that you have to contend with, as if they really are separate.

And, as your dream progressed, these things kept having a semblance of greater and greater separation in terms of the imagery.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Lost in Separation

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