唐望故事—做夢篇 REVIEW

[SW]

前一集講到在「靜態守夜」階段，要現前出色斑或明點，藉由此通道進入第二注意力的層面。如 EP34 所摘：

「靜態的守夜」（restful vigil，寧靜守夜）是初步的狀態；在這個狀態下，感官處於休眠，但人仍然保有意識。就我而言，於此狀態，我總是會感知到一片紅色的光（a flood of reddish light）；就像是面對太陽緊閉眼皮所看到的光。

我們暫把它類比於明、增、得三光的階段（特別是增相的部分，這是紅色的）。

接下來蘇麗卡開始教導肉體和能量體的合一。在《巫士的穿越》中，說到過錯誤的二分法：「人的二元性不是在於靈肉分離，而是肉體與能量體分離，所以兩者若能合一或者不二，兩者相互轉換理論上也是沒問題的」（見 EP39）。

現在我們可能先假定：第一注意力是肉體的主導意識；第二注意力是能量體的主導意識。那麼要讓這兩者（第一、第二注意力）合用（就是在處於第二注意力的同時，仍能保有第一注意力的邏輯理性，這有點類似大圓滿的修持方式：在不遮止六識功能的同時，能直接專注在本覺明分當中），坐姿上，就必須讓此二注意力（覺知）的中心點貼近。

雖然在唐望傳承的所謂身體中心在於臍輪或生法宮，但換成佛法修持的坐姿，依然有其相似之處。在修法坐姿上，網路上可以找到南懷瑾示範的幾種姿勢，都類同這裡所說的：讓小腿中心與身體中心（腹部）貼近的坐姿。

以唐望歷代相傳的密法「力量呼吸」的坐姿來說，它是雙膝併攏立起，雙手環抱於胸前。這裡卡氏講的應該類似這種吧。

「坐下來，背脊稍微彎曲，膝蓋靠到胸前，腳踏在地上，手臂環抱小腿，或者可以抓著手肘。讓下巴輕觸胸口。採取很短，很淺的呼吸。做短暫的呼吸至少十分鐘。」克萊拉說明：「這種呼吸反映存在與非存在的雙重力量。有規律地練習，帶著平靜與刻意，會逐漸平衡我們內在的能量。」（《巫士的穿越》）

「唐望故事」做夢篇 REVIEW-51

之後蘇麗卡開始了她教導的另一方面。她教我如何移動。她透過命令我將意識放在身體的中央開始她的指導。就我而言，中央是位於肚臍下緣的下方。

首先，我注意到在我明晰繭上第二注意力的那一點發癢。然後我感覺自己好像被折成兩半，捲進一張床單裡。當捲動結束時，我就感覺不到自己身體了。我只是一團無定形的意識，這團意識停駐在一條溝痕裡。

這時我明白了，要描述在做夢中發生的事是不可能的。蘇麗卡說，左、右邊意識（right and left side awareness）是包裹在一起的。兩者一起安住於（rest in）第二注意力被壓凹的中心的同一束裡面。為了要做夢，一個人需要〔同時〕控制明晰體（能量體）與肉體。

第一，第二注意力的聚合中心必須由其他人從外部推入（push in），或由做夢者從內部吸入（suck in）來成辦。第二，為了遣除（dislodge）第一注意力，位於身體中心（腹部）與小腿的中心，尤其是右小腿的中心，必須受到刺激，並盡可能地靠近彼此，直到〔此二處〕似乎連在一起。然後，被捆起來的感覺就會發生，第二注意力就會自動接管。

蘇麗卡以命令提出的解釋，是描述所發生的事情最有說服力的方式，因為在做夢中涉及的所有感官經驗，都不屬於我們正常的感官分類系統（感官數據清單）的一部分。

蘇麗卡還說，像雪茄般被捲起來、並被放進第二注意力凹痕中的感覺，是我將左、右邊意識合併成單一意識的結果，其中主導順序已被調換，左邊意識獲得了控制權。她要求我要足夠專注，以捕捉到這個反轉的動作；兩種注意力又會恢復平常，右邊意識取回控制權。

蘇麗卡說，首先我必須熟練任意移動的能力。她開始指導我，一次又次地在我處於「靜態守夜」狀態時睜開眼睛。我費了很大的努力才做到這一點。有一次我的眼睛突然睜開，看見蘇麗卡在我頭上若隱若現。

《老鷹的贈予》pp. 292-295，重譯

Zuleica started then on another facet of her teachings. She taught me how to move. She began her instruction by commanding me to place my awareness on the midpoint of my body. In my case the midpoint is below the lower edge of my belly button.
First I noticed the itch on the point of the second attention in my luminous shell. Then I felt as if I were being folded in two and rolled inside a sheet. When the rolling ended I could not sense my body any more. I was only an amorphous awareness. That awareness came to rest inside a ditch.
I understood then the impossibility of describing what takes place in dreaming. Zuleica said that the right and left side awareness are wrapped up together. Both of them come to rest in one single bundle in the dent; the depressed center of the second attention. To do dreaming one needs to manipulate both the luminous body and the physical body.

First, the center of assembling for the second attention has to be made accessible by being pushed in from the outside by someone else, or sucked in from within by the dreamer. Second, in order to dislodge the first attention, the centers of the physical body located in the midsection and the calves, especially the right one, have to be stimulated and placed as close to one another as possible until they seem to join. Then the sensation of being bundled takes place and automatically the second attention takes over.

Zuleica's explanation, given in commands, was the most cogent way of describing what takes place because none of the sensory experiences involved in dreaming are part of our normal inventory of sensory data.

Zuleica also said that the feeling of being rolled up like a cigar and placed inside the dent of the second attention was the result of merging my right and left awareness into a single awareness in which the order of predominance has been switched, and the left has gained supremacy. She challenged me to be attentive enough to catch the reversal motion; the two attentions again becoming what they normally are with the right holding the reins.

Zuleica said that first of all I had to perfect my command of moving at will. She began her instruction by directing me time and time again to open my eyes while I was in a state of restful vigil. It took a great deal of effort for me to do it. One time my eyes opened suddenly and I saw Zuleica looming over me.

[SW]

繼續上集蘇麗卡的做夢訓練，這階段已經是肉體轉為做夢體。雖然這裡沒有確切地描述做夢訓練的當下肉身在哪裡，不過從脈絡中可以知道，從第一注意力轉為第二注意力時，所聚合的能量，不同於醒時所聚合的物質世界。

教法中常說第四時，是超越三維空間的。說到禪定，也是強調要從現在的時空中超越。所以起點就是寂止，這是一切修法的基礎。

然後就是移動的訓練。做夢者班成員也是從這裡訓練起，因為大部分的人都是從一個夢中認知是夢，所在位置就是一個清明夢的場景，這是你的起點，你如果不移動，就一直是在清明夢的層次。

所謂移動，就是要讓聚合點位移。熟悉唐望理論的人都知道：一個境相就是一束能量通過聚合點所在位置顯現成相的結果；如果你把聚合點位移，通過其並詮釋出來的，就是另一番景象。

聚合點在我們醒時的位置上聚合的當然就是這個地球，我們第一注意力就是習慣地鎖定在地球的放射（能量）上。而第二注意力（位移後的聚合點位置）就是另些鮮少使用到的宇宙能量。

總之，理論是一回事，實際訓練又是一回事。光一個從清明夢中換景出來的自主性動作（volitional movement），做夢者班做夢者就花費巨大的努力，因為前個清明夢的場景，過於錨定（定著），而你的理智也並不如真正醒時一般，能做出明確的切割，並能移動出來（換景）。（如前所說，其實並沒有一個真正的「移動」，只不過是打斷連結重新再聚合罷了。）

「唐望故事」做夢篇 REVIEW-52

第二注意力是寂靜（calmness）本身。……我體內的某個東西震動了，突然我站了起來。……為了要移動，我必須在非常深的層次上意願（intend）我的移動。換句話說，我必須完全相信我要移動，或者更準確地說，我必須確信我需要移動。

一旦我瞭解了這個原則，蘇麗卡就讓我練習每一個想得到的意願移動（volitional movement意志行動）。我練習得越多，就越清楚做夢其實是一種理性的狀態。

蘇麗卡解釋說，在做夢當中，右邊也就是理性意識被包裹在左邊意識中，以給予做夢者一種清明與理性的感覺；但理性的影響必須是最輕微的，只能當成一種抑阻機制，來保護做夢者免於過度和怪異之行事。

下一步是學習指揮（direct）我的做夢體。……於是，蘇麗卡給予我從「靜態守夜」狀態睜開眼睛去看後院的任務。

這用了我很多次做夢才學會，終於睜開眼睛看到蘇麗卡或看到黑暗的後院。這時候我才瞭解到，她本人一直以來都是在做夢〔狀態〕。她從來沒有親自站在大廳我身後的壁龕中。我第一天晚上以為我背靠著牆壁，我〔的感覺〕是對的。蘇麗卡只是一個來自做夢的聲音。

在一次做夢過程中，當我刻意睜開眼睛想看到蘇麗卡時，我震驚地發現拉葛達還有瑟芬娜，正跟蘇麗卡一起浮現在我頭頂。此後便開始了她教導的最後一部分。

蘇麗卡教我們三個和她一起旅行。她說我們的第一注意力是被鉤在地球的放射上，而我們的第二注意力則是被鉤在宇宙的放射上。她的意思是，從定義上來說，做夢者是在超出日常生活的關注範圍之外。作為一名做夢中的旅行者，蘇麗卡與拉葛達、約瑟芬娜，以及我的最後任務，是調整我們的第二注意力，以跟隨她到未知的世界旅行。

《老鷹的贈予》pp. 296-298，重譯

The second attention was calmness itself....Something in me rocked, and suddenly I was standing....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.

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.

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.

The next step was learning to direct my dreaming body....Zuleica presented to me, accordingly, the task of opening my eyes from a state of restful vigil to see the patio.

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.

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.

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.

[SW]

《老鷹的贈予》這書摘得蠻久了，接下來的篇幅是潛獵，導師是佛琳達，所以也許今天就結束這本書的摘要。

我引個 2008 年資深佛友寫給我的書信內容：

資深佛友：之前很早就覺得你對出體清明夢有些貪玩，所以推薦法王如意寶的醒夢那篇給你，希望你就此深入、見性成佛。只是你降服其心也需要一個過程，所以你又看了很多書、拜了師接受引導，這才漸入佳境。

基本上我不認為我早期出體夢貪玩，那都是訓練的一部分（可能資深佛友不懂），不過確實去過「很多地方」，也擁有我自己的「不少的」故事可以講。

我個人認為，若是自己做夢沒有那種能耐，就不用說自己打坐還是什麼普通夢中看到佛還是本尊給自己授記。之前也有做夢者班成員說到夢到護法提醒他修什麼法。我覺得這種事情還是先找上師確認，不要盲從，除非自己的夢有很高比例的明性。不然偶爾記得一兩個夢，實在無足參考，因為你的明性基礎普遍偏低的關係，也不大可能一夢定江山。

宗喀巴大師夢到文殊菩薩「顯靈」時，也是先去問過自己老師。所以也不用太聽信夢中某人所說，誰又知道他是護法咧？不然你得像 Jane Roberts 信封藏字測試賽斯啊！

「唐望故事」做夢篇 REVIEW-53

蘇麗卡有系統地帶領我們進行難以言喻的旅行。拉葛達說，蘇麗卡甚至把約瑟芬娜帶到了更遠、更深的未知〔世界〕，因為約瑟芬娜就像蘇麗卡本人一樣，有點瘋狂。她們兩人都不具備支撐做夢者清明的理性核心，因此她們沒有障礙，也沒有興趣找出任何事情的合理原因或理由。

關於我們的旅程，蘇麗卡告訴我唯一的一件事，聽起來像是一種解釋，那就是做夢者的力量集中於自己的第二注意力上，使他們變成了活生生的彈弓。做夢者越強大，越完美無缺，他們就能將第二注意力投射到未知〔的世界〕越遠，而且他們做夢投射持續的時間也越久。

唐望說，我與蘇麗卡的旅行不是幻覺，我和她所做的一切都是朝向第二注意力的控制所邁出的一步。換句話說，蘇麗卡正在教我另一個領域的感知偏好。

然而，他無法解釋這些旅程的確實性質；或者他也許不想為自己說的負責。他說，如果他試圖用第一注意力的感知偏好來解釋第二注意力的感知偏好，他只會讓自己絕望地困在言語中。他要我去得出自己的結論，而我越是去思索這整件事，我就越清楚他的遲疑（不想講）是有作用的。

針對第二注意力的引導期間，在蘇麗卡的指導下，我對奧秘進行了實際的探訪，這些奧秘當然超出了我的理性範圍，但顯然是在我完整意識的可能性之內。我學會了探索驅入一些難以理解的〔境地〕，最終就像艾密力圖和璜‧吐馬一樣，擁有了自己的永恆故事。

《老鷹的贈予》pp. 300-301，重譯

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.

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.

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.

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.

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.