Tuesday, December 14, 2010

Part 4 Coyopa, Sexual Energy, Heart and Inner Child

SEXUAL ATTENTION:
(Part 4 of an excerpt from The Art of Stalking Parallel Perception by Lujan Matus. This excerpt includes portions from the chapter titled "Sexual Attention" and is part of a large body of practices from Maya-Toltec Nagualism / Lucid Dreaming as a path to enlightenment. www.parallelperception.com)

ACTIONS AND CONSEQUENCES:
Dyani described actions and consequences in terms of her womanhood at one stage in the dreaming realm. The subject she spoke about was monogamy and this is the story she told.
"If I was a young woman travelling the world, leaving behind me a loving family and free of any relationships whatsoever, when I arrive in new circumstances and a young man approaches me, what is my responsibility to myself? If he were to ask me to engage in a relationship, I would automatically access my inner truth, which would advise me. I would then ask him - "Are you engaged on any level with anybody else?" - And if he would answer truthfully "no", then free expression outlines the circumstance. But if he is not free then I should stand within my inner truth and respectfully decline. Even though I do not know the woman that he is involved with, she is my sister, and the moment I honor her, I honor myself. This honoring delivers power to my inner child and gives strength to the source of my power, which is my sexual centre. If I were to dishonour this woman, who is my sister, then I would dishonour my own inner child, bringing upon myself a cloak of impedance, which is accumulative in its effect and will feed from my sexual centre through preoccupation and waste that precious life force that sustains me".

Dyani's story shows that she is strongly opposed to any form of betrayal and illustrates the significance of a monogamous stance in terms of keeping the inner child in balance. One point that should be brought to the forefront is that when a man or woman without integrity approaches, the force of their behaviour is knowingly masked. This weighs heavily on their inner child, which in turn mutes their womanhood or manhood. As a result, a subtle inflection can be perceived that is there to show their sexual availability, unfortunately without restraint in most cases. It is a cold hard fact that when we begin to cultivate our sexual centre with purposeful practice, we either perpetuate immoral behaviour and justify that behaviour, which will invariably ruin our lives and the lives of other people within our environment or, we take that immature inner child and instead of enacting on the world we catch that enactment and examine what is being projected, which will bring a cathartic upheaval and dispel justification. This is the sole purpose of energetically enhancing ones sexual self.

Q. How does the cloak feed from the sexual centre?
A: The sexual centre and the inner child are connected by feeling. In the beginning of one's practice the initial feeling that one builds is more primitive than that of someone who has been absorbed in integral acts through correct practice for a sustained period. Correct practice will take away the insoluble agitation that the cloak supplies as a dysfunctional emotional underpinning. When one first begins to practice and activate ones sexual attention the initial catalyst that confronts the initiate is composed of old habits. If these old habits lead the heart to feel imbalanced then it drains the inner child. We all know that the heart is the inner child and that any sexual contact awakens our need to be nurtured - this is how the inner child is connected to our sexual centre.
Q. Why does imbalance manifest as sexual availability?
A: Our primary motive as human beings is to perpetuate the species and unfortunately those who are sexually available, and are imbalanced in the area of their sexual centre, display quite overtly to attract like a moth to the flame unconscious individuals to exercise that attention - whether it be drama filled or not.

Continue to Part 5
∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞

by Lujan Matus

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