遊戲劇本 (The Game Script)
The Game Script
1/15
夢境極具可塑性，因而成為展示外在意圖 (Outer intention) 運作方式的佳例。我們現在回到夢境這個主題。正如先前所言，本質上夢境與現實生活極為相似。夢中發生的一切，都是靈魂根據某個劇本 (Script) 玩出的一個遊戲結果。當理性心智休眠時，我們便開始夢境，但卻不會記得那些夢。靈魂在替代空間 (Alternatives space) 中自由穿梭；而究竟靈魂在心智沉睡時去哪裡遊走，無人能知。所有有關意識的記憶都是由心智所主導。那些我們記得的夢境，往往發生在心智僅僅是打盹的時刻，此時心智的控制力大幅減弱，僅扮演著被動觀察者的角色。心智並非在夢中虛構出什麼，它只是接收靈魂在尚未轉化為物質現實 (Material realisation) 的替代空間 (Alternatives space) 區塊中所見的內容。在非清醒夢 (non-lucid dreaming) 中，心智並不施加控制，就像觀眾坐在電影院觀看電影一樣。不過，在某種層面上，心智確實感知到所見之物，這些感官刺激會立即傳達給心靈，令其與對應的區塊迅速調諧。於是，劇本 (Script) 隨著過程不斷改變，背景景觀和角色也隨之調整；而想像力在夢中僅是在提供生成創意的作用。
Dreams are very malleable and so they serve as an excellent model by which to demonstrate how outer intention works. So, we will return now to the theme of dreams. As we said, in essence dreaming is very similar to real life. Everything that happens in a dream is a result of a game played according to a script chosen by the soul. When the rational mind sleeps we dream but we do not remember our dreams. The soul travels uninhibitedly through the alternatives space. Where exactly the soul is gallivanting whilst the mind sleeps, no-one can say. All our conscious memories are controlled by the mind. Dreams that we remember occur when the mind is just dozing. The mind’s control is weaker during this stage of sleep being reduced to the role of passive observer. The mind is not imagining things when we dream; it simply perceives what the soul witnesses in sectors of the alternatives space that have not been transformed into physical reality. In non-lucid dreaming the mind does not weigh on the soul with its need to control. It is like a cinema-goer watching a film. On some level though the mind does experience what it sees and the sensations evoked are communicated to the heart which immediately attunes itself to a matching sector. The script therefore, changes as it goes along, the scenery and characters likewise adjusting to the changing script. The imagination plays a part in dreaming only to the extent that it generates ideas.
2/15
在夢中，當你突然閃過一個念頭，認為某人可能會對你表現出攻擊性時，那念頭便迅速實現，隨即有人出現在場上威脅你。當你觀點的風向迅速轉變，敵人馬上變成朋友。這就有點像是一隻小貓在鏡前玩耍，牠的情緒隨著跳躍從友善轉向攻擊性。小貓最初以中性、好奇的態度注視鏡中身影，接著當牠抬起爪子時，則立刻判斷可能存有危險，豎起毛髮、展開攻擊，然後迅速閃避以自保。再後來，小貓向後跳躍，再瞥見鏡中滑稽的自己，心情則轉為更輕鬆詼諧。如此循環不息，小貓動態地修正著劇本 (Script)，或是攻擊自己倒影，或是將攻擊轉化為遊戲。
In a dream, when you have the passing thought that a person may act aggressively towards you the thought is instantly materialised and someone appears on the scene to threaten you. As soon as the weather vane of your opinion turns in a different direction foe is immediately transformed into friend. It is a bit like a kitten playing in front of a mirror whose mood smoothly shifts from friendly to aggressive as it jumps about. The kitten sees a figure in front of it and wonders what to expect from it. At first its attitude is neutral and curious. Then the kitten lifts a paw and the assessment instantly shifts towards possible danger. The kitten puts its hackles up, makes an attack and then dodges to protect itself. The kitten jumps backwards, sees its comic image in the mirror and its mood changes to one more playful. Then the ritual is repeated as the kitten dynamically corrects the script either attacking its reflection or substituting aggression with playfulness.
3/15
人在非清醒夢中也正是以同樣方式來調整劇本 (Script)。就如同小貓並不知道那倒影屬於自己一樣，人也未察覺自己正在做夢。你可曾注意到，當你照鏡子時，看到的臉孔並不總和你日常所呈現的相同？你的面部表情在看鏡子的一刻就迅速改變，快到你自己都來不及察覺。這是因為從童年起，我們便習慣以特定方式展現自我；當你對孩子說「照照鏡子，看看哭起來多難看！」時，孩子的臉瞬間會改變；成年人看著自己時，也會在心中評價：「我喜歡自己」或「我看起來如何」甚至是「我，好可怕」，然後面部表情便依據這思緒瞬間調整。
A person corrects the script in non-lucid dreaming in exactly the same way. The kitten is not aware that it is looking at its own reflection just as a person is not aware that they are dreaming. Did you know that when a person looks in the mirror the facial expression they see is not the facial expression they usually have. A person’s expression changes the moment they look in the mirror, too quickly for them to notice. This is because of habits and desires we have since childhood to look a certain way. As soon as you say to a child: “Look in the mirror. See how awful you look when you cry!”, their face will change. Adults also have certain expectations when they look at their reflection. They say to themselves: “I like myself” or “How do I look”, or “I look terrible”, etc. The facial expression is immediately corrected depending on the thought.
4/15
鏡子正好說明了我們如何動態地修正自己的劇本；然而，鏡子只展現了內在意圖 (Intention) 的運作方式，而夢境則是外在意圖 (Outer intention) 的典型例證。在清醒時，你看到鏡中的倒影，立刻就會依照自己的期望，透過內在意圖 (Intention) 改變臉上的表情；而夢境就像一齣戲，外界角色的劇本則由夢者依據自身的經驗與期待—無論是否伴隨疼痛—透過外在意圖 (Outer intention) 選擇定下。
The mirror is an example of how we dynamically correct our own script, only the mirror is an example of how inner intention functions, whereas the dream is an example of outer intention. In waking a person sees their reflection in the mirror and immediately inner intention changes the expression on their face according to their expectations. A dream is like a play, and the script that will direct the role of the outside world is chosen by the dreamer’s outer intention in accordance with their experience and expectations but irrespective of whether they will experience pain.
5/15
在夢中，所有參與者的行為都正如夢者所預期般進行。最初的構想僅僅是一股啟動力量，其餘部分則全由外在意圖 (Outer intention) 進行佈局。夢中你自身的行為由內在意圖 (Intention) 掌控，而其他一切則完全屬於夢者的外在意圖 (Outer intention)，不論你是否喜歡。正如我們先前所說，內在意圖 (Intention) 試圖直接影響世界，而外在意圖 (Outer intention) 則使外部世界按著意圖自然而然地實現。
Participants in a dream behave exactly as the dreamer expects them to. The original idea is nothing more than the initial impetus; the rest is orchestrated by outer intention. The dreamer’s own behaviour in a dream is determined by inner intention, whereas everything else is subject to the dreamer’s outer intention, whether they like it or not. As we have already said, inner intention tries to impact the world directly, whereas outer intention allows the external world to become realised in accordance with intention.
6/15
在夢中，一切事態僅能按照你所能容忍的劇本展開。夢者所能構想的範疇決定了夢中可能發生的一切，這也部分解釋了為何心智對夢中事件的批判性如此低微。即使完全荒謬的情景也會被視作理所當然，因為夢者自己編寫並製作出夢境劇本 (Script)。並非因為荒誕成為常態，以至於潛意識排除了荒誕的可能，而是在夢中，理性心智昏沉休息，而潛意識卻能輕易預見各種不大可能發生的情況。
In dreams events can only unfold according to a script you can tolerate. Nothing could happen in a dream that the dreamer could not conceive of. This partly explains the low level of critique the mind applies to the events that take place in dreams. Even total absurdities are taken for granted because the dreamer writes and produces their own dream script. It is not that the absurd is considered the norm so much that the subconscious does not rule out the possibility of the absurd, for in a dream the rational mind dozes whilst the subconscious can easily anticipate all sorts of unlikely events.
7/15
一個人的大腦在一生中要處理大量來自外部以及來自幻想世界的信息，其中一些信息會被理性心智篩選掉，認為不真實而予以刪除。這些信息其實並不會真正消失，也許被鎖進一個儲藏室，但潛意識仍然可以存取。當入睡將至時，靈魂便輕手輕腳地溜入那儲藏室，在理性心智毫無察覺的情況下，試驗各種離奇的劇本 (Script)。此外，在非清醒夢中，靈魂可自由選擇要訪問替代空間 (Alternatives space) 中哪些區塊，而這些區塊大多數最終都未能轉化，因為其事件過於非理性，需要投入大量能量來創造。究竟靈魂如何選擇夢境，唯有上帝能知。
Over the course of a lifetime a person’s brain deals with a huge mass of information from external sources as well as from the world of its own fantasies. Some of that information is filtered out by the rational mind as unreal and is scrapped. The information does not actually go anywhere. It may be locked in a closet but the subconscious still has access to it. When sleep approaches the soul tiptoes into the closet and unbeknown to the rational mind experiments with all sorts of outlandish scripts. Moreover, in non-lucid dreaming the soul is free to choose which sectors of the alternatives space it wishes to visit. The majority of these sectors are never realised because their events are irrational which means they require large inputs of energy to create. Only God can know how exactly the soul chooses its dreams.
8/15
無論靈魂如何瘋狂地選擇夢境，理性心智都會目睹並根據自身的經驗與期望修正劇本 (Script)。正如我們已經闡述，一個人內心最深的恐懼以及所有力求避免的情境，往往最迅速地實現。在這種情況下，外在意圖 (Outer intention) 完全不顧個人的意志，這常常對你產生不利影響。
However wildly the soul chooses its dreams the rational mind witnesses them and corrects the script according to its experience and expectations. As we have already established it is a person’s worst fears and all that they strive to avoid that is most quickly realized. In this case outer intention functions with no regard for personal will and often to their detriment.
9/15
在物質現實中，你也很有可能會經歷你所恐懼的事情。心智可以藉由意志力使內在意圖 (Intention) 生效，但外在意圖 (Outer intention) 則不受理性心智意志的左右。它不聽從命令，而是在心靈與心智達成一致時自如地展現出來。在夢境中，理性心智無法直接控制，甚至連外在意圖 (Outer intention) 正在運作也無法察覺。某種程度上，即便夢者醒來後，夢境仍可能繼續，而此時心智便能在一定程度上左右事態的發展。
In physical reality a person is also very likely to end up experiencing the things they fear. The mind is capable of making inner intention work through willpower but outer intention functions irrespective of the will of the rational mind. It does not follow orders and manifests freely when there is agreement between the heart and mind. In dreaming the rational mind has no direct control and does not even realize that outer intention is working. To some degree dreams continue after the dreamer has woken up and so at this point the mind can have more say in what happens.
10/15
在夢中，你可能完全沉浸於那些荒謬且毫無意義的遊戲中，而對其荒誕性一無所覺。現實生活中亦然，當一群人投入到某個狹窄且專業化的活動中——無論是職業、宗教或特殊興趣團體——他們常會形成獨有的理解、詞彙與行為方式，對外人來看既不自然，甚至滑稽可笑。
In a dream the dreamer can be completely absorbed in the most ridiculous, meaningless games, unaware of their absurdity. The same can be true in real life. When a group of people involved in a very narrow specialized activity, be it professional, religious or special interest groups, they often come up with their own understanding of things, vocabulary and actions that to anyone outside the group would appear unnatural and even silly.
11/15
正是心智對清醒現實的不加批判態度，使得催眠和迷魅等現象得以運作。例如，吉普賽催眠法正是建立在連續的三個「是」上。當一個人對三個獨立的問題都回答「是」時，便會產生一種萬事如意的感覺，由此降低了警覺，某種意義上逐漸陷入夢想，批判能力降至最低。在這種狀態下，人們幾乎完全處於白日夢中，自動地進行日常活動；這對那些日常生活極為嚴格的人尤其如此。
The mind’s uncritical attitude to waking reality is what allows phenomena such as hypnotism and entrancement to work. Gypsy hypnosis, for example, is based on three “yes’s’”. A person answers yes to three separate questions which makes them feel that everything is going as it should. The person consequently becomes less vigilant and, in a sense, dozes off, their critical abilities being reduced to a minimum. People in this state are almost literally daydreaming automatically going about their daily affairs. This is particularly the case with individuals who have a strict daily regime.
12/15
當你與某人交談時，就好像你處於深度睡眠中一樣。全情投入這個遊戲，你自然理解所發生的一切，但因為太投入，你便無法像外部觀察者那樣客觀地行動或評估情況。任何懂得這個遊戲的人都會批評球員的錯誤；然而，假設那位球迷真的被請上場參賽，他的表現會更好嗎？事實上，每個人都在某種程度上處於無意識狀態中。當一個人說謊時，他的眼睛往往會向右移動，雙手也會不自覺地做出動作，完全沉浸在這個遊戲中。
When you talk to someone it is like you are in a deep sleep. Fully engaged in the game you naturally understand what is happening but your active participation makes you incapable of behaving or evaluating the situation objectively as an outside observer would. Any football fan who understands the game criticizes the players for their mistakes. What would happen though if that fan were to be brought onto the field to play? Would they do any better as a participant? Everyone acts unconsciously to a certain extent. When a person is lieing their eyes tend to shift to the right. They make involuntary movements with their hands totally immersed in the game.
13/15
催眠暗示狀態是一種極端的白日夢，但在日常物質現實中，每個人某種程度上都處於睡眠狀態。此刻，當你閱讀這些文字時，你可以甩甩自己，意識到自己在做什麼、發生了什麼；然而，稍後，一個人、一個事件或一個問題又會分散你的注意力，使你再次陷入這個遊戲並不自覺地打盹。你會一直在舞台上沉睡，認真扮演你的角色；當你走進大廳，喚醒你內在的守護者 (Guardian's Riddle) 後，你便會醒來。進入大廳後，你仍會繼續扮演你的角色，講出必要的話，執行必需的行動，遵循既定規則；只是此刻你是有意識地在演出，採取更超然的態度，以清醒的頭腦客觀評估周遭發生的一切。
The state of hypnotic suggestion is an extreme case of daydreaming but everyone is to some extent asleep in their day to day physical reality. In this moment, as you read, you can shake yourself and say that you are aware of what you are doing and what is happening. Later, however, a person, event or problem will distract you and you will again get drawn into the game and doze off. You will remain sleeping all the while that you are on the stage and conscientiously playing your role. You will wake up when you come down into the auditorium and rouse your inner Guardian. Once in the auditorium you will continue to play your role, speak the necessary words, carry out the necessary actions following the established rules, only now you will play your role consciously, in a more detached manner assessing what is happening around you with a sober mind.
14/15
在非清醒夢中，夢境就這樣「自然而然地發生」了。外在意圖 (Outer intention) 會獨立於你的意志運作，你對此無能為力；而在清醒夢中，你則會走下舞台，大膽地指揮劇本。並非外在意圖 (Outer intention) 特意迎合個人意志，而只是停止與之抵觸。在這種情況下，心智給予心靈更多的自由，換來心靈的認可，而心神合一 (Unity of heart and mind) 反過來又激活了外在意圖 (Outer intention)。在接下來的章節中，我們將描述如何在通往目標的道路上運用外在意圖 (Outer intention)。
In non-lucid dreaming, the dream just ‘happens’. Outer intention acts independently of your will and there is nothing you can do about it. In lucid dreaming a person steps down into the auditorium and consciously directs the script. It is not that outer intention deliberately aligns itself with a person’s will, it just ceases to contradict it. In this case the mind gives the heart more freedom and in exchange receives its sanction. The unity of heart and mind in turn activates outer intention. In the forthcoming chapters we will describe how to work with outer intention on the path towards one’s goal.
15/15
清醒時的有意識層次比夢境中更高，這已足以指導內在意圖 (Intention)；而要運用外在意圖 (Outer intention) 則需要更高的有意識層次。在清醒夢中，就像在清醒的現實中一樣，運用外在意圖 (Outer intention) 必須先「醒來」。
The level of conscious awareness is higher in waking than it is in dreaming and this is sufficient to direct inner intention. Outer intention requires an even higher level of conscious awareness. In lucid dreaming, as in waking reality in order to work with outer intention you have to wake up.
遊戲劇本
The Game Script
1/15
夢境非常可塑，因此它們作為展示外在意圖(outer intention)如何運作的絕佳模型。因此，我們現在將回到夢的主題。如我們所說，本質上做夢與現實生活非常相似。夢中發生的一切都是靈魂根據選擇的劇本進行的遊戲的結果。當理性心靈沉睡時，我們做夢，但我們不記得我們的夢。靈魂無拘無束地穿越"可能性空間"(alternatives space)。當心靈沉睡時，靈魂具體在何處遊蕩，無人能知。我們所有的意識記憶都由心靈控制。我們記得的夢發生在心靈只是打盹的時候。心靈在這個睡眠階段的控制力較弱，被降低到被動觀察者的角色。當我們做夢時，心靈並不是在想像事物；它只是感知靈魂在尚未轉化為物質現實的"可能性空間"(alternatives space)區域中見證的事物。在非清醒夢中，心靈不會因其控制的需要而對靈魂施加壓力。這就像一個觀眾在看電影。在某種程度上，心靈確實體驗到它所看到的東西，並將引發的感覺傳達給心，心立即調整到匹配的區域。因此，劇本隨著進行而改變，場景和角色也隨之調整。想像力在做夢中只在生成想法的範圍內發揮作用。
Dreams are very malleable and so they serve as an excellent model by which to demonstrate how outer intention works. So, we will return now to the theme of dreams. As we said, in essence dreaming is very similar to real life. Everything that happens in a dream is a result of a game played according to a script chosen by the soul. When the rational mind sleeps we dream but we do not remember our dreams. The soul travels uninhibitedly through the alternatives space. Where exactly the soul is gallivanting whilst the mind sleeps, no-one can say. All our conscious memories are controlled by the mind. Dreams that we remember occur when the mind is just dozing. The mind’s control is weaker during this stage of sleep being reduced to the role of passive observer. The mind is not imagining things when we dream; it simply perceives what the soul witnesses in sectors of the alternatives space that have not been transformed into physical reality. In non-lucid dreaming the mind does not weigh on the soul with its need to control. It is like a cinema-goer watching a film. On some level though the mind does experience what it sees and the sensations evoked are communicated to the heart which immediately attunes itself to a matching sector. The script therefore, changes as it goes along, the scenery and characters likewise adjusting to the changing script. The imagination plays a part in dreaming only to the extent that it generates ideas.
2/15
在夢中，當你有一閃而過的想法，認為某人可能對你表現出攻擊性時，這個想法會立即實現，並且有人出現在現場威脅你。當你的意見風向標轉向不同的方向時，敵人立即變成朋友。這有點像一隻小貓在鏡子前玩耍，心情隨著跳躍從友好變為攻擊。小貓看到前面有一個身影，想知道會從中期待什麼。起初，它的態度是中立和好奇的。然後小貓抬起爪子，評估立即轉向可能的危險。小貓豎起毛髮，發動攻擊，然後閃避以保護自己。小貓向後跳，看到了鏡中的滑稽形象，心情變得更加嬉戲。然後儀式重複，小貓動態地修正劇本，要么攻擊其倒影，要么用嬉戲取代攻擊。
In a dream, when you have the passing thought that a person may act aggressively towards you the thought is instantly materialised and someone appears on the scene to threaten you. As soon as the weather vane of your opinion turns in a different direction foe is immediately transformed into friend. It is a bit like a kitten playing in front of a mirror whose mood smoothly shifts from friendly to aggressive as it jumps about. The kitten sees a figure in front of it and wonders what to expect from it. At first its attitude is neutral and curious. Then the kitten lifts a paw and the assessment instantly shifts towards possible danger. The kitten puts its hackles up, makes an attack and then dodges to protect itself. The kitten jumps backwards, sees its comic image in the mirror and its mood changes to one more playful. Then the ritual is repeated as the kitten dynamically corrects the script either attacking its reflection or substituting aggression with playfulness.
3/15
一個人在非清醒夢中以完全相同的方式修正劇本。小貓不知道它在看自己的倒影，就像一個人不知道自己在做夢一樣。你知道嗎，當一個人看鏡子時，他們看到的面部表情不是他們通常擁有的面部表情。當一個人看鏡子時，他們的表情會改變，這太快了以至於他們注意不到。這是因為我們從小就有習慣和願望，希望看起來某種方式。當你對孩子說：“看鏡子。看看你哭的時候有多糟糕！”時，他們的臉會改變。成年人在看自己的倒影時也有某些期望。他們對自己說：“我喜歡自己”或“我看起來怎麼樣”，或“我看起來很糟糕”等。面部表情會根據思想立即得到修正。
A person corrects the script in non-lucid dreaming in exactly the same way. The kitten is not aware that it is looking at its own reflection just as a person is not aware that they are dreaming. Did you know that when a person looks in the mirror the facial expression they see is not the facial expression they usually have. A person’s expression changes the moment they look in the mirror, too quickly for them to notice. This is because of habits and desires we have since childhood to look a certain way. As soon as you say to a child: “Look in the mirror. See how awful you look when you cry!”, their face will change. Adults also have certain expectations when they look at their reflection. They say to themselves: “I like myself” or “How do I look”, or “I look terrible”, etc. The facial expression is immediately corrected depending on the thought.
4/15
鏡子是一個例子，說明我們如何動態地修正自己的劇本，只是鏡子是一個內在意圖(inner intention)運作的例子，而夢是一個外在意圖(outer intention)的例子。在清醒時，一個人看到鏡中的倒影，內在意圖(inner intention)立即根據他們的期望改變他們臉上的表情。夢就像一場戲，將指導外部世界角色的劇本是由夢者的外在意圖(outer intention)根據他們的經驗和期望選擇的，但不考慮他們是否會經歷痛苦。
The mirror is an example of how we dynamically correct our own script, only the mirror is an example of how inner intention functions, whereas the dream is an example of outer intention. In waking a person sees their reflection in the mirror and immediately inner intention changes the expression on their face according to their expectations. A dream is like a play, and the script that will direct the role of the outside world is chosen by the dreamer’s outer intention in accordance with their experience and expectations but irrespective of whether they will experience pain.
5/15
夢中的參與者完全按照夢者的期望行事。最初的想法只不過是最初的推動力；其餘的由外在意圖(outer intention)協調。夢者在夢中的行為由內在意圖(inner intention)決定，而其他一切都受夢者的外在意圖(outer intention)支配，無論他們是否喜歡。如我們已經說過的，內在意圖(inner intention)試圖直接影響世界，而外在意圖(outer intention)允許外部世界根據意圖(Intention)實現。
Participants in a dream behave exactly as the dreamer expects them to. The original idea is nothing more than the initial impetus; the rest is orchestrated by outer intention. The dreamer’s own behaviour in a dream is determined by inner intention, whereas everything else is subject to the dreamer’s outer intention, whether they like it or not. As we have already said, inner intention tries to impact the world directly, whereas outer intention allows the external world to become realised in accordance with intention.
6/15
在夢中，事件只能根據你能容忍的劇本展開。在夢中，不可能發生夢者無法想像的事情。這部分解釋了心靈對夢中發生的事件應用的批判水平較低。即使是完全荒謬的事情也被視為理所當然，因為夢者編寫和製作自己的夢境劇本。並不是說荒謬被認為是常態，而是潛意識不排除荒謬的可能性，因為在夢中，理性心靈打盹，而潛意識可以輕鬆預見各種不太可能的事件。
In dreams events can only unfold according to a script you can tolerate. Nothing could happen in a dream that the dreamer could not conceive of. This partly explains the low level of critique the mind applies to the events that take place in dreams. Even total absurdities are taken for granted because the dreamer writes and produces their own dream script. It is not that the absurd is considered the norm so much that the subconscious does not rule out the possibility of the absurd, for in a dream the rational mind dozes whilst the subconscious can easily anticipate all sorts of unlikely events.
7/15
在一生中，一個人的大腦處理來自外部來源以及其自身幻想世界的大量信息。部分信息被理性心靈過濾掉，被視為不真實並被廢棄。信息實際上並沒有消失。它可能被鎖在櫃子裡，但潛意識仍然可以訪問它。當睡眠來臨時，靈魂悄悄地走進櫃子，心靈不知情地試驗各種奇異的劇本。此外，在非清醒夢中，靈魂可以自由選擇它想訪問的"可能性空間"(alternatives space)的區域。這些區域中的大多數從未實現，因為它們的事件是不合理的，這意味著它們需要大量能量來創造。只有上帝知道靈魂究竟如何選擇它的夢。
Over the course of a lifetime a person’s brain deals with a huge mass of information from external sources as well as from the world of its own fantasies. Some of that information is filtered out by the rational mind as unreal and is scrapped. The information does not actually go anywhere. It may be locked in a closet but the subconscious still has access to it. When sleep approaches the soul tiptoes into the closet and unbeknown to the rational mind experiments with all sorts of outlandish scripts. Moreover, in non-lucid dreaming the soul is free to choose which sectors of the alternatives space it wishes to visit. The majority of these sectors are never realised because their events are irrational which means they require large inputs of energy to create. Only God can know how exactly the soul chooses its dreams.
8/15
無論靈魂如何狂野地選擇它的夢，理性心靈見證它們並根據其經驗和期望修正劇本。如我們已經確定的，一個人最害怕的事情和他們努力避免的一切是最迅速實現的。在這種情況下，外在意圖(outer intention)不顧個人意志運作，通常對他們不利。
However wildly the soul chooses its dreams the rational mind witnesses them and corrects the script according to its experience and expectations. As we have already established it is a person’s worst fears and all that they strive to avoid that is most quickly realized. In this case outer intention functions with no regard for personal will and often to their detriment.
9/15
在物質現實中，一個人也很可能最終經歷他們害怕的事情。心靈能夠通過意志力使內在意圖(inner intention)起作用，但外在意圖(outer intention)不顧理性心靈的意志運作。它不遵循命令，當心靈和心一致時自由顯現。在做夢中，理性心靈沒有直接控制，甚至不知道外在意圖(outer intention)正在運作。在某種程度上，夢在夢者醒來後繼續，因此此時心靈可以對發生的事情有更多的發言權。
In physical reality a person is also very likely to end up experiencing the things they fear. The mind is capable of making inner intention work through willpower but outer intention functions irrespective of the will of the rational mind. It does not follow orders and manifests freely when there is agreement between the heart and mind. In dreaming the rational mind has no direct control and does not even realize that outer intention is working. To some degree dreams continue after the dreamer has woken up and so at this point the mind can have more say in what happens.
10/15
在夢中，夢者可以完全沉浸在最荒謬、毫無意義的遊戲中，沒有意識到它們的荒謬。現實生活中也是如此。當一群人參與非常狹窄的專業活動時，無論是專業、宗教還是特殊興趣小組，他們經常會提出自己的理解、詞彙和行動，對於群體外的人來說，這些看起來不自然甚至愚蠢。
In a dream the dreamer can be completely absorbed in the most ridiculous, meaningless games, unaware of their absurdity. The same can be true in real life. When a group of people involved in a very narrow specialized activity, be it professional, religious or special interest groups, they often come up with their own understanding of things, vocabulary and actions that to anyone outside the group would appear unnatural and even silly.
11/15
心靈對清醒現實的不批判態度使催眠和著迷等現象得以發揮作用。例如，吉普賽催眠基於三個“是”。一個人回答三個不同的問題說“是”，這讓他們感覺一切都在按應有的方式進行。結果，這個人變得不那麼警覺，從某種意義上說，打盹了，他們的批判能力被降低到最低限度。處於這種狀態的人幾乎可以說是在自動地白日夢，處理他們的日常事務。這尤其適用於那些有嚴格日常制度的人。
The mind’s uncritical attitude to waking reality is what allows phenomena such as hypnotism and entrancement to work. Gypsy hypnosis, for example, is based on three “yes’s’”. A person answers yes to three separate questions which makes them feel that everything is going as it should. The person consequently becomes less vigilant and, in a sense, dozes off, their critical abilities being reduced to a minimum. People in this state are almost literally daydreaming automatically going about their daily affairs. This is particularly the case with individuals who have a strict daily regime.
12/15
當你與某人交談時，就像你在沉睡中。完全投入到遊戲中，你自然理解正在發生的事情，但你的積極參與使你無法像外部觀察者那樣客觀地行為或評估情況。任何了解遊戲的足球迷都會批評球員的錯誤。然而，如果那個球迷被帶到場上參加比賽會發生什麼？作為參與者，他們會表現得更好嗎？每個人在某種程度上都是無意識地行動的。當一個人在撒謊時，他們的眼睛往往會向右移動。他們會不自覺地用手做動作，完全沉浸在遊戲中。
When you talk to someone it is like you are in a deep sleep. Fully engaged in the game you naturally understand what is happening but your active participation makes you incapable of behaving or evaluating the situation objectively as an outside observer would. Any football fan who understands the game criticizes the players for their mistakes. What would happen though if that fan were to be brought onto the field to play? Would they do any better as a participant? Everyone acts unconsciously to a certain extent. When a person is lieing their eyes tend to shift to the right. They make involuntary movements with their hands totally immersed in the game.
13/15
催眠暗示狀態是白日夢的一個極端例子，但每個人在日常物質現實中都在某種程度上是沉睡的。此刻，當你閱讀時，你可以搖醒自己，說你知道自己在做什麼以及正在發生什麼。然而，稍後，一個人、事件或問題會分散你的注意力，你會再次被遊戲吸引並打盹。當你在舞台上認真扮演你的角色時，你會一直處於沉睡狀態。當你走下觀眾席並喚醒你的內在"守護者的謎題"(Guardian's Riddle)時，你會醒來。一旦進入觀眾席，你將繼續扮演你的角色，說出必要的話，按照既定規則執行必要的行動，只是現在你將有意識地扮演你的角色，以更超然的方式評估周圍發生的事情，保持清醒的頭腦。
The state of hypnotic suggestion is an extreme case of daydreaming but everyone is to some extent asleep in their day to day physical reality. In this moment, as you read, you can shake yourself and say that you are aware of what you are doing and what is happening. Later, however, a person, event or problem will distract you and you will again get drawn into the game and doze off. You will remain sleeping all the while that you are on the stage and conscientiously playing your role. You will wake up when you come down into the auditorium and rouse your inner Guardian. Once in the auditorium you will continue to play your role, speak the necessary words, carry out the necessary actions following the established rules, only now you will play your role consciously, in a more detached manner assessing what is happening around you with a sober mind.
14/15
在非清醒夢中，夢只是“發生”。外在意圖(outer intention)獨立於你的意志運作，你無能為力。在清醒夢中，一個人走下觀眾席，有意識地指導劇本。並不是說外在意圖(outer intention)故意與個人的意志一致，它只是停止與之矛盾。在這種情況下，心靈給心更多的自由，並換取其認可。心與心靈的統一反過來激活了外在意圖(outer intention)。在接下來的章節中，我們將描述如何在通往目標的道路上與外在意圖(outer intention)合作。
In non-lucid dreaming, the dream just ‘happens’. Outer intention acts independently of your will and there is nothing you can do about it. In lucid dreaming a person steps down into the auditorium and consciously directs the script. It is not that outer intention deliberately aligns itself with a person’s will, it just ceases to contradict it. In this case the mind gives the heart more freedom and in exchange receives its sanction. The unity of heart and mind in turn activates outer intention. In the forthcoming chapters we will describe how to work with outer intention on the path towards one’s goal.
15/15
清醒時的意識水平比做夢時高，這足以引導內在意圖(inner intention)。外在意圖(outer intention)需要更高的意識水平。在清醒夢中，就像在清醒現實中一樣，要與外在意圖(outer intention)合作，你必須醒來。
The level of conscious awareness is higher in waking than it is in dreaming and this is sufficient to direct inner intention. Outer intention requires an even higher level of conscious awareness. In lucid dreaming, as in waking reality in order to work with outer intention you have to wake up.
遊戲劇本
The Game Script
1/15
夢非常可塑，因此它們是展示外在意圖如何運作的絕佳模型。所以，我們現在回到夢的主題。如我們所說，本質上夢與現實生活非常相似。夢中發生的一切是根據靈魂選擇的劇本進行的遊戲結果。當理性頭腦睡著時，我們做夢但不記得夢。靈魂不受限制地在另闢蹊徑之空間中旅行。頭腦睡著時靈魂究竟在哪裡嬉戲，無人能說。我們所有的意識記憶都由頭腦控制。我們記得的夢發生在頭腦僅僅打盹時。在這個睡眠階段，頭腦的控制較弱，僅扮演被動觀察者的角色。頭腦在夢中不是在想像東西；它僅僅感知靈魂在尚未轉化為物質現實的另闢蹊徑之空間區段中見證的東西。在非清醒夢中，頭腦不以其控制需求壓迫靈魂。它就像一個看電影的觀眾。在某種程度上，頭腦確實體驗它看到的東西，喚起的感覺傳達給心，心立即調諧到匹配的區段。因此，劇本隨著進行而改變，場景和角色同樣調整以適應變化的劇本。想像僅在產生想法的程度上在夢中發揮作用。
Dreams are very malleable and so they serve as an excellent model by which to demonstrate how outer intention works. So, we will return now to the theme of dreams. As we said, in essence dreaming is very similar to real life. Everything that happens in a dream is a result of a game played according to a script chosen by the soul. When the rational mind sleeps we dream but we do not remember our dreams. The soul travels uninhibitedly through the alternatives space. Where exactly the soul is gallivanting whilst the mind sleeps, no-one can say. All our conscious memories are controlled by the mind. Dreams that we remember occur when the mind is just dozing. The mind’s control is weaker during this stage of sleep being reduced to the role of passive observer. The mind is not imagining things when we dream; it simply perceives what the soul witnesses in sectors of the alternatives space that have not been transformed into physical reality. In non-lucid dreaming the mind does not weigh on the soul with its need to control. It is like a cinema-goer watching a film. On some level though the mind does experience what it sees and the sensations evoked are communicated to the heart which immediately attunes itself to a matching sector. The script therefore, changes as it goes along, the scenery and characters likewise adjusting to the changing script. The imagination plays a part in dreaming only to the extent that it generates ideas.
2/15
在夢中，當你有過一個人可能對你有侵略性的念頭時，這個念頭立即實現，有人出現在場景中威脅你。一旦你的意見風向標轉向不同方向，敵人立即轉化為朋友。這有點像小貓在鏡子前玩耍，其心情從友好到侵略性平滑轉換。小貓看到面前的形象，想知道能從它那裡期待什麼。起初它的態度是中立和好奇的。然後小貓抬起爪子，評估立即轉向可能的危險。小貓豎起毛髮，發動攻擊，然後躲避以保護自己。小貓向後跳，看到鏡子中滑稽的形象，心情變得更頑皮。然後這個儀式重複，小貓動態地修正劇本，要么攻擊其倒影，要么以嬉戲代替侵略。
In a dream, when you have the passing thought that a person may act aggressively towards you the thought is instantly materialised and someone appears on the scene to threaten you. As soon as the weather vane of your opinion turns in a different direction foe is immediately transformed into friend. It is a bit like a kitten playing in front of a mirror whose mood smoothly shifts from friendly to aggressive as it jumps about. The kitten sees a figure in front of it and wonders what to expect from it. At first its attitude is neutral and curious. Then the kitten lifts a paw and the assessment instantly shifts towards possible danger. The kitten puts its hackles up, makes an attack and then dodges to protect itself. The kitten jumps backwards, sees its comic image in the mirror and its mood changes to one more playful. Then the ritual is repeated as the kitten dynamically corrects the script either attacking its reflection or substituting aggression with playfulness.
3/15
人在非清醒夢中以完全相同的方式修正劇本。小貓不知道它看的是自己的倒影，就像人不知道自己在做夢。你知道嗎，當一個人看鏡子時，他們看到的面部表情不是他們平時的表情。當他們看鏡子時，人的表情會瞬間改變，改變得太快以至於他們沒有注意到。這是因為從童年開始我們就有看起來某種方式的習慣和渴望。只要你對一個孩子說：“看鏡子。你哭的時候看起來多糟！”他們的臉會改變。成人看倒影時也有某些期望。他們對自己說：“我喜歡自己”或“我看起來怎麼樣”，或“我看起來很糟”等。面部表情根據思想立即修正。
A person corrects the script in non-lucid dreaming in exactly the same way. The kitten is not aware that it is looking at its own reflection just as a person is not aware that they are dreaming. Did you know that when a person looks in the mirror the facial expression they see is not the facial expression they usually have. A person’s expression changes the moment they look in the mirror, too quickly for them to notice. This is because of habits and desires we have since childhood to look a certain way. As soon as you say to a child: “Look in the mirror. See how awful you look when you cry!”, their face will change. Adults also have certain expectations when they look at their reflection. They say to themselves: “I like myself” or “How do I look”, or “I look terrible”, etc. The facial expression is immediately corrected depending on the thought.
4/15
鏡子是我們如何動態修正自己劇本的例子，只是鏡子是內在意圖 (Inner Intention) 運作的例子，而夢是外在意圖 (Outer Intention) 的例子。在清醒時，一個人看到鏡子中的倒影，內在意圖立即根據他們的期望改變臉上的表情。夢就像一場戲，指導外部世界角色的劇本由夢者的外在意圖根據他們的經驗和期望選擇，無論他們是否會體驗痛苦。
The mirror is an example of how we dynamically correct our own script, only the mirror is an example of how inner intention functions, whereas the dream is an example of outer intention. In waking a person sees their reflection in the mirror and immediately inner intention changes the expression on their face according to their expectations. A dream is like a play, and the script that will direct the role of the outside world is chosen by the dreamer’s outer intention in accordance with their experience and expectations but irrespective of whether they will experience pain.
5/15
夢中的參與者完全按照夢者的期望行事。最初的想法僅僅是初始推動力；其餘由外在意圖編排。夢者在夢中的行為由內在意圖決定，而其他一切受夢者的外在意圖支配，無論他們喜歡與否。如我們已經說過，內在意圖試圖直接影響世界，而外在意圖允許外部世界根據意圖實現。
Participants in a dream behave exactly as the dreamer expects them to. The original idea is nothing more than the initial impetus; the rest is orchestrated by outer intention. The dreamer’s own behaviour in a dream is determined by inner intention, whereas everything else is subject to the dreamer’s outer intention, whether they like it or not. As we have already said, inner intention tries to impact the world directly, whereas outer intention allows the external world to become realised in accordance with intention.
6/15
在夢中，事件只能按照你能容忍的劇本展開。夢中不會發生夢者無法想像的事情。這部分解釋了頭腦對夢中發生事件的批判水平低。即使完全荒誕的事情也被認為理所當然，因為夢者自己編寫和製作夢的劇本。不是荒誕被認為是常態，而是潛意識不排除荒誕的可能性，因為在夢中理性頭腦打盹，而潛意識可以輕易預見各種不太可能的事件。
In dreams events can only unfold according to a script you can tolerate. Nothing could happen in a dream that the dreamer could not conceive of. This partly explains the low level of critique the mind applies to the events that take place in dreams. Even total absurdities are taken for granted because the dreamer writes and produces their own dream script. It is not that the absurd is considered the norm so much that the subconscious does not rule out the possibility of the absurd, for in a dream the rational mind dozes whilst the subconscious can easily anticipate all sorts of unlikely events.
7/15
在一生中，人的大腦處理來自外部來源以及自身幻想世界的大量信息。其中一些信息被理性頭腦過濾為不真實並丟棄。信息實際上沒有去任何地方。它可能被鎖在櫃子裡，但潛意識仍有權訪問。當睡眠接近時，靈魂悄悄進入櫃子，在理性頭腦不知情的情況下嘗試各種怪誕的劇本。此外，在非清醒夢中，靈魂可以自由選擇希望訪問的另闢蹊徑之空間區段 (Sector of the Alternatives Space)。大多數這些區段永遠不會實現，因為它們的事件是非理性的，這意味著它們需要大量能量來創造。只有上帝知道靈魂如何選擇夢。
Over the course of a lifetime a person’s brain deals with a huge mass of information from external sources as well as from the world of its own fantasies. Some of that information is filtered out by the rational mind as unreal and is scrapped. The information does not actually go anywhere. It may be locked in a closet but the subconscious still has access to it. When sleep approaches the soul tiptoes into the closet and unbeknown to the rational mind experiments with all sorts of outlandish scripts. Moreover, in non-lucid dreaming the soul is free to choose which sectors of the alternatives space it wishes to visit. The majority of these sectors are never realised because their events are irrational which means they require large inputs of energy to create. Only God can know how exactly the soul chooses its dreams.
8/15
無論靈魂如何狂野地選擇夢，理性頭腦見證它們並根據其經驗和期望修正劇本。如我們已經確立，一個人最壞的恐懼和他們試圖避免的一切最快實現。在這種情況下，外在意圖無視個人意志運作，常常對其不利。
However wildly the soul chooses its dreams the rational mind witnesses them and corrects the script according to its experience and expectations. As we have already established it is a person’s worst fears and all that they strive to avoid that is most quickly realized. In this case outer intention functions with no regard for personal will and often to their detriment.
9/15
在物質現實中，一個人也很可能最終體驗他們害怕的事情。頭腦能夠通過意志力使內在意圖運作，但外在意圖無視理性頭腦的意志運作。它不遵循命令，當心與頭腦 (Unity of Heart and Mind) 一致時自由顯現。在夢中，理性頭腦沒有直接控制，甚至沒有意識到外在意圖在運作。在某種程度上，夢者在醒來後夢繼續，因此此時頭腦對發生的事情有更多發言權。
In physical reality a person is also very likely to end up experiencing the things they fear. The mind is capable of making inner intention work through willpower but outer intention functions irrespective of the will of the rational mind. It does not follow orders and manifests freely when there is agreement between the heart and mind. In dreaming the rational mind has no direct control and does not even realize that outer intention is working. To some degree dreams continue after the dreamer has woken up and so at this point the mind can have more say in what happens.
10/15
在夢中，夢者可以完全沉浸在最荒誕、無意義的遊戲中，沒有意識到它們的荒謬。現實生活中也是如此。當一群人參與非常狹窄的專業活動，無論是職業、宗教還是特殊興趣團體，他們常常形成自己的理解、詞彙和行動，對團體外的人來說似乎不自然甚至愚蠢。
In a dream the dreamer can be completely absorbed in the most ridiculous, meaningless games, unaware of their absurdity. The same can be true in real life. When a group of people involved in a very narrow specialized activity, be it professional, religious or special interest groups, they often come up with their own understanding of things, vocabulary and actions that to anyone outside the group would appear unnatural and even silly.
11/15
頭腦對清醒現實的無批判態度使得催眠和入迷現象得以運作。例如，吉普賽催眠基於“三個是的”。一個人對三個獨立問題回答“是”，讓他們覺得一切按應有的方式進行。這個人隨後變得不那麼警惕，在某種意義上打盹，批判能力降到最低。這種狀態的人幾乎在白日夢中，自動進行日常事務。對於有嚴格日常規程的個人尤其如此。
The mind’s uncritical attitude to waking reality is what allows phenomena such as hypnotism and entrancement to work. Gypsy hypnosis, for example, is based on three “yes’s’”. A person answers yes to three separate questions which makes them feel that everything is going as it should. The person consequently becomes less vigilant and, in a sense, dozes off, their critical abilities being reduced to a minimum. People in this state are almost literally daydreaming automatically going about their daily affairs. This is particularly the case with individuals who have a strict daily regime.
12/15
當你與某人交談時，就像你在熟睡中。完全投入遊戲，你自然理解發生的事情，但你的積極參與使你無法像外部觀察者那樣客觀地行為或評估情況。任何了解比賽的足球迷會批評球員的錯誤。但如果這個粉絲被帶到場上踢球會怎樣？他們作為參與者會做得更好嗎？每個人在某種程度上無意識地行動。當一個人撒謊時，他們的眼睛傾向於向右移動。他們無意識地用手做出動作，完全沉浸在遊戲中。
When you talk to someone it is like you are in a deep sleep. Fully engaged in the game you naturally understand what is happening but your active participation makes you incapable of behaving or evaluating the situation objectively as an outside observer would. Any football fan who understands the game criticizes the players for their mistakes. What would happen though if that fan were to be brought onto the field to play? Would they do any better as a participant? Everyone acts unconsciously to a certain extent. When a person is lieing their eyes tend to shift to the right. They make involuntary movements with their hands totally immersed in the game.
13/15
催眠建議的狀態是白日夢的極端情況，但每個人在日常物質現實中在某種程度上是睡著的。此刻，當你閱讀時，你可以抖動自己，說你意識到自己在做什麼以及發生了什麼。然而，後來，一個人、事件或問題會分散你的注意力，你會再次被捲入遊戲並打盹。只要你站在舞台上認真扮演你的角色，你將保持睡眠。當你進入觀眾席並喚醒你的內在守護者 (Guardian’s Riddle) 時，你會醒來。一旦在觀眾席，你將繼續扮演你的角色，說必要的話，執行必要的行動，遵循既定規則，只是現在你將有意識地扮演角色，以更超脫的方式，用清醒的頭腦評估周圍發生的事情。
The state of hypnotic suggestion is an extreme case of daydreaming but everyone is to some extent asleep in their day to day physical reality. In this moment, as you read, you can shake yourself and say that you are aware of what you are doing and what is happening. Later, however, a person, event or problem will distract you and you will again get drawn into the game and doze off. You will remain sleeping all the while that you are on the stage and conscientiously playing your role. You will wake up when you come down into the auditorium and rouse your inner Guardian. Once in the auditorium you will continue to play your role, speak the necessary words, carry out the necessary actions following the established rules, only now you will play your role consciously, in a more detached manner assessing what is happening around you with a sober mind.
14/15
在非清醒夢 (Non-Lucid Dreaming) 中，夢只是“發生”。外在意圖 (Outer Intention) 獨立於你的意志運作，你對此無能為力。在清醒夢 (Lucid Dreaming) 中，一個人走下舞台到觀眾席，有意識地指導劇本。外在意圖並非故意與個人的意志對齊，它只是不再與之矛盾。在這種情況下，頭腦給予心 (Unity of Heart and Mind) 更多自由，作為交換，獲得其認可。心與頭腦的統一反過來激活外在意圖。在接下來的章節中，我們將描述如何在外在意圖的道路上朝目標 (Goals and Doors) 前進。
In non-lucid dreaming, the dream just ‘happens’. Outer intention acts independently of your will and there is nothing you can do about it. In lucid dreaming a person steps down into the auditorium and consciously directs the script. It is not that outer intention deliberately aligns itself with a person’s will, it just ceases to contradict it. In this case the mind gives the heart more freedom and in exchange receives its sanction. The unity of heart and mind in turn activates outer intention. In the forthcoming chapters we will describe how to work with outer intention on the path towards one’s goal.
15/15
清醒時的意識覺知水平高於夢中，這足以指導內在意圖 (Inner Intention)。外在意圖需要更高的意識覺知水平。在清醒夢中，如同在清醒現實中，為了使用外在意圖，你必須醒來。
The level of conscious awareness is higher in waking than it is in dreaming and this is sufficient to direct inner intention. Outer intention requires an even higher level of conscious awareness. In lucid dreaming, as in waking reality in order to work with outer intention you have to wake up.
遊戲劇本
The Game Script
1/15
夢境是非常可塑的，因此它們作為一個出色的模型來展示外在意圖如何運作。因此，我們現在將回到夢的主題。正如我們所說，夢境本質上與現實生活非常相似。夢中發生的一切都是靈魂根據所選劇本進行的遊戲的結果。當理性心靈入睡時，我們會做夢，但我們不記得夢境。靈魂在替代空間中自由旅行。靈魂在心靈入睡時究竟在何處遊蕩，沒有人能說得清。所有我們的意識記憶都由心靈控制。我們記得的夢境發生在心靈剛剛打盹的時候。這一階段的睡眠中，心靈的控制較弱，減少為被動觀察者的角色。當我們做夢時，心靈並不是在想像事情；它只是感知靈魂在尚未轉化為物質現實的替代空間中的見證。在非清醒夢中，心靈不會因為需要控制而對靈魂施加壓力。這就像一個看電影的觀眾。在某種程度上，心靈確實體驗到它所看到的，並且所引發的感覺會傳達給心靈，心靈立即調整到一個匹配的區域。因此，劇本隨著進展而變化，場景和角色同樣隨著劇本的變化而調整。想像力在夢中發揮作用的程度僅限於生成想法。
Dreams are very malleable and so they serve as an excellent model by which to demonstrate how outer intention works. So, we will return now to the theme of dreams. As we said, in essence dreaming is very similar to real life. Everything that happens in a dream is a result of a game played according to a script chosen by the soul. When the rational mind sleeps we dream but we do not remember our dreams. The soul travels uninhibitedly through the alternatives space. Where exactly the soul is gallivanting whilst the mind sleeps, no-one can say. All our conscious memories are controlled by the mind. Dreams that we remember occur when the mind is just dozing. The mind’s control is weaker during this stage of sleep being reduced to the role of passive observer. The mind is not imagining things when we dream; it simply perceives what the soul witnesses in sectors of the alternatives space that have not been transformed into physical reality. In non-lucid dreaming the mind does not weigh on the soul with its need to control. It is like a cinema-goer watching a film. On some level though the mind does experience what it sees and the sensations evoked are communicated to the heart which immediately attunes itself to a matching sector. The script therefore, changes as it goes along, the scenery and characters likewise adjusting to the changing script. The imagination plays a part in dreaming only to the extent that it generates ideas.
2/15
在夢中，當你有一個瞬間的想法，認為某人可能會對你表現出攻擊性，這個想法立即實現，並且有人出現威脅你。當你的意見的風向轉向另一個方向時，敵人立即轉變為朋友。這有點像一隻小貓在鏡子前玩耍，情緒在它跳躍時從友好平滑地轉變為攻擊性。小貓看到面前的身影，想知道該期待什麼。起初，它的態度是中立和好奇的。然後小貓抬起一隻爪子，評估立即轉向可能的危險。小貓豎起毛發，發起攻擊，然後閃避以保護自己。小貓向後跳，看到鏡子中的搞笑形象，情緒變得更加顯得玩耍。然後儀式重複，小貓動態地修正劇本，要麼攻擊自己的倒影，要麼用玩耍取代攻擊性。
In a dream, when you have the passing thought that a person may act aggressively towards you the thought is instantly materialised and someone appears on the scene to threaten you. As soon as the weather vane of your opinion turns in a different direction foe is immediately transformed into friend. It is a bit like a kitten playing in front of a mirror whose mood smoothly shifts from friendly to aggressive as it jumps about. The kitten sees a figure in front of it and wonders what to expect from it. At first its attitude is neutral and curious. Then the kitten lifts a paw and the assessment instantly shifts towards possible danger. The kitten puts its hackles up, makes an attack and then dodges to protect itself. The kitten jumps backwards, sees its comic image in the mirror and its mood changes to one more playful. Then the ritual is repeated as the kitten dynamically corrects the script either attacking its reflection or substituting aggression with playfulness.
3/15
一個人在非清醒夢中以完全相同的方式修正劇本。小貓並不知道它在看自己的倒影，就像一個人並不知道他們在做夢。你知道嗎，當一個人看著鏡子時，他們看到的面部表情並不是他們通常的面部表情。當一個人看著鏡子時，他們的表情會瞬間改變，快得讓他們無法注意到。這是因為我們從小就有的習慣和渴望，希望看起來某種方式。當你對一個孩子說：“看看鏡子。當你哭的時候，你看起來多麼可怕！”他們的臉會改變。成年人在看著自己的倒影時也有某些期望。他們對自己說：“我喜歡我自己”或“我看起來怎麼樣”，或者“我看起來糟糕”等等。面部表情會立即根據這個想法進行修正。
A person corrects the script in non-lucid dreaming in exactly the same way. The kitten is not aware that it is looking at its own reflection just as a person is not aware that they are dreaming. Did you know that when a person looks in the mirror the facial expression they see is not the facial expression they usually have. A person’s expression changes the moment they look in the mirror, too quickly for them to notice. This is because of habits and desires we have since childhood to look a certain way. As soon as you say to a child: “Look in the mirror. See how awful you look when you cry!”, their face will change. Adults also have certain expectations when they look at their reflection. They say to themselves: “I like myself” or “How do I look”, or “I look terrible”, etc. The facial expression is immediately corrected depending on the thought.
4/15
鏡子是一個例子，展示了我們如何動態地修正自己的劇本，只有鏡子是內在意圖運作的例子，而夢是外在意圖的例子。在清醒時，一個人看到鏡子中的倒影，內在意圖立即根據他們的期望改變他們臉上的表情。夢就像一場戲，將指導外部世界角色的劇本是由夢者的外在意圖根據他們的經驗和期望選擇的，但不論他們是否會經歷痛苦。
The mirror is an example of how we dynamically correct our own script, only the mirror is an example of how inner intention functions, whereas the dream is an example of outer intention. In waking a person sees their reflection in the mirror and immediately inner intention changes the expression on their face according to their expectations. A dream is like a play, and the script that will direct the role of the outside world is chosen by the dreamer’s outer intention in accordance with their experience and expectations but irrespective of whether they will experience pain.
5/15
夢中的參與者完全按照夢者的期望行事。最初的想法不過是最初的推動力；其餘的則由外在意圖編排。夢者在夢中的行為由內在意圖決定，而其他一切都受夢者的外在意圖支配，無論他們喜不喜歡。正如我們已經說過的，內在意圖試圖直接影響世界，而外在意圖則允許外部世界根據意圖實現。
Participants in a dream behave exactly as the dreamer expects them to. The original idea is nothing more than the initial impetus; the rest is orchestrated by outer intention. The dreamer’s own behaviour in a dream is determined by inner intention, whereas everything else is subject to the dreamer’s outer intention, whether they like it or not. As we have already said, inner intention tries to impact the world directly, whereas outer intention allows the external world to become realised in accordance with intention.
6/15
在夢中，事件只能根據你可以容忍的劇本展開。在夢中不可能發生夢者無法想像的事情。這部分解釋了心靈對夢中發生事件的批評程度低。即使是完全荒謬的事情也被視為理所當然，因為夢者編寫和製作自己的夢劇本。並不是說荒謬被視為常態，而是潛意識並不排除荒謬的可能性，因為在夢中，理性心靈打盹，而潛意識可以輕易預見各種不太可能的事件。
In dreams events can only unfold according to a script you can tolerate. Nothing could happen in a dream that the dreamer could not conceive of. This partly explains the low level of critique the mind applies to the events that take place in dreams. Even total absurdities are taken for granted because the dreamer writes and produces their own dream script. It is not that the absurd is considered the norm so much that the subconscious does not rule out the possibility of the absurd, for in a dream the rational mind dozes whilst the subconscious can easily anticipate all sorts of unlikely events.
7/15
在一生中，一個人的大腦處理來自外部來源以及自身幻想世界的大量信息。其中一些信息被理性心靈過濾為不真實並被丟棄。這些信息實際上並沒有消失。它可能被鎖在櫃子裡，但潛意識仍然可以訪問它。當睡眠來臨時，靈魂悄悄進入櫃子，並在理性心靈不知情的情況下，嘗試各種奇異的劇本。此外，在非清醒夢中，靈魂可以自由選擇它希望訪問的替代空間的區域。這些區域中的大多數從未實現，因為它們的事件是不理性的，這意味著它們需要大量的能量投入來創造。只有上帝才知道靈魂究竟如何選擇夢境。
Over the course of a lifetime a person’s brain deals with a huge mass of information from external sources as well as from the world of its own fantasies. Some of that information is filtered out by the rational mind as unreal and is scrapped. The information does not actually go anywhere. It may be locked in a closet but the subconscious still has access to it. When sleep approaches the soul tiptoes into the closet and unbeknown to the rational mind experiments with all sorts of outlandish scripts. Moreover, in non-lucid dreaming the soul is free to choose which sectors of the alternatives space it wishes to visit. The majority of these sectors are never realised because their events are irrational which means they require large inputs of energy to create. Only God can know how exactly the soul chooses its dreams.
8/15
無論靈魂如何狂野地選擇夢境，理性心靈都目睹了它們，並根據其經驗和期望修正劇本。正如我們已經確定的，一個人最糟糕的恐懼以及他們努力避免的一切是最迅速實現的。在這種情況下，外在意圖的運作不考慮個人意志，並且往往對他們不利。
However wildly the soul chooses its dreams the rational mind witnesses them and corrects the script according to its experience and expectations. As we have already established it is a person’s worst fears and all that they strive to avoid that is most quickly realized. In this case outer intention functions with no regard for personal will and often to their detriment.
9/15
在物質現實中，一個人也很可能經歷他們所恐懼的事物。心靈能夠通過意志力使內在意圖運作，但外在意圖的運作不受理性心靈的意志影響。它不遵循命令，當心靈和心靈之間達成一致時，它自由地顯現。在夢中，理性心靈沒有直接控制，甚至沒有意識到外在意圖正在運作。在某種程度上，夢在夢者醒來後仍然持續，因此在這一點上，心靈可以對發生的事情有更多的發言權。
In physical reality a person is also very likely to end up experiencing the things they fear. The mind is capable of making inner intention work through willpower but outer intention functions irrespective of the will of the rational mind. It does not follow orders and manifests freely when there is agreement between the heart and mind. In dreaming the rational mind has no direct control and does not even realize that outer intention is working. To some degree dreams continue after the dreamer has woken up and so at this point the mind can have more say in what happens.
10/15
在夢中，夢者可以完全沉浸在最荒謬、毫無意義的遊戲中，對其荒謬性毫不知情。在現實生活中也可能如此。當一群人參與非常狹窄的專業活動，無論是專業的、宗教的還是特殊興趣小組時，他們通常會形成自己的理解、詞彙和行動，對於任何外部人士來說，這些看起來都不自然，甚至可笑。
In a dream the dreamer can be completely absorbed in the most ridiculous, meaningless games, unaware of their absurdity. The same can be true in real life. When a group of people involved in a very narrow specialized activity, be it professional, religious or special interest groups, they often come up with their own understanding of things, vocabulary and actions that to anyone outside the group would appear unnatural and even silly.
11/15
心靈對清醒現實的不批判態度使得催眠和陶醉等現象得以運作。例如，吉普賽催眠基於三個“是”。一個人對三個不同的問題回答“是”，這使他們感覺一切都在按應有的方式進行。隨之而來的是，這個人變得不那麼警覺，在某種意義上打盹，他們的批判能力降到最低。處於這種狀態的人幾乎字面上是在白日夢中，自動地處理日常事務。這在有嚴格日常作息的人身上尤其明顯。
The mind’s uncritical attitude to waking reality is what allows phenomena such as hypnotism and entrancement to work. Gypsy hypnosis, for example, is based on three “yes’s’”. A person answers yes to three separate questions which makes them feel that everything is going as it should. The person consequently becomes less vigilant and, in a sense, dozes off, their critical abilities being reduced to a minimum. People in this state are almost literally daydreaming automatically going about their daily affairs. This is particularly the case with individuals who have a strict daily regime.
12/15
當你與某人交談時，就像你在深度睡眠中一樣。全心投入遊戲，你自然理解發生了什麼，但你的積極參與使你無法像外部觀察者那樣客觀地行為或評估情況。任何了解比賽的足球迷都會批評球員的錯誤。然而，如果那位球迷被帶到場上參加比賽，會發生什麼呢？作為參與者，他們會做得更好嗎？每個人都在某種程度上無意識地行動。當一個人說謊時，他們的眼睛往往會向右移動。他們會做出不自覺的手部動作，完全沉浸在遊戲中。
When you talk to someone it is like you are in a deep sleep. Fully engaged in the game you naturally understand what is happening but your active participation makes you incapable of behaving or evaluating the situation objectively as an outside observer would. Any football fan who understands the game criticizes the players for their mistakes. What would happen though if that fan were to be brought onto the field to play? Would they do any better as a participant? Everyone acts unconsciously to a certain extent. When a person is lieing their eyes tend to shift to the right. They make involuntary movements with their hands totally immersed in the game.
13/15
催眠暗示的狀態是白日夢的一個極端案例，但每個人在日常物質現實中在某種程度上都是在睡覺。在你閱讀的這一刻，你可以搖醒自己，並說你意識到自己在做什麼和發生了什麼。然而，稍後，一個人、事件或問題將分散你的注意力，你將再次被吸引進遊戲並打盹。在你在舞台上認真扮演角色的同時，你將保持沉睡。當你走下舞台進入觀眾席並喚醒你內心的守護者時，你會醒來。一旦進入觀眾席，你將繼續扮演你的角色，說出必要的話，執行必要的行動，遵循既定的規則，只是現在你將更有意識地扮演你的角色，以更客觀的方式評估周圍發生的事情。
The state of hypnotic suggestion is an extreme case of daydreaming but everyone is to some extent asleep in their day to day physical reality. In this moment, as you read, you can shake yourself and say that you are aware of what you are doing and what is happening. Later, however, a person, event or problem will distract you and you will again get drawn into the game and doze off. You will remain sleeping all the while that you are on the stage and conscientiously playing your role. You will wake up when you come down into the auditorium and rouse your inner Guardian. Once in the auditorium you will continue to play your role, speak the necessary words, carry out the necessary actions following the established rules, only now you will play your role consciously, in a more detached manner assessing what is happening around you with a sober mind.
14/15
在非清醒夢中，夢境只是「發生」了。外在意圖 (outer intention) 獨立於你的意志行動，對此你無能為力。在清醒夢中，一個人走進觀眾席，並有意識地指導劇本。外在意圖並不是故意與個人的意志對齊，而是停止了與之矛盾。在這種情況下，心靈給予心臟更多的自由，並以此獲得其認可。心靈與心臟的統一 (unity of heart and mind) 反過來又激活了外在意圖。在接下來的章節中，我們將描述如何在通往個人目標的道路上與外在意圖合作。
In non-lucid dreaming, the dream just ‘happens’. Outer intention acts independently of your will and there is nothing you can do about it. In lucid dreaming a person steps down into the auditorium and consciously directs the script. It is not that outer intention deliberately aligns itself with a person’s will, it just ceases to contradict it. In this case the mind gives the heart more freedom and in exchange receives its sanction. The unity of heart and mind in turn activates outer intention. In the forthcoming chapters we will describe how to work with outer intention on the path towards one’s goal.
15/15
在清醒狀態下的意識水平高於夢境中的意識水平，這足以指導內在意圖 (inner intention)。外在意圖需要更高的意識水平。在清醒夢中，與清醒現實一樣，為了與外在意圖合作，你必須醒來。
The level of conscious awareness is higher in waking than it is in dreaming and this is sufficient to direct inner intention. Outer intention requires an even higher level of conscious awareness. In lucid dreaming, as in waking reality in order to work with outer intention you have to wake up.