Posts Tagged ‘trains in a dream’

Unfolding_SpacetimeThere are two ways for something to unfold: according to what we think is best, or according to what is best for that thing. Whether we are raising a child, or trying to bring an idea into reality, there is always an urge to control the outcome. But what we really want to do is give something new its best opportunity to fulfill itself. And this applies to a child, an idea, or an inner awakening. And deep down we know that we can’t really control things, but we can help usher the new into life in the most opportune way possible, as a service to the whole. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, in the beginning of my dream, I seem to be at a railroad station. There’s railroad cars there, and I’m helping a young woman kind of move around from one car to another. I feel like the cars are somewhat stationary, and maybe she had gone through a loss of some kind, because I’m helping her get used to a new railroad car, even a railroad car where you might sleep.

But I know that she was used to something else in the past, a different kind of scenery, maybe a different kind of car, so I seem to be helping her adjust to the new railroad car, or focusing on what’s positive about it.

And I seem to move from one car to the other and just noticing some of the differences. And then it shifts slightly…

John: So the scene that you’re setting, initially, is the overall balance, or the overallness of the situation of life. You’re bringing in what needs to be included, or available, for purposes of a wholeness, a wholeness that is like an overall presence that you have a responsibility over, more or less the greater warehouse of yourself.

And you’re taking this in as additional information that you hadn’t been noticing, or aware of, before. What’s interesting is that you’re doing it more or less casually, almost as if you’re surveying the overall environment. In other words, you’re gathering the components, so to speak, up. You’re taking into account a bigger picture, so to speak.

There isn’t any motion yet. In other words, you’re not at that stage of the process where something then gets put together for some directive purpose or another. At this particular point, everything is a myriad of different train cars.

Jeane: In the next scene, which feels like part of the same dream, I’m kind of assisting with putting on a dance. It’s more like a ball almost. And down below there’s a man who seems to be in charge of it, and then when I go upstairs, I find a young woman who’s kind of a tomboy that’s almost hiding. She’s shy about going to the dance, and I seem to be assisting getting her interested in coming to the dance; kind of pulling her out of her shell a little.

Then I go back down to where he is, and when I look back up, she suddenly shows up ready for the dance, and she’s died her hair into this cute little blonde do, and she is wearing this formal blue dress, and she’s just really excited like someone who’s actually going to their first dance. She’s just kind of glowing all of a sudden, instead of being like this shy tomboy that was hiding out before. And that was the second part of the dream.

John: So, the first part, of course, was the establishing of an overallness, in other words, the components of one’s self. The components of one’s self, when put together as a wholeness, create an alignment and a presence that has an effect that draws what is needed for purposes of it being able to see something more about itself.

And that principle is the feminine principle of longing. So you have, first of all, the getting to a point of a type of letting go of things – which is really more of an incorporation of greater wholeness. Instead of having something that’s in the way, you’ve let go so that you can incorporate a greater presence, an overallness, as the greater beingness of yourself.

And then you are able to hold that as an energetic that is able to be accessed, or reached, or touched by the masculine principle, which draws to itself in order to set in motion a process in which something is able to occur, through this longing, that suggests a flow.

Jeane: Then, in this third part of the dream, initially, I’m taken to somebody’s church, and the first time I go to this church I just kind of notice how it is, because it has a side area where you sit, and then kind of like glass doors, and the main area facing where the preacher would talk. And then another area to the side and back, and I just seem to notice how the church is laid out the first time.

The second time I go to the church, initially, the person I’m with insists that I go into the main part of the church, up near the front, and sit on this bench next to a couple who have two little boys there.

Then they leave, but then as I look around I suddenly see that one of the young boys has this pillow, and he’s glaring at me a little, because obviously they sat me in a spot that he considered his spot, or considered important for some reason, so he and his brother are looking at me because they really want where I’m sitting for whatever reason. They had kind of claim to it, in some way. One of them is even carrying this big pillow. Maybe they were going to stretch out a bit.

So I leave that area. I go back out to the side area, and then to an area right behind it, and sitting there I notice a friend of my dad with his wife who’s kind of a bit neurotic and not very well. So I go over and I help her stand up because she needs some assistance in standing up, and getting out into the aisle, and maybe knowing where the bathroom is, so I decide that I’ll assist her. And that seems to be the end of the dreams.

John: Well, the end of the dream has to do with a quality that takes what you consider a flow, or process, that is commodious in terms of the outer state of things. That actually avoids the understanding of what it’s like to have established enough of a presence so as to have awakened, or quickened, the inner magnetism of something that is moving around, seeking to come out, which is represented by the two boys.

And the thing that’s indicated is that, in that image, there is a part of you that holds a space, but there is another part that is displaced. And so the question then becomes, how is this to be? In other words, what’s the right protocol when the part of you that is displaced doesn’t quite make its connection?

The part of you that had sat in that space is inclined to go off and contend with things in your own way – in an outer familiarity. The thing that’s hard to understand is how, and what, is involved, or required, for an insight and a natural quality of holding a space, how is it possible for something that is holding a space, and that which is an insight that has something in common with the spot, with the space, but when that space is being held, how is it possible to bring the insight and that spatiality together?

Because if you don’t bring it together, things unfold, but something anew, as an awakening and as a greater depth, doesn’t quite come across. It’s there. You can sense it there. You can tell that it’s kind of like a relationship that doesn’t quite connect, that there is the shock spark recognition almost, but still a stepping back from that, and back into a more familiar engagement process – in terms of a way in which one sees themselves in the unfoldment.

So it’s like an image of coming close to a crescendo breakthrough, but that which is anew, that which brings inner totally into outer, and is the revelation of something new, is close, but isn’t quite happening. But I mean you’re looking at it, you’re seeing it. You’re seeing that something is almost, almost there; almost took place.

It’s like a three-step deal. First came the setting of the table, so to speak, in other words getting everything at hand. Second came to holding that which is at hand, so that it could invoke something. And third came that which is invoked coming close to something more that could spark, and it was so close that it’s a wonder that it didn’t quite communicate.

And as a result of a step back from it, a familiar action, within the context of an environment that is quickened, a familiar context unfolds on the side instead.

So it’s like a depiction that’s like a harbinger of things to come. The theme being that there is kind of a harbinger of things to come, and there are abstractions yet that are just a tiny bit in the way. I guess you could say that is a bit of the theme of the dreaming.

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Thomas the Tank EngineIn her second dream of trains in recent days (see A Point of Emptiness), Jeane, as both a train and as a person, finds herself in a court battle with another person who is a train. It’s a good example of how a person plays all the characters in their dreams. This scenario has the elements of the inner masculine and feminine in the two characters, but as an inner guidance, the “court case” must be settled amicably. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: The very first dream, very early at night, I only remember bits of, but it feels like I’m both a person and I also feel like the cab of a train, or whatever you call that first car, almost like my head can become the head of the train going down the tracks.

But I’m also a person, and it feels like another person, who’s also like the head of a train, is trying to take over my train. And it feels like also that I have to allow this, but I’m not always in agreement about it, so we go to court.

And the court is supposed to help sort out this process, but sometimes they’re helpful and sometimes they’re not. Plus the judge has to adjourn at certain points, and I have to go back out and try to figure this out on my own. So I know this is a process that I kind of have to yield to, but I’m trying to do it in a way where you don’t get taken as big advantage of as you might.

John: This is a dream in which, as you’re speeding up, you have before you a flow or a focus and attention with greater options. But to the degree to which you’re still attached to things, that has a greater flow or position as well.

They’re both parts of you, and somehow or another this other has been brought into the equation. In other words, as things get speeded up and you’re able to, instead of going down in a certain way, you’re able to become the part of something that is a greater flow.

You’re the head of the train, so to speak, not just a passenger on the train. In other words, not just something that is independent going around and around without any predilection about things because you’re just doing the best you can.

You now have a certain focus and attention, but within that is still the degree of the part that you don’t quite have a rounded handle on, that is like another train going in the opposite direction, or a tearing away at you in some regard, undermining how it is that your cadence and balance is.

And that’s also a part of you, but in order for you to recognize, realize, and appreciate this part of you, and to integrate it, and take it in, you have to let go. You have to just accept that. You actually know that this is okay, that this is part of the intention, or overall manifestation of life, how it’s meant to be, and in order to take a step forward into integrating that, you have to accept it. 

You can’t take and conclude that it is something that runs counter to who you are. It can appear that way, but it’s all you. The tendency, if something didn’t hit you between the eyes and force you to accept it, the tendency would be to block it out or to blank it out, to act as if you could stay and go in this particular direction on your own, and not have to contend or deal with that.

But you are compelled to have to accept that, to deal with that, because it is now in the equation of who you are in manifestation. You’re having to deal with that as well. In other words, there’s something on a microcosmic level that has occurred, which is meant to cause you to take a step, in the inclusion of the greater Whole, that includes what is, or has a tendency of being seen as, or has been recognized – if you were to have looked at it – as something that has kind of developed side by side along with your head being part of the train.

This part has also its head part of a train going in a way that appears to undermine, or to be counter, to the flow that you have put your focus and attention upon. And you, if left to your own devices of ideas about the spiritual path, would be inclined to probably not pay attention to this.

But you’re not allowed to get away with that. And something has brought this into an aspect of the microcosm so that you have to accept it, you have to surrender to it, and in the process see another greater dimensionality and Wholeness of yourself.

It’s actually like dropping a type of spiritual illusion, too, at the same time, where you are inclined to think that it’s not fair, that it should not have to work this way. And when you find that it is working this way for you, that you have no choice, because it is brought into the equation, to have to let go to it. It’s a very touching dream, whatever it is that you’re having to let go to.

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The masculine perspective, in dreams, often deals with the smaller details of situations, compared to the feminine perspective, which often relates to the overall nature of a situation. Here, John has an image involving changing trains, yet in making this inner shift, he finds himself disconnecting from the flow.

(At the end of this post there are instructions and a link to download this recording to your computer.)

John: We are kind of on a theme in which even the dreams that we’ve had before have led us up to kind of like this point of unfoldment, in which there is a captivation to the essence that lies behind what is normally just a projection.

And for most people it still remains just a projection to which they identify within an outer context, but for me there are particularities that may now seek, to access or reach, in order to come to grips with this inner meaningfulness.

And in your dream (see The Big Fish), you’re shown it in a general context, and in the general context you’re seeing how you’re doing in relationship to the expansive wholeness that you are meant to catch up with and embody. And in your dream what you’re seeing isn’t yet complete. It’s formative.

That’s best portrayed by the final image, but even in the images leading to the final image, it’s the final image is the clearest because I have the familiarity to what a fish means, and over and over again it seems to have this universal symbolism of a consciousness, or an awakening.

And so you can take the fish that you see, okay here comes the consciousness symbolism, and how that symbolism looks or comes across in terms of you. And you can see the surprise and the shock of you noting that, and then appreciating that in relationship to finding it behind, or within, the essence, as an essence to what is ordinarily just a reflective image. And yet there it is as something more significant to come to grips with or to just take in. Your dream has that whole outer context.

In my case, I’m trying to deal with the inner. I have to address little things that keep me from quite getting it, or from staying in sync with it, which again is the more masculine nature – the particularities. You have the generalness of the overallness, and I have like a particularity to the same subject.

This dream begins with me seeking to be a person who gets off a train and onto another train, because the train I had been on, which provided a nice casual ride, now something has shifted in which the next train has particular other qualities that I have to take more responsibility for, and I have to access directly.

And I have a whole sense of that, but that doesn’t mean that I have the stability and balance for it to happen. And so what happens is I see myself move up to where the door is, and before it is announced where it’s perfectly safe to get off, or everyone can now leave, it’s kind of like you have in an airplane where you’re not supposed to get out of your seat until something gives you the notice that you can do so, or otherwise you’re being rude or inappropriate to the way something is supposed to unfold.

Well, that’s kind of what’s going on here is that I’ve moved up to the door before it’s timely, and then I even push through the door to try to get an edge in terms of finding a seat on the next train and, in doing so, I don’t realize that I am out of sync with the flow, and a naturalness from within.

On this train there are seats that connect you to kind of an inner unfoldment as you ride. Once one gets off on a tangent like that, even though I have a sense of what it is that I need to recognize, I can’t find them. I can’t identify them.

And yet here I am jumping on this train early. It’s as if somehow there are others that have gotten still ahead of me in some capacity, or if I do see seats, I’m continuously looking for something that’s in a different rail car, or something that’s better, or more succinct. And I end up finding myself in this condition, or state, or mood, or mannerism, that I’m carrying, which has gotten exasperated, and not found a seat at all.

The reason for a dream like this is to show that in one capacity or way inside of myself I am able to recognize how there is kind of an interesting way that something unfolds, and that you can connect with that and be fed by that.

But then at the same time, when you get to indulging in the importance of that, as if you have something to say about that or need to adopt a higher degree of control or peculiarity in relationship to the unfoldment, as if there are things in the outer that can get in the way, and so now you’re taking what had been perfectly fine as an inner essence and now putting a seriousness spin on it in terms of outer reflections.

What this does is this throws you off. It throws you kind of on a tangent. And once you get on this tangent, you don’t shake it. And you project this tangent upon other people. And you could sit there and deep down in some state you can know that this is how you would have liked to have done it, and wanted to feel, but you can’t because you went off on an indulgence instead of just staying in the inner flow.

So as a consequence you’re now communicating that reflective imbalance, and if you really look at it it feels horrible, but also at the same time it’s a type of clutchiness. It’s a type of grabbing. This is what tends to cause this sort of thing to suddenly pop up.

You can know the flow. You know that it’s there but you could be repeating over and over again, that the fact that you’re acting out a reflective mannerism – as if it can affect or do something to the inner flow – instead of being in a state in which there is an emptiness and a letting go feeling that has this auric trust and wholeness from which whatever unfolds is what is meant to be.

As opposed to suddenly getting to the point where you catch up with the fact that there was the flow, like this other train, and then now all of a sudden you have to take on a more engaged relationship to that because you have caught the flow, and now you’re in a reflective outer, and now you’re trying to put two and two together.

And when you function like that, that is when you start to become disoriented. That’s when you’re blinking, as if the outer actually has a consequence over the inner – and it never does. It’s you trying to take and do a deviation as if that’s important; taking something and drawing out of it that which isn’t there, imagining that which isn’t there, glowing too much in outer circumstances and having reactions according to those outer circumstances – inside.

And then eventually getting to a point where whatever those reactions are rub off on you, and so you emote that. You hate the fact that you’re emoting that, but you can’t stop yourself. This actually then keeps you from being in tune with that essence that you can just be flowing with, and feeling, and carrying, and transmitting, and watching it from a withinness, do its creative magic or creative thing. The degree to which you carry some imbued trait of tangentiality is the degree to which you compromise that. And it feels horrible, but you do it.

I wrote up a kind of meaning to it that might help too, because it’s a dream about indulging: to do so is to kill the magic and to get in the way of the natural flow. I’ve been fortunate to have been on a train that got me to this point with a flow that I was able to enjoy. Now I am shifted as a next step to a new train.

I carry an energetic entitlement. I’ve taken on this energetic entitlement that has me imposing myself without the composure and graciousness I know is imperative to my wellbeing. To do so doesn’t work, because while you’ve taken on this awkwardness – it is not about me. Yet you’re somehow making it more like you have a piece of the action or something. I will not find the inner into outer connection if I violate the natural inner trust that acts from, and for, a natural inner knowingness.

What the dream is doing is causing me to see how my raciness keeps the natural linkage and flow from unfolding, and takes me away from the inner into outer recognition I need to be abiding in.

Of course as a scenario you could say that I find myself in a state of subtle desperation, and in doing so I lack the usual graciousness I normally carry in my aura. And once you get off like that you tend to stay off and be on a spin, which is away from the inner path. You then, in terms of reflections, reflect that as a denseness, instead of the inner quality that keeps things joyful around you and happening.

And I was unnaturally sharp with people. You get a unnaturally sharp with people, which isn’t one’s actual nature but depicts and points out that you have allowed this raciness vibe, or something that’s pressing you, to take that on as if that is actually real.

And then that vibe gets imbued into things and causes a loss to occur, which becomes a blockage, or a veil, or an attitude that stands between the inner flow, with the appreciation and naturalness, which is imperative in this phased way of compressing to seeing the inner flow in its importance.

Before I just needed to be on the train, now I’m required to hear this a little more succinctly, trust in its meaningfulness, and take care to not get off on the wrong foot and end up imposing an outer pattern. For me to be who I am meant to be, I must remain attentive to the natural inner unfoldment.

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