The classic case is, that all the people, who have written to me, that when they are lying immobile in their bed at night, a black figure comes into the bedroom, sits on the sleeping person and seems to rob it’s breath. This is accompanied by a very strong fear and the radiance of this figure is threatening to the utmost. In fear you try to escape the power of this black form. Either you are beaten around or you are trying to call someone, where usually the voice isn’t working, or you try to wake up as quickly as possible. On the basis of the letters in percentage terms to the visitors of my dream diary, you might assume that about 5% of the people can remember this experience from their childhood, while the other 95% have completely forgotten it. The latter may have the vague reminder that they did not want to fall asleep in the dark and therefore wanted a light source from the corridor or elsewhere…

Now, when I look at many e-mails and messages that have been written to me and, of course, at my own experiences, I can ask the preparatory and a lot of shortening questions:

Does the black man have good or bad intentions?


Once this question has been resolved, I can also point out my further explanations. So I would like to list both possibilities in order to make it more clear:

1. The black man has harmful intentions and he is based on the energy of sleeping people. It can trigger asthma, atemplolems of any kind, movement inability to paralysis as well as many fears.


2. The black man has positive intentions and tries to convey the sleeper to a more conscious level of existence. However, it is perceived as evil because the mind is afraid of change. Thus the sleeper is the blinded, who registers the black man as evil.

3. The black man is the double (second body) of the sleeper – or of another human being – perceived from two perspectives at the moment of perception.The consciousness splits up and the sleeper perceives himself briefly in his doppelganger.

On point 3, I would like to make a short extract from Carlos Castaneda’s book “The Fire from the Inside“:

>Start Quotation:

He kept repeating to me that, at the stage where I was, no rational considerations could interfere with my actions. Both the dream body and the perception barrier, he said, are positions of the assembly point (syn for: focus of attention), and this knowledge is as important to the seeing people as reading and writing to the modern human. And both could be achieved only after years of practice.

“Right now it’s important that you remember the time when your assembly point reached that position and created your dream body,” he said with immense force.

Then he smiled and said the time was short. He said the memory of the great journey of my dream body would later enable my assembly point to break through the perceptual barrier to assemble another world.

“The dream body is known for different names,” he said after a long pause. “The name I like best is “the other one.” This is, like ‘the mood’, a word coined by the old seeing people. I do not have much in mind with their mood, but I must confess that I like their way of naming things. The other. It sounds mysterious and forbidden. Like the old seeing people themselves, it reminds me of darkness and shadow. The old seeing people say that the other one is always wrapped up in the wind.”

Over the years Don Juan and the other members of his troop had often tried to make me aware that we could be in two places at the same time that we could experience a kind of duality of perception. […]

That evening Don Juan had said that Genaro would help my assembly point […] and I should imitate him – imitate everything he did. Genaro stretched out the butt and then pushed his pelvis forward with great force. I thought, it was an obscene gesture. This he repeated again and again and hopped around as in a dance. Don Juan pushed me and urged me to imitate Genaro, and I did. So we both bobbed around, always doing the same grotesque movement.

After a while, I felt as though my body was moving the movement quite by itself, without any action of what seemed to me to be my real self.

This division between my body and my real self became even more pronounced and then I saw a ridiculous scene in which two men hopped with horny gestures. I watched fascinated and realized that I was one of the men myself. At the same moment, as I was conscious of it, I felt something snap me out, and now I came back again and again, in harmony with Genaro.

Just at the same moment I noticed that there was another man standing beside Don Juan and watching us. The wind fanned him. I saw his hair flutter. He was naked and seemed embarrassed. The wind gathered around him, as if to conceal it, or perhaps the other way round, as if to move it. I had not yet noticed that I was the other man myself. When I realized it, it was the shock of my life. An unfathomable physical power tore me apart as if I were made of fibers, and again I looked at a man who was walking around with Genaro and glared at me while I looked at him. And at the same time I saw a naked man, who was me and glanced at me, while I performed with Genaro horny gestures.

The shock was so great that I fell out of the rhythm of the movement and stumbled. Then I knew only that Don Juan helped me on the legs. Genaro and the other ego, the naked, had disappeared […]

>End Quotation

In this section you can see that the protagonist had a temporary double perspective. Once he was in his physical body and once in the “other,” in his double or second body. Just keep in mind.

In the case of the next excerpt from the book “The motif of the doppelganger as a splitting fantasy in literature and movie” by Gerald Bär (chap.1.1) it is written:

“Even according to the Homeric conception man existed twice, on the one hand in his perceptible appearance, on the other hand in its invisible image, which is released only after death and which reaches the Hardes. Not only the split within the human soul, as already pointed out in Phaidros, but also the dualism of body and spirit goes into the doubleganger problem.”

The following excerpt from the book “The Other Self” by Aglaja Hildenbrock says:

“The fact that the doppelganger becomes an evil image in the humans phantasy is Freud showing with the help of Heinrich Heine’s wise observation, and he interprets the fact that after the fall of the religion of the gods, they become demons. The Doppelganger concept was originally a part of the future and the belief in immortality, a security precaution, with which one warded off the death fear and assured itself of a further life after death.”

In Gotthold Ephraim Lessing’s book “How the Ancients Made Death” they did not conceive of death as a skeleton, according to the Homeric idea, they represented him as the twin brother of sleep, and presented both death and sleep with the resemblance among us, which we naturally expect of twins.

Further excerpts are also found in Augustine of Hippo’s work of the fourth century, “Confessiones“, who observed two parts of the self, and then compares himself with himself:

“Am I then myself, sir, my God? Is it so great a difference between me and myself, just at the moment when I go to sleep and wake up from sleeping?”

Jakob Boehme, from the sixteenth century, said in his theosophical writings:

“It always invites nature to every human being, two qualities which are good and evil, and which are in this world, in all the powers, in stars and elements, in all creatures, as one thing. One of them has nothing in itself that it can want, it is duplicating itself for it to be two, it can not even feel itself in the unity, but in the dual it feels itself.”

Rudolf Steiner tells of a Luciferian brother, the Ahrimanic Double, from the Luciferic double-faced figure in the etheric body, which each carries within himself, the double as guardian of the threshold to self-knowledge. He says, only true self-knowledge makes the doppelganger visible. For him, everyday consciousness is almost the opposite of the true being, since the former consists only of innumerable illusions. As soon as one proceeds in the self-knowledge, this is connected with painful experiences, which allow our exaggerated self-image to coincide.

Or Conrad Ferdinand Meyer in his poem “Encounter” wrote:

“I led through the pine forest a quiet path, a deep snowy, without a hoof, I suddenly saw a horseman. Not turned to face, not turned away, he came, turned over his coat, I felt that I knew him In old, long-lost days. To the young eyes wild power, of the mouth in spiteful and silent silence, a train of dream and passion touched me so deeply and own. His horse rode on a white track, with unheard-hooves. It takes me with pleasure and horror to recall his greeting and name. But I did not find a name for my own, since Ross and rider had already disappeared in the tann and behind the snow flock.”

There are incredibly many references to a Double that seems to lead a life of its own. Should the black man be this own double of the sleeper, the latter half-sleep? Just Lessing’s words show that the “old”, which were our pagan predecessors, represented death not only as a twin of sleep, but as a twin, and not just as a skeleton with a scythe.

How quickly can one recognize the connection, if one takes the trouble, with these words in itself. But why, then, this abysmal, evil radiance of the double-man and unmistakable association with the death and destruction of body and consciousness?

I remember a night-time experience many years ago, when a friend and I stayed with his sister:

A friend named Vivian and I were invited by her sister. The apartment was newly remodeled and renovated, so we could only sleep in an adjoining room on the floor. We were close together, as we had to share a blanket. It was very provisional, but at least it was nice and warm.

In the night I dreamed, that Vivian was a witch who prepared a magic potion in a large pot to banish me and make me wantless. Their charisma was abominably evil and their witch-arts of the worst form.

There was a brief argument with her as I awoke. I was, however, still loaded with the knowledge of what a terrible witch she was, and I discovered her right next to me. She looked at me with bad, sparkling eyes! I wondered how I could overwhelm them, but no two seconds later a black three dimensional shadow suddenly came into the room. His radiance was even much worse and more terrifying than Vivian’s! He shared all the horrors of this world in himself, and his pitch-black silhouette stood against me, sending out an incomprehensible wickedness that gave rise to an inconceivably intense sense of threat and vitality in which I was absolutely convinced that this dreadful man and that terrible witch had definitely intended to kill me here and now! Then I took all my courage together and wondered how I could get away with my life and chose the weakest link in this evil chain of evil…: So on my highest point of fear I attacked Vivian, went straight to her neck, and squeezed with all his might.

Shortly thereafter, I woke up because I heard someone shouting! When I opened my eyes, Vivian wriggled under me, whom I had also really catched in the everyday world! I immediately let go and realized that this threat was not present at all. She took my attack very calmly, because such incidents between us were normals, because we knew that the expansion of consciousness could raise many feelings of a strange kind. This night we could not sleep, since my experience had provided enough to talk about.

Why did I personally perceive her as an evil witch and her “friend” as Lucifer? Who was this terrible man, who was clearly her ally?

See also part 2


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Afterthoughts: The black Man - Part 1