{Dream: The Messenger[/s] [continued(4)]}[2nd November 1983]

[Redbook2:314-316][19831102:2015]{Dream: The Messenger[/s] [continued(4)]}[2nd November 1983]

19831102.2015

The dream* was interesting in that it seemed to pass through all the significant types: starting as a bit of a muddle (at least as I recalled it) (possibly because [a] pattern took time to emerge), it developed into a story of juveniles in a realistic thriller-type narrative of intrigue and mystery seen from the point of view of a participant; it evolved into a fantastic narrative dream where the participant was a central figure and the 'evil' antagonists were ogreish and gnomic types in an underground realm; and finally it became a quite clearly spiritual experience (now viewed from an intervening editorial (or immanent God-like) point of view) in terms of the sense of it which stayed with me for much of the day (despite distractions). Yet the parts were interrelated: the earlier 'thriller' snatches led naturally to the explanation provided by the hidden power complex whose allegorical shapes could only exist on a different 'level'; and their evil nature (despite exceptions) in turn led, via the significance of the decisions (and means) of escape, to the clear spiritual point at which the dream ended – with the feeling of familiarity, that from this point on the story was known.

That point is worth describing again: The previous narrator, central figure since his arrival in the underground realm but narrated since his departure from it, entered a court not unlike the Court at [my secondary school] (it was parents' day?), wondering whom he could trust. As he advanced through the throngs the editorial intervener comes in, as in a book or film, clearly: 'God chose as his messenger then one Christopher and Davey(?) Bofors' (sic) – who are seen walking away (towards [the main (school)] House). They are young, fair-haired, cheerful-looking boys, probably brothers: one is bespectacled. One looks round**, then attracts the other's attention by lightly tugging his hair. As they turn and walk back towards the Gates to (and then with?) the central figure, the editorial intervener says clearly: 'Never mind what he said to them – they didn't hear it themselves.' The emphasis is on “hear”.

*[See last three previous entries]

** as if in response to the intervener's voice.

[continues]

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