Through the Falcon’s Eyes

01 sunset IMG_8015(Copyright © Jack Cain 2016, text and images)

 Jack: Mary finds these chairs very comfortable but I’m not sure – what do you think?

Alicia: I think they’re very comfortable. Yes, I do. Yes, yes. And we can move in them – I trust that it’s OK to do that.

Jack: [laughing] Yes, we can. They are rocking chairs.

Sometimes when I’m having trouble making up my mind, I use a pendulum to check and the pendulum said I should be doing a hypnosis session this time not an energy session…

Alicia: Oh! That’s a surprise.

Jack: … and that I should not be doing it on the sofa, not be doing it on the bed in the spare room but in these chairs. [laughing]

Alicia: Right.

Jack: So, I think if you would just close your eyes as you’re in your chair… There’s something about the rocking motion that might help. It’s not necessary to be perfectly still and also maybe it doesn’t have to be continuous… But the motion may help us make an entry into the necessary state.

Alicia: The shape of the rockers have me going like this [a quick, short rocking] I hope that’s OK.

Jack: It’s fine.

Alicia: It’s a little quicker than big rocking but it feels all right to me.

Jack: Yes, you just need to go with what feels right.

I was particularly struck by the image you were describing – the one you saw as you were driving here. A well-known image. [The statue of Horus as a falcon with outstretched wings behind the head of the pharaoh.] Just continue with that slight rocking movement and connect with that image at the same time… [no pause]

Alicia: I’d like to say that it’s in me now. That is, I am the image now.

Jack: Yes. That’s good. That’s what I hoped would take place.

Alicia: The bird is behind my head. I am the image.

Jack: So it’s very good if you would concentrate on that part of the body – behind the head. Of course this is no longer a statue. It’s an embodiment in your own body so there’s a potential now for a movement, a dynamic – a potential for something to take place.

And there’s the ordinary mind that worries about this and that. It doesn’t really have a place here. It can relax and be set off to the side. The concentration can be in the sensation of what’s taking place in the body. Because the image is now embodied.

Maybe you could just give me a little further report on what you’re feeling or what is taking place now.

Alicia: I feel like there’s an acute looking out of the eyes. You called the bird a falcon. There’s an acuteness in the eyes looking out but simultaneously I see the bird’s eyes very close up to mine, looking at my eyes, very up close, simultaneously. I see those bird’s eyes looking at me very closely. [said matter-of-fact-ly; no intonation of fear] It’s a penetrating gaze, acute, clear, strong – at the same time as I’m looking out.

Jack: Yes, don’t be concerned about what appears to be a contradiction – that’s just the way it works.

Alicia: And I see the beak right there and I guess I feel the beak and I see what look like two nostrils placed on either side of the beak. And the feathered appearance around the beak and the eyes and the mouth. [crows crying outside the room we are in – a common occurrence here].

Jack: Just continue to follow what is taking place and what is perceived visually.

Alicia: Well… Something drifted in… It’s hard to know whether it’s the ordinary mind or something more substantive. But with this penetrating looking, then my uncle Bill comes to mind. He’s had a strong connection with these birds since a very young age. He even looks – in his real life, he’s now gone, gone from the earth – but in his real life, he even looked like a hawk. His facial features and everything. He had a close bond with them. With an owl too. And he kept them in a large enclosure in his back yard before such things were no longer permitted. That brings me to mention that whenever I recognize the sound of a hawk – or maybe it could be a falcon or an osprey – but whenever I recognize their sound, their cry, in regular life then I’m attuned to it. Wherever I am, I hear it… whenever it appears, I hear it. And I acknowledge that. And then I say, “Thank you uncle Bill.”

Jack: So it’s nice. There’s a connection there as well.

Alicia: I never connected him with Egypt before but the hawk is a profoundly strong connection… Or the falcon.

Jack: Yes. As you say… whatever that bird is. The different names don’t matter but the important thing is the perception that you are still having of the intensity in the eyes and its presence that you are embodying right now.

We need to keep going with this to see what else needs to be conveyed by what is taking place with this embodiment which happened so easily and naturally. As you concentrate further there may be a continuing connection to Egypt and all that was there, some of which needs to be contacted again because there is a need now for that connection to take place.

What’s the next important thing that takes place with that connection?

And I’m not rushing you. Take the time that it takes…

Alicia: At first, off to the left, was a not-too-distant pyramid in the sands and then to my left, I’m standing near a huge column. It’s huge in the sense of its enormity around and how it goes up and how it comes out at the top. And there’s some gold color up there and some blue beneath it for a while and then a kind of a… I don’t know how to describe this kind of an orange-ish, burnt-ish, umbra-ist, reddish all mixed together color on the rest of what’s going upward. Strong. Not bright and intense but strong. And there’s got to be… there’s some enclosure behind it, or off to… a hall-like… I haven’t really seen back there but it’s not just a column on its own there’s some kind of structure behind it. And there’s some kind of openness away from it, this way, to the right. [short pause]

I just saw some greenish… I’ll call them fronds… They’re palm fronds but I don’t see them as a tree high up, I see them as low, coming out of something. They’re over to the right.

02 green plus buds IMG_7948Well, the images keep coming. Now there’s a pool, a shallow pool of waters, inviting waters, bluish color underneath the waters. I can’t even make out the shape of the pool. I just see some water that’s contained there.

Jack: Yes, just let the various elements come in, appear, through that connection, because you’re more and more there in that place and it includes various things.

Alicia: Well now… A wonderful creature has come from the left. I don’t know whether to say cheetah or leopard. Not black panther but cheetah or leopard walking softly with its padded feet… making contact with what is either a stone floor or a smooth marble floor. There’s a kind of a gloss – not a high gloss but there’s a kind of a gloss to the floor. There’s a coolness to the floor and I hear his padding feet coming. The general atmosphere feels like all is well.

Jack: Yes, there’s no danger – right?

Alicia: Right. All is well.

Jack: Yes. It’s just part of the scene. [pause]

Alicia: The words “Her-Bak” came in. Not necessarily an image connected to it but the words. A story I read long ago. You probably know about that.

Jack: Yes, a story of an apprenticeship and an initiation into the mysteries.

[pause]

Alicia: Now I see a soft cushion, a low cushion, a kind of divan – not far from that column. Everything seems to be in close proximity to the column. The pool is there. The fronds. The leopard.

The size of the pyramid… it’s off in the distance but it doesn’t feel or seem to be of monumental proportions whereas the column feels monumental. The pyramid has a kind of a diminutive quality in relation to the other things that I’m describing. But there’s still a relationship.

Jack: You haven’t mentioned anyone else being present, but I’m wondering if you are there alone or…

Alicia: There was a glimpse of something that kind of fluttered in and then drifted away but as you ask again I see a male figure in a kind of a white – it isn’t a tunic because it’s only from the waist down and it doesn’t go all the way to the floor it goes to the knee. And the skin is darkish, not black but a tanned figure and there seems to be some age to the person, although balding was what I saw and the word “scribe” came. A scribe. Walking in. Respectfully. Slowly. From the left. And he stops there.

And is it because they said, “Scribe”? There’s a feather pen… There’s something in his hand.

It’s hard to know what brings in the next image. Where is it coming from? Do I have to know? What is going to come up and what is an invention?

Jack: Just observe. And don’t worry too much about the fact that a part of the mind is concerned that it might be invention. It’s all there, whatever it is.

Alicia: OK. Good.

Jack: And your own figure, your own person… can you tell if you’re male or female?

Alicia: Well, right now, I’m a female. But at the beginning when there was first the image – when I became the image it seemed male. [big breath] But then something became… Maybe I left the looking out and the looking in of the falcon. Because then there was another aura about things. The feminine comes in there. So I don’t know how to answer.

Jack: That’s fine. There are transitions that take place. Let’s just continue from where you are. The scribe is there. Maybe something needs to take place now – whatever the next important thing is. You can trust that the subconscious mind will allow something to arise that will be the next appropriate thing to be seen or experienced.

Alicia: Well, the scribe is kneeling down, sitting on his heels. And there’s something in front of him where he can write. In other words he’s not bent over writing on something flat, he’s writing on something like that. [indicating a slanting surface with her hands]. [Her rocking chair begins creaking noisily against the floor and continues noisily through all the following words until it stops at the critical point noted below and Alicia mentions that it has stopped.] Moving. And there’s a transmission coming from this person to the scribe. I didn’t hear it as spoken words – maybe those will come but anyway there’s definitely a transmission.

And I see the eyes of the falcon again. It’s a very rich, enlivening, and encompassing all the cells. I speak of eyes, the eyes but this looking encompasses all the cells of the body. It’s an all-at-once perceiving. It doesn’t have to be explained. It’s just a pure reception. And something about this experience that feels like a very pure – I’m looking for another word for physical – it definitely can be felt physically but it isn’t just limited to that. And something about it is being transmitted to the scribe. Visceral is the word I was searching for.

Jack: Is it like a kind of dictation?

Alicia: Yes. Well, that’s what it seemed like – like a dictation. But the experience of these eyes is so clear. It’s here, right here, looking out, looking out. [Indicating the area in front of her eyes.] It goes throughout and it’s constant. The person who is writing is somehow part of the experience. He perceives part of this or he is somehow in tune to a certain degree with this visceral, heightened perceiving.

Jack: But the eyes are a critical part of what’s taking place I take it…

Alicia: Yes.

In my ordinary mind, I believe it was just brought to me that I’ve been concerned about my eyes or my eyesight. But in the experience that I’m having with the falcon eyes that is separate.

Jack: Yes. It’s not interfered with or deteriorated in any way.

Alicia: Right. Nothing like that.

Jack: So it’s good that that clarity is present… and that intensity. [pause]

03 lotus IMG_7972Alicia: Oh. Oh. Another image. Above what is transpiring with the falcon and also the female presence and the scribe, in this atmosphere, this fine atmosphere, is an orb that has come down from above with the arms and the hands at the ends of the rays.

Jack: The orb is what color – can you describe it a little?

Alicia: It appears as a… [struggling to find the right words] a kind of a silky, champagne. It isn’t a bright color, a light, earth champagne silky.

Jack: And I understand that the rays coming off it are like arms with hands at the end, is that right?

Alicia: Yes.

Jack: And does that have a function? How is it involved in what is taking place with the dictation, or with the eyes?

Alicia: Well, since that appearance, I’m now a strong sensation on top of the falcon’s head. Before what was so tangible was the intensity of the eyes and their aliveness – that was what I could sense most. But this appearance has made a sensation of a coming down, a larger awareness of this part of the head of the falcon, a sensation of a coming in at the top. [indicating the top of her head] And the scribe is there, just attending to…

Jack: Doing his job.

Alicia: Yes. [pause]

Oh. OK. What has come in are words of making there be a whole, a whole of sustaining upliftment. Ordinary words. They came through again. And the words are:

[As soon as these words begin to be spoken the noisy squeaking of the rocking chair tapers off and soon disappears completely although the movement of the chair continues in the same rhythm.]

“May the light of God surround you. May the love of God uphold you. May the power of God protect you. May the presence of God be with you; wherever you go, God is. [May the] presence of God watch over you.”

The squeaking of the chair stopped.

Jack: That’s right.

Alicia: “May the light of God surround you. May the love of God enfold you. May the power of God protect you and the presence of God watch over you. Wherever you are, God is.” [Last words whispered; as if the repetition was just to make sure she got it right.]

Now the head of the falcon feels connected and joined to the body.

Jack: All down through the body?

Alicia: Yes, all down. And it doesn’t seem unusual or feel unusual that this is the falcon.

Jack: So, a more complete embodiment of that nature.

Alicia: Yes.

Jack: And the eyes?

Alicia: Oh. I was looking down. When I come back to the eyes, the eyes are lively, intense… every little cell and whatever matter is comprised of, all of its fine substances are included. [pause]

Something is taking in the whole of what’s been described and at the same time going to the parts of what’s been described. Meaning I saw the cheetah/leopard again with its soft paws there. And the scribe kneeling and attending to the work. And the palms. And the pool with the light blue near the rich column. And [sigh] the falcon. And the soft-cushioned divan. And the diminutive pyramid there in the sands. The depiction of… I want to say it’s the sun but it seems more than the sun.

Jack: What you called the orb. Which is giving.

Alicia: Giving. So it’s not limited to word description “sun” – not limited there…

And the atmosphere. I’m breathing the atmosphere now.

Jack: Do you want to say what that’s like?

Alicia: I wonder if there will ever be words for the words, words for what can’t be described. I wonder if there will ever be such words.

It feels sparkly… a coming aliveness without seeing sparkles.

Jack: Something that almost makes you shiver because it’s so fine?

Alicia: Yes. And there’s light contained in it but it’s not making everything have a glow. It emanates something without seeing what the emanations are. And it’s everywhere present. Breathable. Breathing it.

Jack: Interpenetrating.

Alicia: Yes. [very long pause]

 

[Alicia opens her eyes briefly then closes them again.

Jack: Take your time coming back. As if those images were really engraved for you in your memory.

Alicia: Towards the… everything moved towards… There was a one-ness. Not “I was” – there was a one-ness with everything. There were not individual parts any more – the cheetah, the scribe, the pyramid… everything… everything was one. There wasn’t a differentiation. I feel that that went into the whole of me. [pause]

Then I thought, as it was coming away, and more towards… I thought, well, this could be a good way to die. Not that I… This is not that.

Jack: This is beyond death.

Alicia: [whispered] Yes.

Jack: It’s not connected to time and space. It’s connected to something eternal.

Alicia: So… transcending.

Jack: Yes, transcending.

Alicia: So, in a way… The mind is starting to…

Jack: Yes, the mind… we need to leave the mind behind…

Alicia: The transcendence is what is important.

Jack: But you need to recognize… that Alicia is capable of allowing this to take place. Not everyone is that capable.

Alicia: All right. [whispered]

Jack: It’s so strange – when I checked beforehand and was told, “Sit in the rocking chairs.” I thought, “That’s crazy.” So I’ve learned you don’t say it’s crazy, you just do it.

Alicia: You listen.

Jack: Yes, you listen.

o4 rocking chair IMG_7962

 

About trylus

Welcome to my blog! I was born in the year of the golden dragon (1940) and when the golden dragon year came around again in 2000, little did I know that events would conspire to have me reinvent myself. So after a long career in computers and libraries and languages and with a few bumps of transition I now feel very alive in the practice of hypnotherapy and an energy modality called Reconnective Healing®. My interest in writing has always been in the mystery of how it is sometimes possible to convey much more than the meaning of the words. It is my heartfelt wish to have that happen sometimes in this blog. Jack Cain Trylus énergétique Montréal www.trylus.com jack@trylus.com
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