作夢者班/做夢者班 II

本論壇自 2009 起分享南開諾布仁波切之教法,目前歸屬於象雄文化。Email: dreamworkforum@gmail.com

唐望故事—做夢篇 REVIEW

Being-in-Dreaming、The Wheel of Time、The Art of Dreaming 等書札記、摘譯與翻譯;個人夢修心得整理。

「唐望故事」做夢篇 REVIEW-21

文章SW » 2022-12-03, 17:52

上一本《力量的傳奇》做夢部分已經摘譯完,在時間序列上,唐望跟他同儕已經化為虹光身離世,不過雖然講到好像是 16 人一道全部結業,但在小佛琳達的書裡,大佛琳達並沒有一起走,可能她不需要 Nagual 的在場,自己可以隨時走人 。

接下來這本《巫士的傳承》是比較混亂的一本,講述唐望這一梯離開後,唐望幫卡氏組的八人團體,他要擔負起 Nagual 的責任。但每個成員都個別從直屬上師學到部分的教法(唐望傳承是一對一並交叉擁有上師和恩人兩位指導老師)。後來才發現卡氏能量體只有三區,不適合帶四的倍數的成員,因此八人小組以失敗告終。最後剩三人小組加上卡氏,但卡氏又先死了,所以連唐望傳承也斷了。

在這本書中,卡氏八人小組裡,雖然不少做夢主修的做夢者,但每人會的及訓練也不同。其中以拉葛達比較厲害,但最終她沒有在卡氏三人小組內。

以下內容講到拉葛達夢中看沒有手的時候怎麼處理的,意思是你太胖嗎?所以要禁食。你可以試試看。另外要維持住夢中景象不要變來變去,一則可以靠瞥視,也就是快速掃視,不要對著東西看,看久了會變形。另外一招是,唐望的做法都是要做夢者做夢時去找到設計護罩的樣子,然後在現實中去做一個綁在肚臍上。

因為 brace 也有類似護腕的意思,就是綁在腰上,可以護住肚臍。我自己個人的經驗是,兩手放在腹部上,壓著有點重量,對你做夢會有幫助,特別是女性,也就是在子宮的位置。


「唐望故事」做夢篇 REVIEW-21

「一個女戰士的一切都始於做夢。Nagual告訴我,就如同他告訴你的,首先要在我的夢中找自己的手。我根本找不到我的手。在我的夢中,我沒有手。我不斷試了好幾年去找手。每天晚上我都命令自己找手,但無濟於事。我從來沒有在夢中找到任何東西。Nagua對我很冷酷無情,他說我必須找到手,不然就去死。所以我騙他,說我在夢中找到手了。Nagual一言不發,但哲那羅拍拍我的頭,說我真是個了不起的戰士。他越是誇獎我,我就感覺越糟。我正準備要告訴Nagual真相時,瘋狂的哲那羅把他的屁股對準我,放了一個我聽過最響最長的屁。事實上他是用屁把我往後推。

「我跑到屋子裏躲起來。那時我很胖,吃得多又很多屁。所以我決定一段時間不吃東西。我連續二十三天什麼都沒吃,然後一天晚上,我在夢裡找到我的手了。我的雙手又老又醜又綠,但是我的手沒錯。所以那是一個開端,其他事情就容易了。」

「其他事情是什麼,葛達?」

「接下來Nagual要我做的,是試著在我的夢中找到房子或建築物,然後看著它們,盡量不要讓影像消散。他說做夢者的藝術在於維持住夢中的影像,因為那正是我們終其一生在做的事情。」

「他這是什麼意思?」

「身為普通人,我們的藝術是知道如何維持住我們看到的影像。Nagual說我們會這麼做,但是不知道如何做到的。我們只是這樣去做;也就是說,我們的身體在做。在做夢時,我們必須做到同樣的事情,只是在做夢時我們必須學習如何去做。我們必須努力不去凝視,而只要瞥視,同時維持住影像。

「Nagual告訴我,要我在夢中為我的肚臍找到一個護罩(brace)。我花了很長時間,因為我不明白他的意思。他說在做夢時,我們用肚臍來注意事物;因此肚臍必須受到保護。我們需要一點溫暖或感覺到有什麼東西按著肚臍,才能在夢中維持住影像。

《巫士的傳承》pp. 186-187,重譯

“Everything for a woman warrior starts in dream-ing. The Nagual told me, just as he told you, first to look for my hands in my dreams. I couldn’t find them at all. In my dreams I had no hands. I tried and tried for years to find them. Every night I used to give myself the command to find my hands but it was to no avail. I never found anything in my dreams. The Nagual was merciless with me. He said that I had to find them or perish. So I lied to him that I had found my hands in my dreams. The Nagual didn’t say a word but Genaro patted my head and said that I was really a great warrior. The more he praised me the worse I felt. I was about to tell the Nagual the truth when crazy Genaro aimed his behind at me and let out the loudest and longest fart I had ever heard. He actually pushed me backward with it.

“I ran to the house and hid there. I was very fat then. I used to eat a great deal and I had a lot of gas. So I decided not to eat for a while. Lidia and Josefina helped me. I didn’t eat any-thing for twenty-three days, and then one night I found my hands in my dreams. They were old and ugly and green, but they were mine. So that was the beginning. The rest was easy.”
“And what was the rest, Gorda?”

“The next thing the Nagual wanted me to do was to try to find houses or buildings in my dreams and look at them, try-ing not to dissolve the images. He said that the art of the dreamer is to hold the image of his dream. Because that’s what we do anyway during all our lives.”

“What did he mean by that?”

“Our art as ordinary people is that we know how to hold the image of what we are looking at. The Nagual said that we do that but we don’t know how. We just do it; that is, our bodies do it. In dreaming we have to do the same thing, except that in dreaming we have to learn how to do it. We have to struggle not to look but merely to glance and yet hold the image.

“The Nagual told me to find in my dreams a brace for my belly button. It took a long time because I didn’t understand what he meant. He said that in dreaming we pay attention with the belly button; therefore it has to be protected. We need a little warmth or a feeling that something is pressing the belly button in order to hold the images in our dreams.”

The Second Ring of Power
SW
系統管理員
 
文章: 4411
註冊時間: 2012-03-05, 16:23
來自: 台灣台北

「唐望故事」做夢篇 REVIEW-22

文章SW » 2022-12-17, 15:14

今天摘譯分兩部分:一個講到「看見」與「觀看」的差別;一個則解釋了什麼叫潛獵,藉以打破自己的生活慣性。

「看見」(seeing)一詞在唐望故事中,不是加了引號,就是粗體字,如同「做夢」(dreaming)一詞一樣,都是指一種特殊的狀態。即便在所謂的強化意識(heightened awareness)下(唐望常藉拍打卡氏的肩胛骨,令其進入「一種奇特的清晰覺知狀態」,a unique state of perceptual clarity),也不一定能「看見」。那麼,到底是什麼是「看見」?

譯者魯宓在譯序中說:「只有在停頓了這種慣性的描述之後,看見才會發生。知覺轉變植物只是暫時打破對現實世界的執著,真正的改變要從基本的生活態度上入手才行。」而根據卡氏的轉述,「能夠覺知事物的能量本質」的這種能力,叫做「看見」,唐望補充:「能夠分離知覺的社會化部分,便可以覺知到一切事物的根本」。

我無法講得更多了,相信跟我一樣的學佛者,都會覺得唐望必定屬於一支同於象雄耳傳的薩滿版大圓滿傳承,至少他們這群巫士留下來的遺教,可能比起象雄耳傳的隻字片語要來得更加豐富。

至於第二部分,後面有拉葛達(107kg)成功減掉一半個自己的方式,她如何藉由嘴巴塞棉花好幾年,成功戒掉自己貪吃的習慣。想減肥的,可以參考一下原書 pp. 258-260。


「唐望故事」做夢篇 REVIEW-22

我問拉葛達關於她對nagual這個詞的用法。我說唐望向我解釋,nagual是一種無法描述的原理——即一切事物的根源。

「當然,」她微笑道,「我知道他的意思。nagual存在於一切之中。」

我有點輕蔑地向她指出,也可以反過來說,tonal存在於一切之中。她嚴謹地解釋說,這沒有衝突,我的說法是對的,tonal也存在於一切之中。她說在一切之中的tonal可以輕易被我們的感官所感知,而在一切之中的nagual則只對巫士的眼睛(eye)現身(manifested itself)。她補充說,我們可能撞見tonal最怪異的景象(sights)而感到害怕或敬畏,或者漠不關心,因為我們全都可能看到那些景象。而另一方面,nagual的境相(a sight of the nagual)則完全要靠巫士的特殊感官(specialized senses)才能得見。然而,tonal與nagual恆時存在於一切事物中。因此,對巫士可以正確地說,「觀看」(looking)在於看到萬物中的tonal,而「看見」(seeing)在於看到也存在於萬物中的nagual。因此,如果戰士以人類的角度觀察世界,他是在觀看;但是如果他以巫士的角度來觀察,他就是在「看見」,而他所「看見」的就應當正名為nagual.

I asked her then about her usage of the word nagual. I said that don Juan had explained the nagual to me as being the indescribable principle, the source of everything.
“Sure,” she said smiling. “I know what he meant. The nagual is in everything.”
I pointed out to her, a bit scornfully, that one could also say the opposite, that the tonal is in everything. She carefully explained that there was no opposition, that my statement was correct, the tonal was also in everything. She said that the tonal which is in everything could be easily apprehended by our senses, while the nagual which is in everything manifested itself only to the eye of the sorcerer. She added that we could stumble upon the most outlandish sights of the tonal and be scared of them, or awed by them, or be indifferent to them, because all of us could view those sights. A sight of the nagual, on the other hand, needed the specialized senses of a sorcerer in order to be seen at all. And yet, both the tonal and the nagual were present in everything at all times. It was appropriate, therefore, for a sorcerer to say that “looking” consisted in viewing the tonal which is in everything, and “seeing,” on the other hand, consisted in viewing the nagual which also is in everything. Accordingly, if a warrior observed the world as a human being, he was looking, but if he observed it as a sorcerer, he was “seeing,” and what he was “seeing” had to be properly called the nagual.

*****

「現在告訴我,什麼是潛獵的藝術(the art of stalking)?」我問。

「獵人只是打獵,」她說,「潛獵者則潛獵一切,包括他自己。」

「一個完美無缺的潛獵者可以把任何東西變成獵物。Nagual(唐望)告訴我,我們甚至可以潛獵自己的弱點。」

「就像你潛獵獵物一樣。你會弄清楚自己的生活慣性(routines,作息規律),直到你知道自己弱點的一切作為,然後你就會逮到它們,就像籠中兔一樣。」

唐望也曾教過我關於生活慣性的同樣道理,但遵行的是獵人必須知道的一般原則。而她(拉葛達)對潛獵的瞭解和應用比我更務實。

唐望說過,任何習慣基本上就是一種「做」,而一個「做」需要它的所有部分,才能發生作用。如果缺少某部份,這個「做」就解體了。他所謂的「做」是指任何連貫而有意義的系列行動。換句話說,一個習慣需要它所有的組成動作,才能成為一個起現行的行為(live activity)。

《巫士的傳承》pp. 256-258,重譯

“Tell me now, what is the art of stalking?” I asked.
“A hunter just hunts,” she said.” A stalker stalks anything, including himself.”
“An impeccable stalker can turn anything into prey. The Nagual told me that we can even stalk our own weaknesses.”
“The same way you stalk prey. You figure out your rou-tines until you know all the doing of your weaknesses and then you come upon them and pick them up like rabbits inside a cage.”
Don Juan had taught me the same thing about routines, but in the vein of a general principle that hunters must be aware of. Her understanding and application of it, however, were more pragmatic than mine.
Don Juan had said that any habit was, in essence, a “doing, ”and that a doing needed all its parts in order to function. If some parts were missing, a doing was disassembled. By doing, he meant any coherent and meaningful series of actions. In other words, a habit needed all its component actions in order to be a live activity.

The Second Ring of Power
SW
系統管理員
 
文章: 4411
註冊時間: 2012-03-05, 16:23
來自: 台灣台北

「唐望故事」做夢篇 REVIEW-23

文章SW » 2022-12-31, 16:57

今天重譯的部分跟魯宓原譯差別蠻大的。之所以重新翻譯,是為了更精確瞭解卡斯塔尼達所傳達的唐望傳承真正的描述。他也許跟唐望是說西班牙語,但唐望也會講英語,所以就是第一手的資料了,不是間接透過翻譯者腦袋的產物。

首先這裡講的是 the art of dreamers,不是 the art of dreaming。這有什麼不一樣呢?因為這裡講到修行者個人的修煉,怎麼修,所以是 dreamers。

「我還無法在自己身上意識到他〔傳承〕知識的根據(the premises of his knowledge)」,原譯為「我無法了解他的知識在我身體中的先決條件」。魯宓翻的我看不懂,看看我翻的會不會比較通。

另外兩個關鍵字,魯宓分別用的是「知覺」(perceive)和「意識」(awareness)。我認為「知覺」比較是名詞,動詞的話一般就是叫「感知」,特別指的是身體五感官的知覺活動。而屬於心的知覺活動,就可以叫動詞「覺知」、「覺察」(aware),這可以超越身體上的第六意識,所以涵蓋範圍較廣。

「唐望體系」(scheme,有「系統」之意),魯宓翻「唐望觀念」,「實用」跟「理論」,應改為實修跟理論,如此才講到小姐妹們都是「修行者」,魯宓翻「實踐者」。

「如果我們放棄維持這些影像所需的注意力,這世界就會崩潰」,這幾乎是一種修行口訣了。這也是為何修持「凝視虛空」(Tib. namkha arte)必須不專注在任何所緣物上。是不是這個世界會崩解,大家可以自己試試。

但在做夢(dreaming)時,若你不刻意去注意緣取任何事物,確實夢景象就自己消解。物質世界要做到這一點則相當困難。


「唐望故事」做夢篇 REVIEW-23

「Nagual要我們向你展示,我們可以用注意力來維持住夢中的影像,就如同我們維持住這個世界影像一樣,」拉葛達說,「做夢者的藝術就是注意力的藝術。」

思緒排山倒海般地向我襲來。我不得不站起來在廚房裡走來走去。我再次坐下來,我們沈默了許久。當她說「做夢者的藝術就是注意力的藝術」,我明白她的意思。那時我知道,唐望已經告訴過我,並向我展示他所能展示的一切。然而,當他還在時,我還無法在自己身上意識到他〔傳承〕知識的根據(the premises of his knowledge)。

他曾說我的理性(reason)是拴住(束縛)我的惡魔,如果我想要證得他的教法,就必須戰勝理性。因此,問題始終在於如何克服我的理性。我從來沒有想過要他給理性下一個定義,我一直認為他指的是有次序、理性方式的理解能力。從拉葛達所說的,我知道對他來說,理性指的就是注意力。

唐望說,我們存在的核心就是感知(perceiving)行為(act),而我們存在的奧妙(magic)就是覺知(awareness)行為。對他來說,感知與覺知是一個單一的、功能性的、不可分割的整體(unit),一個有著兩個領域的整體。第一個領域是「tonal注意力」;也就是說,普通人感知並覺察到(place their awareness on)日常生活世界的能力。唐望也將這種形式的注意力稱為「第一力量之環」,並將其描述為我們驚人但又被視為理所當然的能力,可以讓我們對日常世界的感知具有秩序。

第二個領域是「nagual注意力」;也就是說,巫士覺察到非尋常世界(the non-ordinary world)的能力。他將這領域的注意力稱為「第二力量之環」,或我們所有人都擁有但只有巫士使用的一種奇特能力,可以為非尋常世界賦予秩序。

拉葛達與小姐妹們,在向我展示了「做夢者的藝術是用注意力維持住夢的影像」時,帶入了唐望體系(scheme)中的實修面向(pragmatic aspect)。她們是超越了其教法理論面向的修行者。為了向我展示那種藝術,她們必須運用她們的「第二力量之環」,或「nagual注意力」。而要目睹她們的藝術,我也必須做同樣的事。事實上,我顯然已將注意力放在這兩個領域上了。或許我們所有人都在不斷地以兩種方式感知,但只選擇區分出其中一個來回憶,而拋棄另一個,又或許將其歸檔〔就不管了〕,如我自己所做的。在某種壓力或默許、默認的情況下,被監禁的記憶浮現,於是我們對一個事件就會有兩種截然不同的記憶。

唐望在我身上所要努力克服的,或確切來說壓制的,並不是我的理性,諸如合理思維的能力,而是我的「tonal注意力」,或我對常規(common sense)世界的覺知。當拉葛達說日常世界之所以存在,是因為我們知道如何維持住它的影像,解釋了他(唐望)要我如此做(譯按:指克服壓制tonal注意力)的目的(motive);結果就是,如果我們放棄維持這些影像所需的注意力,這世界就會崩解。

《巫士的傳承》pp. 306-308,重譯

“The Nagual told us to show you that with our attention we can hold the images of a dream in the same way we hold the images of the world,” la Gorda said. “The art of the dreamer is the art of attention.”

Thoughts came down on me like a landslide. I had to stand up and walk around the kitchen. I sat down again. We remained quiet for a long time. I knew what she had meant when she said that the art of dreamers was the art of attention. I knew then that don Juan had told me and showed me everything he could. I had not been able, however, to realize the premises of his knowledge in my body while he was around.

He had said that my reason was the demon that kept me chained, and that I had to vanquish it if I wanted to achieve the realization of his teachings. The issue, therefore, had been how to vanquish my reason. It had never occurred to me to press him for a definition of what he meant by reason. I presumed all along that he meant the capacity for comprehending, inferring or thinking, in an orderly, rational way. From what la Gorda had said, I knew that to him reason meant attention.

Don Juan said that the core of our being was the act of perceiving, and that the magic of our being was the act of awareness. For him perception and awareness were a single, functional, inextricable unit, a unit which had two domains. The first one was the “attention of the tonal”; that is to say, the capacity of average people to perceive and place their awareness on the ordinary world of everyday life. Don Juan also called this form of attention our “first ring of power,” and described it as our awesome but taken-for-granted ability to impart order to our perception of our daily world.

The second domain was the “attention of the nagual”; that is to say, the capacity of sorcerers to place their awareness on the non-ordinary world. He called this domain of attention the “second ring of power,” or the altogether portentous ability that all of us have, but only sorcerers use, to impart order to the non-ordinary world.

La Gorda and the little sisters, in demonstrating to me that the art of dreamers was to hold the images of their dreams with their attention, had brought in the pragmatic aspect of don Juan’s scheme. They were the practitioners who had gone beyond the theoretical aspect of his teachings. In order to give me a demonstration of that art, they had to make use of their “second ring of power,” or the “attention of the nagual.” In order for me to witness their art, I had to do the same. In fact it was evident that I had placed my attention on both domains. Perhaps all of us are continually perceiving in both fashions but choose to isolate one for recollection and discard the other or perhaps we file it away, as I myself had done. Under certain conditions of stress or acquiescence, the censored memory surfaces and we can then have two distinct memories of one event.

What don Juan had struggled to vanquish, or rather suppress in me, was not my reason as the capacity for rational thought, but my “attention of the tonal,” or my awareness of the world of common sense. His motive for wanting me to do so was explained by la Gorda when she said that the daily world exists because we know how to hold its images; consequently, if one drops the attention needed to maintain those images, the world collapses.
SW
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「唐望故事」做夢篇 REVIEW-24

文章SW » 2023-01-14, 15:49

做夢(dreaming)需要很多能量,除非你能量充裕,不然我不認為一般人可以每天做夢。我想釐清一點,這裡的做夢指的是具有醒時意識也就是如假包換的平常的你(你平常怎麼樣就怎麼樣,就是你自己),最好不要與意識程度還有等級差異的清明夢混為一談。測試指標就是你必須記起睡前的任務,如果沒有,就只是一個自己在玩的清明夢。也許你可以夜夜清明(只是知夢而已),但你無法夜夜這種完全是醒時意識的

讀第二部分之前,先知道tonal和nagual約略可用佛法詞彙「世俗」和「勝義」代換。當然唐望傳承每代領導人也稱Nagual,這裡會用大寫表示人稱。

以下說到「nagual注意力只有在我們死亡的那一刻才會對我們揭露」,按譯者的序的解釋:


在我們與生俱來的知覺(覺知)能力中,除了日常的注意力之外,還有另一種同樣基本,但卻被忽略的知覺(覺知)力量,被簡單地稱為「第二注意力」,也就是nagual注意力。第二注意力在出現時都會被視為神通或奇蹟,其實它是與我們狹窄的日常注意力並行存在的知覺(覺知)能力,但要更為廣大浩瀚。(p. 11)

這樣一看,講的分明就是本覺(rigpa)。所以,夢修,如果沒有先達到第一注意力,就沒辦法訊練第二注意力。按唐望的講法,做夢注意力是第二注意力的前身,如果你的夢觀察力弱到每個夢只能記錄兩三行,其實你平常醒時就多練習覺察力(tonal注意力),這對你夢中的觀察力或說注意力會有一定的幫助。

「唐望故事」做夢篇 REVIEW-24

「妳們任何時候都可以隨心所欲進入做夢嗎?」我問。

「沒有,」拉葛達回答,「做夢需要太多的力量,我們都沒有那麼大的力量。Nagual說,獲得能量最好的方法,當然就是讓陽光射入眼睛,尤其是左眼。」

我告訴她我對此一無所悉,她便描述了唐望教過她們的方法。在她說時,我想起唐望也曾教過我同樣的方法。主要是當我用半閉的左眼捕捉陽光時,緩慢地左右擺動我的頭。他說,我們不僅可以利用太陽,也可以使用任何一種能照在眼睛上的光。

“Can all of you go into dreaming any time you want?” I asked.
“No,” la Gorda replied. “Dreaming takes too much power. None of us has that much power. The Nagual said that the best way of getting energy is, of course, to let the sun inside the eyes, especially the left eye.”

I told her that I knew nothing about it, and she described a procedure that don Juan had taught them. As she spoke I remembered that don Juan had also taught the same procedure to me. It consisted in moving my head slowly from side to side as I caught the sunlight with my half-closed left eye. He said that one could not only use the sun but could use any kind of light that could shine on the eyes.

*****

唐望曾說過,我們的「第一力量之環」(first ring of power)在我們生命極為早期時就開始使用,我們以為那就是我們的全部而活著。我們的「第二力量之環」(second ring of power),即「nagual注意力」,對我們絕大多數人來說仍然隱藏著,只有在我們死亡的那一刻才會對我們揭露。然而,有一條通往它的道途,我們每個人都可企及,但是只有巫士才會採用。那條道途是透過「做夢」。「做夢」基本上是把普通夢轉變成有意志(volition)的活動。做夢者藉由使用他們的「nagual注意力」並將它集中到普通夢的事物上,使那些夢變成「做夢」。

唐望說要達到「nagual注意力」是無步驟可循的。他只給我一些指點。在夢中找手是第一個指示;然後注意力的練習延伸到尋找事物,尋找特定的特徵,如建築物、街道等。從那裡跳到在一天當中特定時間「做夢」到特定地點。最後階段是引發「nagual注意力」集中到「tonal的自己」(tonal self,指醒時世界的自己)。唐望說最後階段,通常是由一個我們許多人都曾經作過的夢所引出,在這個夢中,我們看著自己在床上睡覺。當一個巫士有這樣的夢時,他的注意力已經發展到某種程度,以致於他不會把自己弄醒——就像我們大多數人在類似情況下會做的,而是轉身開始行動,就像他在日常世界一樣。從那一刻起,原來統一的人格就出現了分裂、某種分支。在唐望體系中,使用「nagual注意力」並將其發展到我們日常注意力的高度和複雜度的結果,就是產生了另一個自己,一個與自己完全相同的存有(being),但是在「做夢」時所造。

「哲那羅大部分時間都是處在他的做夢體(body of dreaming),」拉葛達說,「他更喜歡做夢體。這就是為什麼他可以做出最怪異的事,把你嚇得半死。」

《巫士的傳承》pp. 308-311,重譯

Don Juan had said that our “first ring of power” is engaged very early in our lives and that we live under the impression that that is all there is to us. Our “second ring of power,” the “attention of the nagual,” remains hidden for the immense majority of us, and only at the moment of our death is it revealed to us. There is a pathway to reach it, how-ever, which is available to every one of us, but which only sorcerers take, and that pathway is through “dreaming.” “Dreaming” was in essence the transformation of ordinary dreams into affairs involving volition. Dreamers, by engaging their “attention of the nagual” and focusing it on the items and events of their ordinary dreams, change those dreams into “dreaming.”

Don Juan said that there were no procedures to arrive at the attention of the nagual. He only gave me pointers. Finding my hands in my dreams was the first pointer; then the exercise of paying attention was elongated to finding objects, looking for specific features, such as buildings, streets and so on. From there the jump was to “dreaming” about specific places at specific times of the day. The final stage was drawing the “attention of the nagual” to focus on the tonal self. Don Juan said that that final stage was usually ushered in by a dream that many of us have had at one time or another, in which one is looking at oneself sleeping in bed. By the time a sorcerer has had such a dream, his attention has been developed to such a degree that instead of waking himself up, as most of us would do in a similar situation, he turns on his heels and engages himself in activity, as if he were acting in the world of everyday life. From that moment on there is a breakage, a division of sorts in the otherwise unified personality. The result of engaging the “attention of the nagual” and developing it to the height and sophistication of our daily attention of the world was, in don Juan’s scheme, the other self, an identical being as oneself, but made in “dreaming.”

“Genaro was in his body of dreaming most of the time,” la Gorda said. “He liked it better. That’s why he could do the weirdest things and scare you half to death.”

The Second Ring of Power
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「唐望故事」做夢篇 REVIEW-25

文章SW » 2023-01-28, 15:21

看過「唐望故事」前兩本的讀者,都知道唐望一開始訓練卡斯塔尼達時,是使用一種意識轉換植物,稱為培藥特(peyote,一種小型仙人掌植物,是印第安人致幻药的主要成分)。
宗薩仁波切經常提到一種毒品DMT(是一種色胺類致幻劑。通常會在冥想與禁食期間大量產生),跟培藥特性質差不多,都是會引起幻覺。唐望在卡氏身上使用培藥特的主要原因是強迫他的聚合點鬆動。

聚合點理論是唐望傳承的核心,秋英多傑仁波切在他的自傳中常用到「識聚」一詞,因為我們所感知的一切,都是蘊聚(五蘊的聚合)之故。做夢本身就會自然地移動聚合點,所以才說它是一種不傷害第二注意力,或者說不讓第二注意力定著(聚合點在新的位置重新聚合成境相)在壞的那一面。

我是不大理解,聚集在壞的一面和好的一面又是如何造成的?是否跟寂忿百尊中有寂靜尊和忿怒尊原理一樣?因為好與壞(寂靜或忿怒)這兩者都是屬於我們本性的一部份。


「唐望故事」做夢篇 REVIEW-25

她回答,「這讓我想到Nagual要我告訴你的下一件事。他說因為你是空虛的,他必須以一種不同於我們的方式來聚集你的第二注意力,也就是nagual注意力。我們藉由做夢來聚集第二注意力,而你是藉由他的力量植物(power plants)。Nagual說他的力量植物把你的第二注意力中兇暴的(menacing)一面聚集成一團,就是從你頭頂冒出來的那個形狀。他說,使用力量植物的巫士都會發生這種情況。如果他們沒有死,力量植物就會將他們的第二注意力轉變成從他們頭上冒出來的可怕形狀。

「現在我們來談談他要你做的事。他說你現在必須改變方向,開始以另一種方式聚集你的第二注意力,就比較像我們的方式。除非你平衡你的第二注意力,否則你無法繼續知識的修道。到目前為止,你那個注意力一直仰賴Nagual的力量,但現在你是一個人了。這就是他要我告訴你的。」

「我要如何平衡我的第二注意力?」

「你必須用我們的方式做夢。做夢是聚集第二注意力而不傷害到它、不會讓它變得兇惡可怕的唯一方式。你的第二注意力定著在(fixed on)這世界可怕的一面;而我們則是定著在它的美麗上。你必須換邊與我們一道,這就是昨晚你決定和我們一起走時所做的選擇。」

*****

我想讓她告訴我更多這方面的事。她把手放在我的筆記本(writing pad寫字板)上,說我們接下來還有非常忙碌的一天,我們需要儲存能量才能承受。因此,我們必須用陽光來充實能量。她說,修法的方式是我們要用左眼來吸取陽光。當她用半睜的左眼直接瞥視太陽時,便開始緩慢地左右擺頭。

《巫士的傳承》pp. 317, 319,重譯

she replied. “And this brings me to the next thing the Nagual asked me to tell you. He said that because you were empty he had to gather your second attention, your attention of the nagual, in a way different than ours. We gathered that attention through dreaming and you did it with his power plants. The Nagual said that his power plants gathered the menacing side of your second attention in one clump, and that’s the shape that came out of your head. He said that that’s what happens to sorcerers when they are given power plants. If they don’t die, the power plants spin their second attention into that awful shape that comes out of their heads.

“Now we’re coming to what he wanted you to do. He said that you must change directions now and begin gathering your second attention in another way, more like us. You can’t keep on the path of knowledge unless you balance your second attention. So far, that attention of yours has been riding on the Nagual’s power, but now you are alone. That’s what he wanted me to tell you.”

“How do I balance my second attention?”

“You have to do dreaming the way we do it. Dreaming is the only way to gather the second attention without injuring it, without making it menacing and awesome. Your second attention is fixed on the awful side of the world; ours is on the beauty of it. You have to change sides and come with us. That’s what you chose last night when you decided to go with us.”

*****

I wanted her to tell me more on the subject. She put her hand on my writing pad and said that we had a terribly busy day ahead of us and we needed to store energy in order to withstand it. We had, therefore, to energize ourselves with the sunlight. She said that the circumstances required that we take the sunlight with the left eye. She began to move her head slowly from side to side as she glanced directly into the sun through her half-closed eyes.
SW
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文章: 4411
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「唐望故事」做夢篇 REVIEW-26

文章SW » 2023-02-11, 17:39

這週的主題也是唐望故事中一個非常重要的要點,不意譯,直接用印第安語:tonal 和 nagual。弟子們先要學習如何分辨這兩者,類似於我們學習大圓滿教法,前行當中就有的「輪涅區分法」(輪涅分判)。

輪迴的狀態就是 tonal,你所能想到的一切,就如同下文中那張桌子上的東西;而 nagual 則是之所以有所顯現的那個源頭(Supreme Source,無上之源)。

這兩者的結合,就彷彿是真空與妙有的結合,顯與空的雙運,可說是一體的兩面。這跟做夢有什麼關係呢?唐望不是說:做夢注意力是第二注意力的前身嗎?雖然唐望沒有使用 emptiness 這個字眼,但那個廣大浩瀚無以言詮的東西或面向,難道不是同樣道理嗎?

沒有世俗諦,就沒有勝義諦。所以先掃蕩自己的 tonal 之島還是必須的。


「唐望故事」做夢篇 REVIEW-26

拉葛達講述唐望曾經如何教導他們關於那關鍵的tonal-nagual二分法。她說有一天,Nagual將他們全部集合在一起,帶他們長途跋涉步行到一處荒涼崎嶇的山谷。他弄了一個又大又重的包裹,裝了各式各樣的物品,還有一張笨重的桌子。他讓所有人輪流揹這包裹和桌子,步行近四十英里(約64公里)到那處荒涼的高地。當他們抵達那裡,Nagual叫帕布力圖把桌子放在山谷的正中央,然後他要約瑟芬娜把包裹裡的東西排在桌上。桌子放滿後,他向他們解釋tonal與nagual之間的區別。

他告訴他們,tonal是我們在日常世界中覺察到的秩序,也是我們一生肩負著的個人秩序,就像他們揹著那張桌子和包裹一樣。我們每個人的tonal就像這山谷中央的桌子——充滿我們熟悉物品的一個小島。而另一方面,nagual則是支撐那張桌子的難以言喻的源頭,就像那個荒涼山谷的廣大浩瀚。

他向他們解釋說,對巫士而言,nagual就是桌子正下方的區域。由於nagual的浩瀚無垠是無法想像的,正如那廣闊、荒涼的地方,巫士把tonal之島正下方的區域當作是他們的活動領域,如桌子底下的圖形所示。那區域就是他所謂的第二注意力的領域,或nagual注意力,或桌子下的注意力。只有在戰士把自己桌上掃蕩一空後,才能達到第二注意力。他說達到第二注意力使得兩種注意力成為一個整體(a single unit),那個整體就是一個人的完整(totality,總體、全部)。

拉葛達說他的示範對她來說是如此清晰,以至於她立刻明白為何Nagual要讓她清理她自己的生活,如他所說的,掃蕩她的tonal之島。她覺得自己實在很幸運,遵從了他給她的每一個教誡。她距離結合兩種注意力還有很長的路,但她的精進導致了一種完美無缺的生活。

《巫士的傳承》pp. 224-226,重譯

La Gorda recounted the way don Juan had instructed them about that crucial tonal-nagual dichotomy. She said that one day the Nagual had all of them gather together in order to take them for a long hike to a desolate, rocky valley in the mountains. He made a large, heavy bundle with all kinds of items; including a heavy table. He made all of them take turns carrying the bundle and the table as they hiked nearly forty miles to that high, desolate place. When they arrived there, the Nagual made Pablito set the table in the very center of the valley. Then he asked Josefina to arrange the contents of the bundle on the table. When the table was filled, he explained to them the difference between the tonal and the nagual.

He told them that the tonal was the order that we are aware of in our daily world and also the personal order that we carry through life on our shoulders, like they had carried that table and the bundle. The personal tonal of each of us was like the table in that valley, a tiny island filled with the things we are familiar with. The nagual, on the other hand, was the inexplicable source that held that table in place and was like the vastness of that deserted valley.

He explained to them that for a sorcerer the nagual was the area just underneath the table. Since it was unthinkable to tackle the immensity of the nagual, as exemplified by that vast, desolate place, sorcerers took as their domain of activity the area directly below the island of the tonal, as graphically shown by what was underneath that table. That area was the domain of what he called the second attention, or the attention of the nagual, or the attention under the table. That attention was reached only after warriors had swept the top of their tables clean. He said that reaching the second attention made the two attentions into a single unit, and that unit was the totality of oneself.

La Gorda said that his demonstration was so clear to her that she understood at once why the Nagual had made her clean her own life, sweep her island of the tonal, as he had called it. She felt that she had indeed been fortunate in having followed every suggestion that he had put to her. She was still a long way from unifying her two attentions, but her diligence had resulted in an impeccable life.
SW
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「唐望故事」做夢篇 REVIEW-27

文章SW » 2023-02-25, 16:35

這篇主要講到唐望巫士傳承的寂止修法,這技巧稱為凝視(gazing)。與南開師教的「凝視虛空」(藏音「南卡阿德」)不同處在於,他們使用實體的東西來注視,譬如樹葉。其他唐望故事書還有提到細節,眼睛是不能眨也不能動的。

南開師曾說以強力專注的方式來修寂止的話,不能讓所緣物變形(配合一次次的放鬆),但這裡則是要注視到變形,當然我相信也不是一般的變形,這裡提到一個關鍵字:停頓世界,這是先決條件。

目前曲迦仁波切有在微信影音號直播,時間是每週四晚上七點半,直播一個鐘頭,進行百日「正念」的打坐教授。前兩週教導如何正確七支坐,這週配合自己如心鏡一般映照眼前事物,下週會教授半寶瓶氣(parlung),有興趣者,可以微信影音號搜尋:曲迦007。每週固定直播,不另外發佈訊息。


「唐望故事」做夢篇 REVIEW-27

「桌子下的注意力是巫士所做一切的關鍵,」她繼續說道,「為了達到那種注意力,Nagual與哲那羅教我們做夢,教你力量植物。我不知道他們為了教你如何用力量植物來誘捕(trap)你的第二注意力〔到底〕做了什麼,但為了教我們如何做夢,Nagual教我們凝視。他從未告訴我們他真正的用意,他只是教我們凝視。我們從來不知道凝視是誘捕我們第二注意力的方式。我們以為凝視只是為了好玩,其實不然。做夢者必須先成為凝視者,才能捕捉他們的第二注意力。

「Nagual做的第一件事,就是把一片枯葉放在地上,叫我們看著它好幾個小時。每天他都會拿一片葉子放在我面前。起先我以為他每天保存同一片葉子,但後來我注意到是不同的葉子。Nagual說,當我們瞭解這一點時,我們就不再是觀看(looking),而是凝視(gazing)了。

「然後他把一堆枯葉放在我面前。他叫我用左手攪動它們,在凝視的同時感受它們。做夢者將樹葉攪成螺旋狀,凝視它們,然後夢見樹葉形成的圖案。Nagual說,當做夢者能夠先夢見這些樹葉的圖案,然後隔天在枯葉堆中發現同樣的圖案時,他們就可以自認對凝視樹葉已經熟練了。

「Nagual說,凝視樹葉可以強化第二注意力。如果你凝視一堆樹葉幾個小時,就像他過去叫我做的那樣,你的念頭就會平靜下來。沒有念頭,tonal注意力便減弱了,然後突然間,你的第二注意力鉤上樹葉,樹葉就變成別的東西。當第二注意力鉤上什麼東西時,Nagual把這個時刻稱為停頓世界(stopping the world)。而這是正確的,世界〔的確〕停止了。出於此原因,當你凝視時,總是要有人待在一旁,因為我們永遠不知道自己的第二注意力有什麼怪癖。由於我們從未使用過它,所以我們必須先熟悉它,然後才能冒險獨自凝視。

「凝視的困難在於學習使念頭安靜下來。Nagual說他比較喜歡教我們如何用一堆樹葉來修,因為我們想要修凝視時,隨時都可以找到所需的樹葉。但是其他任何東西也可以拿來修。

「一旦你能停頓世界,你就是凝視者了。停頓世界唯一的方式就是試著去修,Nagual便讓我們全體凝視枯葉好幾年。我認為這是達到我們第二注意力最好的方式。」

《巫士的傳承》pp. 226-227,重譯

“The attention under the table is the key to everything sor-cerers do,” she went on. “In order to reach that attention the Nagual and Genaro taught us dreaming, and you were taught about power plants. I don’t know what they did to you to teach you how to trap your second attention with power plants, but to teach us how to do dreaming, the Nagual taught us gazing. He never told us what he was really doing to us. He just taught us to gaze. We never knew that gazing was the way to trap our second attention. We thought gazing was just for fun. That was not so. Dreamers have to be gazers before they can trap their second attention.

“The first thing the Nagual did was to put a dry leaf on the ground and make me look at it for hours. Every day he brought a leaf and put it in front of me. At first I thought that it was the same leaf that he saved from day to day, but then I noticed that leaves are different. The Nagual said that when we realized that, we are not looking anymore, but gazing.

“Then he put stacks of dry leaves in front of me. He told me to scramble them with my left hand and feel them as I gazed at them. A dreamer moves the leaves in spirals, gazes at them and then dreams of the designs that the leaves make. The Nagual said that dreamers can consider themselves as having mastered leaf gazing when they dream the designs of the leaves first and then find those same designs the next day in their pile of dry leaves.

“The Nagual said that gazing at leaves fortifies the second attention. If you gaze at a pile of leaves for hours, as he used to make me do, your thoughts get quiet. Without thoughts the attention of the tonal wanes and suddenly your second atten-tion hooks onto the leaves and the leaves become something else. The Nagual called the moment when the second atten-tion hooks onto something stopping the world. And that is correct, the world stops. For this reason there should always be someone around when you gaze. We never know about the quirks of our second attention. Since we have never used it, we have to become familiar with it before we could venture into gazing alone.

“The difficulty in gazing is to learn to quiet down the thoughts. The Nagual said that he preferred to teach us how to do that with a pile of leaves because we could get all the leaves we needed any time we wanted to gaze. But anything else would do the same job.
“Once you can stop the world you are a gazer. And since the only way of stopping the world is by trying, the Nagual made all of us gaze at dry leaves for years and years. I think it’s the best way to reach our second attention.
SW
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「唐望故事」做夢篇 REVIEW-28

文章SW » 2023-03-11, 16:10

繼續唐望故事關於凝視的內容,凝視當然就是修寂止,能夠寂止自然也就停止了內在對話。勝觀的部分,就是文中稍微一提的所謂幻覺。所以你不覺得不管是人天乘還是九乘之巔大圓滿,都得要從寂止修法開始嗎?基礎是共通的。

這裡剛好提到修凝視的兩種入門方式,一種強力專注於某所緣物上,一種打開寬闊視野,同時讓覺知擴展。我個人比較偏好後者,也是自己兩位上師教導的方法,重點在放鬆、自然。

另外眼睛半睜看向太陽下方不刺眼的光線(rays),這也同樣是南開師教過的看式,雖然這裡還要透過眼睫造成的光網去區分出前方目標物。

如同普巴扎西仁波切所建議,我們可以盡可能去廣泛聽聞教法,但是就實修上而言,還是要遵照自己上師的指導,不然就變成盲修瞎練,會毀了自己的修行。


「唐望故事」做夢篇 REVIEW-28

拉葛達說她在學習凝視時,為了舒適而自己做了這個墊子,因為當一個人凝視時身體的姿勢極為重要。一個人必須坐在地上柔軟的樹葉墊子,或者坐在由天然纖維製成的墊子上;背部必須靠著一棵樹、木樁或平坦的岩石;身體必須完全放鬆;眼睛絕對不要集中在物體上,以免造成眼睛疲倦;凝視〔的方式〕則是非常緩慢地以逆時針方向掃視所凝視的東西,但不移動頭部。

她開始給我指示。她讓我眼皮半閉,盯著兩座巨大的圓形山丘相接的地方,那裡有一條狹窄陡峭的河谷。她說這個特別的凝視〔方法〕由四個各別的動作組成:第一個是用我的帽沿作為遮陽板遮擋過度的眩光,只讓最少量的光進入我的眼睛;然後半閉上我的眼皮;第三步是維持眼皮睜開的幅度,以保持光流動均勻;而第四步是透過我睫毛上如纖維交織的光網,區分出在背景中的那個河谷。

這種作法的用意是讓我的感知發揮作用而不去加以分析。我每次都失敗,因為我完全無法暫停評斷,而且對於我的幻覺機制,我的心總是會涉入某種理性的臆測。

***

凝視對我來說是一個真正的啟示。在進行時,我證實了唐望教導的一些重要課題。拉葛達顯然是用模糊的方式來描述這項任務。從拉葛達關於凝視的陳述中,我明顯看出唐望讓他們凝視的目的,是要教導他們學習停止內在對話。拉葛達把它形容為「讓念頭平靜下來」。唐望也教我做同樣的事,雖然他是讓我走相反的路;他沒有教我像凝視者那樣集中視線,而是教我打開視野,藉著視覺不聚焦在任何事物上來讓我的覺知擴展。我必須有點是用眼睛感覺我面前180度範圍內的一切,同時保持眼睛不聚焦,就只是放在地平線上方。

唐望一再重申,他的巫術的主要特點就是關閉內在對話。就拉葛達給我的關於注意力的兩種領域的解釋來說,停止內在對話是一種操作的方式,用來描述脫離tonal注意力的行為。唐望也說過,一旦我們停止內在對話,我們也停頓了世界。這也是一種對我們集中第二注意力的不可思議過程的操作型描述。

《巫士的傳承》pp. 335-339,重譯

La Gorda said that she had made that cushion herself for her comfort when she was learning to gaze, because the position of the body was of great importance while one was gazing. One had to sit on the ground on a soft mat of leaves, or on a cushion made out of natural fibers. The back had to be propped against a tree, or a stump, or a flat rock. The body had to be thoroughly relaxed. The eyes were never fixed on the object, in order to avoid tiring them. The gaze consisted in scanning very slowly the object gazed at, going counterclockwise but without moving the head.

She began giving me instructions. She told me to keep my eyelids half closed and stare at the place where two enormous round hills converged. There was a narrow, steep water canyon there. She said that that particular gazing consisted of four separate actions. The first one was to use the brim of my hat as a visor to shade off the excessive glare from the sun and allow only a minimal amount of light to come to my eyes; then to half-close my eyelids; the third step was to sustain the opening of my eyelids in order to maintain a uniform flow of light; and the fourth step was to distinguish the water canyon in the background through the mesh of light fibers on my eyelashes.

The idea was to let my perception play without analyzing it. I failed every time because I was thoroughly incapable of suspending judgment, and my mind always entered into some rational speculation about the mechanics of my phantom perception.

***

Gazing had been a true revelation to me. In performing it I had corroborated some important issues of don Juan’s teachings. La Gorda had delineated the task in a definitely vague manner. From la Gorda’s statements about gazing it was obvious to me that the effect don Juan had been after in making them gaze was to teach them to stop the internal dialogue. La Gorda had expressed it as „quieting down the thoughts.” Don Juan had taught me to do that very same thing, although he had made me follow the opposite path; instead of teaching me to focus my view, as gazers did, he taught me to open it, to flood my awareness by not focusing my sight on anything. I had to sort of feel with my eyes everything in the 180 - degree range in front of me, while I kept my eyes unfocused just above the line of the horizon.

Don Juan had asserted time and time again that the essential feature of his sorcery was shutting off the internal dialogue. In terms of the explanation la Gorda had given me about the two realms of attention, stopping the internal dialogue was an operational way of describing the act of disengaging the attention of the tonal. Don Juan had also said that once we stop our internal dialogue we also stop the world. That was an operational description of the inconceivable process of focusing our second attention.
SW
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「唐望故事」做夢篇 REVIEW-29

文章SW » 2023-03-25, 15:59

今天開始另一本唐望故事:《老鷹的贈予》。這篇摘要裡面附了許多英文,希望有助於正確理解原文。

在由一位卡斯塔尼達女同儕潛獵者塔夏沙‧阿貝拉寫的書《巫士的穿越》,當中她的引導者克萊拉提到的一段話,可以用來作為破題:


我們人類的確是處於分裂的狀態,但是我們的分裂不是心靈與肉體,而是在肉體(body)與分身(double)之間;肉體容納著心靈與自我,分身則是我們基本能量的容器。
在出生前,人類的二元性並不存在,但是從出生後,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,便自由了。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消除我們錯誤的肉體與心靈二元性,我們就會死於平常的死亡。(英文版 pp. 42-43)

肉體大家都很清楚,分身就是以下所講的明晰體,也就是能量體。因此所謂「整體存在」就包括這兩部分。如同經教主要是在物質肉身上的行持,金剛乘則是在能量身上的鍛鍊,有這種區別。

剩下的我不多說了,看得懂得人自然就看得懂。



「唐望故事」做夢篇 REVIEW-29

唐望曾經說過,我們的整體存在(total being)是由兩種可感知的部分組成:第一個是我們熟悉的肉體,我們所有人都能感知到;第二是明晰體(luminous body),它是只有看見者才能感知的「繭」(cocoon),一個我們看來外觀像巨大明晰蛋(luminous egg)的繭。

他也說過,巫術最重要的目標之一,就是去擴展到明晰繭,即一個藉由對做夢的善巧運用、和他稱為「不做」的一種嚴格系統化作法來實現的目標。他將「不做」定義為一種不熟悉的行為,用來迫使我們意識到整體存在之明晰部份,而將其(整體存在)投入進去。
(He defined not-doing as an unfamiliar act which engages our total being by forcing us to become conscious of its luminous segment.)

為了解釋這些概念,唐望把我們的意識分成三個不等的部份。

他把最小的一部份稱為第一注意力,說這是每個普通人為了應付日常世界所發展的意識,它包含了肉體的覺知(the awareness of the physical body)。

另一個較大的部份他稱為第二注意力,並將其描述為我們能夠感知自己的明晰繭並以明晰體(luminous beings)行動所需要的覺知(awareness)。他說,第二注意力在我們這一生中一直居於幕後(隨眠狀態),除非經由刻意訓練或意外創傷才會被帶出來。他說第二注意力包括明晰體的覺知(the awareness of the luminous body)。

他將最後一部份,最大的一部份,稱為第三注意力,即一種無法衡量的意識,其涉及肉體與明晰體之覺知無法定義的面向。

我問他自己是否經驗過第三注意力。他說他在其邊緣,如果他完全進入其中,我會立即知道,因為他的一切會成為他的真實本面(what he really was):一團能量的爆發。

他補充道,戰士的戰場是第二注意力,如同是達到第三注意力的訓練場。第三注意力是一種很難達到的狀態,但一旦達到就會取得重大成就。

《老鷹的贈予》pp. 33-34,重譯

Don Juan had said that our total being consists of two perceivable segments. The first is the familiar physical body which all of us can perceive. The second is the luminous body which is a cocoon that only seers can perceive; a cocoon that gives us the appearance of giant luminous eggs.

He had also said that one of the most important goals of sorcery is to reach the luminous cocoon; a goal which is fulfilled through the sophisticated use of dreaming, and through a rigorous systematic exertion he called not-doing. He defined not-doing as an unfamiliar act which engages our total being by forcing us to become conscious of its luminous segment.

In order to explain these concepts, don Juan made a threepart, uneven division of our consciousness.

He called the smallest the first attention, and said that it is the consciousness that every normal person has developed in order to deal with the daily world. It encompasses the awareness of the physical body.

Another larger portion he called the second attention, and described it as the awareness we need in order to perceive our luminous cocoon and to act as luminous beings. He said that the second attention remains in the background for the duration of our lives unless it is brought forth through deliberate training or by an accidental trauma. He said the second attention encompasses the awareness of the luminous body.

He called the last portion, which was the largest, the third attention-an immeasurable consciousness which engages undefinable aspects of the awareness of the physical and the luminous bodies.

I asked him if he himself had experienced the third attention. He said that he was on the periphery of it, and that if he ever entered it completely, I would know it instantly because all of him would become what he really was; an outburst of energy.

He added that the battlefield of warriors was the second attention, which was something like a training ground for reaching the third attention. The third attention was a state rather difficult to arrive at, but very fruitful once it was attained.

The Eagle’s Gift
SW
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「唐望故事」做夢篇 REVIEW-30

文章SW » 2023-04-08, 15:39

這期有兩個主題,一個是不做,一個講到做夢體。

大圓滿教法中也有「不作」的要旨,比較常說的是無造作,很多事情不需要刻意去做,而強調自然任運。當然,這得是很高的道行。
翻完後我在想:做夢體是第二注意力因定著而成形的,表示有做夢體時就有第二注意力了嗎?後來細看,應該是沒有,形成做夢體只是類似反射動作,按習慣去聚合成形。要達到第二注意力,得另外去訓練。

最後面所說的,我聯想起南開師曾經順帶一提的練習。你修專注法,若注視面前比如說一個杯子,而可以移動杯子的話,我相信這也是一種第二注意力致動的案例。


「唐望故事」做夢篇 REVIEW-30

「哲那羅告訴你,你應該用指頭而不是鉛筆來寫字。你沒有接受他的建議,因為你無法想像這是寫筆記的不做。」

唐望更進一步說明他的論點。他說寫筆記是一種用第一注意力來記憶的方式;我寫筆記是為了記住所說的和所做的。唐哲那羅的建議不是開玩笑,因為用指頭在紙上寫字,作為寫筆記的不做,會迫使我的第二注意力集中於記憶上。唐望認為最終的結果會比寫筆記更準確、更有力量。據他所知,從來沒有人這麼做過,但原理是可行的。

***

唐望曾用不同的方式向我描述做夢。其中最晦澀難懂的,現在對我來說,卻是最能定義它的。他說:做夢在本質上是睡眠的不做。就這點而論,做夢讓修行者得以利用他們生命中花在睡眠那部分的時間。

就好像做夢者不再睡覺了;然而並沒有因此而生病。做夢者並不缺乏睡眠,做夢的效果似乎是:由於使用到所謂的額外的身體——做夢體,而增加了清醒的時間。

唐望向我解釋說,做夢體有時被稱為「分身」(the double)或「另一個」(the other),因為它是做夢者身體的完美複製品。它本質上是明晰體(lumonous being)的能量,一種發白的、幻影般的放射,由第二注意力的定著所投射成的一個3D身體形象。

唐望解釋說,做夢者不是鬼魂,而是和我們在世界上所接觸的任何事物一樣真實。他說,第二注意力不可避免地被吸引去集中在我們作為能量場之整體存在上,並將這股能量轉化為任何適合的東西。最簡單的,當然就是我們透過日常生活和第一注意力的使用,已經完全熟悉的身體形象。而那個引導我們整體存在的能量去產生任何在可能範疇內的東西,被稱為意願(will)。唐望說不出這些範疇為何,只能說是在明晰體的層次,但範圍太廣了,想去設限是徒勞無功的。

因此,明晰體的能量可以經由意願轉化為任何事物。

「Nagual說做夢體會涉入並附著於任何事物上。」班尼諾說。

《老鷹的贈予》pp. 36-37, 39,重譯

"Genaro told you that you should write with the tip of your finger instead of a pencil. You didn't take him up on that because you can't imagine that this is the not-doing of taking notes."

Don Juan argued his point further. He said that taking notes was a way of engaging the first attention in the task of remembering; that I took notes in order to remember what was said and done. Don Genaro's recommendation was not a joke because writing with the tip of my finger on a piece of paper, as the not-doing of taking notes, would force my second attention to focus on remembering. Don Juan thought that the end result would be more accurate and more powerful than taking notes. It had never been done as far as he knew, but the principle was sound.

***

Don Juan had described dreaming to me in various ways. The most obscure of them all now appears to me as being the one that defines it best. He said that dreaming is intrinsically the not-doing of sleep. And as such, dreaming affords practitioners the use of that portion of their lives spent in slumber.

It is as if the dreamers no longer sleep; yet no illness results from it. The dreamers do not lack sleep, and the effect of dreaming seems to be an increase of waking time owing to the use of an alleged extra body; the dreaming body.

Don Juan had explained to me that the dreaming body is sometimes called the "double" or the "other" because it is a perfect replica of the dreamer's body. It is inherently the energy of a luminous being, a whitish, phantomlike emanation which is projected by the fixation of the second attention into a three-dimensional image of the body.

Don Juan explained that the dreaming body is not a ghost, and is as real as anything we deal with in the world. He said that the second attention is unavoidably drawn to focus on our total being as a field of energy, and transforms that energy into anything suitable. The easiest thing is, of course, the image of the physical body with which we are already thoroughly familiar from our daily lives, and our use of our first attention.
And that which channels the energy of our total being to produce anything that might be within the boundaries of possibility is known as 'will'. Don Juan could not say what those boundaries were; except that at the level of luminous beings, the range is so broad that it is futile to try to establish limits.

Thus, the energy of a luminous being can be transformed through will into anything.

"The Nagual said that the dreaming body gets involved and attaches itself to anything," Benigno said.
SW
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註冊時間: 2012-03-05, 16:23
來自: 台灣台北

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