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Author Topic: a cloak made of rats  (Read 311 times)

Monica

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a cloak made of rats
« on: October 06, 2017, 04:30:56 AM »
I've had a very curious dream that sort of continues one on which I'm the guest of honor in a feast, where a white dressed table is served with plenty of healty and luscious food; I recall specially that I'm offered to chose between little pieces of which appears to be white chocolate, but at the same time seem very small vases containing a clear liquor. They are all like tiny cups of some sort, white and adorned with light blue. I'm delighted of seeing them and all my friends, everything looks so nice and we talk and seem so happy. When I take a close look to the piece of chocolate I've chosen I realize it's a little figure resembling an elephant, beautifully worked and slightly painted with blue and gold; then I hold it and drink a toast to the harmony surrounding us. The table was located near the entrance of the building where I studied when at University, not so long ago. The dream was great even when the surroundings were like a blue fog all the time.

Then just one day after I had a dream where I was inside the same building, at the classroom where I presented my final work (to get my degree as an artist); it's late in the afternoon but the day is warm, and I look though the window hoping to see my friends; I'm there with a very dear friend, and he's with a girl that I don't know but happens to be his girlfriend in the dream; they are joining for a while but as time passes by, while I look at the door and then the window, they say they have to go. I realize I have a pinata, and feel discouraged because I feel noone will come this time, it's late, I think. I see the pinata imagining it, white and round, falling in the green pasture far below the classroom. I see chocolate again. They leave and I watch the white door closed. Then I find myself at another University that I attended long time ago. I'm alone but walking around I bump into some guy that asks me for help doing some maths; I say o.k. and then he tells me to meet him later at the stadium, because the courtyard where we used to go was closed. Next, as I walk to the meeting place, I think I don't really know how to solve any math problem, because it's been so long since I left studying engineering.

I enter a place that looks more as a subterranean training field, with lockers and a sort of racetrack where people are excercising. I don't know well what to do but find sort of easy to begin doing the same, I run around the track and feel at ease, then I begin to jump and feel fine. Then I notice it's a swimming training, but it's funny how there's no swimming pool at all; I feel it's o.k. because it's just an excercise. Almost at the end of the class I see the guy I was supposed to meet there but he's already found a girl who seems to know well how to deal with the math thing and I go without talking to him, a little bit frustrated by the fact.

Then I think I have to explain the trainer I'm not part of his team, but as I talk he begins to resemble the pastor of the church I attend, and he asks to me what I have in my backpack. I show him a notebook that is really a sort of dictionary. I open it and as we watch to the letters and the images he says -so is this what you'd like to do?- and I say yes, but it best describes my sister, with all the editing and illustration sort of thing, because she's a visual designer. Then I say -What I want to do are really big paintings... So I look at him again and he's become one of my art professors, one I respect and have a lot of appreciation for. He tells -then come and see this- and we walk trough what now seems to be a cave, but at the same time keeps the appearance of the corridors of the Arts building, and an old house I use to dream.

I see a few paintings made by other students and recall one of a clown that I felt I liked... Then we end up in the very center of the cave, high and filled with a strong daylight I don't know where it comes from. A man that I assume is the janitor is there hiding near the walls doing drugs. The professor says he should avoid doing that but we proceed, he approaches the walls and takes from a deep hole a thing that resembles a big scroll, made with a long cane or rod, longer than the length of a large window, and that serves to the purpose of holding a thing that seems like a curtain as well as a cloak; he shows the curious "dress" he's created telling me that he'll use it to make photos and to perform.

He extends it in front of his body, opening the fabric that is a white tulle, so I see it falls like a pair of bells, as the thing is cut in the middle. It's very long and heavy so he holds it with both of his arms. But the most curious, at some point horrifying thing, is that the other "material" the dress is made of are hundreds of white rats and their vomit (which he points at particularly), also white, looking like large and soft spots on the pieces of fabric. I'm not really aware of my own feelings at that point, because I'm very interested in the object, even iif I find it repulsive by moments. He says about publishing the photos and I say that then he must consider to put them in very good quality, because the "details" won't be seen if he doesn't. The rats are dead and I feel weird but fascinated, because it's an impressive object to see, tremendously beautiful as much as horrible to be faced with.

Tony Crisp

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Re: a cloak made of rats
« Reply #1 on: October 08, 2017, 11:46:54 AM »
Monica – There are stages to the story your dream tells.

It starts with showing the richness and variety of your life experience – the food. You sense this is an honour, which it is, to so carefully and energetically digest your many experiences and order or make of them into an art form. See http://dreamhawk.com/dream-dictionary/digest/ and http://dreamhawk.com/dream-encyclopedia/art-and-dreams/
The elephant is an example of the great forces you have met within you and made them beautiful. The alcohol is the spirit you took and made part of you in your wide experience. See http://dreamhawk.com/dream-encyclopedia/archetypes/ and http://dreamhawk.com/dream-dictionary/spirit/

You progress further into the story of yourself, but you feel unacknowledged and alone in the world you live in – but yet you have seen for yourself the depth of your inner life. But you need to realise this depth for yourself. You need to realise that dream images are like icons on a computer screen - you have to ‘click’ on your dream images to make them come alive. Thinking about them doesn’t work. You need to open yourself to the magic of them. To make them into the wonderful gateways they are you may have to learn certain skills use http://dreamhawk.com/dream-encyclopedia/acting-on-your-dream/#BeingPerson

This makes you feel you cannot solve a problem confronting you in your waking life – the dreamt math situation. But to solve it you have to enter a deeper level - this takes you deep into your own consciousness where you exercise your abilities, a summary of what you have achieved so far. At first you feel it is a competitive sport – the racetrack. But when you run, trying your own ability you feel at ease about what you can and have done. Then problem was not important, your own self assessment – the maths.

Then you explain to yourself – the inner questioning part of you – that you are not a part of a team competing, because you are an individual, unique. Then it changes to a more spirit based self which leads to a real self assessment, in which you realise you want to create big paintings. So you enter a cave, an even deeper descent into yourself. The cave is an entrance to your unconscious. As such it may lead to completely different dimensions, environments or states of mind. The following dream illustrates this.

Example: I unblocked a hole in the cave and climbed through. It was like entering another dimension, for I was in a brilliantly lit room. In the room were many windows and doors. The room was in the shape of an arc, a semicircle. Looking out of one window I seemed to be looking at a Swiss landscape. The next window looked out on an entirely different place, and so with the third. Eddie.

Then you contact your inner creative self, which may be seen as your future self beginning to show you what you are capable of. It is a very potent realisation that is a mixture or synthesise of the repulsive, the weird and beautiful.

People often try to move to the Light and Spiritual, as if every day life is something to leave behind, with its apparent darkness and pain. But we are actually dual in nature, and darkness is a part of us and when it is balanced with light it bursts into amazing creativity. I know that everyday life is the real teacher, but only when we are also open to the wonder of that touch of the eternal. It is from the years of pain I lived through that I learned a little about the suffering of others and possible ways of transformation. I am thankful for both.

Tony
« Last Edit: October 08, 2017, 11:54:03 AM by Tony Crisp »

Monica

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Re: a cloak made of rats
« Reply #2 on: October 12, 2017, 03:36:11 PM »
I really appreciate the time you've spent in answering! It's wonderful, thank you very much! I sure have a lot of work to do. All your posts are great, I've read not just the dream interpretation but also articles which are very insightful. In fact some of them I've had in mind when working in a painting project that I ended just a couple of months ago. I was working with the images of dreams, trying to "unveil" them, maybe translate them into a more understandable language of perceptions, but at some point it was just like you said, it become the dream itself what I had to say, to re-enact, activate in some way... I've tried what is said in the post of acting on your dream as a performance, and was a wonderful, spiritual experience that left me both, amazed but also bewildered... I think a lot about bringing my experience in a way that can be helpful and valuable to others, to show the love of God and the spiritual connection that we all share like humans. I'm happy and grateful for my dreams and work and hope returning this grateful and loving feeling to people.
Thanks again for sharing your wisdom!

Tony Crisp

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Re: a cloak made of rats
« Reply #3 on: October 13, 2017, 10:00:30 AM »
Monica - Thanks for giving me such interesting feedback.

What you wrote about, "... acting on your dream as a performance, and it was a wonderful, spiritual experience that left me both, amazed but also bewildered."

I would very much like to hear more about that experience, and what about it that left you bewildered.

Knowing such things helps me to see what maybe I need to explain more fully or differently, or to give more encouragement.

Tony
« Last Edit: October 25, 2017, 10:43:14 AM by Tony Crisp »

Monica

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Re: a cloak made of rats
« Reply #4 on: October 25, 2017, 03:50:43 AM »
Hi! First I have to say sorry because it took so much time for me to answer. In fact I wanted to take the time necessary to give a serious answer, for it's really difficult to explain such experiences with words. As the acting on-your-dreams post says, the dream itself is an experience that goes beyond what language can explain, because it's more ancient than thoughts and words. And it's also connected with all our system of perceptions, our relationship with our world (and universe) more than a system of thinking or interpreting. I'd like to synthesize my experience with dreams, that I feel strongly connected with since I was a child, so please let me first explain a little where this idea of the performance came from. I would try to explain this in three parts, as the action itself, the images it brought about, and the origin of those images as dreams fixated in my mind.

In my childhood I suffered from some illnesses that caused me kind of delirious states of mind. I remember particularly a dream I had that I link with those states on which there was a man standing in the midst of a dry meadow, just in front of a white sheet that seems to be hanging from nowhere, subtly moving with a psychedelic ripple, full of colors that at some point resemble flesh. It seems an eternity, that tall and thin man dressing in a way that looks like from the beginning of the 20th century, standing still in front of the flesh blanket as if it was some sort of "passage" to a place he'll not enter, nor return. It's almost as if time had met the place where it cannot be anymore. He doesn't look but to the blanket, the only thing that "moves", as the grass and sun and wind in that landscape seem to be paralyzed. I don't really know why this dream's been fixated in my mind since so long, besides the fact that I probably dreamt that in a delirious state. The curious first connection I found with your post, that I read like almost two years ago, was the fact that in this dream I can see the paradigm of acting out a vision, and the "screen" thing. So I began to explore with this like a sort of screenplay.

Before I had tried to do it using drawings, or even more "perceptual" translations, but it seemed futile because they ended up being mere representations. Then I became familiar with the artistic work of performance, that has more to do with "presenting" something. Even when it's related with the acting thing, it goes beyond, so I thought it could be way more productive than just try to repeat what a dream was showing me. I decided to work with this particular dream because it's become like the cornerstone of my curiosity about my own dreams. In the meantime I began to be more aware of all the wonderful information that my dreams could give to me, that was wider and larger than what I could describe with words. The complex nature of dreams made me thought about searching for and connecting with the things that are prior to language, a world of sounds, colors, free of the common explanations.

Then I began to understand better the dual ways we are immersed in, and the need of integration that dreams show so wonderfully. The first artistic approach I made with this dream was using video and sound (in an amateur way, because that's not my field). I had three elements that were fundamental (like you explain in "being the object or person") and the body itself, the person that appeared on that dream. That fitted perfectly to the concept I was developing about my way to perform -my performances are related to common and/or unusual actions that I try to transform in spiritual experiences through the appreciation and awareness of time, our own bodies, the ritual qualities of action that we pursue as humans in our need to expand and integrate (as in dreams). So I had that in this dream I was a place, a person and an object that enveloped, confronted and exhausted each other all at once. There was the wall of the Arts building where I used to take naps between classes, and it became my favorite place to perform and my study object also. So, after lots of revealing dreams and experiences "dreaming" on that wall, it became like a part of me. One day I made a video on which I was there, sleeping against that wall, so I could understand how it was to be there, the perspective of the camera showing me as part of that wall, and in that sense -an outer experience of my body. What happened when I was there with my eyes closed, in the inner "silence" of that experience, as the camera couldn't tell of my thoughts or even of the things that were out of its range in that still position.

After that I worked in a class project where I acted out some other dreams that curiously were in fact about performances, so I just had to reenact them as exactly as I could in real life. The symbolic part was of course the one that kept me thinking there had to be a more precise, more meaningful way. One of the projects was me being the door of the classroom where I began this journey (that for some reason became a painful one concerning my relationships) of discovery. I went back to painting because I considered I had enough material to begin a project with dreams and their nature with no need to just try to make a literal picture of what they were. The work involved color, materials that had a profound meaning for me, studying perceptions and postures related with "the impossible" and all the information I had collected with the performance stuff.

In the time of the project I had very vivid and intense dreams that kept me wondering and trying to explore more. The Bible was the source of unexhausting discernment because I've always thought that dreams are not just physiologic or psychological baggage, but also a way to connect, and bring to our waking life those visions. As you clearly say there's no point in just trying to figure out what an image could mean, we need to access that image, become one with it. The analogy you made with the icons in a computer was exactly what I had found in my own gathering of personal archives; now I had to work with them, to get where they were taking me. The association method was sure a very helpful and dependable one. But as much as we tend to theorize a lot we get lost, so I had to come back several times until I finally began to make just what the experience itself of dreaming and waking life was offering me, first on paintings, then in writing and developing my own performance script. And also as you recommend, I talked a lot about it so it could "flow" more easily, to grasp the intuitions and insights that come from the sharing of it. Also praying to God, because it's for me a form of higher communication on which you begin with words but as much as it gets deeper and more intimate it takes the forms of things that cannot be represented or explained, just sensed and expressed in ways that are beyond understanding but are real, they give you lots of energy and knowledge that's not intellectual.

Well, to get to the point where I hope to give a specific answer to your question (sorry but I get carried away when I talk about what I love), when I finally presented the whole project, in the same Arts building, I had a collection of paintings and a performance on which I'd bring back all those dream images. It was almost shocking to me how it looked like the very place of all my dreams put into "scene". But for some reason the performance was interrupted time and time again, as if it was something that was following a direction outside my own will. As the exhibition took place it was awesome to see how people connected with the work, as if they were entering my dream world for real; some of them even told me so, and children were the ones who showed me the power of experiencing the place taking active part on it. The day I had to speak about all my process and findings ocurred the first thing that seemed like an intro to the acting-on thing. I arrived earlier to have time to prepare, but then the door kept closed for no aparent reason; what was shocking about it was the fact that as in a dream the door didn't want to open even though the janitor had the key and tried a thousand others, and forced it also. Half an hour later it opened with a light push, as if a ghost was holding it in the other side and just released it then. This and all the continued interruptions to the performance kept me wondering when I could finally try.

And that time arrived the day that the exhibition closed; I had programmed the thing the day before, and asked some professors to assist, but basically I thought all of the things were telling me that this had to be a more intimate exercise, as much as it was connected with my own need to act my dream on and kind of giving a goodbye to the place I had spent so valuable times in. It was titled "wall, blanket, paper" and was slightly scripted as a dream I had almost a year ago, that I thought had a connection with the dream of the man in front of the blanket and was about three stages or sceneries that described the past, the "present" and the future of my relationship with that building, my experiences there. The dream showed more than ever the quality of a "screen" on which, in different planes and perspectives, it was shown first the back of the building surrounded by a cold blue atmosphere, similar to the one of the dream that I began this post with but not blurred, where a friend and myself were sitting in the greenest grass I've ever seen talking about a coral collar I had put on, saying it was a kind of spiritual shield, the same Jesus protecting me against evil. I talked to her about Jesus and the relationship with the thing and then the scenery became the screen I mentioned. Then I could see, orderly appearing, the very white wall in the back of the building, and superposed to it a paper with three written columns, as a mapping; first a kind of short written poem that I just take a rapid look at, "it's just a love poem" I think, and just get into the next image, which is a tomb with a stone table engraved with words that I don't read but "hear"; I remembered them exactly but for the time I woke up the words were almost erased, and I just kind of remembered the idea, a man telling something like -before I - (not so clear and then) -so there I knew I'd feel fear for real", sealing the sense of which was written on that stone. All with that violent white brightness of a computer screen shining against the dark in some memories, the images looking like those of a music app, and myself repeating that those words cannot be forgotten. There. Then an invisible and short paragraph (no more than four verses) that I'm really interested on, the one with the "revelation", that I won't be able to read. So for me it meant clearly the relationship past-present-future and the scenarios I wanted to re-create, the wall, the tomb (I took as sheet for the performance) and the paper, objects that also had a close relationship with the elements I was working in my drawings and paintings prior to make of them performance material.

Well, here I explain the performance and why it all was great but bewildering at the same time. After developing the writing process describing shortly the elements and small actions to define how it would take place, I decided just acting it on in a more natural, direct way, just as when we speak things out and describe them to someone else better than trying to add more objects and fictions to the moment as a usual performance would. I registered and walked the space between me and the wall so I could get really into it, not just thinking about the perspective and my position as a mere observer but taking conscience about how I could eventually get so into it that I'd finally feel at ease "being the very wall", with all its remembrances, messages and hopefully, revelations. I decided to reenact the dream of the man standing in front of the blanket but having in mind how this image splitted into so many ways in other dreams, like the one that took me to that moment, on which the wall was also the blanket (thought to cover a body in the material process), and written surface resembling paper, all of them in one. So I stood there in front of the wall taking every piece of those images back in my memory, but knowing that it was time to be aware of those things beyond depictions of any kind. I have to say that the wall for me carries a lot of meanings, not just from dreams but real life experiences, conversations and memories.
(I'll have to cut the message here)  :o
« Last Edit: October 25, 2017, 10:17:43 AM by Tony Crisp »

Monica

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Re: a cloak made of rats
« Reply #5 on: October 25, 2017, 03:52:56 AM »
 :-X (sorry it's sooo long...)


So it was like a body, like a huge person standing there, in front of me. Like any other image presenting me something in a dream, and eventually like myself and all my history there. So at first I got the closest I could to it, as to erase my vision, embracing it, feeling it, to be aware of its sensitive suggestions, and the things that could appear to my mind (and heart). I kept true to the dreams that inspired this and followed the path scripted by them.

So I began to take distance, first to be able to write the special piece of fabric I had prepared along with my paintings to work as my "blanket", white and totally clean. It covered just a small part of the big wall but was enough to make a point of reference related with the measure of my body and the precise spot where some things took place. I began to write very freely about my sensations and almost unconscious stuff that came to my mind, that were not a lot in fact. Every once in a while I took more distance, and as I did it my perceptions were more open and expanded, as much as my "intellectual" thinking blurred. I began innerly talking to the wall, then I talked as the wall itself. The total time was about 2 hours, and there were several intervals on which I just closed my eyes, to check if I was reached the "breaking point", where I sort of returned to my position of "dreamer".

The thing was intense and demanding not just emotional, but physically. And when I opened my eyes I revived all kinds of memories mixed with the dream that put me there, in front of that wall, at the precise distance on which I was the man that stood facing the blanket, feeling the sun on his face and in a ravishing state on which there's nothing more than that wall, that blank space that becomes blinding with light, absorbing and paralyzing everything else around, as if he could cross it or make it disappear with just the intensity of staring at it, or becoming the wall in the exhaustion of all that time passed. A wall that I indeed felt as a body, my own body confronting me with all those experiences and stories that I lived in and out that building through all of this years.

There was a climactic point where tears fell from my eyes, and my heart just squeezed in the remembrance of something that I couldn't grasp, just felt as a separation of some sort. Then I slowly felt like returning and that there was something that had to be acted out in real life. And some minutes after that I felt the goodbye was completed and I had to go. I said a physical goodbye, asked for the time and went to find what was the thing I had to meet that woke me up.

As we know association doesn't work the same in real life, it's almost irrational to say something that seems pretty obvious in dreams as "that wall was you and a person you'd thought you love" or a wall is a sheet and a paper and person also - so all I could say is that a very random but personally meaningful thing that caused my bewilderment took place a short time after the performance ended. I felt happy because I felt I had achieved in fact to feel the same thing that man had showed me in a dream of years and years ago, and I even went beyond traversing that wild space of the wall to my own body, taking on a experience of years into a single moment as no video or picture alone could possibly do.

But there was some sadness because it was just me, after all - how could I possibly transmit, tell anyone else I had entered a dream? I had an occasional public but they were anything but near of knowing what was really going on besides that woman standing for hours there, maybe crying or talking in front of a wall. To that point I hadn't collected the whole experience of the exposition yet, so I didn't know if the public had experienced also a bit of my memories, dreams and life watching the paintings, entering that space I had presented to them.

But I walked away convinced that there was something out there calling my attention in my material world, so I went to a place that also had a meaning, about this very painful relationship with one person - a person that disappeared and became a ghost in my life with no explanations allowed, so releasing the pain was awful hard. As I got there things didn't seem to be particularly rare even though as I approached the place I knew I was like "meeting destiny", but then it happened that I heard myself telling - so finally, I know here you are - and in fact, after years, and just in the back of the office where I had presented the document of the written final work (that was also like a diary of an illness, my return to home and that hurtful relationship), I saw that person. He was along with other people so I just took a look from a distance, and it felt like the look I had taken of the wall just minutes ago. I didn't want to look back but didn't feel so good as to go running away from there, so I found a tranquil place where I could just sit and think... and then it happened the second time. As he passed by, unable to look back at me, it felt exactly as the second part of the dream, as a ghost talking - with no words - of his own tomb.

I spent a time to feel ok and wondering, amazed but also bothered by the sudden apparition, noticing how the page I was reading was exactly a "performance script" I had shared with him when we both first began to talk each other. And the images of some wall and a stone. When I thought I had spent time enough to get up and go without meeting again I left, but as much as I recalled every single image and sensation something compelled me to go faster and faster.

I arrived the building like an hour later, went insctinctively to the classroom to make sure everything was ok (it was time to take all the things off the walls and I felt the disappointment of knowing he had been near all the time, but didn't even try to take a look to my work, maybe because of a fear or a resentment), and as I went out again there he was, standing and again talking to other people in the opposite wall. So I just could turn my back again, looking like fainting - that's what my director told me - because of the long hours spent, first before the wall, then walking apparently aimlessly, towards an unexpected, almost random "encounter" with my recent past, the other "body" of my dreams.

It was also weird the way I ended up repeating the three postures I had seen on him in a dream a year ago, a recurrent image, and the fact that I was there because the performing of another dream suggested me to go precisely to that place, to meet the reason "hidden" beyond those images. But I couldn't talk to him, and he never ever tried to cross or facing that "wall". It presented itself as simple as he was the very thing that couldn't "enter", and the one I couldn't access.

I felt like at the beginning, but aware that it was the end, also. And a sort of anticipation of "another life", a profound and almost terrifying level of experience, or at least like being inside a short film of some sort, but incapable of reconciling with "reality". So the whole thing was incredible, deep, but also so loaded of emotional and spiritual questioning that it was impossible not feeling weird. I felt unstable, unable to keep calm as the hours and days passed by because of the impression all of this had left in me, and still the unresolved, why there's always a reason for which you meet some people an then they just leave. Even now I feel it's so much what I just don't know, I feel as helpless as I felt when I was a child. But there is where I find a possible answer because I think it is precisely what this is all about... To learn and being able to just let our fears, our questions, our limitations and separation with the universal just go. Finding the real way of sharing and feel joy and learn to love.

To end I'll go back to the dream with which I began this. I had several intervals on which I kind of woke up and went over and over the dream so I could understand it, and remembering the very clear and sound words that were spoken. But then I felt asleep again, so at some point I heard - in this short waking time before - and after the dream - spoken clearly, and not just my thought or an "imagined voice" but the same dream with the message of the Psalm 23, specially verse 5 recounted almost literally-

You prepare a table before me
    in the presence of my enemies.
You anoint my head with oil;
    my cup overflows.
6
Surely your goodness and love will follow me
    all the days of my life,
and I will dwell in the house of the Lord
    forever); and I just said Wonderful, so this is what this dream is all about!

It's weird, it's hard - it's subjected to systems of beliefs, classifications, dual experiences and perceptions, but in the end it'll took us where things become one if we let it. I feel this experience powered by prayer, physical and spiritual preparation and wonderful resources like your posts helped me to achieve some sort of very significant initial translation for one of the more complex process we experience as humans, dreaming. Bring this information to awaken life is a form of healing and exploring creativity in a way that mustn't be ignored. I don't think I've been clear but at least this is my honest reference to what this experience was like to me.

Sorry again I couldn't find the way to explain in few words. Thanks a lot! I really appreciate this space you provide so kindly!

« Last Edit: October 25, 2017, 10:32:09 AM by Tony Crisp »

Tony Crisp

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Re: a cloak made of rats
« Reply #6 on: October 25, 2017, 10:41:36 AM »

Monica - My unedited response is,"Oh Dear - OH DEAR - Oh Dear - Oh, Oh - Oh Dear, Oh Dear, Oh Dear Oh Dear, Oh Dear -

Meaning how can it ever be spoken or understood - only felt with breathless sobbing.

T

Monica

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Re: a cloak made of rats
« Reply #7 on: November 01, 2017, 08:32:19 PM »
 ::) :o!!

Thanks :)

Monica

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Re: a cloak made of rats
« Reply #8 on: November 01, 2017, 08:55:46 PM »
(Didn't find an emoticon to describe, really sorry!!). I'm really moved, don't have words to express the feeling.

It amazes me, your response looks just like a "performance script" I made; have to say mine are weird (because you take them apart from the logical context of words), but that's the reason it's not theater but other thing. I'd really like to share it with you! (It's short  ;) )

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Re: a cloak made of rats
« Reply #9 on: November 03, 2017, 09:29:36 AM »
Another Kind of Beauty

It came upon me in my garden,
As I stood one morning
Drinking in the sweet beauty
Of the flowers and herbs
Flirting gently with the bees.
Then, in the quiet place
Of space and mind,
I saw the autumn coming
In the leaves,
As death began to curl them.

Suddenly it was everywhere,
As if my eyes had been closed,
And now were open
To see the withering,
Last year’s dead wood,
The rotting compost,
My own body’s putrefaction.
The very earth itself
Was everything that had died
And now in some way lived.

Onwards the vision went,
Broader and inclusive,
Encompassing all around me
And beyond.
Here — there — and everywhere,
The coloured beauty
Such as flowers have
Was mingled with decay,
Corruption and with death.

And that was when the vision
Burst splendid on me,
As all the many parts
Merged into one grand theme,
Revealing to my feelings
And to my outstretched mind –
Another kind of Beauty.

Around me it spoke
And sang its hymn –
I am the Everlasting Everything,
The All Inclusive,
The Dark and Light,
War and Peace,
Birth and Death.

Yes — I am that Beauty.

Tony

Monica

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Re: a cloak made of rats
« Reply #10 on: November 04, 2017, 08:57:11 PM »
Wow.
Still I have no words.
It's really amazing and wonderful.

Yes, it's beautiful the way God connects us in so many ways. Today there was a response to it. First your message arrived; I had woke up with the remembrance that one exact year ago to this date, 4XI, I had the dream of the wall, the tomb and the paper (all spoken and written and made visible as in a "screen"). And then, an image (I tried to attach it but failed:(
It's a photo a friend sent of a thing that you describe in your poem, but that in the place I live doesn't exactly happens the same way... It's like some miracle.
Of course it also responds to climatic change and all the ways we humans have affected nature, what I'm trying to explain is that it's not something that has ever happened, just in a dream... And these days it became real! I'm not even there, but the photo showed me the image of the dream I told. It's the very building I told about, the back wall, all covered in that white sheet of snow that I haven't ever seen but dreaming (and while reading in your words). If this is not a way of universal connection, don't know what could possibly be! It's real, terrible, magical! Like you describe in your writting. All I have to say is THANKS!

Monica

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Re: a cloak made of rats
« Reply #11 on: November 04, 2017, 09:06:38 PM »
the image  ;)