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Posts Tagged ‘we are all the characters in our dreams’

Woman opening curtains in the roomOften in dream work we talk about lifting the veils to certain insights, inner truths, or awakenings. Yet, sometimes, we are still in the process of putting them up – here those veils appear in the form of curtains for a room – usually as a way to protect some sensitive inner place that is in danger of being brought out into the open. But in the unveiling of inner aspects we free ourselves up for something new; it is a letting go process that allows us to move forward. By understanding this, we can stop the hanging of the curtains before they are firmly in place. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I had one dream in which I was at a house that belonged to my niece and I’m there with my sister. And there are also people there from a store where they make curtains. And my niece had asked me about what kind of curtains I guess she should put up in a guest room, and so I had an idea of exactly what type of curtains and I think I’d even talked to the people from the store and we’ve made some measurements

Well, then we go up to the room and now my niece has a different idea, like she’s going to put up I think yellow curtains of some kind. But then when we all get together, my niece has definitely made up her mind for a third kind of curtains, and she’s already going around and measuring for those. They’re more beige. 

I probably have a little bit the energy of like, sometimes you wonder why someone asks you what you think because they already have such definite ideas on what they’re going to do. Plus, I’d had some people from the store measure and I realize that my niece had also measured but she probably is not going to be able to complete them yet – maybe she has to wait until she has the money.

And then I’m wondering if maybe I should have them made up for her. I don’t know yet. I realize I have really fond memories of this guest room because I guess you and I had stayed there, and maybe, I don’t know for some reason, we made love on the stairs going up to them or something, and so I have good feelings about this room.

But I’m also wondering if I need to go look in the room and make any last measurements, or see what else maybe needs to be done, or ask her about it, but then I go and I open up the door into the room and I see my sister in there sleeping, so I just quietly shut the door to the room, like there’s nothing I can really do further right now. That was one dream.

John: The dream is about veils. You’re using curtains as your issue of veils, and veils are important. Veils are important in terms of protecting the consciousness, and at the same time they keep one from reaching a particular kind of awareness inside of themselves.

What you’re contemplating in your dream is the degree of the veils, which is an amazing and interesting approach, or at least seeing the distinguishment of the veils between one color veil versus another color veil, versus another color veil. And all of it is displacing a sequence of events, or creating a whole scenario of time unfoldment, which is the veils.

It’s as if something is meant to be remembered, or awakened, and so the consequence of these veils is the distinguishing, or determining, or dividing factor in terms of how something is to transition. It’s interesting that you look at it as a standpoint of veils.

 

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xsultIf we look at how so many video games are designed, or we look at folk tales and fables, we often see how a person on a journey needs to gather items that give them a certain power or ability that they will need to undertake the next challenge along the way. It is no different in our daily life, and it is no different in our dreams. Our systems are trying to help us on our endeavor and, in terms of the human journey, what gives us our most powerful energy and potential is to bring together the multiple aspects of ourselves – into a cohesion. We are at our best when we can use all the tools at our disposal to take on our next challenge. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So what else happens now?

Carol: Okay, so I’m in this house, and I’m with my sister and my niece, and the feeling of it is… besides this monkey jumping around like you’re talking about and these puppies, it’s a nice feeling.

John: Puppies are cuddly, too. A dog, in terms of Native American symbolism, is your friend. It’s the kind of friend that’s always eager to be with you. You know, you can kick a dog and it’ll still come back to the stoop of the house. A dog will always be the obedient, loyalty kind of thing; friend, loyalty. I think loyalty is the louder word to use for a dog.

Carol: Yeah, so that’s happening, but then all of a sudden this strange man shows up, with a bunch of his friends, and he’s very large, and they’re taking up a lot of energy, and they’re very aggressive. And they have three large dogs, and they’re playing really loud music.

And so this kind of tranquility becomes… it wasn’t fear. It was more like, oh, gosh, what is this you know, what is this energy here now? And I was worried about the monkey and the puppies because he was very coarse, this person and everything that he was with, the dogs they were huge, and kind of fierce dogs. And so that kind of came in on the situation and was making things uncomfortable.

John: That’s raw energy. That whole scene is raw energy. It’s most highly epitomized by the crudeness of power and control of the masculine. It suffocates something in that quality of its nature and it, however, is something that you have to accept. But, initially, you can’t because it’s, like you say, it’s loud, it’s noisy.

That’s an interesting way of characterizing. You have that in front of you and it affects a certain sensibility and, as you develop more auric space, you’re able to handle that as a quality of something that you can put into your heart. But right now it’s repulsive. It’s repulsing the situation.

Think of your setting here. You know, you’ve got nice, large picture windows, you look out over a still lake, you’ve got nice, loyal puppy dogs, you’ve got a monkey that’s creating a little mischievousness and whatnot, but you’re willing to contend with that. And now, all of a sudden, this thing has gotten complicated with these guys that could even be half scary with their big dogs and all that; loyal to them, but not necessarily to you… yet.

Yet you can make them loyal to yourself. You can acclimate and take all of that in, but from the storyline what you can and can’t do is not the point. The thing is this is the storyline. This is how you are feeling yourself, at this particular point in time, in terms of how things are dancing around and unfolding with you.

Okay, you’ve got the lake, you’ve got the large picture windows, you’ve got the puppy dogs, you’ve got the monkey – but you can handle that. But it’s just enough that there has to still be some sorting out there, and then here comes a huge complication. And that has to be taken in and embraced as part of the wholeness, as well, in order for you to be complete. It is a raw energy, and that raw energy is important to the process, and it’s important to the process in that it is an aspect of you catching up with your own inner, personal power.

And, as long as you reject it, or push it aside, or have issues about it, then you are stabbing yourself in some capacity, in relationship to your wholeness, which is your personal power. And you have to have power, inner power, to make the journey.

And so when you annihilate, or reject, that, or have issues with that, you’re hurting yourself. You’re being somewhat cynical to the energetic. It’s interesting. You’re still telling a story of yourself like you tell in an initial big dream. You’re still describing how you’re putting the tablecloth onto the table of life. That’s what you’re doing yet.

You’re catching up with the components inside of yourself. You’re seeing the components introduced inside of yourself. It’s kind of like seeing the credits of a movie before, then you have the movie, or whatever. You’re getting all of that upfront, and then as you sweep it in the whole thing then goes from there, and whatever states you have to go through, and whatever processes you have to go through. In other words, we all carry a heavy, heavy responsibility in terms of we’re here to serve, and yet you can’t serve if you still have something that you are pushing off, judging, annihilating in terms of the greater picture of things.

And these guys, they actually also are what’s called a kind of dark energy. A dark energy is something that destabilizes a sense of balance and, for the longest period of time, there are certain dark energies that you have to steer clear of. But eventually you have to face all of that in order to take on more inner power, or to grow.

And so you’re describing a little of your battleground, so to speak, of evolving here. This is your symbolic way of doing it. That’s a good tablecloth. That lays the thing out. That’s, so to speak, setting the tempo; I guess I’d call it a tempo. It’s not really necessarily a theme. A theme becomes something that’s kind of put in motion, then, to where you then go through this, that, and the other as part of a schooling or something, or being trained. And when it’s like that the way that it’s often times portrayed is that the soul is being trained.

I guess you could say it that way because the veils that normally cover things up so that you can’t have this access, something has to be quickened, in terms of this innerness, and so that is like a training of the soul. So that’s your tablecloth.

Carol: One little piece at the end was when I’m still in the house, and I’m just with all this, and then somehow I get a text from my niece, who was in the dream but now she must be somewhere else, and I get an image of her with a black birthday hat.

And it was like I had forgotten her birthday. The feeling in the dream was, oh, there she is in the birthday hat. But it was just her picture, and I was like, oh, did I forget her birthday? And that was sort of how the dream ended.

John: Now, in a dream, those are all parts of yourself. And so these feminine parts of yourself are important to this process, all part of setting this tablecloth on the table kind of thing. And your niece, that part of yourself, is trying to text to you – it’s you – trying to use whatever this quality is that this niece represents as a component energetic , it’s trying to bring a memo through.

Now what’s interesting about the niece is she is wearing a black hat. Well, the color black is very important as a color for the feminine, just like the color white is very, very important for the masculine.

A teacher on duty, a masculine teacher on duty, will often, if they are going to portray the vibration of themselves, for whatever particular reasons, as an expression or something, will be inclined to wear white.

A feminine teacher on duty will be inclined to wear black. It’s a little known fact. It’s part of the mystery of the feminine.

A pretty interesting dream. I’m now curious if you put it into motion in any regard with the next dream, or whether you’re still gathering information, gathering your tool chest together.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Personal Power

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775If we take every image in our dreams literally, it could cause us some confusion. Case in point: in this dream the dreamer, a woman, is touched in a sexual way by another female. And it might be easy to say that this implies some deeply suppressed fantasy, but that isn’t the message here. We are all of the characters in our dreams, so if we are drawn close to the same gender, or even to friends or family members, it will only make sense against the backdrop of our inner life. We are trying to get close to, and make a deeper connection with, an aspect of our inner life – represented by one of the genders, and of a certain age group, to point us toward understanding the process we are in. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: Well, I remember the second and third dreams. I lost the very first one. I wish it would come back.

But, in the second dream, I seem to be, going on a, I was going to say a journey, but it’s more like a trek, and that there’s a number of us going, and a quest – it’s something like that.

And it begins to take us up a mountain and some people kind of go on the regular trail, and then some of us have broken off and we’re going on a steeper kind of unknown trail. And I’m doing it more alone, even though there’s other people there. It’s not like we’re going hand-in-hand; it’s more like we’re spread out.

And, as I go along this kind of steep and unknown trail it’s closer to the edge. Then it feels on about the third leg of it, I go into a building. The building even is still going uphill and I go through some rooms, and I come in and lie down in a bed. And my Hawaiian teacher is there and she comes and gets into bed with me. And she touches me in a way that’s slightly sexual, but it’s more like it’s just… because she’s also kind of pulled a blanket over us, it’s also like it’s just awakening some kind of energy.

And she’s talking to me about that, but I can’t remember what she said. And then she gets up and leaves, and there’s another woman there that’s talking to me about whatever happened. And I realized I could have gotten lost going off on this trail, but I did okay, because it was a rougher trail. Then it seems to go right into the next dream.

John: So the underlying theme or motif is still this quality of atmosphere. In other words, the spatiality that one is in, where one finds a sense of balance, where things feel copacetic in the environment.

And for you it is viewed, in other words, viewed is more of a masculine way of saying it. For you it is experienced, or felt, in kind of an overall context. In other words, it’s like you’re denoting yourself in a spatiality and, in that spatiality, you’re aware of what seems to be needed, and what seems to be missing.

In other words, you’re always wondering, and pondering, in terms of putting the overall together, in terms of just a general context of being. And the process of doing that is an ongoing continuous process as one journeys, so to speak, or continues to keep climbing, or going through the paces of things. There’s always the ongoing process of adhering to, or holding onto, a quality of the overallness as one unfolds.

If you were to get to a point where things were bewildering, or overwhelming, that is when something would have to take a step back, or slow down, or in which you would in an overall process be afflicted in some capacity and would have to, somehow or another, go through that stigma, or affliction, in order to be back into a flow again.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Ongoing Process

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