跨界夢修相關書籍摘錄（2）

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這個原理就像觀察外太空天體的天文望遠鏡，如果從地球上去觀察，外面還有大氣層，所以它外面的東西看得不是很清楚。如果把這個天文望遠鏡送到大氣層以外，就像哈伯望遠鏡一樣，送到外太空，那麼沒有這些干擾的時候，它就看得非常清楚，拍的這些圖片是特別特別清楚。為什麼呢？因為沒有這些大氣層的干擾，它可以看得特別清楚。同樣的，死亡跟深度睡眠的時候，已經遠離了眼耳鼻舌身，和意識的一部分的干擾，所以他看得特別的清楚。

所以就是像藏傳佛教修大圓滿的這些成就者，他活著的時候也在修，但是他的身體沒有縮小。死了以後，七天，一般修行比較好的人，在七天當中或者是兩個七天，半個月、十四天這樣的時間當中，不給他念經、不給他做任何事情，就是把門關上，就是讓他在一個平靜的環境當中修行。真的修行好的人，在這七天當中，就像一米八九高的身體這樣子的人，最後都是縮小到一肘左右。這樣的事情經常都有，這個不是撒謊，是事實。為什麼他活著的時候身體不縮小，然後死了以後會縮小呢？因為這段時間的修行力度，遠遠超過了他一輩子的修行。因為一輩子修行，我們修禪定、修什麼，都是有意識的干擾，而且這個干擾很嚴重；然後這些干擾沒有了以後，他就是體會得非常非常深刻，力量相當的大。所以很多修行人，不但是對死亡沒有恐懼，而且他們把死亡當作一個非常難得的修行機會，就是這個原因。

這個是最好的、最殊勝的解脫的方法，這就是我們中陰解脫的最好的方法，但是前提的條件是在活著的時候必須要證悟，必須要開悟。不僅僅是開悟，而且還要單獨地去訓練，把我們開悟的境界帶到夢裡去，帶到深度的睡眠當中，這個是另外的一種訓練。像禪宗它有開悟的方法，但是把開悟的東西帶到深度的睡眠、夢，這些都是禪宗裡面不講的、沒有的，但是有證悟的方法。這兩個結合起來，母子光明結合的這個方法，就是在藏傳佛教密法裡面的一個比較特殊的修法，這個是要這一生當中訓練；如果這個訓練好了，那麼中陰身就成佛了，這叫作中陰解脫，實際上就是真正地成佛了。這個是證悟的人。

接下來我們介紹第二個方法，就是我們沒有證悟的，或者是雖然是證悟了，但是證悟了以後，證悟的境界不能帶到夢裡面，沒有訓練夢瑜伽，這樣子的人或者是普通的人、沒有開悟的人，怎麼樣去面對中陰，接下來我們簡單介紹這一個。（01:30:35 投生中陰解脫，以下略）

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看看下面對第三注意力的解釋，是不是有點像本覺狀態啊？看起來，閉黑關對夢修也有絕對的幫助。

「做夢」的奧秘（1）

唐望說，大致上，一個戰士在第二注意力中最偉大的成就是「做夢」，而在第一注意力中最偉大的成就是「潛獵」。
Don Juan said that, generally speaking, a warrior's greatest accomplishment in the second attention is dreaming, and in the first attention his greatest accomplishment is stalking.

他告訴我，首先我必須學習「做夢」的奧妙。然後他把我交給蘇麗卡指導。他告誡我要完美無缺，仔細地練習我所學到的，而且最重要的，行動要小心謹慎，不要浪費我的生命力量。他說在進入意識三階段任何一個之前的先決條件就是要擁有生命力量，沒有生命力量，戰士就沒有方向與目標。他解釋，在死亡時，我們的意識也會進入第三注意力；但是只有一剎那，像是在巨鷹吞噬之前的一種清除淨化。
He told me that I had to start by learning first the intricacies of dreaming. He then put me under Zuleica's supervision. He admonished me to be impeccable and practice meticulously whatever I learned, and above all, to be careful and deliberate in my actions so as not to exhaust my life force in vain. He said that the prerequisite for entrance into any of the three stages of attention is the possession of life force, because without it warriors cannot have direction and purpose. He explained that upon dying our awareness also enters into the third attention; but only for an instant as a purging action just before the Eagle devours it.

蘇麗卡很有效地帶領我進入第二注意力。她堅持我們的接觸只發生在夜晚，完全的黑暗中。對我而言，蘇麗卡只是黑暗中的一個聲音；我們每次接觸一開始，這個聲音就會告訴我把注意力完全集中於她的言語上，別無其他。這個聲音也就是拉葛達以為她在「做夢」中聽見的女人的聲音。
Zuleica was very effective as my guide into the second attention. She insisted that our interaction take place only at night, and in total darkness. For me, Zuleica was only a voice in the dark; a voice that started every contact we had by telling me to focus my attention on her words and nothing else. Her voice was the woman's voice that la Gorda thought she had heard in dreaming.

蘇麗卡告訴我，如果「做夢」是要在室內進行，最好是在完全的黑暗中，躺或坐在一張窄床上，然而更好的是坐在一個像棺材的木箱中。她認為如果在戶外「做夢」，就要在一個洞穴的保護下，或水洞旁的沙土地帶，或靠著一塊山中的岩石；絕不要在峽谷的平地上，或在河邊，或湖邊，或海邊，因為平地和水都對第二注意力不利。
Zuleica told me that if dreaming is going to be done indoors, it is best to do it in total darkness, while lying down or sitting up on a narrow bed; or better yet, while sitting inside a coffin-like crib. She thought that outdoors, dreaming should be done in the protection of a cave, in the sandy areas of water holes, or sitting against a rock in the mountains; never on the flat floor of a valley, or next to rivers, or lakes, or the sea; because flat areas as well as water were antithetical to the second attention.

（《老鷹的贈予》pp. 243, 283-285）

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我與她的每一次會面都是籠罩在神秘的暗示中。她解釋說，要直接命中第二注意力的最保險方法，就是透過儀式的行為，像單調的唱誦、複雜重複的動作。
Every one of my sessions with her was imbued with mysterious overtones. She explained that the surest way to make a direct hit on the second attention is through ritual acts: monotonous chanting; intricate repetitious movements.

她的教導不是關於「做夢」的前行，那些唐望已經教過我了。她假設來找她的人都知道如何「做夢」，所以她專門處理左邊意識中深奧難解的部份。
Her teachings were not about the preliminaries of dreaming which had already been taught to me by don Juan. Her assumption was that whoever came to her already knew how to do dreaming; so she dealt exclusively with esoteric points of the left side awareness.

蘇麗卡開始指導的那一天，唐望帶我到她的住處。唐望帶我到裏面的天井，讓我坐在一個長椅上。長椅是由木箱改造成的，上面有一層墊子。墊子又硬又凹凸不平，很不舒服。我把手伸進墊子下面，發現有尖銳的石頭。唐望說我的情況特殊，因為我必須儘快學習「做夢」的奧妙。坐在堅硬的表面可以提醒我的身體這不是普通的情況。
Zuleica's instructions began one day when don Juan took me to her house. Don Juan took me inside to the patio and made me sit on a crate that had a cushion and had been turned into a bench. The seat on the crate was bumpy, hard, and very uncomfortable. I ran my hand underneath the thin cushion and found sharp edged rocks. Don Juan said that my situation was unconventional because I had to learn the fine points of dreaming in a hurry. Sitting on a hard surface was a prop to keep my body from feeling it was in a normal sitting situation.

我聽見身後一陣沙沙作響，然後蘇麗卡的聲音嚇到了我。她有力的耳語聲叫我站起來跟她走。我自動服從了。我看不見她的臉，她只是我前方兩步遠的一個黑影。她把我帶到她屋裡最暗的大廳裡的一個壁龕。雖然我的眼睛已經適應了黑暗，我仍然看不見任何東西。我絆倒了什麼東西，她命令我坐進一個狹窄的槽中，用一個我認為是硬的墊子支撐我的下背。
I heard a rustling sound just behind me and then Zuleica's voice jolted me. In a forceful whisper she told me to get up and follow her. I automatically obeyed her. I could not see her face, she was only a dark shape walking two steps ahead of me. She led me to an alcove in the darkest hall in her house. Although my eyes were used to the darkness I was still unable to see a thing. I stumbled on something and she commanded me to sit down inside a narrow crib and support my lower back with something I thought was a hard cushion.

然後我感覺她往後退了數步，這使我大惑不解，因為我以為我的背離牆壁只有幾吋距離。她從我身後對我說話，以輕柔的聲音命令我集中注意力在她的話上，讓這些話引導我。她叫我保持眼睛張開，注視我面前的一點，在我眼睛的高度；這一點將會從黑暗變成明亮而令人愉快的橘紅色。
I next felt that she had backed up a few steps behind me; a thing which baffled me completely because I thought that my back was only a few inches from the wall. Speaking from behind me, she ordered me in a soft voice to focus my attention on her words and let them guide me. She told me to keep my eyes open and fixed on a point right in front of me at my eye level; and that this point was going to turn from darkness to a bright and pleasing orange-red.

（《老鷹的贈予》pp. 285-287）

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蘇麗卡以一種平均的聲調非常柔和地說。我聽見了她的每一個字。四周的黑暗似乎有效地隔離了任何令人分心的外在刺激。我是在一種真空中聽見了蘇麗卡的話，然後我明白那個大廳裡的寂靜與我內在的寂靜相配合。
Zuleica spoke very softly with an even intonation. I heard every word she said. The darkness around me seemed to have effectively cut off any distracting external stimuli. I heard Zuleica's words in a vacuum, and then I realized that the silence in that hall was matched by the silence inside me.

蘇麗卡解釋說，「做夢者」必須從一個顏色的點開始；強烈的光或完全的黑暗在一開始時對「做夢者」是無用的。另一方面，色彩像是紫色或淺綠色或黃色則是絕佳的起始點。
Zuleica explained that a dreamer must start from a point of color; intense light or unmitigated darkness are useless to a dreamer in the initial onslaught. Colors such as purple or light green or rich yellow are, on the other hand, stupendous starting points.

不過她偏愛橘紅色，因為從經驗中證明，那個顏色能帶給她最大的放鬆感。她向我保證，一旦我成功地進入橘紅色中，我就永久啟用了我的第二注意力，只要我能意識到實際事件發生的順序。
She preferred, however, orange-red, because through experience it had proven to be the one that gave her the greatest sensation of rest. She assured me that once I had succeeded in entering into the orange-red color I would have rallied my second attention permanently- providing that I could be aware of the sequence of physical events.

我不顧蘇麗卡的命令，她要我進入在眼睛高度正形成的色彩；但我讓自己盡情探探索那體外的奇怪感覺。蘇麗卡一定是「看見」了我正在經歷的事情；她突然開始解釋說，第二注意力屬於明晰體（能量體），就像第一注意力屬於肉體。第二注意力聚合在璜‧吐馬第一次見到我時所說的位置──大約在肚臍與腹部之前一呎半，向右約四吋的空間中。
I disregarded Zuleica's order to enter into a patch of coloration that was forming right at my eye level, and gave myself fully to the exploration of that strange sensation outside me. Zuleica must have seen what I was going through. She suddenly began to explain that the second attention belongs to the luminous body, just as the first attention belongs to the physical body. She said that the point where the second attention assembles itself was situated right where Juan Tuma had described it the first time we met- approximately one and one-half feet in front of the midpoint between the stomach and the belly button and four inches to the right.

（《老鷹的贈予》pp. 287-288）

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二、夢中之虛幻中有（中陰）

夢中中有涵蓋由入睡一刻至醒來前之時間，此時段與死無異，唯一分別是為時甚短。當五種感覺：色、聲、香、味、觸收攝入阿賴耶識時，吾人於此中失去知覺。當人入睡便與死無異，起初並無夢境，唯是黑沉，因睡者沉入阿賴耶而不省人事。

其後，因無明業風能力刺激，從而現起感受與情感相纏之情節。因此，生起了夢中感知物件(即色、聲、香、味、觸) 之出現。夢中之主體當非真實存在於個體內者，所現之覺醒亦不能離開而於外物產生作用。彼存在於內，所感受者是虛幻不實，故稱為虛幻中有。晚上夢境中之感受處於妄想力量之下，如在白天被哄騙；意識包含色、聲、香、味、觸，與白天所經歷者一樣，只是，如今更為虛幻，入睡者做夢所見乃幻覺及虛構之事物。

教法中言吾人亦如幻象與夢境。固然，相對于醒時之感受吾等說為真實，以夢為不真實。對佛陀而言，夢中所見與醒時之覺受同一層次，都不與真實相應，都是虛假、變化、無常、不可靠，此外無它。吾以為，倘若吾人反觀自出生至今所作所為種種如今安在？能找到否？皆去矣，且流逝不停，所有這些顯然真確，然而，有些事物會避過吾人掌握。常常會覺得此生之覺受為常，在想：「此為我自己」、「此乃我有」，教法所言，此認知錯誤。亦因此，吾等必墮輪迴。

故此，不管如何，應對治夢幻覺受。日間，應向上師三寶祈請。晚上要努力去認知夢境實屬虛幻。要轉化夢境，於夢中修法，從中得到熟練，若能如是，則可以融合日間與夢中覺受 (不生分別) ，修持便會大為增進。此修法對治世事無常與其它障礙極為有效。

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三、禪定中有

禪定中有是指入定等持之時直至出定時為止。稱之為中有者在於它並不像日常妄念之流轉，亦不像日常生活中吾人對現象之感受。是一種禪定安穩，一種清新有如無雲晴天之專注，如靜海無波。如果心裡滿是念頭 (有如盜賊) 或有些微動態 (如絲線交織) ，則不可能住於此專一心境，安穩之禪定於此情況下不能出現。如此，禪定者勿流浪于如盜賊之思念之威力下，要有不散亂之無念與勇猛精進，以避免散失注意力。

夢中中有與禪定中有是此生中有部分之分支。此生中有自然涵蓋吾等之修行。縱然後者有間斷，在此生中必須為之，亦只能于此中修禪定。

吾人當按照教授而修行，訓練成能轉化心識。如果能熟習此法，又如果死時無一絲後悔，則甚好，如有人雲：「吾將會去某某佛土」而又事實上能達成者，是圓滿成就之修行人。確實而言，修法是為臨死時之需要，因此，教法側重於令吾人理解死時會發生何事。

如在生命歷程中，能對心識作有效轉化訓練，加上如於死時能加以運用，把神識送到佛土，實乃最好之情況。如若不成，神識遷轉可由喇嘛或一位金剛眷屬代行，彼等恰好與彼同在而又知道當做之法，便會於汝氣息停止時把汝之神識轉移到佛土去。在任何情況下，為此作出計畫十分重要，而又需要加以訓練。於是在那決定時刻來臨時不致驚慌失措。當然，這些準備練習是此生中首要完成之事。

死時會經歷何事？在受生之時，就是父母交合之際，身體由五大元素精華組合而成，乃元素、靈熱、能量、脈道等等之組合。死時，五大逐漸分離互相分解，當分解完成，外氣呼吸便停息。然後，當內脈動停止，白菩提 (位於腦部的父分) 與紅菩提 (位於肚臍的母分) 兩者便會於心間相遇融合，在此際神識便離開身體。沒有修習此一經驗者，此時會長時間不省人事。而有成就的大師，神識會在兩分鐘後，融入虛空，由虛空而入光明境。對吾等修行人而言，禪定之成果為何？便正是融入光明，純淨與無染，一如虛空。其出現在於內脈停止之際，如在禪定之際能證了光明而等持之，則在體驗無瑕之虛空出現之時，便會出現「母子光明會、空與覺會」。此即為解脫。實則此即為吾等喇嘛與禪修者所修之「真如休息法」或於死亡時之「禪定」。「真如」是除此之外沒有別者。子母光明會合，在生起之相中穩定著，得到圓滿，便是解脫。

[SW]

夢修是為了死亡做準備，因為入睡跟死亡的過程極為類似，唯一差別在於死亡不會再醒來而已。

敦珠法王開示「六種中有」（3）

四、臨終之痛苦中有

吾人當按照教授而修行，訓練成能轉化心識。如果能熟習此法，又如果死時無一絲後悔，則甚好，如有人云：「吾將會去某某佛土」而又事實上能達成者，是圓滿成就之修行人。確實而言，修法是為臨死時之需要，因此，教法側重於令吾人理解死時會發生何事。

如在生命歷程中，能對心識作有效轉化訓練，加上如於死時能加以運用，把神識送到佛土，實乃最好之情況。如若不成，神識遷轉可由喇嘛或一位金剛眷屬代行，彼等恰好與彼同在而又知道當做之法，便會於汝氣息停止時把汝之神識轉移到佛土去。在任何情況下，為此作出計畫十分重要，而又需要加以訓練。於是在那決定時刻來臨時不致驚慌失措。當然，這些準備練習是此生中首要完成之事。

死時會經歷何事？在受生之時，就是父母交合之際，身體由五大元素精華組合而成，乃元素、靈熱、能量、脈道等等之組合。死時，五大逐漸分離互相分解，當分解完成，外氣呼吸便停息。然後，當內脈動停止，白菩提 (位於腦部的父分) 與紅菩提 (位於肚臍的母分) 兩者便會於心間相遇融合，在此際神識便離開身體。沒有修習此一經驗者，此時會長時間不省人事。而有成就的大師，神識會在兩分鐘後，融入虛空，由虛空而入光明境。對吾等修行人而言，禪定之成果為何？便正是融入光明，純淨與無染，一如虛空。其出現在於內脈停止之際，如在禪定之際能證了光明而等持之，則在體驗無瑕之虛空出現之時，便會出現「母子光明會、空與覺會」。此即為解脫。實則此即為吾等喇嘛與禪修者所修之「真如休息法」或於死亡時之「禪定」。「真如」是除此之外沒有別者。子母光明會合，在生起之相中穩定著，得到圓滿，便是解脫。

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「做夢」的旅行者 Traveler in Dreaming

蘇麗卡終於對我說話。她說我必須遵照一定的程序，而我像在日常世界一樣的煩躁激動是十足浪費與愚蠢的舉動；煩躁只適合在第一注意力時，第二注意力即是平靜本身。
Zuleica finally spoke to me. She said that I had to follow a certain sequence, and that it was wasteful and downright dumb of me to fret and get agitated as if I were dealing with the world of everyday life. Fretting was proper only in the first attention: The second attention was calmness itself.

為了要移動，我必須非常深刻地意欲我的移動。換句話說，我必須極為相信我要移動，或者更準確地說，我必須相信我需要移動。
In order to move I had to intend my moving at a very deep level. In other words, I had to be utterly convinced that I wanted to move, or perhaps it would be more accurate to say that I had to be convinced that I needed to move.

一旦我瞭解了這個原則，蘇麗卡就要我練習一切可以想得到的有意志的移動。我越是練習就越清楚，對我而言，「做夢」事實上是一種理智的狀態。
Once I had understood that principle, Zuleica made me practice every conceivable aspect of volitional movement. The more I practiced, the clearer it became for me that dreaming was in fact a rational state.

蘇麗卡解釋說，在「做夢」中，右邊理性的意識被包在左邊意識中，好給予「做夢者」一種清明與理智的感覺；但是這種理智的影響必須是最輕微的，只能當成一種抑制機制，來保護「做夢者」免於過度和怪異的行事。
Zuleica explained it. She said that in dreaming, the right side, the rational awareness, is wrapped up inside the left side awareness in order to give the dreamer a sense of sobriety and rationality; but that the influence of rationality has to be minimal and used only as an inhibiting mechanism to protect the dreamer from excesses and bizarre undertakings.

下一步是學習指揮我的「做夢體」。
The next step was learning to direct my dreaming body.

於是蘇麗卡就給予我相應的任務，要我在「靜態守夜」的狀態中睜開眼睛注視後院。我去她那裏練習許多次後才做到。起先我睜開眼睛就會看到她，而她的身體會顫動一下，使我像個球一樣彈回到「靜態守夜」的狀態。
Zuleica presented to me, accordingly, the task of opening my eyes from a state of restful vigil to see the patio. It took many sessions to accomplish it. At first I would open my eyes and I would see her, and she, with a jerk of her body, would make me bounce back like a ball into the state of restful vigil.

我進行了更多的「做夢」練習才終於學會睜開眼睛，看見蘇麗卡或看見黑暗的後院。這時候我領悟到她自己是一直在「做夢」。她從未親身到我身後的壁龕中。我第一天晚上以為我的背靠著牆壁，我的想法是對的。蘇麗卡只是一個發自於「做夢」的聲音。
It took many more sessions of dreaming for me to learn, at last, to open my eyes to see either Zuleica or to see the dark patio. I realized then that she herself had been dreaming all along. She had never been in person behind me in the alcove in the hall. I had been right the first night when I thought that my back was against the wall. Zuleica was merely a voice from dreaming.

在一次「做夢」練習中，當我故意睜開眼睛想看見蘇麗卡時，我震驚地發現拉葛達與約瑟芬娜一起盤旋在我頭上，還有蘇麗卡。此後開始了她教導的最後一部份。
During one of the dreaming sessions, when I opened my eyes deliberately to see Zuleica, I was shocked to find la Gorda as well as Josefina looming over me together with Zuleica. The final facet of her teaching began then.

蘇麗卡教我們三個與她一起旅行。她說我們的第一注意力是鉤在大地的放射上，而我們的第二注意力是鉤在宇宙的放射上。她的意思是，一個「做夢者」應該是超然獨立於日常生活的關切限制之外。要成為一個「做夢」的旅行者，蘇麗卡對於拉葛達，約瑟芬娜，與我的最後任務，是調整我們的第二注意力，使我們能跟隨她到未知的世界旅行。
Zuleica taught the three of us to journey with her. She said that our first attention was hooked to the emanations of the earth, while our second attention was hooked to the emanations of the universe. What she meant by that was that a dreamer by definition is outside the boundaries of the concerns of everyday life. As a traveler in dreaming then, Zuleica's last task with la Gorda, Josefina, and me was to tune our second attention to follow her around in her voyages into the unknown.

（《老鷹的贈予》pp. 296-298）

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五、勝義之光明中有

如無修行，當黑暗經歷出現，便昏暈，醒時，幾乎立即進入恐怖覺受，是所謂第五中有——勝義之光明中有。此乃當暗存於吾人心識中諸寂忿尊 (自普賢王如來下至五佛部及蓮師八變化身)，以驚人之聲音光線展現。對禪定不熟習者便為之驚倒，當被恐怖所掌握，此心識之展現便會消融。

今綜談臨死中有與勝義中有。在五大元素分離或融合後，神識融入虛空，昏暈入阿賴耶境界，接著便見到光明有如純淨無瑕之虛空。如果此人不熟習禪定，便不能認知此光明。由於光明不被認知，便不持久。如若人久久修習攝心，母子光明便能相會。

如今，在死亡時各元素相互融合之前，最重要要做者是完全醒悟知道死亡已屆，要切斷與此生相關連所有事情。除三寶以外別無希望，要向根本上師三寶祈求，要知道上師是吾人最易接觸者，亦是三寶總集。在中有危險道路上向上師、汝之本尊祈請。坦承表露此生中所犯所有不善之業，一心祈請能引領吾人於死後立即去到佛刹。如云，如此一心祈禱，如此恒存心中之渴望乃引領我等到淨土之必須條件。

再者，當病人彌留之際，其上師或三昧耶不壞之法侶，與亡者有和諧之關係者便應該提醒其已進入諸元素融入之過程。縱然此過程經已開始亦要如是解說。並祈禱唱誦，祈求上師加持，此等正願有大利益，能解救中有道中之種種危險。如一病人跌倒，他人可以扶起，同理，法侶能向彌留者作指引幫助，為之祈禱，如是有大利益。

如是我聞，諸佛具有大悲心，如有人呼其名而祈請 ( 無瑕南方寶生佛、保佑者阿彌陀佛、釋迦牟尼佛等等 ) ，便能因呼名而得免墮三惡道。同理，如果彌留者能好好祈請諸佛，只因其名號被稱呼便能免去亡者墮入較低下道中，最是有用。祈禱有如吾人助手，死時之保護者，能予最大利益實最重要。死時亡者首先失去知覺，然後醒來，如果亡者不能認證光明，光明便會褪失，勝義真實中有便隨而出現。

至於寂忿本尊等之出現，伴隨可怖音聲光線及可怖深淵峭壁之印象，如亡者不能認知此無盡聲音光線只是自己心意投影，別無他的，否則便會生起極度恐懼感受。此等影事出現，恐怖生起，然後此等事物逝去，之後神識離體，由適當之出口離去。

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就像修行有藉由寂止（nepa）和運動（gyuwa）兩種方式來訓練，無論是靜中禪或動中禪，南開師說：「Nepa 和 gyuwa 的經驗是兩個不同的面向，但當下覺知都是同樣的。」（九月即將出版《上師瑜伽》p. 80）躺在床上修夢瑜伽（夢中定點）或睡瑜伽，或者意識投射（夢幻身）去他方探訪，目的都是在成熟第二注意力本身。

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「做夢」的未知之旅

蘇麗卡有系統地帶我們進行超乎言語描述的旅行。拉葛答說蘇麗卡甚至帶約瑟芬娜進入更遠更深的未知中，因為約瑟芬娜就像蘇麗卡一樣相當瘋狂；她們都沒有那個支持「做夢者」清明的理智核心，因此她們沒有障礙，也沒有興趣找出事物背後的理性原因。
Zuleica took us systematically on voyages that were beyond words. La Gorda said that Zuleica took Josefina even farther and deeper into the unknown, because Josefina was, just like Zuleica herself, quite a bit crazy. Neither of them had that core of rationality that supplies a dreamer with sobriety, thus they had no barriers and no interest in finding out rational causes or reasons for anything.

蘇麗卡所告訴我關於我們旅行的事情中，唯一像是解釋的是，「做夢者」的力量集中於他們的第二注意力上，使他們成為活生生的彈弓。做夢者越強，越完美無缺，他們就能夠把他們的第二注意力射得越遠，進入未知，而他們的「做夢」投射（按：類似賽斯所謂的「意識投射」）也越持久。
The only thing that Zuleica told me about our journeys that sounded like an explanation was that the dreamers' power to focus on their second attention made them into living slingshots. The stronger and the more impeccable the dreamers were, the farther they could project their second attention into the unknown, and the longer their dreaming projection would last.

唐望說我與蘇麗卡的旅行不是幻覺，我與她所做的一切都是控制第二注意力的步驟；換句話說，蘇麗卡是在教我另一個領域中的知覺觀點。
Don Juan said that my journeys with Zuleica were no illusion, and that everything I had done with her was a step toward the control of the second attention. In other words, Zuleica was teaching me the perceptual bias of that other realm.

然而，他無法解釋去那些旅行的確實本質。或者他不想這麼麻煩。他說如果他試圖用第一注意力的知覺觀點來解釋第二注意力的知覺觀點，他只會使自己無望地困陷在言語中。他要我自己去找出結論，而我越是去思索這整件事，我就越清楚他的遲疑是有道理的。
He could not explain, however, the exact nature of those journeys; or perhaps he did not want to commit himself. He said that if he attempted to explain the perceptual bias of the second attention in terms of the perceptual bias of the first, he would only trap himself hopelessly in words. He wanted me to draw my own conclusion, and the more I thought about the whole matter, the clearer it became to me that his reluctance was functional.

在蘇麗卡對第二注意力的教誨引導下，我實際地進入了神秘中探訪，那確實是超過了我的理性範圍，但顯然是在我的完整覺知的可能性之中。我學會進入不可思議中旅行，結果就像艾密力圖和璜、吐馬一樣，我自己有了關於永恆的故事可說。
Under Zuleica's guidance during her instruction for the second attention, I made factual visitations to mysteries that were certainly beyond the scope of my reason, but obviously within the possibilities of my total awareness. I learned to voyage into something incomprehensible and ended up, like Emilito and Juan Tuma, having my own tales of eternity.

（《老鷹的贈予》pp. 300-301）