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

A Dreamer/practioner 之謬思;《做夢的藝術》重新翻譯

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。

卡斯塔尼達《做夢的藝術》校譯版(1)-10B

文章SW » 2012-03-13, 17:06

卡斯塔尼達《做夢的藝術》校譯版(1)-10B

On his insistence, I made giant efforts to understand the new model of energy configuration he was outlining for me. Finally, after much pounding, I could follow the idea of energy filaments inside the luminous ball and outside it. But if I thought of a multitude of luminous balls the model broke down in my mind. In a multitude of luminous balls, I reasoned, the energy filaments that are outside one of them will perforce be inside , the adjacent one. So in a multitude there could not possibly be any energy filaments outside any luminous ball.

在他的堅持下,我付出很大的努力去瞭解他為我勾畫的這個新的能量結構模式,連番砲轟之後,我終於能夠領會在明晰球體之內和之外的能量光絲的想法。但如果我想到一大群明晰球體時,這模式便在我腦海中失效。我推論,那些在明晰球體外的能量光絲必然會在緊鄰的明晰球體之內,所以那有一大群時,就不可能有任何能量光絲在明晰球體外了。

"To understand all this certainly isn't an exercise for your reason," he replied after carefully listening to my arguments. "I have no way of explaining what sorcerers mean by filaments inside and outside the human shape. When seers see the human energy shape, they see one single ball of energy. If there is another ball next to it, the other ball is seen again as a single ball of energy. The idea of a multitude of luminous balls comes from your knowledge of human crowds. In the universe of energy, there are only single individuals, alone, surrounded by the boundless.
"You must see that for yourself!"
I argued with don Juan then that it was pointless to tell me to see it for myself when he knew I could not. And he proposed that I borrow his energy and use it to see.

「要想瞭解這一切,當然不能靠你的推理。」他仔細聽了我的論點後說,「我無法解釋巫士所謂光絲在人類形之內或之外,當看見者看見人類能量形體時,他們看見一個單一(single)的能量球體,如果有另一個球體在旁邊,那另一個球體會再次被看見為一個單一的能量球體。一大群明晰球體的概念是來自於你對人群的所知。在能量的宇宙中,只有單一(single)的個體,獨自地,被廣袤無垠包圍著。
「你一定要自己去看見!」
我與唐望爭論叫我自己去看見是沒道理的,他明知我辦不到。然後他建議我借用他的能量去看見

....................................................................

上面那句話:「在能量的宇宙中只有單一的個體獨自地存在」,很重要。唐望用 single,南開師用 unique,之前有本書他也是用 single。

We must try not to get distracted, maintaining continuity of presence. If we really remain in the knowledge of the state we can find ourselves in the condition called nyamje nyimed, the condition of non-duality of nyamshag and jethob. In Dzogchen this condition is called tindzin chenpo(大持明), 'total contemplation'. In it there is no distinction between nyamshag and jethob because there is always a condition of total presnece. When we reach this experience we find ourselves in the 'single state', the state of rigpa. This is the state of Samantabhadra(普賢王如來), the primodial state.

後期南開師都用 unique state,也就是明空不二的本初狀態,本覺。既然無二,當然只能看到一個明晰球體,而不會看到一群明晰球體。因為有自他就有二元了。

分別(distinguish)一切事均有其智慧,當你發現其一就發現全部,因為你具有 Lhundrub 的自圓滿特質,只要有助緣任何事皆可顯現。但就像鏡子你放在箱子裡,則什麼都不會顯現。我們需要擁有 Lhundrub 這樣的知識,本初以來自圓滿的特質,這稱為我們的 unique state,這不是說自己的 unique state 比其他個體卓越,每個眾生都有其個別的 unique state。證悟意味完全超越限制,超越二元與分別,就像所有眾生都是一樣,蓮師說所有開悟眾生在智慧層面無所分別,但並非像印度教成為「合一」(大圓滿說非一非異)。金剛手不是觀世音,觀世音不是文殊師利,但都是開悟眾生,都處於法性智慧、盡皆完美,但其所示現智慧有所不同,因為當文殊師利在道上時有其誓願,長壽佛還在修道上時做了許多跟長壽有關的事,所以所有開悟眾生不會成為梵天(普拉瑪,Prama)。(2010/07/02)

不接受什麼具體的事,每件事都是空的。基督教也有這個,上帝在哪?也是空性。我們顯現層面所包括的所有一切事情,好或壞許多的事,基督教說上帝創在一切,大圓滿心部有說「普作王」,Kunjed Gyalpo(昆傑嘉波),他創造了所有事,像 unique state 是指我的獨特的狀態,你也有你的 unique state,所以上帝也是 unique God。依我所瞭解,上帝代表本初狀態,每個人都有自己的本初狀態。如果你讀基督教的經典,基督並沒有說需要有教會,唯一的教會就是們的身體,所以你可以瞭解上帝在哪裡。當我們遵循大圓滿教法,有必要瞭解此。(2010/10/04)
SW
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卡斯塔尼達《做夢的藝術》校譯版(1)-11

文章SW » 2012-03-13, 17:06

「我要怎麼做?借用你的能量。」
「非常簡單,我可以使你的聚合點移到另一個比較適於直接感知能量的位置。」
這是我記憶中的頭一次,他主動地談起他所一直在對我做的,使我進入某種不可思議的知覺狀態,其違反我對世界及自己的概念,他稱這狀態為第二注意力。所以,為了使我的聚合點移到比較適合直接感知能量的位置,唐望拍打我的背,在我兩肩胛骨之間,大力到使我喘不過氣來。我以為我昏倒了,或者那一拍使我睡著了。突然間,我正在看,或者是我正夢到我看著超乎文字所能形容的事物,明亮的光的細絲從所有一切射出,朝向四面八方,這種光的細絲什麼都不像,從來不曾存在我的腦海之中。

When I recovered my breath, or when I woke up, don Juan expectantly asked me, "What did you see?" And when I answered, truthfully, "Your blow made me see stars," he doubled up laughing.
He remarked that I was not ready yet to comprehend any unusual perception I might have had. "I made your assemblage point shift," he went on, "and for an instant you were dreaming the filaments of the universe. But you don't yet have the discipline or the energy to rearrange your uniformity and cohesion. The old sorcerers were the consummate masters of that rearranging. That was how they saw everything that can be seen by man."
"What does it mean to rearrange uniformity and cohesion?"
"It means to enter into the second attention by retaining the assemblage point on its new position and keeping it from sliding back to its original spot."

當我恢復呼吸,或者是醒來後,唐望期待地問我:「你看見了什麼?」而當我老實地回答:「你的一拍使我眼冒金星。」他笑彎了腰。
他評論說我尚未準備好瞭解任何我可能會經驗到的不尋常知覺。「我使你的聚合點移動了,」他繼續說,「有一瞬間你正夢到了宇宙的光絲,但你還沒有紀律或能量來重整你的一致性與凝聚性。古代巫士是這種重整的完美大師,這是為何他們能看見所有能被人看見的一切。」
「重整一致性與凝聚性是什麼意思?」
「這表示維持聚合點在新的位置並防止它溜回原來那點,以此來進入第二注意力。」

Don Juan then gave me a traditional definition of the second attention. He said that the old sorcerers called the result of fixing the assemblage point on new positions the second attention and that they treated the second attention as an area of all-inclusive activity, just as the attention of the daily world is. He pointed out that sorcerers really have two complete areas for their endeavors: a small one, called the first attention or the awareness of our daily world or the fixation of the assemblage point on its habitual position; and a much larger area, the second attention or the awareness of other worlds or the fixation the assemblage point on each of an enormous number of new positions.

接著唐望給予我第二注意力的傳統定義。他說古代巫士稱呼「聚合點固定在新位置的結果」為第二注意力,他們把第二注意力視為一個包含一切活動的領域,就像日常世界的注意力一樣。他指出巫士確實有兩個完整的領域可供他們冒險:比較小的,稱為第一注意力,或日常世界的知覺,或聚合點在其慣常位置;還有一個大得多的領域,稱為第二注意力,或其他世界的知覺,或聚合點在為數龐大之任一新位置上。
SW
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卡斯塔尼達《做夢的藝術》校譯版(1)-12

文章SW » 2012-03-13, 17:07

Don Juan helped me to experience inexplicable things in the second attention by means of what he called a sorcerer's maneuver tapping my back gently or forcefully striking it at height of my shoulder blades. He explained that with his blows he displaced my assemblage point. From my experiential position, such displacements meant that my awareness used to enter into a most disturbing state of unequaled clarity, a state of superconsciousness, which I enjoyed for short periods of time and in which I could understand anything with minimal preambles. It was not quite a pleasing state. Most of the time it was like a strange dream, so intense that normal awareness paled by comparison.

唐望幫助我經驗到在第二注意力下無可解釋的事情,用他所謂的一個巫士動作(sorcerer's maneuver):輕拍或重擊我的背,在我肩胛骨的高度。他解釋說藉此一拍他移動了我的聚合點。由我的經驗來看,這樣的位移表示我的知覺慣於進入一個無比清晰(clarity)之最混亂的狀態,一種超級意識(superconsciousness)狀態,我只能享受短暫的時間,在這期間中我可以最少的準備就瞭解一切。這不完全是令人愉快的狀態,大部分時間它像個奇怪的夢,如此强烈,以致於正常知覺相形失色。

Don Juan justified the indispensability of such a maneuver, lying that in normal awareness a sorcerer teaches his apprentices basic concepts and procedures and in the second attention gives them abstract and detailed explanations.
Ordinarily, apprentices do not remember these explanations at all, yet they somehow store them, faithfully intact, in their memories. Sorcerers have used this seeming peculiarity of memory and have turned remembering everything that happens to them in the second attention into one of the most difficult and complex traditional tasks of sorcery.

唐望認為這樣的動作的必要性在於:巫士在平常知覺中教導他的門徒基本的觀念與步驟,而在第二注意力中則傳授他們抽象和詳細的解釋。
通常,門徒們完全不記得這些解釋,然而他們卻以某種方式儲存起來,如實而完整地封存在他們的記憶中。巫士使用這看似奇特的記憶,使回憶在第二注意力中發生在他們身上的所有事情,變成是最困難與複雜的巫術傳統任務。

Sorcerers explain this seeming peculiarity of memory, and the task of remembering, saying that every time anyone enters I into the second attention, the assemblage point is on a different position. To remember, then, means to relocate the assemblage on the exact position it occupied at the time those entrances into the second attention occurred. Don Juan assured me not only that sorcerers have total and absolute recall but that they relive every experience they had in the second attention by this act of returning their assemblage point to each of those specific positions. He also assured me that sorcerers dedicate a lifetime to fulfilling this task of remembering.

巫士們對這種看似奇異的記憶和回憶的任務的解釋是,任何人每次進入第二注意力時,聚合點是在一個不同的位置。那麼,要回憶起來,意指必須使聚合點重新回到第二注意力發生時這些進入的確切位置。唐望跟我保證,藉由讓聚合點回到那些特定位置的任一點,這些巫士不僅能有整體而完全的記憶,還會重新活過他們在第二注意力下的每個經驗。他還跟我保證,巫士會奉獻一輩子來完成這項回憶的任務。

In the second attention, don Juan gave me very detailed explanations of sorcery, knowing that the accuracy and fidelity of such instruction will remain with me, faithfully intact, for the duration of my life.
About this quality of faithfulness he said, "Learning something in the second attention is just like learning when we were children. What we learn remains with us for life. 'It's second nature with me,’ we say when it comes to something we've learned very early in life."

在第二注意力時,唐望給了我大量非常仔細的巫術解釋,他知道這樣指導的精確性與忠實度能夠歸屬於我,如實地封存,持續我一生之久。
關於這種如實性,他說:「在第二注意力中學習就像我們還是小孩時的學習,我們學到的會持續我們終生。我們說『這是我的第二天性』,當它是我們一生裡非常早期學到的東西時。」

Judging from where I stand today, I realize that don Juan made me enter, as many times as he could, into the second attention in order to force me to sustain, for long periods of time, new positions of my assemblage point and to perceive coherently in them, that is to say, he aimed at forcing me to rearrange my uniformity and cohesion.

從我今天的立場來判斷,我了解到唐望盡可能多次地使我進入第二注意力中,以强迫我長時間維持住我聚合點的新位置,然後在這些位置去連貫地感知。也就是說,他的目標是强迫我去重新安排我的一致性和凝聚性。
SW
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文章SW » 2012-03-13, 17:07

一修 寫:支持重譯。辛苦了。請繼續。


其實貼了 24 篇,點閱才 500 多,看的人很少啦。我是剛好一個師父去四川兩個月,一個上師回義大利,這兩個月沒什麼課上,閒閒沒事來翻譯《做夢的藝術》第一章。

接下來沒打算繼續翻譯第二章、第三章……。「做夢」是個沒什麼知音的冷門領域,許多人根本持續不下去夢修,光躺著睡記夢都持續不下去,看看我們做夢者班成員的更迭便知一二。

不然就是能做夢光顧著玩或體驗什麼神奇有趣的事,哦以為到了人類未知的領域。我是覺得能記得夢不難,到了其他領域也沒多好玩,珍貴的有意識的意生身或做夢體,不趕快利用這七倍於醒時的明性來修特定修法,趕快產生「修行者的經驗」,經驗轉化為「知識」,是多可惜的一件事!

法界就在那裡、本覺或明體呼之欲出,放射的能量想看、努力去看見就有,這才是唐望教法也是大圓滿法的精髓。唐望也說古典巫士的偏頗,好玩嘛、極端哪,光追求技巧、偏離正道,搞得自己變成千年不死的老妖,也沒獲得完全的自由或者解脫。

不需要強調什麼「看見聚合點的移動」、「變身成動物」,修行的目的在哪裡,永遠看著那個目標。要完全自由,就謹記在心,獲得一個真實的傳承,夢裡去修,就會有效,就會離目標越來越近。
SW
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卡斯塔尼達《做夢的藝術》校譯版 (1)-13

文章SW » 2012-03-13, 17:07

Another monumental breakthrough that the old sorcerers claimed, and that don Juan carefully explained to me, was to find out that the assemblage point becomes very easily displaced during sleep. This realization triggered another one that dreams are totally associated with that displacement. The old sorcerers saw that the greater the displacement, the more unusual the dream or vice versa the more unusual the dream, the greater the displacement. Don Juan said that this observation led them to devise extravagant techniques to force the displacement of the assemblage point, such as ingesting plants that can produce altered states of consciousness; subjecting themselves to states of hunger, fatigue, and stress; and especially controlling dreams. In this fashion, and perhaps without even knowing it, they created dreaming.

另一個古代巫士所宣稱的重大突破,唐望仔細地解釋給我聽,是他們發現聚合點在睡眠時變得很容易移開。這項體認引發了另一項發現:夢完全與這個位移有關。古代巫士看見,這個位移越大,夢也就越不尋常,或者倒過來,夢越奇特,聚合點的位移就越大。唐望說,這項觀察導致他們發明古怪的技巧來強迫引出聚合點的位移,諸如:食用能夠產生意識轉換狀態(altered state)的植物;承受饑餓、疲勞和緊張的狀態;以及特別是控制夢境。以這種方式,也許甚至在不為所知的情況下,他們創造出了做夢(dreaming)。

One day, as we strolled around the plaza in the city of Oaxaca, don Juan gave me the most coherent definition of dreaming from a sorcerer's standpoint.

有一天,我們在(墨西哥)瓦哈卡(Oaxaca)市的廣場附近散步時,唐望給予我最條理清晰的做夢定義——從一位巫士的觀點。

"Sorcerers view dreaming as an extremely sophisticated art," he said, "the art of displacing the assemblage point at will from its habitual position in order to enhance and enlarge the scope of what can be perceived." He said that the old sorcerers anchored the art of dreaming, on five conditions they saw in the energy flow of human beings.
One, they saw that only the energy filaments that pass directly through the assemblage point can be assembled into coherent perception.
Two, they saw that if the assemblage point is displaced to another position, no matter how minute the displacement, different and unaccustomed energy filaments begin to pass through it, engaging awareness and forcing the assembling of these unaccustomed energy fields into a steady, coherent perception.
Three, they saw that, in the course of ordinary dreams, the assemblage point becomes easily displaced by itself to another position on the surface or in the interior of the luminous egg.
Four, they saw that the assemblage point can be made to move to positions outside the luminous egg, into the energy filaments of the universe at large.
And, five, they saw that through discipline it is possible to cultivate and perform, in the course of sleep and ordinary dreams, a systematic displacement of the assemblage point.

「巫士把做夢當成一種極度複雜的藝術,」他說,「是能夠隨意移動聚合點離開其慣常位置的藝術,以增強並擴大我們所能感知的範圍。」他說古代巫士將做夢藝術設定在五個情況上,這些情況是他們在人類能量流中看見的:

一、他們看見,只有直接穿過聚合點的能量光絲,才能被聚合成連貫的知覺。

二、他們看見,如果聚合點被移到另個位置,不管這個位移動有多微小,不同的陌生能量光絲就開始穿過聚合點,引發意識,並將這些不熟悉的能量場推入穩定連貫的知覺中。

三、他們看見,在平常作夢過程中,聚合點變得容易被它自己移到明晰蛋體的表面或內部的另個位置。

四、他們看見,聚合點可以被移到明晰蛋體之外,進入全宇宙的能量光絲中。

五、他們看見,透過訓練,在睡眠和平常作夢的過程中,培養及執行有步驟的聚合點位移是可行的。



第一章完。
SW
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卡斯塔尼達《做夢的藝術》校譯版 (2)-1

文章SW » 2012-03-13, 17:08

2 THE FIRST GATE OF DREAMING

As a preamble to his first lesson in dreaming, don Juan talked about the second attention as a progression: beginning as an idea that comes to us more like a curiosity than an actual possibility; turning into something that can only be felt, as a sensation is felt; and finally evolving into a state of being, or a realm of practicalities, or a preeminent force that opens for us worlds beyond our wildest fantasies.

2 做夢的第一道關口

唐望以談論第二注意力當作一個進展,作為他第一堂做夢課的序言。這個進展,一開始就好像我們有一個想法,比較類似好奇,而非實際上有這可能;〔然後〕變成只能被感覺的東西,如一種覺受被感覺到;最後進展成一種存在狀態,或一個實際領域,或一股顯著的力量——它為我們打開了超乎我們最狂野幻想的世界。

When explaining sorcery, sorcerers have two options. One is to speak in metaphorical terms and talk about a world of magical dimensions. The other is to explain their business in abstract terms proper to sorcery. I have always preferred the latter, although neither option will ever satisfy the rational mind of a Western man.

當解釋巫術時,巫士有兩種選擇:一種是以象徵名詞談論一個神秘層面的世界;另一種是以適合於巫術的抽象術語來解釋他們的事務。我一直比較喜歡後者,雖然這兩種選擇都無法滿足西方人的理性心智。

Don Juan told me that what he meant by his metaphorical description of the second attention as a progression was that, being a by-product of a displacement of the assemblage point, the second attention does not happen naturally but must be intended, beginning with intending it as an idea and ending up with intending it as a steady and controlled awareness of the assemblage point's displacement.

唐望告訴我,他這種把第二注意力當作一個進展的象徵式描述,意思就是:第二注意力——作為聚合點位移的副産品——不會自然發生,一定要用意願(intent)的,一開始以一個想法來意願,最後則以聚合點位移控制住的穩定意識來意願。

"I am going to teach you the first step to power," don Juan said, beginning his instruction in the art of dreaming. "I'm going to teach you how to set up dreaming."
"What does it mean to set up dreaming?"

「我要教你達至力量的第一步,」唐望說,即開始他對做夢的藝術的指導,「我要教你如何設定做夢(set up dreaming)。」
「設定做夢是什麼意思?」

"To set up dreaming means to have a precise and practical command over the general situation of a dream. For example, you may dream that you are in your classroom. To set up dreaming means that you don't let the dream slip into something else. You don't jump from the classroom to the mountains, for instance. In other words, you control the view of the classroom and don't let it go until you want to."

「設定做夢意指能對一個夢的一般狀况有精確而實際的掌控。舉個例子,你可以夢到你在你的教室裡,而設定做夢就是指你不讓這個夢不知不覺地變成別的東西,比如說你不會從教室跳到山頂。換句話說,你控制住教室的景象不讓它跑掉,直到你希望如此。」

"But is it possible to do that?"
"Of course it's possible. This control is no different from the control we have over any situation in our daily lives. Sorcerers are used to it and get it every time they want or need to. In order to get used to it yourself, you must start by doing something very simple. Tonight, in your dreams, you must look at your hands.

「但這有可能辦到嗎?」
「當然有可能,這種控制與我們對日常生活任何情况的控制沒有兩樣。巫士習慣如此,每次他們想要或需要時便可做到。為了讓你自己也能習慣它,你必須從非常簡單的事情開始做。今晚,在你的夢中,你必須要看你的手。」
SW
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文章SW » 2012-03-13, 17:08

「最後則以聚合點位移〔後〕控制住的穩定意識來意願」

有些詞的翻譯我必須來來回回好幾遍,才能找到比較恰當的譯詞。魯宓的翻譯法比較是用自己的話重說一遍,我的翻譯方法是無論如何每個英文字都要翻譯到。因此《做夢的藝術》閱讀魯宓譯版,當故事看是絕對沒問題,要當作修行指導,我建議還是先還原原作者卡斯塔尼達所轉述的唐望所說,一字地不漏這樣來理解才比較正確。

許多字的解釋,攤開字典有一堆,但哪個才是契合原作意思的用詞?魯宓跟我都是留美學生,時間很短不足以轉化為西方人的語言思維來了解,可能出生於美國的華人可以了解,但他們的中文又有表達的困難。

所以許多句子我必須來來回回好幾遍,(配合我對唐望知識的理解與經驗)慢慢了解原義,才能定下最接近的詞。這裡有句很難翻譯但很關鍵的句子:「一開始以一個想法來意願,最後則以聚合點位移控制住的穩定意識來意願」,第二句十分重要,意思是聚合點位移後也並不保證能進入第二注意力。

聚合點位移後,一般就是作夢狀態都是聚合點位移,但你的意識狀態並沒有被控制住也不穩定,基本上是沒有個人意志的。所以做夢(我換一的動詞「做」,反正魯宓都翻成做夢,有自主意識的作夢),只是做夢注意力,要在此狀態下控制做夢然後繼續意願第二注意力。
SW
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卡斯塔尼達《做夢的藝術》校譯版 (2)-2

文章SW » 2012-03-13, 17:12

Not much more was said about this in the awareness of our daily world. In my recollection of my experiences in the second attention, however, I found out that we had a more extensive exchange. For instance, I expressed my feelings about the absurdity of the task, and don Juan suggested that I should face it in terms of a quest that was entertaining, instead of solemn and morbid.

在我日常世界的意識中,除了這以外就沒多說什麼了。然而,在我回憶第二注意力下的經驗裡,我發現我們有更廣泛的意見交換。例如,我表示我對這任務感到荒謬,唐望建議我應該以一種追求——那是愉快有趣的,而不是以嚴肅和病態來面對它。

"Get as heavy as you want when we talk about dreaming," he said. "Explanations always call for deep thought. But when you actually dream, be as light as a feather. Dreaming has to be performed with integrity and seriousness, but in the midst of laughter and with the confidence of someone who doesn't have a worry in the world. Only under these conditions can our dreams actually be turned into dreaming."

「當我們談到做夢時,你想怎麼多都可以,」他說,「解釋總是招來深思,但當你實際去夢時,要像羽毛一樣輕。做夢必須誠實嚴肅來從事,但要在歡笑之間,帶著這世上無憂無慮那種人的信心,只有在這些情况下,我們的夢才能真正變成做夢。」

Don Juan assured me that he had selected my hands arbitrarily as something to look for in my dreams and that looking for anything else was just as valid. The goal of the exercise was not finding a specific thing but engaging my dreaming attention.

唐望向我保證,他是隨便選我的手當作我夢中要尋找的東西,尋找其他東西也絕對有效。這個練習的目的不是尋找一項特定的東西,而是引起我的做夢注意力。

Don Juan described the dreaming attention as the control one acquires over one's dreams upon fixating the assemblage point on any new position to which it has been displaced during dreams. In more general terms, he called the dreaming attention an incomprehensible facet of awareness that exists by itself, waiting for a moment when we would entice it, a moment when we would give it purpose; it is a veiled faculty that every one of us has in reserve but never has the opportunity to use in everyday life.

唐望把做夢注意力描述為一個人對自己的夢獲得的控制,其在於固定聚合點於作夢當中位移到的任何新位置上。更一般的說法是,他稱這做夢注意力是意識無法瞭解的面向,獨立自存,等待我們可以吸引它的那一刻——我們可以給予它目的的那一刻;它是一種隱藏的機能,我們每個人都備用著,但從未有機會在日常生活中使用。

My first attempts at looking for my hands in my dreams were a fiasco. After months of unsuccessful efforts, I gave up and complained to don Juan again about the absurdity of such a task.
"There are seven gates," he said as a way of answering, "and dreamers have to open all seven of them, one at the time. You're up against the first gate that must be opened if you are to dream."

我第一次在夢中尋找我的手的嘗試是個慘敗。經過好幾個月努力的失敗,我放棄了,並再次向唐望抱怨這項任務的荒謬。
「一共有七道關口,」他說,作為一種回答的方式,「而做夢者必須要打開全部的七道關口,一次一個。你正面臨第一道關口,這關口一定要被打開,如果你要做夢的話。」

"Why didn't you tell me this before?"
"It would've been useless to tell you about the gates of dreaming before you smacked your head against the first one. Now you know that it is an obstacle and that you have to overcome it."

「你之前為何沒告訴我這個?」
「在你對第一道關口撞破頭之前,告訴你這些關口是沒有用的。現在你知道它是一個障礙,你就必須去克服它。」
SW
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卡斯塔尼達《做夢的藝術》校譯版 (2)-3

文章SW » 2012-03-13, 17:12

Don Juan explained that there are entrances and exits in the energy flow of the universe and that, in the specific case of dreaming, there are seven entrances, experienced as obstacles, which sorcerers call the seven gates of dreaming.

唐望解釋說,宇宙的能量流(energy flow)中有入口和出口,而在做夢這種特定情況下,有七個被經驗成障礙的入口,巫士稱之爲做夢的七道關口。

"The first gate is a threshold we must cross by becoming aware of a particular sensation before deep sleep," he said. "A sensation which is like a pleasant heaviness that doesn't let us open our eyes. We reach that gate the instant we become aware that we're falling asleep, suspended in darkness and heaviness."
"How do I become aware that I am falling asleep? Are there any steps to follow?"
"No. There are no steps to follow. One just intends to become aware of falling asleep."

「第一關是一道我們必須跨越的門檻,藉由對深睡前特別的感覺變得覺察,」他說,「那像是恬適而沉重的一個感覺,使我們無法睜開雙眼。一旦我們開始覺察到自己正在睡著、懸浮於黑暗與沉重之中,頃刻間我們便達到(reach)第一關。」

..............................................

原譯「抵達了第一關」語意不詳,因為前面還有「面臨(against)第一關」且碰到障礙。當然 against(面對挑戰)跟 reach 是不一樣,reach 應該是到達、達到,「抵達」我就不知道是什麼意思。因為基本上到達第一關已經很不容易了,你必須能夠觀察到自己入睡。這是絕對的「達到第一關」的定義。

許多人忽略這個,直接開始看手,或者跳到第三關ㄟ開始幻想出現夢的使者。看手或者是判定意識清明的指標;夢的使者?我覺得你幻想太多。能夠覺察到自己入睡狀態嗎?有覺察到自己身體慢慢變得沈重到無法以意識支配嗎?

這是我們在練習直接出體的訓練要項,你一定要觀察到自己身體睡著而意識還醒著,身體還沒完全睡著你拔不出來的(出體)。當然這裡第一關要再簡單點,你觀察到自己身體睡著,接著失去意識(腦袋睡著),這樣就達到第一關了。唐望沒有叫你這時要拔出體,那是我們出體訓練用的。

..............................................


「我要如何才能覺察到我正睡著呢?有沒有任何步驟可循?」
「沒有,沒有步驟可循,只要意願能夠覺察入睡。」

"But how does one intend to become aware of it?"
"Intent or intending is something very difficult to talk about. I or anyone else would sound idiotic trying to explain it. "Bear that in mind when you hear what I have to say next sorcerers intend anything they set themselves to intend, simply by intending it."
"That doesn't mean anything, don Juan."
"Pay close attention. Someday it'll be your turn to explain. The statement seems nonsensical because you are not putting it in the proper context. Like any rational man, you think that understanding is exclusively the realm of our reason, of our mind.
"For sorcerers, because the statement I made pertains to intent and intending, understanding it pertains to the realm of energy. Sorcerers believe that if one would intend that statement for the energy body, the energy body would understand it in terms entirely different from those of the mind. The trick is to reach the energy body. For that you need energy."

「但人要如何意願才能夠覺察到它呢?」
「意願(intent)或去意願(intending)是很難談論的事情,我或任何其他人若試著解釋,只會聽起來很愚蠢。」當你聽到接下來我必須要說的,你要切記:巫士意願任何他們自己認真去意願的事時,僅僅靠著去意願它〔就可以〕。」
「那沒有任何意義,唐望。」
「請好好注意,有一天會輪到你來解釋的。這說法似乎很荒謬,因為你沒有把它放入適當的架構中。你就像任何有理性的人,認為瞭解純粹只在我們理智——我們心智(mind)——的範疇。
「對巫士而言,由於我的說法是講意願和去意願,瞭解它則是屬於能量的範疇。巫士相信如果一個人意願那個說法給能量體(energy body),能量體便會以與心智完全不同的方式來瞭解它。這訣竅就是達到(reach)能量體,為此你需要能量。」
SW
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卡斯塔尼達《做夢的藝術》校譯版 (2)-4

文章SW » 2012-03-13, 17:13

"In what terms would the energy body understand that statement, don Juan?"
"In terms of a bodily feeling, which it's hard to describe. You'll have to experience it to know what I mean."

「能量體會以什麼方式瞭解這個說法呢,唐望?」
「以一種身體上的感覺,這很難形容,你必須要去經驗它才知道我的意思。」

I wanted a more precise explanation, but don Juan slapped my back and made me enter into the second attention. At that time, what he did was still utterly mysterious to me. I could have sworn that his touch hypnotized me. I believed he had instantaneously put me to sleep, and I dreamt that I found myself walking with him on a wide avenue lined with trees in some unknown city. It was such a vivid dream, and I was so aware of everything, that I immediately tried to orient myself by reading signs and looking at people. It definitely was not an English- or Spanish-speaking city, but it was a Western city. The people seemed to be northern Europeans, perhaps Lithuanians. I became absorbed in trying to read billboards and street signs.

我想要一個更明確的解釋,但唐望拍我的背,使我進入第二注意力。在當時,他所做的對我來說依然是完全的神秘。我可以發誓說他的碰觸催眠了我。我相信他使我立刻入睡,然後我夢到我發現自己跟與他走在一條寬闊的林蔭大道上,在某個不知名的城市。這個夢是如此清晰鮮明,我覺察到所有一切,所以我立刻試著藉由判讀指標和觀看人群來調適自己。這顯然不是一個講英語或西班牙語的城市,但仍是一個西方城市。這裡的人似乎是北歐人,也許是立陶宛人。我開始全神灌注於想讀懂廣告牌和路標。

Don Juan nudged me gently, "Don't bother with that," he said. "We are nowhere identifiable. I've just lent you my energy so you would reach your energy body, and with it you've just crossed into another world. This won't last long, so use your time wisely.
"Look at everything, but without being obvious. Don't let anyone notice you."

唐望輕輕戳戳我,「不用理會這些,」他說:「我們是在無法辨識的地方。我才剛把我的能量借給你,使你可以達到能量體,以此你剛跨越進入了另一個世界。這不會持續很久,所以要善用你的時間。
「看看每樣事物,但不要太明顯。不要讓任何人注意到你。」

We walked in silence. It was a block-long walk, which had a remarkable effect on me. The more we walked, the greater my sensation of visceral anxiety. My mind was curious, but my body was alarmed. I had the clearest understanding that I was not in this world. When we got to an intersection and stopped walking, I saw that the trees on the street had been carefully trimmed. They were short trees with hard-looking, curled leaves. Each tree had a big square space for watering. There were no weeds or trash in those spaces, as one would find around trees in the city, only charcoal black, loose dirt.

我們沉默地走著。這一個街廓遠的步行,對我卻有非凡的影響。我們越走,我發自內在的焦慮感越大。我的心很好奇,但我的身體卻很警覺,我知道我並不是在這個世界,這再清楚不過。當我們到了一個十字路口停下來時,我看到街上的樹被仔細修剪過。這些樹不高,長著看起來粗硬、捲曲的葉子。每棵樹都有一大塊澆水的方形空地。在這些空地沒有雜草或垃圾——如同我們在城市裡樹的周圍會發現的,〔這裡〕只有木炭黑的鬆土。

The moment I focused my eyes on the curb, before I stepped off it to cross the street, I noticed that there were no cars. I tried desperately to watch the people who milled around us, to discover something about them that would explain my anxiety. As I stared at them, they stared back at me. In one instant a circle of hard blue and brown eyes had formed around us.

當我把視覺焦點移到路緣石那刻,在我踏過它過街前,我注意到這兒沒有汽車。我死命看著在我們身邊轉來轉去的人們,想找出他們使我焦慮的原因。當我瞪著他們,他們也回瞪我,剎那間一圈嚴厲的藍色及褐色眼睛便在我們周圍成形。

A certainty hit me like a blow this was not a dream at all; we were in a reality beyond what I know to be real. I turned to face don Juan. I was about to realize what was different about those people, but a strange dry wind that went directly to my sinuses hit my face, blurred my view, and made me forget what I wanted to tell don Juan. The next instant, I was back where I had started from don Juan's house. I was lying on a straw mat, curled up on my side.

一種真實性對我如當頭棒喝:這根本不是夢!我們正身在一個實境(reality)中,其超越我所知道的真實。我轉身面對唐望,我正要體會出這些人的不同處時,一陣直接進入我鼻竇的奇怪乾風撞上我的臉、模糊我的視線,使我忘了我要跟唐望說的。下一瞬間,我回到了從唐望的房子開始的地方,我正躺在一張草席上,側身蜷曲著。
SW
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