《老鷹的贈予》是唐望故事系列十本中,僅次於《做夢的藝術》談論「做夢」最多的一本。
我個人以為行者的做夢記錄非常有參考價值,有助瞭解自己的相關經驗。這就跟閱讀成就者內傳和密傳一樣(按:外傳主要講人生事蹟,內傳則著重修證過程,密傳才會披露覺受和證量),所以有上師親自指導是最好,其他就要靠參考文獻,否則很難修學,常落入自以為是。
以下是卡氏的初期做夢經驗,都核對原文校對過了。我盡量在括弧內加上我的註解。要看夢記錄貼文及討論請見「做夢的藝術」臉書社團:
https://www.facebook.com/groups/1021010494631160/
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卡氏夢修初期經驗
我敍述我認為是我真正「做夢」的事件,唐望告訴過我,強調細節根本不是重點。他給了我一個準則:如果我有三次同樣的境相,我就要特別加以注意;否則,新手的嘗試都只是建立第二注意力的踏腳石而已。
【三次同樣境相(vision),也許講的是出體徵兆,或某個做夢位置(經常從那裡開始清明)。唐望巫士每個都有自己的引導物,拉葛達練習做夢都會先看到一隻眼睛。】
有一次我夢到我醒來並跳下了床,卻發現我自己仍然睡在床上。我看著睡著的自己,有足夠的自制記得我是在「做夢」。於是我遵照唐望給我的指示:避免突發的驚動或驚奇(surprise),對一切都不完全相信。
【做夢當中絕對不能太多情緒,情緒很耗能,應該像個冷血觀察者,即便看到什麼神佛或妖魔,都盡量不為所動。】
唐望說,「做夢者」必須以不動情緒的實驗態度來涉入。與其觀察自己睡覺的身體,「做夢者」應該走出房間之外。
我費了最大的力氣來走路。我需要用某種形式的注意力來維持住我的境相範圍,以免它分解成普通夢的短暫影像。我沒有像在日常生活中的機制來安排我的感知。一切都在面前,我無法建立一個適當的篩選程序(按:意指建立一個視覺輪廓次序)。
【做夢是一項技能:使用做夢體來感知的能力,因此初次體驗,所見景象不易聚焦,感覺跟自己有很強烈的拉扯。我有個初期出體的記錄可以另文提供參考。】
幾個月後,當我又在夢中看著我睡著的身體時,我已經有一套例行事務要做。在我規律的「做夢」的過程中,我瞭解到在那種狀態真正重要的是意志力,物質肉身是無關緊要的,它只是拖累「做夢者」的一個回憶罷了。
【這點在《力量的傳奇》有講過,到底是誰夢到誰?也許分身才是主角,它夢到肉身。就像是《駭客任務》「醒來」後才知道自己是泡在浴缸作著人生夢。】
這次我毫不猶豫地滑出房間,因為我不需要去開門或走路就可以移動。
【既然是能量體,就不需要遵從物理世界的慣性定律。】
然後,很偶然的,我瞭解到如果我不盯著東西看,而只要瞥視,就像我們在日常世界的作法,我就可以安排我的感知。換句話說,如果我一絲不茍地遵從唐望的指示,把我的「做夢」視為理所當然,我就可以使用到我日常生活的知覺形式。經過了一會兒,景象變成即便不完全熟悉也是可以控制的。
【唐望做夢訓練前期要把日常感知帶入做夢,所以我的練習包括背背1百字明咒或九九乘法表,開玩笑。日常感知也代表一種日常理性,控制即屬於理性的一部分。】
(《老鷹的贈予》pp. 68-70)
I related to them the events of what I considered my true dreaming. Don Juan had told me that there was no point in emphasizing the trials. He gave me a rule of thumb. If I should have the same vision three times, he said, I had to pay extraordinary attention to it. Otherwise, a neophyte's attempts were merely a stepping stone to building the second attention.
I dreamed once that I woke up and jumped out of bed only to be confronted by myself still sleeping in bed. I watched myself asleep, and had the self-control to remember that I was dreaming. I followed then the directions don Juan had given me, which were to avoid sudden jolts or surprises, and to take everything with a grain of salt.
The dreamer has to get involved, don Juan had said, in dispassionate experimentations. Rather than examining his sleeping body, the dreamer walks out of the room.
I made a supreme effort to walk. Some form of attentiveness was required to maintain the bounds of my vision; to prevent it from disintegrating into the fleeting images of an ordinary dream. I had no mechanism, as in ordinary life, to arrange my perception. Everything was there in the foreground and I had no volition to construct an adequate screening procedure.
Months later, when I again found myself in a dream looking at my sleeping body, I already had a repertoire of things to do. In the course of my regular dreaming I had learned that what matters in that state was volition. The corporeality of the body has no significance: It is simply a memory that slows down the dreamer.
I glided out of the room without hesitation, since I did not have to act out the motions of opening a door or walking in order to move.
And then, quite casually, I realized that if I did not stare at things, but only glanced at them just as we do in our daily world, I could arrange my perception. In other words, if I followed don Juan's suggestions to the letter, and took my dreaming for granted, I could use the perceptual biases of my everyday life. After a few moments the scenery became, if not completely familiar, controllable.