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

09eewIn our dreams, we are always trying to find a balance between the masculine and feminine natures that we all have inside of us. The outplay of this dream shows three generations of female – child, young adult, and older woman – trying to bring the masculine into a “healthy” relationship.  As we are all the characters in our dreams, this is an inner struggle that needs to be resolved, yet the female dreamer understands that the feminine aspects cannot become like the masculine aspects to appease them, or make them feel comfortable. The relationship needs to be built with respect to the inherent nature of each characteristic for it to be a healthy one. (At the end of this post there are instructions and a link to download this recording to your computer.)

Jeane: I just pulled out my last dream. In my last dream it’s like I’m maybe young, just around teenager somewhere. I’m living in a house with a young girl, a little girl, and an older woman, and then there’s a man that comes in, periodically.

And he seems to be trying to do something for all of us to help raise the little girl, but he doesn’t always know how to interact with her, yet, and he’s getting older. I can tell there’s something kind of off, or wrong, about him right now, so I want to do something for him, or we all do.

So we look around, and he does have kind of a strange vehicle that’s parked in one room of the house. I don’t even know how to describe it. So I realize it might help him if we could take him out for a ride in this, but we could never drive that. And then I feel like anything we could drive we couldn’t drive fast enough, anyway.

I wouldn’t know how to drive a motorcycle, which might perk him up. So I’m racking my brain trying to figure out what I can do, you know what kind of a ride I can take him on that will kind of perk up his energy. And I’m going over in my mind things like horse and buggy ride, a Ferris wheel ride, I think. Maybe a ride in a convertible is what I finally come up with. I’m just racking my brain trying to come up with something because we don’t know how to drive his vehicle and we wouldn’t drive that fast enough, anyway. And that’s when I wake up, as I’m just trying to figure this out.

John: So what you’re talking about is the feminine nature to be able to take something that is in a masculine outer context, that is overly spacious in its nature, and bring it into a cohesion so that it can see itself, and so that everything can come to a cohesion.

What you know is that you don’t try to keep up with that, because if you try to keep up with that. And so that might even be a big aspect of a correction here, is the idea that you have to try to keep up with that. No, it’s not your role to try to keep up with that. It’s your role to try to cause something to occur, so that the effect of what is overly spacious, and zooming out, is able to find a cohesion based upon the way you hold a presence about things, based upon the way you allow something to be able to be felt, or experienced, which means you have to pull it back to some degree.

But you cannot pull it back in a way that restricts that. You have to pull it back in a way that comports with that, without trying to race out that way yourself, because you’re not allowed to race out that way because that is not what is meant to be, in terms of who you are. And so you are seeing that, in terms of who you are, you are connected to a sight on this particular level in terms of a higher self part, the grandmother part or whatever, and your regular, natural nature. You have proper cohesion training, or understanding, in this motif to be able to take and make a difference in this kind of atmosphere.

That’s very interesting. Which is the same thing as saying that you are bothered by, for example, a certain aspect of something in the outer, and it probably relates to me, and it has to do with how something is out of twang, in some regard or another. And that you’re not going to do yourself any favors by trying to catch up with that which is out of twang, or going in some pace that it’s going in. Instead you have to hold a quality of a presence of nature and being that enables it to be able to let go of maybe the way that it is driving itself. You don’t try to drive that way yourself. You, instead, hold onto a cohesion, and in that holding onto that cohesion you are actually giving something to that aspect of unfoldment.

And what you’re evaluating to do is to figure out what it is that you have to give to it? Is it a convertible approach, or is it this, or is that? In other words, you’re still working within the context of the car, meaning something that drives itself in a pace, and at a point, that you’re not going to be trying to catch up, or keep up, with.

Now that’s interesting that this is pointed out to you to have to recognize that you need to be like that because, from my perspective, I keep trying to get you to speed up. And that is not right. I act as if that you are missing something if you don’t learn to go catatonic, and then let go of the catatonic. That’s me, in my dementia, trying to turn your world into a dementia or something.

You know the approach that upholds a state that is conducive to a greater beingness, and you function in a way that tries to hold that together, and not try to keep up with that. And this is an interesting inner lesson of a quality of depth of a feminine beingness, because you often see, in terms of feminine nature, you often see the opposite occurring where they attempt to race out. They attempt to join that kind of world in some capacity. You know, women take and are all concerned about this, and all concerned about that, all as an idea that it has to do with imagery or something. And so she is not able to let go and actually settle back into herself.

But at what price is that in terms of her catching up with a deeper depth of herself? Having to maintain an image, and a persona, that is in keeping with having to conduct, in this kind of environment a certain way of coming across – and you see a lot of that – and how you are is you’re being shown that the exact opposite, or contrast, is what is important.

There is a way of letting go having to go around like that because that is a debilitating state to have to sit in.

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

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spaceThis dream makes the point that whatever we have attachment to in life adds a kind of weight, or denseness, to us. It is something that, ultimately, needs to be let go. In Egyptian iconography, the heart of the recently deceased is weighed against a feather. If the heart is lighter than the feather, then the deceased is allowed to proceed into the afterlife. How are we to become as light as a feather? By understanding that the universe isn’t here for us, but that we are here for the universe. (At the end of this post there are instructions and a link to download this recording to your computer.)

John: So, in the dream, the dream intent is to show another person how you let go. It’s almost like a contest. He has his way, I’m going to have my way, except I have to do this, and I am being hit with, having to be attentive to the physical.

So the challenge begins. I go into the dream confident that I can prove the point, however, at the end of the dream, I’m still holding onto something. In other words, I’m still attentive to something in the physical. I can feel that there is an effect, or an after-the-fact thing, that still remains.

As a result, the effect, that after-the-fact thing, that remains as a quality, makes me somewhat heavier or denser. In other words, because I am deep in the dream, I do not realize right away that what I have done is limited by that, and that what I have done is still revealing something to life and, as a result, there is a limitation which remains. Because as long as you’re portraying, or expecting, or doing something upon life with an intentionality, then you’re not being truly, truly empty.

The person I was trying to win over in this contest is a person who is able to go somewhere so deep that when he comes back he is empty. There is nothing to point out. He is like a feather in terms of his inner emptiness.

The meaning is, is the theme of the meditation dream is about the process of letting go into levels of stillness that are beyond physical awareness. As an image to exemplify what I mean, if I am a piece of property can I access the city water, and sewer system, imbedded in the property without carrying any consequential reverberations to pay attention to?

In other words, could I just do it, or do I have to pay attention to it? And, if I do, then there’s that added weight, and that added weight is a beingness, a potential beingness, in regards to being different than, meaning does that negate the nothingness, is it different? Is there a way for there to not be a limiting effect – whenever I access latent energies imbedded within – which, when latently still, are empty, but when activated does that cause an attention, or a beingness, that then has a distinction?

In other words, beingness and nothingness is of two different polarities. So, in the dream, I am aware of the nothingness and the beingness simultaneously. I still do not know how this is to be, meaning how do you resolve the two? Because in the dream the beingness was like a weight that I accepted in order to be in life, in other words, to pay attention to the physical. And the nothing was an emptiness in which the myriad of vibrations remained latent therein or, in other words, they weren’t vibrating about.

So in the dream you could say that both states existed – because I’m all parts in the dream. I’m both the one that went into the stillness, too, and I’m making note of this. I don’t have an answer for it. In other words, this was the challenge.

You saw how you did it; for you it was a nightmare. For me I’m making note of it. I don’t have the answer to it, and the reason why there’s no answer for it was it was like that Tao statement that you read. What it said was, that both are states of mind, yet.

Both the beingness and the nothingness are states of mind, because there’s something even more than that, and that when we portray it we’re still portraying it as a state of mind – because we’re not able to actually be that, to be any of that. In other words, even the nothingness is a state of mind like the beingness. And so, I don’t know what you do with that.

To download this file, Right Click (for PCs) or Control Click (for Macs) and Save: Like a Feather

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00sWe may understand nightmares to show us some terrible truth, but dreams are always showing us a truth about the situation we find ourselves in, and sometimes it seems mundane – until we look at the details. Here, a simple game of ping pong, but the man is handicapped. And then a game of pool, and a woman needs to be taped into alignment. All in the midst of a noisy arcade – the hustle and bustle of life. This is our dilemma: how do we bring our masculine and feminine aspects into alignment in such a crazy world? (At the end of this post there are instructions and a link to download this recording to your computer.)

John: That way of portraying it in a dream is quite similar to my sleep dream in that, given that this was the particular theme, the image that ensued was: I’m in this place when this guy, who has his chaperone or person that looks after him, maybe it’s because of who he is, or how distinguished he is, or up in age he is, or who knows.

He checks into kind of this hotel, this establishment place, and in checking in I’m off to one side. He asks if there’s anyone that plays table tennis here. He wants to play table tennis. And I look at him, and because I haven’t played table tennis in a long time I think, oh, yeah, anybody to play table tennis with, okay.

And so as I open up a conversation with him I suddenly see that he only has one hand, and so I ask him, “So you play left-handed?” And he said, “No, no, no,” and somehow or another he takes his handicapped hand and he plays table tennis. He says, “Well, I play real slow.” And I say, “Well, I don’t play slow, I play a fast game. Maybe this isn’t a good idea.” And he says, “Oh, let’s try, let’s give it a try.”

So, it’s agreed. So the question then comes up: Where do we get a table? And he suggests maybe it’ll have to be outside. And I say, “No, no, no, it’ll have to be set up inside.” And I vaguely remember that there’s a way of doing it inside. And so I say, “I’ll take responsibility and get that set up,” and I point to an area where I think that once upon a time somehow long ago or something I notice that there had been a table tennis that could be there.

And it’s kind of a bit of an open area, and in this open area all around it is kids that are playing; it’s like an arcade or something all around this open area. Whether they’re playing on game machines of some sort or whatever, I don’t know, but they’re just rambunctious as can be. And I think, oh, this is going to be challenging. I don’t know how this is going to work because table tennis is a fairly focused game. It requires movement but you can’t have this kind of behavior in the way. It’s kind of an incoherent vibrancy that doesn’t pay any attention to how it’s bobbing around.

And so I set up the table, but as the table gets set up it turns into a pool table. And so then the image switches and, when something is to happen, it’s a girl, a young girl, that gets on the pool table.

Now all of this rambunctious activity around, that was vibrating around, which is similar to all of the action that you had in this house that everyone had to be gotten rid of because all of those ideas and mannerisms were too much; that’s kind of a masculine quality characteristic, it’s always too much to sort out, had narrowed itself down to where that was no longer an issue and it was a matter of alignment.

So it was almost like this pool table was like some sort of gizmo in which it was more difficult than it looked. It involved having to tape this young girl into an alignment to fit the table, as if the table spun a little bit. It was easy to get something out of alignment.

And so what does this image represent? Well, they represent the same thing as yours in that, to begin with, that this old guy, the old guy, is from the crown. You know, he’s the masculine energy. He’s the transcendent space. He’s the ancient energy. He’s the something that I look forward to doing, something that is ancient and long ago that I don’t really remember having done for a long, long time.

And yet it’s not that possible because things are off the ground. Things are handicapped, and plus everything is chaotic.

And then, of course, on the other side when one is considering the virtues of it having to have something to do, and everything being kind of a rhythm that has something to do with the breath, with manifestation, the importance of manifestation because the breath is into manifestation and out, and back, and back and forth. And everything about manifestation is a cycle in and out, a relationship is an in and out relationship, an eating is an in and an out aspect, that the combination of the two leads to a wholeness.

And so it’s as if I’m having to contend with the reconciliation of those two images. Well, it created kind of a complexity, a dilemma, because technically speaking both exist and you can’t seem to get by with one over the other. You don’t just look one way or the other, and then your dream points out that it’s all in the process. The way I come up with it is, one has to reconcile the fact that I have to contend with the old guy, and yet at the same time I have to deal with how that is in terms of manifestation – which is represented by the feminine.

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

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