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Archive for the ‘Dreams and dreaming’ Category

From the Four Corners of the Earth”~ Jung’s words on avoiding our souls 

As you may know, I’ve been reading my way through the works of Jung that I can afford or obtain. It’s a slow thing, because I do not wish to rush the experience. I take time over each page, and sometimes I stay with it for quite a long while. Things sometimes leap off the page at me and I make a note or put in a little page marker.

The other night, the following struck me from The Earth Has a Soul (a collection of his writings on Nature, technology and modern life)

People will do anything, no matter how absurd, in order to avoid facing their own souls. They will practice Indian yoga and all its exercises, observe a strict regimen of diet, learn theosophy by heart, or mechanically repeat mystic texts from the literature of the whole world – all because they cannot get on with themselves and have not the slightest faith that anything useful could ever come out of their souls. Thus the soul has gradually been turned into a Nazareth from which nothing good can come. Therefore let us fetch it from the four corners of the earth- the more far-fetched and bizarre it is the better!” (Carl Gustav Jung Complete Works 12, para 126)

Now all of the things he describes are excellent things, and beneficial disciplines in and of themselves. But used as a means of evading and avoiding the soul-work we are called to do, they’re little different from losing yourself in drugs, drink or a myriad of other activities people indulge in to keep from the moment when they must face their own soul.

I’d like to share one of my own poems as a coda to this section from Jung’s works. I’ve spent a lot of my life on the edges and even the very fringes of all manner of philosophies and faiths and among the seekers of this western world, there is a powerful emphasis on wisdom coming from somewhere other than home. Like Jesus being treated shabbily in his own home town, most prophets and prophecies are seldom honoured initially in their places of origin.

My kind of wisdom

Just because my kind of wisdom

Doesn’t wear buckskin,

Isn’t hung with feathers,

Isn’t decorated with crystals

And isn’t inscribed with runes and sigils,

It doesn’t mean it isn’t real.

Just because my kind of wisdom

Doesn’t require mastering

An arcane language,

Higher mathematics

Or a degree in theology,

It doesn’t mean it isn’t deep.

Just because my kind of wisdom

Doesn’t ask me to stand

On one leg for years,

Beat myself with whips,

And starve myself half to death,

It doesn’t mean it hasn’t cost.

Homespun, home-grown, homemade:

You know, from somewhere far off,

It might look as exotic as yours.

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Candlemas at the Cave, Imbolc in the Ice

It is the scent that reaches me in my bear-like slumbers, drifting day after day in a form of hibernation that sees me rarely raise my head from the nest of covers. It does not force its way into my subdued consciousness, but instead it seems to creep quietly, humbly, into my cave and stands by my bed, waiting for me to notice it.

I rise from the dreamless state that has held me for months, eyes flickering open, and I take a sharp, deep breath like a drowned woman returning to life. The air holds a scent I’d forgotten existed. It’s the smell of thawing earth and dripping ice.

The wall of ice at the mouth of my cave still blocks out much of the light, so the cave is deep in shadows, but through the blue-white mass I see a brighter colour, tinged with gold and I realise it might be the sun. Pushing back my covers, I sit up and take another harsh,deep breath, drawing in the clear cold air I can feel infiltrating the sour, stale air of my den.

I get to my feet, joints stiff and sore and movement difficult, and I stumble to the ice wall. Before I reach it, I can feel the change. Air is moving, through the cut-out in the ice that had become blocked around the winter solstice, and though it is still the frozen air of winter, it is no longer the same. There is moisture in it that holds the scents of the thaw. When I move into the tunnel through the ice wall, I see that droplets of water are rolling slowly down, as if the tunnel is weeping with relief. The tunnel is still partially blocked, but a window has opened, that drips steadily as it melts, and through this rough portal, the air flows. I stand as close as I can to the opening in the ice and beyond it, I can hear the sounds of flowing, bubbling water and the first bird song.

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The Herb of Grace by Elizabeth Goudge ~ literature that heals

A while ago, I was sent a gift of a book, from a friend on Twitter. Sally had read my review

of Elizabeth Goudge’s A Scent of Water and very kindly sent me a copy of The Herb of Grace,

which she felt I would love.

I took a long while to read it. In fact I took a long while to start reading it. I wanted to make sure that the experience was at the precise right time I needed to read this book. There are tides and seasons of a life and becoming atuned to them, I’ve realised we can grab too greedily at pleasures and seize things before they are ripe. When an author is no longer living, or like Susan Howatch,

no longer writing, there is a diminishing pool of works of theirs we have not yet read. There can only ever be ONE first time to read a book and for some books, it’s important we read them when we’re ready. I’ve heard it said that Jane Austen ought not be read before one’s fortieth birthday; to some extent I would agree as the nuances and subtleties are probably lost on most teenagers obliged to study Austen’s works for school.

So I waited until I had a week away with my beloved friends Kate and Mike, in my equally beloved North Yorkshire before beginning to read The Herb of Grace. I chose to read slowly. In normal circumstances I have a very fast reading speed, learned from my university days where I would often have less than a day to read some brick of a book. I read Moby Dick in on frenetic, fevered afternoon. I have a terrible tendency to gobble books, read far too fast and too intensely. I didn’t want to read this one too quickly.

I restricted how far I read in one day. I stopped myself at the end of a chapter, put the marker in and made myself not open the book again for at least a few hours. It was like a box of wonderful bespoke chocolates; however fabulous they are, the best way to enjoy them without sickening is by choosing one, perhaps two, to eat each day. You savour each bite, each melting on the tongue and you stop while you crave more.

The Herb of Grace is probably a tremendously old fashioned book in a lot of ways. There is little of the kind of melodramatic antics of thrillers, none of the bodice-ripping of romances, and almost all of the characters are hopelessly likeable. And, if you are used to the breathless pace of many modern novels, you could say nothing much happens. Yet so much does happen that it’s hard to précis the plot. The second book in the Eliot family saga, The Herb of Grace takes up where The Bird in the Tree left off. I read the first book after The Herb of Grace, so you don’t have to read them in order and I’d suggest you don’t, as to me The Herb of Grace is a better, more enthralling book. The series follows the lives of the Eliot family: matriarch Lucilla rules the family with kindness and a strong sense of duty, holding them together during and after the war and doing her best to ensure that the family retains integrity, both personal and familial. Unhappy daughter-in-law Nadine is perhaps the least likeable character, coming across as somewhat selfish and self-absorbed. A series of events leads Nadine and her family to buy The Herb of Grace, a former pilgrim inn not far from the family estate of Damerosehay, and as the family move in and begin restoring the old house to its former glory and its former function, the house itself begins to exert its benevolent influence over all who live or visit.

There are many mystical aspects to the house, both part of its former history as a pilgrim inn and also connected to the nearby Knyghtwood, an ancient and almost impenetrable woodland that holds deeper secrets than the white hart that is sometimes seem locally. For me, with my long love of both woodland and ancient folklore, and of pilgrimage tales, the lure of the Knyghtwood was such that I struggled not to rush through chapters to find out more.

Every character in the story carries a hidden grief, a wound that isn’t healing. From Nadine, who has given up her love David, for the sake of the family, to the somewhat feral twins Jose and Jerry, all the beings that live within this beautiful book are damaged and in need of love, hope and healing. Yet slowly, steadily, without any flashiness or Damascus roads of drama, healing begins. It’s the place itself, the genius of the house and the beings that exist deep within the wood, that heals, but it’s not without work or cost. The soothing atmosphere the house holds is the start, softening and gentling souls the way a horse whisperer might slowly tame a frightened, abused horse, but each must then begin to step out in faith to uncover (and there is a very literal uncovering of something extraordinary that appealed to me. I’ve long wanted to strip wallpaper in an old house and find something under it that blows the mind).

It came at the right time for me. It reassured me that the layers of myth that this land holds (the world holds it too, but I know only my own small corner) have a power that endures, even to the cynical times we live in know; those deep mythic layers endure and spread and grown and remain whether we know it or not. Like the symbiotic system of roots and fungi and flora and fauna that exists beneath the earth in a wood, it carries on whether or not anything above ground is aware of it. It reassures me that the mythos that I believe I tuned into to write Strangers and Pilgrims

and Away With The Fairies,

is still there, humming and glowing and growing. It reassures me that I am a part of a wider, wilder experience, one of a people who have heard these lost songs and have begun to sing them again, adding their voice to the harmony.

You see, it’s too easy to become deaf to the tunes. It’s too easy to let the power of commerce and the need to make things saleable ruin the joy of being a part of an ongoing story. I’m a writer of stories that heal, part of a long tradition of storytellers who keep the old tales going through the dark ages. Rosemary Sutcliffe used the term Lantern Bearers, and I believe that’s what we are.

So thank you, Sally, for sending me that beautiful book at the exact right time. My light was guttering and the book has mended my wick.

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Notes from the Red Book ~ part two ( for part one, see here: https://zenandtheartoftightropewalking.wordpress.com/2013/04/01/notes-from-jungs-the-red-book-part-one/

A few mornings ago I woke from a vivid dream that felt significant and puzzling because it was about someone who died a full five years before I was even born: Carl Gustav Jung. In the dream I was asked to do daily visits to the man himself, to give him reflexology (I used to work as a reflexologist) during what was to be his last illness. The place where he was living was a big, old school that was no longer in use as a school for children and the sign at the entrance to the drive had been obscured by the growth of climbers so I didn’t see the name of the place. The sign was a heavy duty block of ornately carved stone but the plants had scrambled all over it, obscuring the lettering. I went into the study where he was sitting waiting for me and I wanted to refresh my memory of what I’d discovered on my first visit (I think this was my second visit) I’d been making lots of notes but when I looked at them, they were all written in the old high German script that was almost dying out when I was a teenager visiting Germany (the old folks still used it but otherwise it was gone from normal life) and the notebook also had some wonderful visionary paintings in it, all done in miniature. I realised I had written and drawn it all but could not make out much of my notes. I have some German but am far from fluent and reading it even in normal modern script is something I struggle with. The odd word popped out because it was in English, like *meridian*. I sat down and I could hear Jung speaking to me, but though it was in English, I didn’t seem to be able to understand, but even so, I gathered that day he didn’t want me to work on his feet but just to sit there and listen. He had such a kind, gentle but passionate voice that I became very still as I tried to understand what was being told to me. He was dressed in the kind of tweed suit that I’d more associate with Tolkien, but it had an unEnglish quality to it that is hard to explain.
I shared the gist of the dream on Facebook and I had some exceptionally perceptive feedback from wise friends, and I did some thinking. Last year I was given my copy of the readers’ edition of the Red Book and after reading a certain way into the text, I stopped. This was around the time when my concentration was becoming compromised and my memory and cognition had become very fuzzy.
So, given that the text and the pictures in the dream clearly were reminders of The Red Book (and also of my own little Grail diary that I have been writing and painting in) I decided to start reading again. My copy bristles with stick in post it notes, and I made notes as I went along. In the Liber Secundus (Second Book) I came across Jung’s conversation with a figure he calls The Red One (who may or may not be the devil) and was struck by Jung’s comment at the end of this passage:

“This I learned in the Mysterium: to take seriously every unknown wanderer who personally inhabits the inner world, since they are real because they are effectual.”

I read on through the passage entitled The Castle in the Forest, where a strange storybook encounter takes place and where Jung debates the nature of fairy-tales and the relationship between outer adventures and inner adventures.
I’d like to transcribe some of the final section after the adventure of the castle has been recounted, because it resonated with me:

“If you remain within arbitrarily and artificially created boundaries, you will walk as between two high walls: you do not see the immensity of the world. But if you break down the walls that confine your view, and if the immensity and its endless uncertainty inspire you with fear, then the ancient sleeper awakens in you, whose messenger is the white bird (the soul). Then you need the message of the old tamer of chaos. There in the whirl of chaos dwells eternal wonder. Your world begins to become wonderful. Man belongs not to an ordered world, he also belongs in the wonder world of his soul. Consequently you must make your ordered world horrible, so that you are put off by being too much outside yourself.
Your soul is in great need, because drought weights in its world. If you look outside yourselves, you see the far-off forests and mountains, and above them your vision climbs to the realms of the stars. And if you look into yourselves, you will see on the other hand the nearby as far-off and infinite, since the world of the inner is as infinite as the world of the outer. Just as you become a part of the manifold essence of the inner world through your soul. The inner world is truly infinite, in no way poorer than the outer one. Man lives in two worlds. A fool lives here or there, but never here and there.”

In the last few months, I have seen a restoration of my inner world that had felt stripped bare and left flat and empty of all life. Dreams have begun to flow, hesitantly at times but Jung’s words remind me that figures who appear to me in dreams and in waking dreams of imagination are real and that they do not appear by simple chance. The continued and unsolved issues of health that have left me still in significant pain and weakness have curtailed my exploration of the exterior world; trips I had hoped to make have again been put on hold until the source of the weakness and pain has been located. Yet to be reminded that if my body becomes frail, I can still access the infinite and very real worlds of the inner, of what Jung calls the Mysterium, is a huge boost. I spent years exploring ways of accessing this realm for myself and the demands of the outer life meant that I used those methods less and less. But that knowledge and experience remain, a little dusty maybe, but still valid and still vital.
I’ll end with some more words that have popped off the page for me. My feeling of stagnation, of no progress have irked me and caused me much pain and frustration so reading these words may help you as they are helping me:

To be that which you are is the bath of rebirth. In the depths, being is not an unconditional persistence but an endlessly slow growth. You think you are standing still like swamp water, but slowly you flow into the sea that covers the earth’s greatest deeps, and is so vast that firm land seems only an island imbedded (sic) in the womb of an immeasurable sea.
As a drop in the ocean you take part in the current, ebb and flow. You swell slowly on the land and slowly sink back again in interminably slow breaths. You wander vast distances in blurred currents and wash up on strange shores, not knowing how you got there. You mount the billows of huge storms and are swept back into the depths. And you do not know how this happens to you. You had thought that your movement came from you and that it needed your decisions and efforts, so that you could get going and make progress. But with every conceivable effort you would never have achieved that movement and reached those areas to which the sea and the great wind of the world brought you.”

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The Picture Left Behind ~ on serendipity & happen-stance

I’ve moved house more times than many in my life, though I’ve rarely had much (if any choice) of where I have lived. On the one occasion when I did get to choose what house I was to live in, the process of house-hunting had to be fitted into ONE day, where seven possible properties were scheduled. It’s a long story why we had to do it all in such a short time but we settled on the second house; awareness of budget and other factors made it clear enough that there was no point in looking further.
It’s never bothered me (much) that when it’s come to housing, the default is pretty much Hobson’s Choice (this, or nothing). I’ve never thought there was a perfect home for me somewhere if I just kept looking; and since our residence also comes as part of the package of my husband’s job, I’ve learned to see that every home has draw-backs and advantages. My favourite house so far (in terms of practicality, looks, comfort and location) also happened to be on the flight path for East Midland’s airport, so every two or three minutes a plane would roar across the sky, alarmingly low, and drown out the birdsong.
When we moved into our house on the east coast, it had the advantage of being a half hour walk from the sea-shore, but moving in was part of a traumatic change of life-style and the first six months were cramped and confusing. I kept walking into walls, believing in a sleep-befuddled state that there ought to be a door into another room. Like any house move, we found small items left behind by the previous owners. Mostly junk and the usual detritus of bits of paper, the odd rug, oven tray and so on, there was one item I saved. Every move we have made we have usually found that previous occupants have abandoned or deliberately left behind furniture and other possessions; we once acquired a huge box of interesting old books, several (useful) beds and a wardrobe. I’m not fussy about where my belongings come from, and if they suit out uses, they are welcome (indeed, I have the three piece cottage suite donated by an aunt the year before we got married; it was over twenty years old even then). But the east coast move the single item I saved was a picture. It stayed stacked in a corner with other of our own pictures that I never got round to hanging on the walls of that house. Only after our most recent move did I look at it properly again.
Initially, you’d maybe not see why I didn’t bin it when I found it in the last house. It’s a print, framed many years ago by Boots (the Chemists) who used to do quite a range of things other than cotton wool, aspirin and toiletries, in a dark wood frame. There’s no intrinsic value and yet something made me keep it to one side and not throw it away. The signature of the artist is not legible (or I’d perhaps have tried to find the history of it). It’s a night time or twilight scene, somewhere exotic, probably Arabic or Persian, of a caravan of camels leaving a walled city or caravanserai by lamplight. The camels are being led through a high arched opening in the shadowy walls; moonlight seems to catch the tips of the long spears carried by turbaned figures. The lead camel is carrying a sort of covered palanquin, the colours of which are reminiscent of a Persian carpet, and inside sits a serene-faced man, dressed in rich robes quite unlike that of the camel drivers walking beside the animals. There’s a feeling of expectancy, a journey being embarked upon in hope and some trepidation.
In my mind is conjures words like Istafan, http://en.wikipedia.org/wiki/Isfahan and a sense of the deserts beyond, the Silk Road and other such evocative things. And even though it’s an old, slightly faded and probably cheap print, it’s filled for me with mystery and stories waiting to be told.
And yet, when I found it, I had no story that would ever touch upon the images and the atmosphere this picture holds.
But now I do. Whether the memory of the picture has worked within my unconscious or whether the story has created the need to incorporate the feelings and the images and the connections from this picture, I do not know. Whatever the process involved, the picture now hangs on the wall of my study, near the door. I see it many times a day and it works upon my imagination.
Sometimes life throws us gifts we don’t realise the value of, when they arrive, because they don’t appear to fit our needs or wants at the time. But something can make our instincts prick up, and if we listen, we might see that this thing, this person, this occurrence is a way-marker or a guide or some kind of clue or prompt that has greater meaning that we at first can see.

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Life feels better when you have a plan” ~ on plans and oracles

I’ve got a difficult couple of weeks coming up. On Saturday, I am in for surgery to remove a tumour in my throat, caused by hyperparathyroidism. It’s a benign tumour in so much as it isn’t cancerous, but it’s been causing serious physical and mental health problems for heaven knows how long. The surgery is predicted to last about an hour, longer than I’ve ever been under anaesthesia before, and will leave a scar a couple of inches long in the hollow of my throat.

I’d be lying if I said I wasn’t scared, because I am. Terrified, in fact. But it needs doing and that’s that. I’ve put a lot of things on hold that I’d intended to crack on with: final edits for Square Peg, working on several novels, garden stuff. You get the picture. What scares me almost as much as the surgery itself is the possibility that this won’t bring me significant relief. I’ve not been able to make any plans for some time. Even things like going away on holiday have been put to one side; many of the things we enjoy doing when off on holiday I’ve been too poorly to contemplate.

There’s an ad on British TV at present from insurance company Scottish Widows and it’s haunted me. The images and the music and the voice over have got under my skin.

Life feels better when you have a plan.” Note it says, ‘feels’, and doesn’t say ‘is’. People get hung up on plans, especially things like business plans, five year plans and life plans. Plans don’t work out the way you think they will but they give a sense of purpose and structure to what might otherwise be a meandering, spiral or even circular wandering through life. Plans are the coalescing of hopes, dreams, ambitions, giving you something to aim at.

I’m a sucker for oracles, as regular readers might know. Oracles like tarot don’t foretell the future, or even predict it; used skilfully, they can show you potential futures based on past experiences and choices. There’s nothing like understanding where you’ve already been for helping you understand where you’re going. On my birthday last week I bought Colette Baron-Reid’s The Map, a book and card set to help map out your life so far and see where it’s leading; I’m enjoying exploring the book (though it’s quite superficial and a little too whimsical for me) and finding the cards helpful too but one of the reasons I bought them was to do with something I started writing three years ago.

If you’ve been with me that long, you might recall I did a weekly serial called Lost. I posted ten episodes as I wrote them, and at a certain point, I stopped. I began the project after events in real life left me feeling worse than Lost; every time I got into a state about it, I worked through things and came to write a new instalment, in a state of trance. I didn’t plan or think or even care much; I let the words of the story draw me to a point where I could stop. I came back to it a year ago and began working the same way, though the excruciating emotional pain was gone. I realised it was a deep project, exploring my inner landscape and have been working on it slowly since then. I have no idea where it will go or when it will be finished, or even if once finished will I publish it.

Here’s a segment of it to illustrate my point:

I walk round, my feet leaving a silvery trail in the dew laden grass and select a tree I think I may be able to climb and find a massive oak, its bark green with lichen and moss and scramble up into the lower branches without much problem. Up and up I climb, awkward and inept and trembling at times when I look down.

It’s one of the tallest trees and when I reach the canopy, and have to stop to catch my breath, I make the mistake of looking down. A tangle of branches weave in and out like a mandala below me and my mind becomes confused by the pattern. I shut my eyes and try to focus.

I open them and steady myself, gripping the wood tightly and shift a little so I can turn left and right without risking slipping. Over the sea of greens, the sun is rising, a great red ball that becomes golden as I watch the mists spiralling up out of the forest. For as far as my eyes can see, there is only trees, mile upon mile of forest. I can see no roads or significant clearings beyond some that seem to be where the more ancient of trees have fallen to their deaths. I see no buildings or signs of people. In the extreme distance, I can see the faintest glimmer of a mountain range, a thin blue line of hummocks at the furthest horizon.

The forest is waking as I stand gazing over the canopy and I can hear birds and other creatures greeting the new day and I can also hear my stomach rumbling.

Slowly I realise that having got up this high, I have now to get down again and after fixing the direction of those mountains in my mind, I begin my shaky descent.

As I climb nervously down, all I can think about is that sea of green and the miles of endless forest ahead of me.

There are no paths. All around me, endless shades of green, with some brown and red and orange as counterpoint, and no opening, no indication that anyone has ever come this way before. I sag against the trunk of the tree I have just climbed, the memory of those distant mountains burned into my retina like the after-burn of lightning flashes, and for a few long minutes, I want to curl into a ball, and bury myself in the moist leaf-litter and return to the earth.

But somehow I square my shoulders and take a long deep breath. I gaze around carefully and I spot it: not a path as such, just a thread through the greenery. It’s probably a deer path but it seems to be going in the right direction at least, so I begin.

The way is not easy; I cannot walk, but rather have to weave myself in and out of fallen branches, over rocks and heavy rotting trunks. Sometimes, in the soft earth I see the footprints of the deer who use this trail and sometimes droppings, but they are old, and I feel sure the deer do not come this way often.

I merge with the forest, my mind slipping into its rhythms as the sun climbs higher and higher. I sip water from a tiny rivulet that crosses the path, scooping water into my mouth; it tastes earthy, a tang of smoky peat teases my taste buds, making me remember something I cannot quite put my finger on. It’s not unpleasant, just odd. I eat leaves, to stave off the hunger, and the occasional berry. In the back of my mind, I wonder how I know whether something is safe to eat or not, and worry that perhaps I do not.

By late afternoon, as the sun has begun its decline to evening, I have covered perhaps a mile in a straight line and am exhausted and filthy. I’ve crossed and recrossed the same ground, and it was only seeing my own footprints in the moist ground my a stream that told me I had doubled back. I never once thought they might belong to someone else. Throughout this great wide forest that seemed from the treetops to go on to the edges of the earth, I cannot sense another human soul. Only birdsong and insects disturb the peace here.

I can sense the sunset even though I cannot see it and I know I must find shelter for the night. I’ve nothing to keep me warm and I am dimly aware that the food I have eaten would be sufficient for a family of field-mice to live on. Every limb aches with exertion and my heart sinks because I know that those mountains are still as far away as ever.

As I climb into a tree and try to snuggle as close to the trunk as I can, feeling the living force of the sap slowing inside, I ask myself, why am I heading for the mountains?

But I sleep before I can even start to answer that question.”

Why am I heading for the mountains?”

An excellent question. But all I can say for this story and for my life is this:

Life feels better when you have a plan.”

 (you can watch the ad here. It’s rather moving)

http://www.youtube.com/watch?v=CuPrnomv1OM

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Wellsprings of the psyche ~ dreaming of healing waters.

Springs of healing waters are something of a personal obsession; I’ve been a seeker of these most of my life and this concept has become central to my core self. A healing spring is at the heart of my novel, Strangers and Pilgrims,

 but the yearning for such places has been a constant in my life long before I wrote that novel.

I dream about them, and as I am trying to work with my dreams, I’d like to share a few of the more recent dreams that concern wellsprings.

Frozen wellspring dream 21st April 13

I am underground. I have been giving a tour, though who for I don’t know. The cave next to the one I am in seems to have a faint light emanating from it so I go through the passage way between the caves.

There is a natural stone structure that I know to have been a wellspring, it rises up to a conical shape. But water does not flow. Ice coats the sides of the rock and the pool below is frozen too. I scramble to the top and I try to break the ice and scoop out great chunks of it. But though I remove the ice the water does not bubble up and flow again.

I leave the cave, but above ground odd things are happening. As I surface to my shock the sky is lit up by what seem to be the Northern Lights, aqua-green and blues, shimmering and flashing.

Analysing the dream it feels as if my source of inspiration is not working because it has frozen solid. Is this because of the long cold winter or is this something deeper?

August 28th dreams.

I had a terrible night, hardly sleeping because of nerve pain, anxiety and hot flushes, but when I did sleep I dreamed. I also managed to continue the themes of the dream after waking and going back to sleep.

1st dream.

I dream I am going down a lot of steps to a basement where a healing spring is located, and when I get down there it is in partial darkness, lit by a few unseen spotlights. The spring is encased in a kind of bath affair, rather like that of the cold plunge bath at Bath, a round pool encased in smooth off-white stone, but with a square exterior walls. There are steps down into the water and I want to bathe my feet, which in waking life have been causing me vast amounts of pain and discomfort due to the hypermobility issues. I stop to take off my shoes and socks but as I am doing so an old woman passes me and goes into the water completely. She is wearing a bathing costume and I see that other old people are in the pool, immersed up to their necks in the water. I put my bare feet in and the water is very cold, and I know I am not going all the way in. I have no bathing costume. The people tell me that this is the Catholic spring and I could become a Catholic. Then someone mentions that might be difficult as my husband is an Anglican priest. The water is very still and calm and there’s a sense that they’re waiting for the water to stir or a tide to rise and fill the bath area much higher but nothing happens.

2nd dream.

I have woken, gone for a drink and to the loo and gone back to bed, expressing a desire to find the spring again but this time go in if I can. I think the same experience of descending stairs takes place but this time I find myself in a very different wellspring. It’s much larger and warmly lit by diffused lighters, that are not visible. The air is warm and I can see steam coming off the water. There are also what look like flaming torches that have appeared and sitting near one, with his feet dangling in the water is a man who is wearing a sort of toga. The whole bath area is like a small indoor swimming pool. The stone is the same creamy sort but because of the warmer lights it looks pinkish red rather than blueish. To my left, there seems to be a sort of corridor or inlet, and I have a sense of anticipation. The man in the toga tells me this is the Quaker spring. As I look around, the sense of anticipation grows and where the inlet corridor is I hear angelic music and see gossamer figures like winged beings, and a surge of water rushes into the pool raising the level of the water and then there are other people who have rushed to get into the water. I touch my feet to the water and find it is warm but I cannot go in, though I don’t know why, beyond feeling I missed the moment.

When I wake from this second dream the word that comes to me in my hazy state is Bethesda. I remember the pool at Bethesda and the angel that stirs the water and the first person into it is healed. I did indeed miss the moment but it did feel as if I were there to observe rather than be healed. I wasn’t sure enough of what I wanted healing to venture into the water.

Now there are several features that all these dreams share. They are all set underground and in each I know without being told that these are springs. In none of the dreams is it visible that these structures house natural springs, and yet I know that this is so. In a linear manner, the first dream has the water so cold it has frozen solid and the water does not flow; in the second dream, the water is liquid, but it’s cold and uninviting and while it is free flowing, there is no movement, no refreshment of the water by an influx or a bubbling. In the last of the three dreams, the water and the generally surroundings are much warmer, much more inviting, and there is motion, a rising of a sort of tide, accompanied by divine or angelic attendants, and on waking, the word Bethesda is given to me. http://en.wikipedia.org/wiki/Pool_of_Bethesda .

In the two recent dreams, dreamed the same night when I was in continual distress of both mind and body, there are denominations mentioned. In the first it is suggested that the pool of healing waters belong to the Catholic faith, and in the second to the Quakers. I am an occasional attender at Quaker worship and find that the Meeting for Worship, which is mostly in silence, refreshes me more than any more traditional church services. Yet while I find myself more at home there, I have never taken the step of becoming a member. I am content to visit. I do not feel 100% at home there. But it comes closest to what is my rightful spiritual home than any other I’ve found.

There is a clear progression within these three dreams and a sense of getting closer to a healing moment, a progression too from deep under the ground in caves, to being below ground but in carefully crafted buildings. There’s a progression from the very faintest of lights, to the dim lights of the first of the healing pools to the warm, pinkish light of the final dream. There’s a progression of temperature and movement too.

Perhaps when the angel does stir the healing waters, I may be ready to enter the waters and be healed. Or perhaps I am only here to help others into the water. I do not know. But looking at these three dream accounts, I have a sense of hopeful anticipation.

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