I’ve been reading Ram Dass and Eckhart Tolle and Seth Speaks for several years, have recently been watching videos of the messages that have come through Dolores Cannon. DC talks of the importance of working out karma that has accumulated. Most spiritual writers/teachers talk of the ego, of illusion, and RD talks of developing “the witness”, that part of us that we feel and know as being in us, sort of “behind the scenes”, observing us do what we do in our daily, hourly, lives. It’s a friendly thing; is just our true self that’s been through all of our lifetimes with us — our soul, our spirit. I recently wrote a sort of poem calling this witness The Anonymous Heart.
And for me, that RD witness concept works well when I think of theatre, stage, actor, director, script-writer, and audience. The witness is like the director and script-writer, being in the audience watching what’s going on on the stage, in the life, much of it being improvisation, based generally on the script that it wrote at the beginning of the lifetime. And our ego is like the actor out there on the stage, interacting and improvising with other actors who were included by agreement in that script: the existence of that arrangement and agreement is described by both Seth and DC, among many others of course.
So where does the karma exist? It gets developed there in the improvisation on the stage, between and among the actors, the egos. Resentment, anger, fear, disappointment — the list can go on … it all gets developed and exists there on the stage among the actors. It’s they who want to hold on to that stuff, because it gives them something to work with in their improvised roles. So if we’re looking to let go of our karma, to get it worked out and not create any more of it, it’s just to tell our ego-actor to stop doing that stuff, say what needs to be said and do what needs to be done among the other actors, and start doing and saying things differently, meaning saying and doing things that are based in love. And DC and Seth both say that we absolutely have the “power” to affect our lives in that way, in any way that we want to. Our witness, our anonymous heart, can make adjustments to the script and to the stage directions any time we ask it to. We just have to become more consciously aware of that witness, that heart, than we are of the ego-actor. We have to “identify” less and less with the ego-actor and more and more with the witness-heart.
The ego-actors create interactions based in their fears about their roles. The witness-heart writes the script based in love. It’s about motivation based not on what one will get or not get, but rather on what one can give.
