Posts Tagged ‘the human dliemma’

Jeane: In this next dream it seems like I’m at the department store that my folks had when I was young. I’m an adult and I’m with a group of people who are mingling together, or visiting, in the store. I know we’re not really working.

It’s around Halloween time. I’m going to leave with another person in a few minutes and then come back in my Halloween costume. I’ll be wearing black paint or a mask around my eyes, and then a full veil will cover me like a chador.

That’s my costume, but I’m taking the time to explain to someone what I’ll look like when I return because I don’t want to unsettle anyone with my dramatically changed appearance. Even though I realize that a Halloween costume is meant to surprise people, I’m trying to make sure that no one is overly shocked.

John: That’s an amazing illustration of the dichotomy that one faces when the spiritual aspect tries to relate to something that’s set in its nature, or that’s in the physical realms and has to obey the laws of the physical.

So you’re feeling that you’re connected to something that’s more expansive (the higher self), and you know that there tends to be a gap that exists between what you’re hearing inside and responding to, and what most other people hear and respond to.

In terms of trying to bring a balance to this situation, in a way that allows you to be yourself, you’re trying to reconcile what you can channel through you from the higher into the lower, i.e., channel it through and manifest it in the physical realms.

In the dream, by explaining your costume (which is an outfit with religious associations), you’re trying to make that effect or result something that’s recognized by others. You are recognized in your “normal” costume, but there’s something else to you, and you don’t want to be strictly identified, or pigeonholed, in relationship to either state. It’s like you have a self-consciousness at the spiritual level.

Instead of being able to flow freely, without inhibitions, in terms of your force-of-nature quality, you’re attempting to streamline that in such a way that it comes across in a form that can be accepted. At the same time as it’s accepted, what others see you as in physical form, shouldn’t be automatically associated with this being all there is about you.

So in wanting to be accepted, you also want all that there is about you to come across, or come through, in terms of what you sense, and feel, and the breadth of your wholeness. You have the idea that no single aspect of your expression is the be-all, end-all of who you are, and you want others to realize that. If they can, you’ll feel that this will result in them giving you the latitude to become still more than what’s perceivable by them (in a physical way).

The problem is, you’re also trying to take the limited faculties of the physical (sight, sound, etc) and, in a sense, asking them to let go to the fact that there’s something much greater than what’s easily perceivable. If you can somehow get that to happen, simply because you say it’s so, then it will be let go and all will be well.

Unfortunately, everything around us has it’s outer, physical characteristic. It’s like the root system that holds the energetic portrayal. Yet in a spiritual endeavor, you can’t truly connect to the higher while still maintaining a strong grip on physical. The physical experience can’t be your first premise – it’s a secondary aspect to the inner you.

So the physical manifestation, that is a human being, is always going to be, to some degree, projecting an outer characteristic. Somehow or another we all have to find this common medium between the two – between the energy and the matter – by which things grow, shift, and change. That’s what living in the physical and having the connection to the inner, higher self, is all about.

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Jeane: The dream then transitions (see In the Presence) into a scene where I’m with my sister, in a room where we live. It’s dark. We’re going to a masquerade party in a few days, and she’s upset with me because I’m going to wear an umpire costume that was made and worn by another young woman last year.

My sister is certain it will leave the arms too bare and just won’t look good. I believe the other woman to be modest, so I stick to my guns – I’m going to wear the outfit. My sister wants to see it and review it and I don’t want her to.

I’m certain it will work out fine, so I go over to the house of the young woman and I’m relieved to see that the umpire costume is a dress that has an umpire shirt with sleeves underneath. She cut the shirt so that part of it comes through some holes in another outfit, and it’s lower cut in front, but not improper.

We want to get a hat to complete the umpire outfit, so the young woman sneaks into her husband’s room to get his umpire baseball cap for me to wear. I put it on backwards like they do nowadays – it’s a little jauntier. The woman is excited about the costume on me, and also the outfit she’ll be wearing this year.

Next the scene shifts slightly and she and I are at the school where the masquerade party is being held. There’s a break going on from the classes so people can get dressed. She and I go to a bathroom area, trying to avoid my sister or others. We’re staying hidden while putting on the outfits – we just want to surprise them at the ball. 

The woman helps me adjust it and it seems to fit just fine. Even though it’s something like she wore last year, it feels good for me to wear this year. I think other people will like it.  

Then I get a sense that the masquerade ball is going to be held in that circular area, the great room in the condo that we were getting access to in the first part of the dream (and we figured out how to get into it, even though you do get a bit of a shock). 

John: That’s a complicated dream. You’re dealing with a dress that your sister doesn’t want you to wear, but you end up finding out that it fits just fine.

Jeane: Yes, I go to the other woman’s house because she supports me wearing it. She made it.

John: So, in other words, this imagery is showing that something is coming through, isn’t it?

Jeane: Yes.

John: Something that when you put it on for yourself – when you wear it – everything is fine.

Jeane: But I do want to hide when we put the outfits on.

John: So you have the sense that you can’t be too obvious with this.

Jeane: No, I just want to show up in it.

John: In other words, you go along and go along, and then all of a sudden you’re there, you just break through.

That connects to the earlier part in that you find yourself facilitating space by just snapping through. So it seems you’ve come to understand that you can touch things in a greater overall way, just by setting your eyes, and your vibration, upon it once it’s imaged in front of you.

In this particular case you’re just suddenly there. You just suddenly have this. It’s like there’s a restriction, and then all of a sudden you just show up changed – the restriction is gone. Wearing a dress, or suddenly showing up, and having that as a presence, is being in an overall state that you just have caught up to. Something in your nature had been holding you back from being able to do that.

In other words, your own self-image has kept you from doing something, and then all of a sudden you realize that that limitation is meaningless, so you just do it, and it’s very natural. It all works out.

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Jeane: Last night I watched a movie about a young, black woman executive, and it felt like my dream was about her. She has gone out to a special club, like a country club, where there will be an orchestra – it’s a formal event. Almost everyone else there is white, or part of some “in” group.

She seems to be with someone, and either she, or the person she is with, gets up to say something. There is a code word that needs to be said to make the orchestra start playing. Because she and her friend are not members of the “in” group, they don’t know the exact word.

But they do know that there is a code word and they are trying to say it. Every word they offer is close, but not correct. For example, if the word is something like “shoot,” all they can think of is “shot” or “shout” or something else. So the orchestra never gets the cue to start playing.

That’s all I remember of that dream.

John: Okay, so the image starts with you going with the woman executive to a country club where she is not known. And the feeling is, because you watched a movie last night that centered on a black woman executive, that the dream reflects the energy of that movie. Yet at the same time, the action of your imagery shows you trying to “pull the trigger” to set some energetic in motion, like being able to say “shoot” and having the orchestra start to play.

So the dilemma for you in understanding the dream is that it’s easy to view it as just a type of processing of something from your outer life, i.e., the movie. But what your unconscious has added to this imagery deals with an inner effect, i.e., something on an energetic level needs to pull its trigger and come across as well.

So you are playing back and forth between the strain of that, something coming across energetically and pulling its trigger, versus the dynamics of an outer experience that seems to have carried into your sleep.

The question becomes, is this dream just a way of churning through the experiences of your waking life (the outer), or is the dream using the images from your daytime experience to convey an inner energy that wants to be set in motion in you? The imagery also describes a type of flow, or the starting of a flow, that will allow you to be one of the “in” crowd, or part of a deeper knowing.

I would say the dream is portraying spirit energy awakened.

You can strictly identify with the spirit energy view of it, or you can stay with the denser, outer-world view. But what happens in your outer life helps you to grow and become more conscious in your inner life, and vice versa.

The dynamic of the dream is set in motion by the higher self and shown through the density of the outer life images. That way, you are able to relate to the outer images and ponder the flow, determining whether it is something you want or not. So there is a natural flow that is evolving, but in your particular case, the flow is based more in the outer.

But what ends up happening when you are not able to bring the inner into the outer, or the outer into the inner – or light rising to touch light or light coming down to touch light – is you are unable to make that kind of consciousness link. But you are given the choice (we all are) whether you want to open up the flow between inner and outer. And for the human today, that is a huge dilemma. Can we pull the trigger?

If you stay in the density of the outer, it dumbs you down. If you can be in the higher speeds of the inner, that flow has a healing quality. But there is always the paradox: Our inner life wants closeness and connection – it wants to go toward the overall. Our outer perception is to want separation – I am here and that is there. With the outer life dominating, we can’t get anywhere. The two worlds must be bridged in a human journey – that’s what we are designed to do in this life.

To deny that is to live in an illusion. So this is a very interesting dream in terms of choice. It is playing with this opening up process, where you have to confront the images of the outer world, yet also find the code word to set the flow going, inner to outer, otherwise the music won’t play.

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