唐望故事—做夢篇 REVIEW

[SW]

「同時身處兩地」，對一個做夢者而言，確實偶爾會發生。比較常見的例子是：一邊身在夢中，一邊感知到床上的自己的動靜；或者在夢中瞬間睜開眼睛看見臥房的情景，然後又瞬間回到夢中。以上講的都是做夢（dreaming），即清明夢以上層級。

這種同時性，基本上也並非 both and，比較像是 either or，兩邊跳來跳去；附上英文的作用在於，文中確實也沒有提到 at the same time，而是 in two places at once。

末段 two separate single instants，確實是一個比較好的描述。這有點像一個夢的插播，插播有時候是完整的一個故事情節，但你說它是插在主體夢的哪個時段，有個先後次序，則很難說明白。

「唐望故事」做夢篇 REVIEW-11

「一個流暢的戰士不能再按時間順序排列世界，」唐望解釋，「對他而言，世界和他自己不再是物體，他是一個明晰（luminous）生物，存在於一個明晰世界中。分身對巫士而言是件單純的事，因為他知道自己在做什麼。」
"A fluid warrior can no longer make the world chronological," don Juan explained. "And for him, the world and he are no longer objects. He's a luminous being existing in a luminous world. The double is a simple affair for a sorcerer because he knows what he's doing. "

「一個看著巫士的旁觀者，能看出他同時身處二地嗎？」我問唐望。•
"Can an outsider looking at a sorcerer see that he is in two places at once?" I asked don Juan.

「當然可以，那是唯一知道分身的方式。」
"Certainly. That would be the only way to know it."

「但從邏輯上講，難道不能假設巫士也注意到他身處二地嗎？」
"But can't one logically assume that the sorcerer would also notice that he has been in two places?"

「啊哈！」唐望驚呼道，「這次你答對了。巫士肯定會在事後注意到他同時身處二地，但這只是事後諸葛，與他在行動時沒有雙重性的事實無關。」
"Aha!" don Juan exclaimed. "For once you've got it right. A sorcerer may certainly notice afterwards that he has been in two places at once. But this is only bookkeeping, and has no bearing on the fact that while he's acting he has no notion of his duality."

「想想看，」他繼續說，「這世界並不是直接發生在我們眼前，對世界的描述橫在中間。所以正確地說，我們總是慢了一步，我們對世界的經驗總是對經驗的回憶，我們不斷回憶著剛剛發生、剛剛過去的瞬間，我們回憶著、回憶著、回憶著。」
"Think of this," he went on. "The world doesn't yield to us directly, the description of the world stands in between. So, properly speaking, we are always one step removed, and our experience of the world is always a recollection of the experience. We are perennially recollecting the instant that has just happened; just passed. We recollect, recollect, recollect."

「如果我們對世界的整個經驗都是回憶，那麼推斷一個巫士能同時身處二地就不是那麼奇怪了。從巫士自己感知的觀點來看，情況則並非如此，因為要體驗這個世界，一個巫士，和其他人一樣，也必須去回憶：他剛剛才從事的行動、他剛剛才目睹的事件、他剛剛才活過的經驗。在他的覺知中，只有一個回憶。但對於看著這個巫士的旁觀者而言，看起來似乎這個巫士正同時演出兩套劇本。然而，這個巫士回憶出兩種單獨的瞬間，因為時間描述的膠水已不再能束縛（黏住）他了。」
"If our entire experience of the world is recollection, then it's not so outlandish to conclude that a sorcerer can be in two places at once. This is not the case from the point of view of his own perception because in order to experience the world, a sorcerer, like every other man, has to recollect: the act he has just performed, the event he has just witnessed, the experience he has just lived. In his awareness there is only a single recollection. But for an outsider looking at the sorcerer, it may appear as if the sorcerer is acting two different episodes at once. The sorcerer, however, recollects two separate single instants because the glue of the description of time is no longer binding him."

（《力量的傳奇》pp. 68-69）

[SW]

在《力量的傳奇》中，唐哲那羅講述了三次看到睡覺的自己的經驗。這部分的內容呼應於「做夢的藝術」第三關。前面所述的「身處二地」主要講的是：正睡覺的身體，以及轉為做夢體（能量體、意生身）的自己；若你的神識在這兩種容器中跳換，就會經歷到「身處二地」。

第三關的開始，你必須看到自己在床上睡覺。這已經屬於「直接出體」的範疇了，因此不算是一個（有很多情節與角色的）夢，你如同醒時的意識在經歷這一切，當然你也可以透過背誦一些內容
來確認自己的智力是否與醒時相同，而這種理智是你成為能量體的必要條件。
唐望故事中，有許多似是而非的描述。例如，一邊說要看到睡覺的自己（卡氏因此頻換睡衣），一邊又說真正看到睡覺的自己的是一個死掉的巫士（見 EP10）。（以下故事，那些人並「沒有」看到唐哲那羅睡在路邊。）

按我的理解，當你是做夢體時，不能保證自己的肉體一定在睡覺的床上。就像一個古老的謎語：「當森林中一棵樹倒下時，若無人在場，請問它會發出聲音嗎？」若沒有人在觀察你睡覺（譬如錄音錄影或家人），你能保證你出體時，有個身體被你留在床上嗎？很難講吧，所以唐望嚴禁對做夢者睡覺的身體錄影，原因即在此。這跟量子力學有異曲同工之妙。

「唐望故事」做夢篇 REVIEW-12

「哲那羅準備要告訴你做夢者與被夢見的。」唐望說。

「如你所知道，」唐哲那羅說，「分身始於做夢。分身就是一個夢。」
（唐哲那羅做出要小便的動作，但做夢體無法小便。）

「你的意思是他（分身）不是真的？」我問（哲那羅）。

「不是，我是說他（分身）是一個夢。」他回答說。

唐望插嘴解釋說，唐哲那羅指的是我們第一次意識到我們是明晰體（luminous beings，直翻是「發光的存有」，指的是明晰球體、能量體）。

「我們每個人都不一樣，因此我們的努力的細節也不同，」唐望說，「但是我們到達分身所遵循的步驟卻是相同的，特別是在開始階段，都是混亂而不確定的。」

唐哲那羅表示同意，並對巫士在那個階段所遭遇的不確定性有所評論。

「當它第一次發生在我身上時，我不知道它發生了，」他解釋。「有一天我在山上採草藥，我進到了其他採藥者工作的地盤。我已經採了兩大袋植物，正準備要回家，但我決定先休息片刻。

於是我躺在小路旁的樹蔭下睡著了。然後我聽見有人從坡上下來的聲音，便醒了過來。我立刻尋找掩護，躲在我睡著的路對面不遠的矮樹叢後面。當我躲在那裏時，老是覺得好像忘了什麼東西。我看看是否拿了那兩袋植物，但並沒有。

我看著路對面我睡覺的地方，差點兒沒把褲子嚇掉。我仍然在那兒睡覺！那是我！我摸了摸我的身體，那是我自己！

那個時候，從山上下來的人走到那個睡覺的我那裡，而這個 完全清醒的我只能在藏身之處無助地看著。該死的！他們會發覺我在那裡，然後拿走我的草藥。但是他們走過我，就好像我根本不在那裏。」

「我看到的是如此真實，以致於我快瘋了。我尖叫著，然後我就醒了。該死的！它是一個夢！」

「我在路邊醒來，」唐哲那羅說，「就是我睡著的地方。但有那麼一會兒我不太清楚我到底在哪裡。我幾乎可以說是還在看著自己醒來，然後有什麼東西把我拉到路邊，我發現自己正揉著眼睛〔醒來〕。」

唐哲那羅說他愣了一下，然後去檢查每件事。

「我藏身的地方正是我所看到的，」他說，「從我身邊走過的人就在不遠的路上。我知道這一點，是因為我跟在他們後面跑下山。他們就是我看到的那些人。我一直跟著他們走到鎮上。他們一定以為我瘋了。我問他們是否看到我的朋友睡在路邊，他們都說沒有。」

《力量的傳奇》pp. 85-87

"Genaro is going to tell you about the dreamer and the dreamed," don Juan said.

"As you know, Carlitos," don Genaro said , "the double begins in dreaming. The double is a dream."

"Do you mean that he's not real?" I asked.

"No. I mean that he is a dream," he retorted.

Don Juan intervened and explained that don Genaro was referring to the first emergence of the awareness that we are luminous beings.

"Each one of us is different, and thus the details of our struggles are different," don Juan said. "The steps that we follow to arrive at the double are the same, though. Especially the beginning steps- which are muddled and uncertain."

Don Genaro agreed and made a comment on the uncertainty that a sorcerer had at that stage.

"When it first happened to me, I didn't know it had happened," he explained. "One day I had been picking plants in the mountains. I had gone into a place that was worked by other herb collectors. I had two huge sacks of plants. I was ready to go home, but before I did I decided to take a moment's rest.

"I lay down on the side of the trail in the shade of a tree and I fell asleep. I heard then the sound of people coming down the hill and woke up. I hurriedly ran for cover and hid behind some bushes a short distance across the road from where I had fallen asleep. While I hid there I had the nagging impression I had forgotten something. I looked to see if I had my two sacks of plants. I didn't have them.

"I looked across the road to the place where I had been sleeping and I nearly dropped my pants with fright. I was still there asleep! It was me! I touched my body. I was myself!

"By that time the people that were coming down the hill were upon the me that was asleep, while the me that was fully awake looked helplessly from my hiding place. Darn it! They were going to find me there and take my sacks away. But they went by me as if I were not there at all.

"My vision had been so vivid that I went wild. I screamed and then I woke up again. Darn it! It had been a dream!"

"I woke up by the road," don Genaro said, "where I had fallen asleep. But for one moment I didn't quite know where I really was. I can almost say that I was still looking at myself waking up, then something pulled me to the side of the road and I found myself rubbing my eyes."

Don Genaro said that he was stunned for a moment and then went to check everything.

"The place where I had hid was there exactly as I had seen it," he said. "And the people who had walked by me were down the road a short distance away. I know it because I ran downhill after them. They were the same people I had seen. I followed them until they got to town. They must have thought I was mad. I asked them if they had seen my friend sleeping by the side of the road. They all said they hadn't."

[SW]

繼續討論分身。在唐哲那羅的第二次經驗中，他見到自己睡在床上，驚慌中最後他在外面醒過來。

這表示幾件事：
1. 他看到睡覺的自己並非真正自己的肉體。
2. 實際上他的做夢體已經跟肉體結合，乃至於他在別處醒過來。
3. 這就是分身的意思。

如果我們以神識所存在的那個身體為載具：平常醒時，載具是血肉之軀；平常夢時，載具是做夢體，一種能量幻化的意生身。透過做夢練習讓能量體完整，巫士做夢後期，載具是以能量體為主再加上肉體的（質能轉換的）能量。

光學上有所謂的波粒二元性，視情況而顯現不同特性（例如光可以在真空中傳遞，這時表現為波動性；光可以相互撞擊和干涉，這時表現為粒子性）。無論是光波還是光子，都是光，只是表現（顯現）不同屬性。

同理，不論是能量體還是肉體，都是載具而已。端賴神識目前使用哪一個，另一個就會屬性不明顯或被合併使用（例如「做夢」是能量體合併肉體，「潛獵」是肉體合併能量體，總之使這兩者的對立性消失）（所以能量體又稱 the other，又因是肉體的兩倍大故稱 the double）。

若神識稱為魂，我們所看見在睡覺的那個，很有可能是所謂魄的部分。聽說人死後，會留下魄，我們夢見的亡者，不一定是他來託夢之類的，而很可能是殘留下來的魄所引發的夢。一些通靈者所通的，根本很可能只是魄而已。這題外話了。

最後唐哲那羅的「恩人」（第二順位指導教授）說，不用去探究這種（肉體與能量體）二元性了，下次再出現這種（看見自己在床上睡覺）機會，要趕快去進行其他（做夢各關）任務的訓練。


「唐望故事」做夢篇 REVIEW-13

「幾個月後的某天，我在勞累了一整天之後，就像午後的木頭一樣睡著了。才剛開始下雨，屋頂漏水就把我吵醒了。我跳下床爬上屋頂，在水灌進來前補好漏水。我感覺非常強壯有力，不到一分鐘便完成，甚至沒有被淋濕，我想那個午覺對我很有助益。

當我弄好後，我回到屋裏想找點東西吃，但我發現我不能吞嚥。我以為我生病了，就搗了一些根和葉子敷在脖子上，然後上床去。

當我回到床上時，差點沒把褲子嚇掉：我就在床上睡覺！我想把自己搖醒，但我知道這不是我們應該做的事。於是我跑出屋子，我驚慌失措、漫無目的地在山中亂晃。我不知道自己要去哪裡，雖然我在那裡住了一輩子，但我迷路了。我在雨中走著，甚至感覺不到雨水。我似乎無法思考，然後閃電與雷聲變得如此強烈，以致於我再次醒來。」

「你想知道我在什麼地方醒來嗎？」他問我。

「我在山上的雨中醒來。」他說。

唐望插嘴說，「你自己明白，戰士內在有某種能力總是覺察一切變化。戰士行徑正是以培養和保持這種覺察為目的。戰士清理它，擦亮它，讓它保持運作。」
他說得對，我不得不向他們承認，我知道我內在有什麼東西記下並覺察我所做的一切，然而它與我自己的普通意識毫無關係。我無法確定這是什麼東西。我告訴他們，也許唐哲那羅比我更能描述它。

「你做得很好，」唐哲那羅說，「它是一種內在的聲音，告訴你什麼是什麼。當時它告訴我這已經是我第二次醒來。當然，一醒來我就確定我一定是在作夢。顯然它不是一個普通的夢，但也不是真正的「做夢」（dreaming），所以我想也許是別的：半睡半醒的夢遊。除此，我不知還有什麼其他解釋。」

唐哲那羅說，他的恩人向他解釋過，他所經歷的根本不是夢，他不應該堅持認為那是夢遊。

「我的恩人解釋說，一個人看見自己在睡覺的那種夢，」唐哲那羅繼續說，「就是分身〔出現〕的時候。他建議我，與其浪費自己的力量於思索和自我詰問，不如利用這個機會去行動；當我有下一次機會時，應該要先準備好。」

《力量的傳奇》pp. 88-90

"One day, a few months later, after a terribly tiring day, I fell asleep like a log in mid-afternoon. It had just started to rain and a leak in the roof woke me up. I jumped out of bed and climbed on top of the house to fix the leak before it began to pour. I felt so fine and strong that I finished in one minute and I didn't even get wet. I thought that the snooze I had taken had done me a lot of good.

"When I was through I went back into the house to get something to eat and I realized that I could not swallow. I thought I was sick. I mashed some roots and leaves, and wrapped them around my neck, and went to my bed.

"And then again when I got to my bed I nearly dropped my pants. I was there in bed asleep! I wanted to shake myself and wake me up, but I knew that that was not the thing one should do. So I ran out of the house. I was panic-stricken. I roamed around the hills aimlessly. I had no idea where I was going, and although I had lived all my life there I got lost. I walked in the rain and didn't even feel it. It seemed that I couldn't think. Then the lightning and thunder became so intense that I woke up again."

"Do you want to know where I woke up?" he asked me.

"I woke up in the hills in the rain," he said.

don Juan interjected, "You yourself know that something in the warrior is always aware of every change. It is precisely the aim of the warrior's way to foster and maintain that awareness. The warrior cleans it, shines it, and keeps it running."
He was right. I had to admit to them that I knew that there was something in me that registered and was aware of everything I did. And yet it had nothing to do with the ordinary awareness of myself. It was something else which I could not pin down. I told them that perhaps don Genaro could describe it better than I.

"You're doing very well yourself," don Genaro said. "It's an inner voice that tells you what's what. And at that time it told me that I had woken up a second time. Of course, as soon as I woke up I became convinced that I must have been dreaming. Obviously it had not been an ordinary dream, but it hadn't been dreaming proper either. So I settled for something else; walking in my sleep, half awake, I suppose. I could not understand it in any other way."

Don Genaro said that his benefactor had explained to him that what he had gone through was not a dream at all, and that he should not insist on regarding it as walking in his sleep.

"My benefactor explained that the dream in which one was watching oneself asleep," don Genaro went on, "was the time of the double. He recommended that rather than wasting my power in wondering and asking myself questions, I should use the opportunity to act; and that when I had another chance I should be prepared."

[SW]

接續半年前的連載，當時摘到唐哲那羅兩次看到自己在睡覺的經驗，這是第三次。

我們會問，除了後來唐哲那羅將做夢體練就與本人無二無別的分身，並以分身與卡氏交往，在這之前，他「靈魂出體」在現實世界時，可否被目擊到？這裡提到他的「副指導教授」（他們稱「恩人」）看到他是一團光輝或光暈（glow）。

這個光暈，在《戰士旅行者》當中有說明：

明點與五色光圈
the assemblage point and its surrounding glow

宙中所有生物都與「黑暗的意識海洋」有所聯繫，聯繫點是一個明亮的圓點，在生物的能量體上清晰可見。古墨西哥巫士把那個明亮的圓點稱爲「聚合點」。
「黑暗的意識海洋」有億兆萬條宇宙的能量場明晰纖維聚集與穿過人類的「聚合點」，被轉變為感官資訊，然後被詮釋與知覺，這種轉變，稱之爲「意識的光芒」，這是一層環繞著「聚合點」的光圈。（p. 172）

在《做夢的藝術》中則提到以下這段：

聚合點是一個亮點，被一個光環圍繞著。唐望說，看見無數的有知覺的能量纖維穿過了聚合點，古代的巫士假設在穿過時它們被聚合了，被那光環所結合；看見那光環在失去知覺的人或將死的人身上會變得很黯淡；而在屍體上則完全沒有，他們便相信那光輝就是意識。（p. 22）

因此「看見者」自當會看到出體者的意識之光。而多半意識離開身體（出體夢）後，我們的身體便幾乎是個空殼子（屬於失去知覺者，意識之光黯淡），雖然還能呼呼作聲，道家「出陰神」大概也是這個意思吧？如果出的是「分身」應該是「出陽神」無誤囉？

「唐望故事」做夢篇 REVIEW-14

我的下一次機會發生在我恩人的家裡。我正在幫他做家務，然後躺下來休息，如往常一樣睡得很熟。

我突然被一聲巨響驚醒，那聲音似乎是在礫石地用鏟子挖掘的聲音。我坐起來聽，然後站起來。

我正盤算是否該去察看時，發現自己睡在地板上。這次我知道該做什麼，我跟著聲音走，最後走到很遠的地方，目睹到不可思議的事情。」

他解釋說，當時他仍是門徒生涯的開始階段，在「做夢」方面修得很少，但是他具有夢中看到〔睡覺的〕自己的特殊能力。

「那是我第一次在做夢中行動，」他說，「我瞭解得夠多，可以正確行事。我沒有直接看向任何東西，最後我來到一個深谷，我的恩人在那裡種了許多力量植物。」

「你是否認為一個人對做夢知道得越少效果越好？」我問。

「不！」唐望插嘴道，「我們每個人都擁有某項特殊專長，哲那羅的專長是做夢。」

「你在那深谷中看到了什麼，唐哲那羅？」我問。

「我看見我的恩人正跟一群人進行某種困難的演練。我以為我是來幫他忙的，於是我躲在樹後。但我不知道要如何幫忙，不過我並不笨，隨後瞭解到這一幕是讓我看的，並非要我參與。」

「你在什麼時候、什麼地方，又是怎麼醒來的？」

「我不知道我什麼時候醒的，一定是好幾小時後。我只知道我跟著我的恩人和其他人，當他們快要回到我恩人家時，他們爭論的聲音吵醒了我，我就在我看見自己睡覺的地方。」

「一醒來，我明白我所見所為都不是夢，我真的被那聲音帶到一段距離遠的地方。」

「你的恩人知道你在幹什麼嗎？」

「當然，他一直用鏟子製造出聲音來幫我完成任務。當他走進屋子時，假裝責備我在睡覺。我知道他看到了我。不久，他的朋友離開後，他告訴我說他注意到我的光輝躲藏在樹後。」

唐哲那羅說，這三個例子使他走了做夢的修道，而他花了15年才有下一次的機會。

《力量的傳奇》pp. 90-92，重譯

"My next chance took place at my benefactor's house. I was helping him with the housework. I had lain down to rest and as usual I fell sound asleep.
I was suddenly aroused by a loud noise and awakened. The noise seemed to be the sound of a shovel digging in gravel. I sat up to listen and then I stood up.
I was pondering whether to go and check it out when I noticed that I was asleep on the floor. This time I knew what to expect and what to do; and I followed the noise. I ended up at a distant place, witnessing incredible things."
He explained that at the time of those events he still was in the beginning stages of his apprenticeship and had done very little in the realm of 'dreaming', but that he had an uncanny facility to dream that he was looking at himself.
"That was the first time that I had really moved in dreaming" he said. "I knew enough about it to behave correctly, though. I didn't look at anything directly and ended up in a deep ravine where my benefactor had some of his power plants."
"Do you think it works better if one knows very little about dreaming?" I asked.
"No!" don Juan interjected. "Each of us has a facility for something in particular. Genaro's knack is for dreaming."
"What did you see in the ravine, don Genaro?" I asked.
"I saw my benefactor doing some dangerous maneuvers with people. I thought I was there to help him and hid behind some trees. Yet I couldn't have known how to help. I was not dumb though, and I realized that the scene was there for me to watch; not to act in."
"When and how and where did you wake up?"
" I don't know when I woke up. It must have been hours later. All I know is that I followed my benefactor and the other men. And when they were about to reach my benefactor's house, the noise that they made, because they were arguing, woke me up. I was at the place where I had seen myself asleep.
"Upon waking up, I realized that whatever I had seen and done was not a dream. I had actually gone some distance away guided by the sound."
"Was your benefactor aware of what you were doing?"
"Certainly. He had been making the noise with the shovel to help me accomplish my task. When he walked into the house he pretended to scold me for falling asleep. I knew that he had seen me. Later on, after his friends had left, he told me that he had noticed my glow hiding behind the trees."
Don Genaro said that those three instances set him off on the path of 'dreaming', and that it took him fifteen years to have his next chance.

[SW]

這次是唐哲那羅的第四次做夢經驗，也就是他所說的相距十四年後。以他當時的程度，他自然已經練就出分身，正如唐望所解釋：「當一個戰士達成了做夢與看見，並發展出一個分身時，他一定也成功抹去了個人歷史、自我重要感及〔生活中的〕習氣。」（《力量的傳奇》p. 68）

先講習氣，我們記錄夢雖然有諸多夢的類型的分類，但主要目的是要依南開師建議的，先將夢分為業力夢和明性夢：前者即反映我們習氣或者「多包含過去或過去生影像的夢生起，代表這些夢被業力軌跡影響過甚」（南開師 Milam: The Dream Practice, p. 10）；明性夢則涉及行者當前的修行，或對未來有些提示和建議等。

普通夢由於不具清明之心智，所以記憶力與認知力都自成一格，沒有什麼邏輯性，有時候甚至夢中有夢中的記憶，也還會有延續的夢（夢中想起夢中的記憶）。我個人是認為研究普通夢是浪費時間，還不如看看明性夢有沒有提供一些有價值的訊息。

至於以下唐哲那羅的第四次做夢經驗，他不僅看到自己不在原位置睡覺，醒後也發現他夢中所見睡覺的自己在現實世界留下痕跡。但重要的一點是，不要弄醒所看見的睡覺的自己，唐望說：「發現自己與自己的分身面對面的巫士，是一個死的巫士。這是規則，這是力量的設計，沒人知道為什麼。」（p. 68）

以下兩則引述，一個是孟羅的反饋，當他接近另一時空的自己時阻力：

(1) 接觸另個自己的阻力
AA 是 Monroe 其它時空的自己，他有幾次出體遇到 AA：
‧我到了林邊開始向裡走，我碰到一層籬障，我被反彈到草地上。那熟悉的身分識別，但我又無法辨別的那人在籬障的後面。
‧在那小房子裡，有一個男人躺在床上。我感覺的那分阻力好像是從他身上來的。是AA，我非常確定。那阻力非常強，我開始振動。
（《靈魂出體》pp. 328, 369）

(2) 不玩弄自己的睡眠身體
有一次我做夢看見我醒來，跳下了床，卻發現我仍然睡在床上。我注視著熟睡的自己，有足夠的自制記得我是在做夢。我遵照唐望給我的指示：避免突然的驚動，對一切都淺嘗即止。唐望說，做夢者必須以不動情緒的實驗態度來進行。做夢者不應該觀察自己的睡眠身體，而應該走出房間。（《老鷹的贈予》p. 68）

「唐望故事」做夢篇 REVIEW-15

「第四次是更為怪異與完整的經驗，」他說，「我發現自己睡在一處田地中央，我看見自己朝一側熟睡著。我知道這是做夢，因為當時每晚我都計畫練習做夢。

「通常，每次看到睡著的自己，都是在入睡的地方，而這次我不在我床上，但我知道那晚我有上床睡覺。在這次做夢中，時間是白天。

「於是我開始探險。我離開了我躺著的地方，自己找方向。我知道我在哪裡，事實上離我家不遠，也許只有幾英哩，我四處走動察看每一個細節。我站在就近一棵大樹的樹蔭下，眺望越過一片平坦土地山坡上的玉米田。

「那時相當不尋常的情況令我震驚：周遭景物的細節無論我注視多久，都沒有改變或消失。我嚇壞了，跑回〔看到〕我睡覺的地方，我還在那裡，和之前一樣。我開始注視我〔睡覺的〕自己，對這個身體產生了一種詭異的冷漠感。

「然後我聽到有人接近的聲音，似乎總是有人在我附近。我跑到前面一個小山，從那裡仔細觀察，有十個人正走向我所在的田地，他們都是年輕人。

「我跑回我躺著的地方，面對躺在那裡像豬一樣打鼾的自己，真是我這輩子最痛苦的時刻之一。我知道我必須弄醒自己，但我不知道該如何做；我也知道弄醒自己會有致命的後果。但如果那些年輕人發現我在那裡，他們會非常生氣。

「所有那些在我腦海浮現的思慮都不是真正的想法，更像是在眼前的場景。比如，我擔心的是一個場景：我看著自己，同時我有被困在裡面的感覺。這就是我所說的擔憂，這是我第一次，之後還發生過好幾次。」

「好吧，既然我不知道該怎麼辦，我只好站在那裡看著我自己，等待最糟的情況。一堆轉瞬即逝的影像在我眼前掠過，我特意抓住其中一個，是我的屋子和我的床的畫面。影像變得十分清晰。啊，我多麼希望回到床上！

「這時有什麼東西搖我，感覺像是有人在打我，然後我就醒了。我是在我的床上！顯然，我剛才一直在做夢。我跳下床，跑到我做夢的地方，正是我所看到的。有年輕人正在那裡工作。我觀察了許久，他們就是我所看到的同一群人。

「那天稍晚所有的人都走了，我回到相同的地方，站在我看到自己睡覺的位置。有人曾躺在那裏，草都被壓平了。」

（《力量的傳奇》pp. 92-93，重譯）

"The fourth time was a more bizarre and a more complete vision," he said. "I found myself asleep in the middle of a cultivated field. I saw myself lying there on my side sound asleep. I knew that it was dreaming because I had set myself to do dreaming every night.
"Usually, every time I had seen myself asleep, I was at the site where I had gone to sleep. This time I was not in my bed, and I knew I had gone to bed that night. In this dreaming it was daytime.
"So, I began to explore. I moved away from the place where I was lying and oriented myself. I knew where I was. I was actually not too far from my house; perhaps a couple of miles away. I walked around looking at every detail of the place. I stood in the shade of a big tree a short distance away and peered across a flat strip of land to some corn fields on the side of a hill.
"Something quite unusual struck me then. The details of the surroundings did not change or vanish no matter how long I peered at them. I got scared and ran back to where I was sleeping. I was still there exactly as I had been before. I began to watch myself. I had an eerie feeling of indifference towards the body I was watching.
"Then I heard the sound of people approaching. People always seemed to be around for me. I ran up ahead to a small hill and carefully watched from there. There were ten people coming to the field where I was. They were all young men.
"I ran back to where I was lying, and went through one of the most agonizing times of my life while I faced myself lying there snoring like a pig. I knew that I had to awaken me, but I had no idea how. I also knew that it was deadly for me to awaken myself. But if those young men were to find me there they were going to be very upset.
"All those deliberations that were going through my mind were not really thoughts. They were more appropriately scenes in front of my eyes. My worrying, for instance, was a scene in which I looked at myself while I had the sensation of being boxed in. I call that worrying. It has happened to me a number of times after that first time.
"Well, since I didn't know what to do, I stood looking at myself,and waited for the worst. A bunch of fleeting images went past me in front of my eyes. I hung on to one in particular; the sight of my house and my bed. The image became very clear. Oh, how I wished to be back in my bed!
"Something shook me then. It felt like someone was hitting me and I woke up. I was on my bed! Obviously, I had been dreaming. I jumped out of bed, and ran to the place of my dreaming. It was exactly as I had seen it. The young men were working there. I watched them for a long time. They were the same ones I had seen.
"I came back to the same place at the end of the day after everybody had gone, and stood at the very spot where I had seen myself asleep. Someone had lain there. The weeds were crumpled."

[SW]

這一篇是由橫跨四頁的描述精簡而成。卡氏先是經歷到許多跳出視窗，然後選定一個有唐望和唐哲那羅的畫面；繼而在半夢半醒間覺察到兩個視窗選項，他可以選擇一個地方去；最後他選擇回到一開始在唐望家裡的前院，並在那裡醒過來。

這篇的重點在於，他入睡在唐望家前院（A），他原本可以選擇在「力量之處」（B）醒來，如果是這樣，那就是連物質肉身一起搬到（B）那裡去醒來，而不只是做夢體的場景選擇。

這涉及一項很重要的技巧，也是唐望傳承的畢業式。話說唐望和同儕一行十六人最後化為意識火焰離世時，準畢業生門徒，要從懸崖一躍而下。門徒必須要在落到谷底前，成功移動聚合點並消融肉身，然後在另處恢復人身醒來。卡氏就是這樣在墨西哥跳入一個深谷，結果回到美國洛杉磯的小公寓。

這技術太高了，姑且不論，不過選擇視窗的事情，我們倒是可能有所體驗。或至少關於「改變視角」（從客觀視角改成主觀視角）我們可以練習，也就是從在夢場景之外，進到夢場景當中：前者你不在夢裡，後者你進到夢裡。這在《老鷹的贈予》p. 157「 做夢四階段」中有提過，也就是第三和第四階段。

「唐望故事」做夢篇 REVIEW-16

我感覺我在一個夢中，但我有一種完全連貫的時間感。我清楚知道剛才與唐哲那羅及唐望一起在唐望家的前院。

我看到的景象不斷變化。在某個時候，我注意到有一個畫面不斷重複：唐望與唐哲那羅，他們想要找到我。我意識到我刻意將它從其他無數的畫面中隔離出來。我所隔離的是唐望及唐哲那羅在唐望的前院的畫面，他們正抓著我的腋下。

我確信我在做夢：如果我把目光集中在任何東西上，它立即就會變得模糊。然後唐望把我的身體轉過來，指著地上一團東西， 那是一個躺在地上的人。我慢慢意識到那個躺在地上的人就是我。那時我並沒有完全睡著，但我也沒有完全醒來、處在神智清醒的狀態。

唐望說我們要去灌木叢中那塊圓形的力量之處，他一說，那地方的影像便浮現在我腦海。那一刻變得很奇特，我的腦海裡有兩個畫面、兩個夢：我發現自己躺在唐望家前院的地上，而唐望及唐哲那羅正在搖我；但我同時也在力量之處，唐望與唐哲那羅一樣在搖我。

在此緊要關頭，我既不在一處，也不在另一處，反倒如同觀察者同時在兩個地方看著兩個場景。在那一剎那我有一種難以置信的感覺，我可以去隨便去到哪一個，只需要改變我的觀看角度：與其從外在看著任一場景，不如轉成主體的角度即可。

唐望的前院讓我感覺十分溫暖，我更喜歡那個場景。接下來是一陣可怕的痙攣，震得我整個普通意識在一瞬間恢復過來。唐望與唐哲那羅正往我身上潑水，我是在唐望家的前院裡。

（《力量的傳奇》pp. 95-98，重譯）

I had the feeling I was in a dream, and yet I had a complete sense of sequential time. I was keenly aware that I had just been with don Genaro and don Juan in the ramada of don Juan's house.
The scenery I was watching changed constantly.
At one point I noticed that one image kept on repeating itself; don Juan and don Genaro- who were trying to reach me.
I consciously realized at one point that I was deliberately isolating it from among a myriad of other images.
I had isolated was that of don Juan and don Genaro in the ramada of don Juan's house, and they were holding me by the armpits.
I was certain that I was 'dreaming'. If I focused my eyes on anything, it immediately became blurry.
Don Juan then turned my body around and pointed to a lump on the ground. The lump was a man lying on the ground.
I had a slow awakening into the realization that the man lying on the ground was me.
At that moment I was not completely asleep, but neither was I completely awake and in sober consciousness.
Don Juan said that we were going to go to the round power place in the chaparral. As soon as he said it the image of the place popped in my mind.
I had then a unique moment. I held two images in my mind, two dreams.
I found myself lying on the floor of the ramada with don Juan and don Genaro shaking me. But I also was at the power place and don Juan and don Genaro were still shaking me.
There was one crucial instant in which I was neither in one place nor the other, but I was rather in both places as an observer seeing two scenes at once. I had the incredible sensation that at that instant I could have gone either way. All I had to do at that moment was to change perspective; and rather than watch either scene from the outside, feel it from the point of view of the subject.
There was something very warm about don Juan's house. I preferred that scene.
I next had a terrifying seizure so shocking that my entire ordinary awareness came back to me at once. Don Juan and don Genaro were pouring buckets of water on me. I was in the ramada of don Juan's house.

[SW]

有關唐望故事中所說的「分身」，主要是我們「物質身」的相對面，也就是比較空靈的能量部分。換言之，分身與物質身都是一種容器，容納我們的心識。當然以一種二元對立的方式有這兩者，當你修到不二時，無論是物質身或分身都變成能量體，那可能是某種「獨一」狀態吧。以下來自《巫士的穿越》解釋分身：

1. 非理性或能量性的另一面，巫士稱之為「分身」(the double)。分身是我們基本能量的容器。

2. 從出生後，人類的意願便把這兩部份拉開來。一部份朝外發展，成為肉體；另一部份朝內發展，成為分身。在死亡時，較重的部份，肉體，回歸為塵土，被大地所吸收；而較輕的部份，分身，就自由離去。但是很不幸的，由於分身從來沒有發展完滿，它只能體驗自由一剎那，然後就消散在宇宙中。如果我們死亡時沒有抹去我們錯誤的肉體與心靈雙重性，我們就會死於平常的死亡。

3. 肉體─心靈的雙重性是一種錯誤的分類。真實的分類是容納心靈的物質身體，與容納我們能量的空靈身體，或分身。當我們能在日常生活中使用我們的分身時，或者說當我們的肉體完全覺察到它在能量上的空靈相對部份時，我們就超越進入了抽象，一種完全不同的意識領域中。

尤其第二點聽起來真有點密法的味道。我感覺肉體與能量體（分身）不過是容器上分類，重要的是容器內的那個。以意識來講，就是普通心識，以及剎那覺性，或者說覺知（presence）與明覺（instant presence），當然容器也很重要。是不是裝明覺的主要容器是能量體（分身）？才說到是本覺夢到了我們自己，我們自己其實就是個夢？這值得好好地去實修實證。


「唐望故事」做夢篇 REVIEW-17

「哲那羅來看你，是要告訴你非常特別的事情，」唐望說，「當他從灌木叢中出來時，他是分身哲那羅。」

「昨晚的哲那羅是分身。正如我告訴過你的，分身擁有不可思議的力量。他要向你展示一個極其重要的課題，為了做到這一點，他必須觸碰你。他這分身不過是輕拍你的脖子，你很自然地就像道光般衝了出去。當然，你也像狗娘養的一樣放縱。我們花了好幾小時才把你逮住。你就這樣消耗了你的力量，等到你要完成一件戰士的絕技時，你就沒有足夠的力量了。」

「那個戰士的絕技是什麼？」

「我說過哲那羅是來向你展示什麼的，那就是：身為做夢者的明晰生物的奧秘。你想要知道分身，它開始於夢中。但接著你又問：什麼是分身？而我說分身就是自己這個我，這個我夢見分身。一旦它學會夢到分身，這個我便來到一個奇特的十字路口，尤其是當我們瞭解到其實是分身夢到這個我的時候。」

「昨晚的課程，正如我告訴你的，是關於做夢者與被夢見者，或者是誰夢見了誰。」
「昨晚，」唐望繼續說，「你差點選擇在力量之處醒來。」

「昨晚哲那羅帶領你經歷了分身的錯綜複雜，」唐望說下去，「只有他能對你做到這一點。當你看到自己躺在地上時，那不是個一個視像或幻影。倘若你沒有迷失於放縱中，你原本可以高度清晰地了悟到這一點，也就是：你原本可以知道你自己是一個夢；你的分身夢見了你，如同昨晚你夢見他一樣。（你的分身是以你昨晚夢到他的方式夢到你。）」

「但那怎麼可能呢，唐望？」

「沒人知道它是怎麼發生的，我們只知道它確實發生了。這就是我們身為明晰生物的奧秘。昨晚你作了兩個夢，你本可以在任何一個夢中醒來，但是你甚至沒有足夠的力量去瞭解這點。」

（《力量的傳奇》pp. 102-104，重譯）

"Genaro came to see you to tell you something very exclusive," he said. "When he came out of the bushes, he was Genaro the double."
"The Genaro of last night was the double. And as I told you already, the double has inconceivable power. He showed you a most important issue. In order to do that he had to touch you. The double simply tapped you on the neck. Naturally you went out like a light.
And naturally too, you indulged like a son of a bitch. It took us hours to round you up. Thus you dissipated your power; and when the time came for you to accomplish a warrior's feat you did not have enough sap."
"What was that warrior's feat, don Juan?"
"I told you that Genaro came to show you something; the mystery of luminous beings as dreamers. You wanted to know about the double. It begins in dreams. But then you asked, 'What is the double?' And I said the double is the self. The self dreams the double. Once it has learned to dream the double, the self arrives at this weird crossroad, and a moment comes when one realizes that it is the double who dreams the self."
"The lesson last night, as I told you, was about the dreamer and the dreamed; or who dreams whom."
"Last night," don Juan proceeded, "you almost chose to wake up at the power place."
"Last night Genaro guided you through the intricacies of the double," don Juan went on. "Only he can do that for you. And it was not a vision or a hallucination when you saw yourself lying on the ground. You could have realized that with infinite clarity if you had not gotten lost in your indulging. And you could have known then that you yourself are a dream; that your double is dreaming you in the same fashion that you dreamed him last night."
"But how can that be possible, don Juan?"
"No one knows how it happens. We only know that it does happen. That's the mystery of us as luminous beings. Last night you had two dreams and you could have awakened in either one, but you didn't have enough power even to understand that."

[SW]

藏文密續文本中常用到「釘」（Tib. gzer, zer）這個詞，表示重要的點。

下文亦提到 EP17 中唐哲那羅所示範的「釘」（重點課題），唐望繼續把它釘好。

我先補述本期所摘前面的部分，唐望的解釋：

唐望畫了一個圓形，其中有八個點及交叉的線條。這圖形有兩個中心，一個是理性，另一個意志或意願（will，後期改稱意願 intent）。理性那一點與另一點語言直接相連，通過語言，理性不直接地連接其他三點：感覺、做夢與看見。另一個中心意願則直接與感覺、做夢、看見相連，但卻是不直接地與理性、語言相連。
他說這些是在明晰生物纖維上的八個點，由圖形可以看出，人類首先是意願，因為意願直接與感覺、做夢及看見相連；其次，人類是理性，這個中心點要比意願稍小，只與語言相連。
每個人與生俱來都有八個點。理性及語言是所有人都熟悉的。感覺總是模糊而似曾相識。但只有在巫士世界中，一個人才能充分認識做夢、看見與意願。最後，他會遇到最後兩個點。這八個點造成他個人的完整（The eight points make the totality of oneself）。
（《力量的傳奇》pp. 123-124）

最近出版一本書叫《不實在的現實：演化如何隱藏真相，塑造我們的時空知覺》，「霍夫曼這本書就是要回答這個問題。他的結論是世界不在你心之外，所有世界上的東西都是因為有人觀察才存在。」（文：洪裕宏）。要理解空性，必須從這個基礎開始，而夢修是理解此點最好的練習場域。

提到個人完整性的問題，前面有講到心靈與身體是錯誤的二分法，真正的分法是能量體與身體。上期又講到，其實是分身夢見了我們，而唐望一脈傳承，所修無不是將肉體與能量體的界線打破，潛獵者將肉體練成能量體，做夢者將能量體練成肉體，其實修到最後，成就的是分身，而分身才是本尊：我們真正的自己。這點倒是跟密宗、密法的修練十分相像。


「唐望故事」做夢篇 REVIEW-18

「今天我必須要把哲那羅敲上的釘子釘好。我們是明晰生物（luminous beings），我們是感知者，我們是一種覺知（an awareness）。我們不是物體，我們沒有堅固的實質，我們是無邊無際的。

物體和實體的世界是便利於我們在地球的旅程的一種方式，只是為了幫助我們而被建立的一種描述。我們每個人，或者更確切地說，我們的理性，都忘了描述只是描述，於是我們將我們自己整體（the totality of ourselves）陷入一個惡性循環，一輩子難以脫身。」

「比如說此時此刻，你正從理性的漩渦擺脫出來。哲那羅剛才出現在樹叢前，對你來說是荒謬而無法想像的。但你不能否認你親眼目睹了這件事，你感知它成這樣。」

「我們是感知者，」他繼續說，「然而我們所感知的世界是一個幻相。它是由打從我們一出生便被告知的描述所創造的。」

「我們身為明晰生物，生來便擁有兩種力量之環，但是我們只用一個來創造這世界。我們一出生便鉤上的力量之環是理性，它的同伴是語言（talking），這兩者一起編造並維持了這世界。

「所以，本質上，你的理性想要維持的世界，是一個由描述所創造的世界，其具有不可侵犯的教條原則；它是一種被理性加以學習而接受和捍衛的描述。」

「明晰生物的秘密在於，他們擁有另一個從未用過的力量之環，也就是意志（will）。巫士的伎倆與普通人的伎倆相同，兩者都有一個描述。

一個（普通人）用他的理性來支持。另一個（巫士）則用意志來支持。兩種描述都有各自的規則，並且這些規則是可以被感知的。但是巫士的優勢在於，意志要比理性更具有包容力。」

「關於這一點我的建議是，從現在起，你應該讓自己去感知一下，這個描述是由你的理性所支撐，還是由你的意志所支撐。我覺得這是你把日常世界當成挑戰，並聚集足夠的個人力量，以達到你個人完整性（the totality of yourself）的唯一方式。」

（《力量的傳奇》pp. 126-127，重譯）

"Today I have to pound the nail that Genaro put in; the fact that we are luminous beings. We are perceivers. We are an awareness. We are not objects. We have no solidity. We are boundless.
"The world of objects and solidity is a way of making our passage on earth convenient. It is only a description that was created to help us. Each of us, or rather our reason, forgets that the description is only a description, and thus we entrap the totality of ourselves in a vicious circle from which we rarely emerge in our lifetime.
"At this moment for instance, you are involved in extricating yourself from the snarls of reason. It is preposterous and unthinkable for you that Genaro just appeared at the edge of the chaparral, and yet you cannot deny that you witnessed it. You perceived it as such."
Don Juan chuckled. He carefully drew another diagram in the ashes and covered it with his hat before I could copy it.
"We are perceivers," he proceeded. "The world that we perceive, though, is an illusion. It was created by a description that was told to us since the moment we were born.
"We the luminous beings are born with two rings of power, but we use only one to create the world. That ring which is hooked very soon after we are born is 'reason', and its companion is 'talking'. Between the two they concoct and maintain the world.
"So, in essence, the world that your 'reason' wants to sustain is the world created by a description, and its dogmatic and inviolable rules; a description which 'reason' learns to accept and defend.
"The secret of the luminous beings is that they have another ring of power which is never used; the 'will'. The trick of the sorcerer is the same trick of the average man. Both have a description.
"One- the average man- upholds it with his 'reason'. The other- the sorcerer- upholds it with his 'will'. Both descriptions have their rules, and the rules are perceivable. But the advantage of the sorcerer is that 'will' is more engulfing than 'reason'.
"The suggestion that I want to make at this point is that from now on you should let yourself perceive whether the description is upheld by your 'reason' or by your 'will'. I feel that is the only way for you to use your daily world as a challenge and a vehicle to accumulate enough personal power in order to get to the totality of yourself.

[SW]

就我自己而言，我有兩種老師：一種強調由內而外，若你認識了心性，其他迎刃而解，知一解全（discover one, discover all）嘛；另一種由外而內，行為帶動心的轉化，所謂運心受行，主要還是在於調心，心擺正了，一切自然皆善。

後者就是唐望故事裡之所以有這麼多誘騙弟子的故事的原因，因為沒辦法直接「看見」，或說沒辦法直接領悟勝義諦，那麼在世俗諦上才有那麼多可做的。而「看見」或者現見法性真實諦也沒辦法直接去修。

有關下文「做夢應只是一種輔助」，正巧讀到索達吉堪布譯《大圓滿直指心性大幻化網總說光明藏論》當中一段：「如是晝夜四時合修法（即日修法＋夜修法含夢修），並非異類之修法，僅可稱為能現赤裸覺性之分支方便。」（p. 321）

「唐望故事」做夢篇 REVIEW-19

「然而，『停止內在對話』（內在寂止）是進人巫士世界的關鍵，」他說，「其餘的行持（活動）只是道具，其作用全都是為了加速停止內在對話。」

他說，加速達到內在對話的停止有兩種主要的行持或技巧，那就是抹去個人歷史與做夢。他提醒我，在我門徒生涯早期階段，他給過我許多改變我的「性格」（personality）的具體方法。我將這些都記在筆記中然後就忘了，直到多年後我才明白它們的重要性。這些特定方法乍看之下似乎專門針對我，以迫使我改變自己的行持。

他解釋說，一個老師的善巧方便（技藝）在於將學生的注意力，從主要議題（main issues）上轉移開來。這種善巧方便，令我悲哀的是，直到那天我才意識到，他是在誘騙我去學習那最關鍵的重點：行動而不求回報（to act without expecting rewards）。

他說，按照這個道理，他使我關注在「看見」的概念上。看見的正確理解是一種直面nagual的行動：這是教法不可避免的最終結果（果位），但作為一項任務本身，則是不可能的任務。

他眯著眼睛看著我，用手一揮，指著我們四周。「這一切的秘密完全在於個人的注意力，」他說，「這一切之所以存在，只是因為我們的注意力。我們坐的這塊石頭之所以是石頭，是因為我們被迫用我們的注意力把它當成石頭。」

「抹去個人歷史與做夢應只是一種輔助，」他說，「每一個門徒需要的，是靠克制與力量來作為緩衝。這就是為何一個老師會引介戰士之道——或活得像一個戰士，這是連接起巫士世界一切的媒介。老師必須一點一滴地鍛煉、發展它。沒有戰士之道的堅定與冷靜，就不可能承受得起知識之道。」

（《力量的傳奇》pp. 293-295，重譯）

"Stopping the internal dialogue is, however, the key to the sorcerers' world," he said. "The rest of the activities are only props. All they do is accelerate the effect of stopping the internal dialogue."

He said that there were two major activities or techniques used to accelerate the stopping of the internal dialogue: erasing personal history and 'dreaming'. He reminded me that during the early stages of my apprenticeship he had given me a number of specific methods for changing my 'personality'. I had recorded them in my notes and had forgotten about them for years until I realized their importance. Those specific methods seemed at first to be highly idiosyncratic [* idiosyncratic- peculiar to the individual] devices to coerce me into modifying my behavior.

He explained that the art of a teacher was to deviate the apprentice's attention from the main issues. A poignant example of that art was the fact that I had not realized until that day that he had actually tricked me into learning a most crucial point; to act without expecting rewards.

He said that in line with that rationale he had rallied my interest around the idea of 'seeing', which, properly understood, was the act of dealing directly with the 'nagual': an act that was an unavoidable end result of the teachings but an unattainable task as a task per se.

He looked at me with squinting eyes and pointed all around us with a sweeping gesture of his arm.
"The secret of all this is one's attention," he said.

"All of this exists only because of our attention. This very rock where we're sitting is a rock because we have been forced to give our attention to it as a rock."

"Erasing personal history and dreaming should only be a help," he said. "What any apprentice needs to buffer him is temperance and strength. That's why a teacher introduces the warrior's way, or living like a warrior. This is the glue that joins together everything in a sorcerer's world. Bit by bit a teacher must forge and develop it. Without the sturdiness and level-headedness of the warrior's way there is no possibility of withstanding the path of knowledge."

[SW]

下文提到三樣可以幫助做夢的技巧。首先是打破日常的例行公事那樣的慣性。在南開師的教法當中，正巧提到閉 24hrs 的黑關來幫助夢修，這種黑關就是打破我們對於時間的慣性：譬如按時吃三餐，朝九晚五等等這類按表操課的事情。當你對日夜的感知模糊，才有提升覺知力的可能，也才能夠把睡夢時間當成醒時來過。

「獵物被沉重的固定習慣及可被預測的古怪癖性所束縛住；而獵人是自由流暢，無可預料的。」（《巫士唐望的世界》p. 153）

第二點，力量步法，這是一種在黑暗中行走的方法。上身前傾（脊椎打直），舉步時膝蓋幾乎抬到胸部，大拇指和食指伸直、其餘彎進掌中，視線放在眼前路上，步伐小而穩健。「唐望說我必須把自己開放給黑夜的力量，信任我那僅有的個人力量，否則我永遠也無法自由行動。」（p. 272）

第三點，不做。唐望說「力量的秘訣是不去做我知道如何去做的事」（p. 284）。這部分也極為類同南開師的教法（不作，無作，其實也就是不分別判斷），建議可以整章閱讀一下。這也是為何夢瑜伽的訓練當中，有小變大、大變小，一變多、多變一，西變東、東變西，這類兩極（二元對立）互換的練習。

「唐望故事」做夢篇 REVIEW-20

唐望說，當門徒（譯按：這裡指初學者）決定加人巫士世界後，老師會交給他一項實際的任務，他必須在日常生活中完成的任務。他解釋說，這項任務是根據門徒的性格而設計的，通常是某種很不合理的生活情境，門徒必須設法適應它，以作為永久改變其世界觀的一種手段。

就我自己而言，我比較將這項任務理解成一個嚇唬人的玩笑，而非嚴肅的生活對境。然而，隨著時間的推移，我終於明白我必須要認真看待它。

「當門徒接受了他的巫術任務後，他便準備好接受另一種類型的指導，」他繼續說道，「那時他就是個戰士了。至於你，既然你已經不是初學者，我便教給你三項輔助做夢的技巧：打破生活慣性、力量步法，以及不做（譯註：詳見《巫士唐望的世界》8, 14-15章）。你很能堅持不懈，當初學者時很笨，成為戰士後仍舊很笨。你盡心盡力地寫下我所說的及發生在你身上的一切，但卻沒有完全按照我說的去做，所以我還是得用力量植物來轟你。」

唐望接著一步步地跟我解釋，他是如何把我的注意力從做夢上轉移開的，使我相信重要的是一種非常困難的行持，他稱之為「不做」，其包含一種感知上的遊戲，把注意力集中在這世界通常被忽略的特徵上，諸如東西的影子。唐望說，他的策略是以極高度的保密來凸顯不做這件事。

「和其他事情一樣，不做是一項非常重要的技巧，但這不是主要議題，」他說，「你愛上了這個秘密。你，一個大嘴巴，卻必須保守秘密！」

他解釋說，打破慣性、力量步法以及不做，是學習以新的方式感知世界的途徑，它們能讓戰士一窺行持（行動）不可思議的可能性。唐望認為，藉由使用這三項技巧，才有可能瞭解一個獨立而實際的做夢世界（the knowledge of a separate and pragmatic world of 'dreaming' was made possible）。

「做夢是由巫士所設計的一種實際輔助（practical aid），」他說，「他們不是傻瓜。他們知道自己在做什麼，為了尋求nagual的作用，訓練他們的tonal放開片刻——可以這麼說，然後再重新抓住。這種說法對你來說沒有意義，但卻是你一直在做的事情：訓練自己放手，但又不失去理智。而做夢，無疑是巫士努力的最高冠冕，nagual的終極用途。」

他一一講述了他曾叫我去做的不做的所有練習、他挑出來要我打破的日常生活慣性，以及他曾強迫我去運用力量步法的所有時機。

（《力量的傳奇》pp. 305-307，重譯）

Don Juan said that after the apprentice had made his decision to join the world of sorcerers, the teacher gave him a pragmatic chore; a task that he had to fulfill in his day-to-day life. He explained that the task, which is designed to fit the apprentice's personality, is usually a sort of farfetched life situation which the apprentice is supposed to get into as a means of permanently affecting his view of the world.

In my own case, I understood the task more as a lively joke than a serious life situation. As time passed, however, it finally dawned on me that I had to be earnest about it.

"After the apprentice has been given his sorcery task he's ready for another type of instruction," he proceeded. "He is a warrior then. In your case, since you were no longer an apprentice, I taught you the three techniques that help dreaming: disrupting the routines of life, the gait of power, and not-doing. You were very consistent, dumb as an apprentice and dumb as a warrior. You dutifully wrote down everything I said and everything that happened to you, but you did not act exactly as I had told you to. So I still had to blast you with power plants."

Don Juan then gave me a step-by-step rendition of how he had driven my attention away from 'dreaming', making me believe that the important problem was a very difficult activity he had called not-doing which consisted of a perceptual game of focusing attention on features of the world that were ordinarily overlooked such as the shadows of things. Don Juan said that his strategy had been to set not-doing apart by imposing the most strict secrecy on it.

"Not-doing, like everything else, is a very important technique, but it was not the main issue," he said. "You fell for the secrecy. You, a blabbermouth, having to keep a secret!"

He explained that disrupting routines, the gait of power, and not-doing were avenues for learning new ways of perceiving the world, and that they gave a warrior an inkling of incredible possibilities of action. Don Juan's idea was that the knowledge of a separate and pragmatic world of 'dreaming' was made possible through the use of those three techniques.

"Dreaming is a practical aid devised by sorcerers," he said. "They were not fools. They knew what they were doing and sought the usefulness of the nagual by training their tonal to let go for a moment, so to speak, and then grab again. This statement doesn't make sense to you. But that's what you've been doing all along; training yourself to let go without losing your marbles. Dreaming, of course, is the crown of the sorcerers' efforts; the ultimate use of the nagual"

He went through all the exercises of not-doing that he had made me perform, the routines of my daily life that he had isolated for disrupting, and all the occasions when he had forced me to engage in the gait of power.