遊戲——依照你的規則進行 (The Game According to Your Rules)

The Game According to Your Rules

如果夢中你遭遇攻擊，該如何應對？內在意圖 (Intention) 可分為四種類型：逃跑、反抗、覺醒與實現。對於夢中遭受攻擊時的對立與後撤，這是內在意圖 (Intention) 所產生的一種原始反應。若在夢中遭遇攻擊，你反擊，事件便會按照現實中常見的行為模式展開——也就是說，劇情會依據你的既定劇本 (Script) 進行收尾。如果你習慣了失敗，那麼你便會失敗，反之亦然。你的夢境也會根據那劇本 (Script) 在替代空間 (Alternatives space) 中發生相應的轉變。

What can you do if you are attacked in a dream? There are four types of inner intention: flight, fight, awakening and realization. Opposition and retreat, in response to being attacked in a dream, are primitive forms of response generated by inner intention. If you are attacked in a dream and you fight back events will unfold in much the same way as they would in waking reality, i.e. in accordance with the standard model of behaviour. Your conscious mind already has a script for how the fight should end. If you are accustomed to losing, you will lose the fight and vice versa. Your dream will shift around the alternatives space in accordance with your script.

在夢中，你往往按著在清醒現實中的習慣行事，但由於夢境中萬事皆有可能，因此運用外在意圖 (Outer intention) 可非常有效。藉由外在意圖 (Outer intention) 的力量，你可以悄然轉向對手，想像對方先退後，最終竟變成一隻青蛙。這並非表示你渴望或努力要使對手變成青蛙，因為那樣就等同於利用內在意圖 (Intention) 直接操控外部世界；而當你運用外在意圖 (Outer intention) 時，你只是簡單地想像對手正變成青蛙，換言之，你接受對方化為青蛙是潛在現實的一種可能。外在意圖 (Outer intention) 僅僅是認定某事件能按另一劇本 (Script) 發生，若心智能完全接受事件發展存在其他可能的觀念，那麼心靈自然也不會反對。當心靈與心智達到合一 (Unity of heart and mind) 時，外在意圖 (Outer intention) 就會被激活，並將選定的劇本 (Script) 轉化為物質現實。

In a dream you tend to behave in the same way as you are used to behaving in waking reality, but because in a dream anything is possible, working with outer intention can be very effective. With the power of outer intention you can quietly turn to your opponent and imagine them retreating before finally turning into a frog. It is not that you yearn or strive for your opponent to turn into a frog for this would be to actively will a change on the outside world using the power of inner intention. When you work with outer intention you simply imagine that your opponent is turning into a frog. In other words, you accept that their turning into a frog is a potential reality. Outer intention only imagines an event to be true and accepts the possibility of a different script. If the mind can fully accept the idea that there can be an alternative to the usual development of events, the heart will not object. Union between the heart and mind activates outer intention which transforms the chosen script into physical reality.

如你所見，外在意圖 (Outer intention) 的產生並非源自意志，而是心靈與心智和諧一致的結果（Unity of heart and mind）。外在意圖 (Outer intention) 獨立於個人意志運作，因此內在意圖 (Intention)（即個人意志）應該僅用於促進心靈與心智達成和諧連結。要成功地設定外在意圖 (Outer intention)，你必須首先承認劇本 (Script) 是可以掌控的，而覺察也至關重要，唯有如此，外在意圖 (Outer intention) 才能為你所用。

As you can see, outer intention arises not as a result of will but as a consequence of harmony between the heart and mind. Outer intention acts independently of personal will and so inner intention (personal will) should only be directed towards achieving a harmonious connection between heart and mind. To successfully set outer intention you have to first acknowledge that the script can be controlled. Awareness is also essential if you want outer intention to work in your favour.

當夢者未達清醒狀態時，夢境無法被控制——它僅僅是“自然發生”。無論在夢中或清醒時，大部分人類的行為基本上皆屬無意識運作。當個體與周遭環境的關係處於無意識狀態時，他會認為所處情境完全由外部條件決定，而這些條件既非他所能左右，也無法受到他的影響。若你深信這點，其他人及命運的無常便會對你的生活產生更大影響；從這個層面來看，現實也只是“自然而然地發生”，遊戲規則並非由個體設定，而是由外部世界所決定。

Whilst the dreamer is not lucid the dream cannot be controlled; it just ‘happens’. In dreaming and in waking the majority of human actions are carried out relatively unconsciously. When a person’s relationship to their surroundings is unconscious they experience a situation as something determined and conditioned by external factors which they have neither the strength nor the capacity to influence. If a person believes this to be true, other people and the vagaries of fate will have a greater impact on their life. In this sense, reality also just ‘happens’, the rules of the game being set not by the individual but by the outside world.

若要在夢中和現實中獲得掌控權，關鍵在於從全情投入的參與者角色轉為旁觀者角色。你仍參與並扮演著你的角色，但你的內在守護者 (Guardian's Riddle) 始終保持警覺。這就好比你既在舞台上扮演一個演員，又能從大廳中冷靜觀察自己與他人的表演。那守護者 (Guardian's Riddle) 永遠在背後運作，不干預，只是仔細與冷靜地評估所見的一切。

To gain control both in dreaming and in real life it is essential to switch from the role of immersed participant to the role of witness. You continue to take part and play your role in the game but your inner Guardian is always vigilant. It is as if you detach yourself, enough to be playing the part of an actor at the same time as observing your role and the theatricals of others from the auditorium. The Guardian is always switched on in the background. It does not get involved; it just follows carefully and soberly assessing all that it observes.

在非清醒夢中，就像旁觀者消失了一般，讓演員全心投入其中，個體便會完全迷失於自己的角色，無法從外部視角審視情況。為避免陷入角色中，你必須將內在重要性 (Importance) 與外在重要性 (Importance) 的投射保持在最低程度，並且守護者 (Guardian's Riddle) 必須隨時保持警醒。即使不考慮外在意圖 (Outer intention)，一個人掌控情勢的能力也與其覺察層次成正比；在夢中，由於覺察程度較低，夢境便自然而然地發生；但只要你意識到自己在做夢，情況便能掌控，你也可以任意行動。

In non-lucid dreaming it is as if the observer has switched off leaving the actor alone to get involved. In this state the individual becomes totally absorbed in their role unable to see the situation from the outside. To avoid getting completely absorbed in a role the intensity of inner importance and the projection of outer importance must be kept to a minimum and the Guardian must be always ready. Even without taking outer intention into account, a person’s ability to control a situation is directly proportionate to their level of conscious awareness. In dreaming the level of awareness is minor and so the dream ‘happens’. If however, a person is aware that they are dreaming the situation is under control and they can do whatever they wish.

一個人對他人或破壞性擺錘 (Pendulum) 影響的易感性，與其有意識的層次成反比。睡眠時，許多人如行屍走肉；比如在噩夢中被追趕時，他們只能慌忙逃跑，無能為力。劇本 (Script) 原本屬於個體，可最終卻由別的“製作人”來演繹，使個體成了自己對事件發展固有認知的囚徒。儘管這些觀念是由你自己形成的，它們卻主宰了你的意志，使你淪為受害者。

Susceptibility to the influence of other people and destructive pendulums is in inverse proportionality to a person’s level of conscious awareness. In sleep many people behave like zombies. If they are being chased in a nightmare they run away unable to do anything else about it. The script belongs to the individual but it has been given over to a different producer for staging. The individual is prisoner of their own conditioned perceptions of how an event may develop. Despite the fact that the perceptions originate with the individual they dictate their own will reducing their owner to the position of victim.

記住，當你完全陷入一個問題時會發生什麼。譬如，一位同事走來告知某項工作必須完成，若這工作讓你感到困難，你第一反應可能是擔憂或沮喪，隨後你腦中將展開一連串可能的情境，例如：「這事不會容易完成，我該怎麼辦？我真的不想做！我的生活已經如此艱難與壓力重重，但如果我不做，某某事情就會發生……」此時，你便加入了這場遊戲，容易受外界影響而漸漸陷入沉睡。你可能被牽著手，如同順從的孩童，被引進一個等待艱難工作的房間，最終進入一條生命線 (Life line)，而那裡正是你將要經歷的情境。

Remember what happens when you become totally immersed in a problem. Imagine, for example, that you are approached by a colleague who announces that some job has to be done. If doing the job is a problem your first response would probably be concern, perhaps a feeling of dejection. You would then run various scenarios around in your mind for events might develop: “That’s not going to be an easy task. How will I do it? I so do not want to! My life is so difficult and stressful but if I do not do it such and such will happen, etc.” At this stage you have joined in the game, becoming susceptible to outside influence; in other words you have dozed off. You can now be taken by the hand and lead like an obedient child into a room where difficult, exacting work awaits you, ending up on a life line where this is exactly what happens.

這正是當你任由擺錘 (Pendulum) 催眠你，將它自創的遊戲當作你的問題時所發生的結果。當你在有意識中反轉那滿含問題的劇本 (Script)時，你將達到心靈與心智一致的狀態，此刻外在意圖 (Outer intention) 會迅速將你轉移到一條問題重重的生命線 (Life line) 上。這種情況極易發生，因為恐懼、絕望、不滿與憂慮等情緒能迅速占據你，根本原因便是內在重要性 (Importance) 與外在重要性 (Importance)。每當你認為某件事具有重要性 (Importance)，無論對你而言還是事物本身，你便容易被捲入其中或陷入沉睡。

This is what happens if you allow the pendulum to hypnotise you and make its own game your problem. By turning the problematic script round in your conscious mind you reach a point where the heart and mind are in agreement over their concern, at which point outer intention immediately shifts you onto a problematic life line. This can happen quite easily as feelings such as fear, despair, dissatisfaction and worry can take hold of a person quite quickly. The underlying cause is of course, importance, both inner and outer. You can be pulled into the game or lulled into a slumber whenever you assess the game to be important either of itself or for you personally.

現在，試想另一種情形：有人帶著問題來找你，這時你甩甩自己，告訴自己並未沉睡，並決定那擺錘 (Pendulum) 的初次驅使是否會演變成問題。這是掌控局勢的首個條件；第二個條件，就是下定決心戰勝擺錘 (Pendulum)。在你了解問題本質之前，先告訴自己，那無論是什麼，只不過是瑣事而已。最重要的是，不要被牽著走；切勿採取積極主動的行動、介入、推諉或發怒。只需靜心聆聽對方的需求，表面上點頭、發出適當回應，而內心保持旁觀者的姿態，就像那偶爾上場的教練一般。

Now imagine a different version of events. A person comes up to you with a problem. In this moment you shake yourself and tell yourself that you are not sleeping and can decide whether the first prod of the pendulum will become a problem for you or not. This is the first condition to establishing control over the situation. The second condition is to take it into your head to defeat the pendulum. Even before you learn the nature of the problem, program yourself to perceive whatever it is as a mere trifle. The most important thing is not to allow yourself to be lead by the hand. Do not take any assertive steps, refuse to get involved, prevaricate or become irritated. Simply listen to what the person wants from you. Externally it is best to nod your head, make the right noises and internally remain the witness, not the participant. This is the role of the observer who takes part, like a trainer who sometimes plays as well.

在這裡，保持超然並非表示心不在焉或缺乏專注；恰恰相反，掌控一個情勢必須全神貫注與頭腦清晰。能夠置身事外意味著你意識到規則是由你自己訂定的，從而決定劇本最終會發展成悲劇、喜劇還是輕鬆小品。這完全取決於你的期望——你可能希望事情迅速且順利地解決。如果你擔心總有複雜問題糾纏不休，請放心，任何複雜問題總有一個簡單的解答，而這個解答就隱藏在輕鬆小品的生命線 (Life line) 上。要轉換到這條生命線 (Life line) ，你只需要懷著意圖 (Intention) ，在心中想像事情就是這樣的。

To be detached in this case does not mean to be distracted or lacking in concentration. Quite the opposite; control over a situation presupposes attentiveness and total clarity of mind. To stand back from something means to be aware of the fact that you make up the rules of the game deciding whether the play will turn either into a tragedy or a comic sketch or light vaudeville. It depends on what you want which is probably for everything to be resolved quickly and easily. If you fear that there will always be complex problems just around the corner to be wrestled with for ages, do not worry. There is always a simply solution to any complex problem. The simple solution lies on the ‘vaudeville’ life line. To shift to this life line all that is required is the intention to imagine to yourself that it is so.

一旦你開始練習這個技巧，你會感到驚喜連連。結果可能出乎意料地不合常理，但至少問題會輕鬆解決，或者消失，甚至由別人來處理。在輕鬆小品的生命線 (Life line) 上，根本不存在複雜的問題。你並未完全掌控外在意圖 (Outer intention) 的力量，但你可以這麼行動：第一，讓外在意圖 (Outer intention) 不會反過來對你產生制約；第二，你能獲得機會幫助它為你效力。事態可能會以各種方式展開，未必總對你有利，但只要你採取這種態度，你就大大提高了成功的機會。別忘了也要信任替代流 (Alternatives flow)；當你以輕鬆小品態度處理問題，心靈與心智達到合一 (Unity of heart and mind) 的層次足夠高時，你將獲得令人難以置信、只能在夢中想像的結果。

Once you start practicing this technique you will be pleasantly surprised. The outcome may be most improbable. At the very least the problem will be solved easily, or it may disappear or given to someone else to resolve. There simply are no complex problems on the ‘vaudeville’ life line. You do not have total power over outer intention but you can act in such a way that firstly, it does not act against you and secondly, that you get the opportunity to help it work in your interests. Circumstances may unfold in various ways and not necessarily in your favour but by taking this position you significantly increase your chances of coming up roses. Do not forget to trust the alternatives flow as well. If the level of unity between heart and mind in the vaudeville attitude to the problem is sufficiently high you will receive mind boggling results that you could only have dreamed of.

你不再是那被細線牽動的木偶；但我要提醒你，別輕易產生自己就是操縱者的誘惑。你明白這樣會打破平衡，一旦出現任何驕傲、自以為是、輕蔑或（天哪！）鄙視他人的跡象，你將立刻遭到回擊。即使在夢境中，也沒有任何個體能完全掌控生活中所發生的一切。記住，你只有選擇 (Choice) 的權利，而非改變。你可以隨意自在，但絕不可忘記，自己只是個來做客的人。而且，當你與一個情勢保持距離時，必須以百分之百的正直態度行事。這種輕鬆小品態度並非意味著懈怠或漫不經心，而是指你能夠清醒客觀地評估事物的重要性 (Importance)。

You are no longer a puppet on a string. I should warn you though to be careful of the temptation of considering yourself the puppeteer. You understand that this would disturb the balance and you would instantly receive a slap at the first sign of any conceit, feeling of superiority, contempt or (heaven forbid) disdain towards others. No individual can ever have complete control over all that happens in life even in dreaming. Remember, you only have the right to choose, not to change. Make yourself at home but do not forget you are a guest. It is also important to remember that when you detach yourself from a situation it is essential to act with complete integrity. A ‘vaudeville’ attitude to a problem does not suggest being slack or nonchalant but it does mean being capable of soberly assessing the importance of things.

誤把有意識層次看作是試圖控制周圍世界的努力，是一個大錯誤。理性心智習慣堅持自己的觀點，試圖改變事態发展，與潮流抗爭。有時，當一個人走下舞台進入大廳時，他會被強行改變劇本的慾望誘惑，將自己的意志強加到其他演員身上。這種行為與 Transurfing 完全不相干，因為它完全依賴個人意志（內在意圖 (Intention)）來對抗潮流。你必須一次又一次提醒自己，要隨波逐流。有意識的覺察在於觀察，而非控制。控制只該用來構想一個吉祥的劇本，讓它進入你的生活，然後全心擁抱它，而非在負面情緒中胡亂掙扎。這並非強迫你的劇本主宰外部世界，而是認為有另一種可能，讓另一劇本 (Script) 實現，並且讓你自己有能力接受它。只有當心靈與心智真正合一時，你才能停止與世界爭鬥，真正自在地做出選擇 (Choice)。

It would be a mistake to interpret conscious awareness as the striving to establish control over the surrounding world. The rational mind is accustomed to insisting on its own view of things, trying to alter the course of events, and fighting against the current. Sometimes, when a person steps off the stage into the auditorium they are seduced by the desire to change the script by force, imposing their will on the remaining actors. This type of behaviour has nothing in common with Transurfing because it depends exclusively on personal will (inner intention) to push against the current. You have to remind yourself again and again of the need to go with the flow. Conscious awareness lies in observation, not in the ability to control. Control should only be directed towards imagining an auspicious script, allowing it into your life and embracing it with all your heart, instead of floundering about in negativity. It is not about forcing your own script on the world so much as considering it possible, allowing an alternative to be realized and allowing yourself to receive it. You will only succeed in ceasing to do battle with the world and allowing yourself to choose if the heart and mind are one.

在前一章中，我們探討了不同的行為模式及乞丐、憤怒者與鬥士等角色，而這些都不符合 Transurfing 模型的脈絡。那么，在這個名為人生的遊戲中，誰能掌握自己命運的角色最為值得稱道？你此刻可能已經猜到，在 Transurfing 模型中，那被認為就是“守護者 (Guardian's Riddle)”的角色。你在清醒時擁有的覺察越多，你就越能有效地掌控自己的命運。

In the previous chapter we looked at different models of behaviour and the roles of the beggar, the indignant and the fighter, neither of which fit the context of the Transurfing model. So what role could be worthy of the one who is master of their own fate in this game called Life? By now you have probably guessed that in the Transurfing model it is considered to be the Guardian. The more conscious awareness you have in waking, the more effectively you will be able to take charge of your own destiny.

守護者 (Guardian's Riddle) 的角色比起一般管理者要更吸引人。船長、經理以及其他領導者往往比單純的行政人員採取更積極的生活態度，不僅僅因為他們擔負著更大的責任。高層管理者更可能採取守護者 (Guardian's Riddle) 的角色，因為他們的職位要求他們比其他僱員更為“清醒”，那些人只是因為別無選擇而在睡夢中完成他們的工作。一旦你接受了守護者 (Guardian's Riddle) 的角色，你會感受到能量的爆發與活力的大幅提升，因為此時你不再沮喪地執行他人的意志，而是在創造自己的命運。承擔自己命運的責任不僅不是負擔，而是一種自由的行動。

The role of the Guardian is much more engaging than the role of the administrator. Captains, managers and other leaders tend to take a more proactive position in life than simple administrators and not only because they have greater responsibilities. Senior management personnel are more likely to adopt the role of guardian because their position requires them to be ‘more awake’ in comparison to other workers, who are able to remain asleep fulfilling their responsibilities simply because they have to. As soon as you embrace the position of Guardian you will feel a burst of energy and increased levels of vitality because now, rather than dejectedly carrying out actions that are the will of another, you are creating your own destiny. Taking responsibility for your own fate is not a burden, but an act of freedom.

人類與動物之間的差異，更多地在於覺察層次而非智力水平。動物呈現出一種較為昏沉的狀態，它們的行為主要是由天性灌輸給它們的僵化劇本所主導，並以本能與反射形式表現出來。動物的行為就如同一位演員按照既定劇本演出。在這個意義上，人類就“更清醒”。人類天生更傾向於自我覺察，明白自己在世界中的位置；然而，大部分人仍然過於沉浸於既定劇本中，沒有足夠的超然距離來獲得真正的覺察。

Man differs from animals not so much in level of intellect as in level of awareness. Animals embody a sleepier state. Their behaviour is mainly determined by stereotypical scripts, instilled in them by nature, and which manifest in the form of instinct and reflexes. Animal behaviour is like that of an actor in a play with a fixed script. In this sense, human beings are ‘more awake’. Man is by nature more inclined to self awareness and understanding of their place in the world. At the same time, the general level of human awareness is still very limited with most people too completely immersed in the script to have the necessary detachment for awareness.

聰明人的祕密在於他們的覺察（Awareness）。覺察能使心智清晰透徹，有的人思考和表達都井然有序，而有的人則顯得混亂。心智的敏銳與否，更多取決於覺察，而非僅僅智力。保持心靈的簡單，有時也能保護自己免受不必要信息的干擾，例如你可能會說：「我不想知道，請別打擾我！」這與那種擁有開放心態、好奇且渴望接納並處理一切信息的心態形成強烈對比。（Note:此處強調覺察對心智清晰及思維表達的重要性）

The secret of so-called clever people lies in their awareness. Awareness gives clarity of mind. Some people are able to think and express their thoughts clearly whilst others are muddled. The relative sharpness or dullness of one’s mind depends more on awareness than it does on intellect. Choosing simplicity of mind can also be means of protection from unwanted information: “I don’t want to know. Leave me alone!”, in contrast to an astute mind that embodies openness, curiosity and the desire to receive and process information in the spirit of: “I want to know everything!” Obtuseness is sometimes a result of retardation and both these traits can be developed in childhood, for example, when a child is forced to learn or psychologically manipulated.

我們越經常做白日夢，就越容易犯錯。就像不斷撞向玻璃窗的蒼蠅，其實它也在深度睡眠中，缺乏清醒的覺察。當你全然沉浸於既定劇本中時，就無法用更寬闊、客觀的視角觀察現實。對這場遊戲過於痴迷會使視野變得狹隘，形成一道無形的障礙。當你後來發現自己犯錯時，會感到驚愕，彷彿自己被某種幻象牽引了視線。即使在愚人節，即便人們知道可能會被戲弄，仍然難免落入陷阱。這不正是白日夢的典型表現嗎？

The more we daydream in everyday life, the more mistakes we make. The fly that beats itself against the window pane is also deeply asleep. When you are totally immersed in the script you are not able to take a wider, more objective view of reality. Obsession with the game narrows perception and puts up a barrier. People are surprised when they realize they have made a mistake because they were so immersed in something to see more clearly, and ask themselves: “Where was I looking?” as if they had been seduced by some apparition. Even on April Fool’s Day when people know they may have tricks played on them, they still fall into the trap. What is this if not a daydream?

缺乏覺察往往源於不願正視現實。正如鴕鳥一樣，為了逃避現實威脅，它們將頭埋進沙中。人們若把自己與外界隔絕，就會產生「我什麼也看不見、聽不到、不要任何東西，請讓我獨處」的心態。在現實生活中，人無法把頭永遠鑽進被子睡覺，因此常試圖鈍化自己的感知。而這種鈍化直接損害了覺察能力，例如一位溫和的人可能試圖躲避即將到來的攻擊，但因恐懼遮蔽了覺察，他無法及時反應，彷彿雙眼被一層薄紗覆蓋；而憤怒也使人失去理智，導致「盲目憤怒」的現象。

Lack of awareness is the result of not wanting to look reality in the eye. The ostrich hides its head in the sand to escape the threat of reality. When people have their head in the sand it reflects the desire to insulate themselves from the outside world in the sense of: “I cannot see anything, I can’t hear anything, I don’t want anything. Leave me alone!” It is not possible in life to totally pull your head under the blanket and sleep and so people try to dull their powers of perception. Unfortunately this compromises their awareness. For example, a mild, harmless person may try to hide from the imminent threat of aggression but they will not be able to dodge the blow because their awareness is blocked by fear. Their reactions are dulled as if their eyes were covered in a film. Rage also dims understanding. When a person is immersed in the game they are incapable of seeing or hearing anything else around them, hence the phrase ‘blind rage’.

恐懼與憤怒正是缺乏覺察的極端例子。擺錘（Pendulum）也會悄然削弱你的警覺，利用大多數人長時間處於半清醒狀態的現實——只有在某些情境激起腎上腺素時，人們才會真正清醒。這也解釋了為什麼在夢中醒來並大聲喊道：「嘿！你！別再糊弄我了！這只是一個夢，而且是我的夢，該怎麼做由我決定，不是你！」似乎如此簡單卻極難做到。

Fear and anger are extreme examples of the absence of awareness. Pendulums will also try to gently dull your vigilance with a zombifying effect, playing on the fact that most people spend the majority of their time in a semi-aware state, only experiencing acute awareness and clarity of perception when the right circumstances give them an adrenalin rush. This is why it is so difficult to do something as seemingly simple as wake up in a dream and say: “Hey! You! Stop messing me about. It is just a dream and what’s more, it’s my dream, so I say what goes, not you.”

直覺知識可藉由覺察的力量從潛意識中汲取。如果你發現自己不由自主地在想：「為什麼我突然想做這件事？」那麼，你的靈魂會以柔和、微弱的聲音回應。而理性心智則可能大聲呵斥說：「閉嘴！我知道我想要什麼，應該怎麼做！」因此，你必須養成持續傾聽那晨星竄動微響的習慣，以聽見直覺的音符。在半清醒狀態下，你幾乎無法及時捕捉並記住內在聲音的訊息，即使你早晨曾許下嚴格的傾聽承諾，也會因陷入白日夢而忽略。

Intuitive knowledge can be drawn from the subconscious by the power of awareness. Intuitive knowledge can be more easily perceived if you can catch yourself thinking: “Why do I suddenly want to do this?” The soul’s reply will be soft and barely audible. The rational mind however will shout: “Shut up. I know very well what I want and what I should be doing!” You have to develop the habit of constantly listening for the rustle of the morning stars to hear the music of intuition. In a semi-conscious state it is almost impossible to remember quickly enough to note what your inner voice is trying to say. Even if early in the morning you set yourself the strict task of listening to the voice of your soul you will not remember to do so at the appropriate moment if you sink into the daydream.

因此，當心靈與心智達到和諧（Unity of heart and mind）時，便會激發出外在意圖（Outer intention），而正念則使你能將這股力量轉化為己用。在夢中，心靈往往不受心智權威的約束，自由流動；在清醒夢中，雖然仍有部分控制，但主要只是用來調整劇本（Script）。在夢中，心智能接受所有奇蹟般的事件；例如，安徒生童話《火柴盒》中的公主，因堅信自己在夢中，竟同意與士兵一同走上屋頂。然而，當理性在清醒現實中抓住熟悉的世界觀時，便形成強烈對比。

So, harmony between heart and mind generates outer intention, and mindfulness enables you to have it work in your favour. Unity of heart and mind is so easily achieved in dreams for the simple reason that in dreams, the heart is free of the authoritative control of the mind. In lucid dreaming there is still an element of control but it is limited to adjusting the script. In dreams the mind will accept all manner of miraculous event. In ‘The Tinderbox’ a fairytale by Hans Christian Anderson, there is a scene in which the princess, convinced that she is dreaming, agrees to walk on the roof with the soldier. In dreams the rational mind will accept anything, but in waking reality it fitfully grabs hold of its familiar worldview.

一旦超越常識的領域，達到心靈與心智和諧（Unity of heart and mind）的狀態便變得非常困難。常識就像一生牢籠，難以擺脫。即使有人對神秘學教義感興趣、心懷幻想並信仰不可能之事，懷疑總難以徹底消失。雖然心智可能暫時跟隨這些信念，但最終它仍明白，蘋果最終必定會落地。這正是為什麼完全將外在意圖（Outer intention）與個人意志統一如此困難，但個人的經驗也證明，正念能大大提高成功的可能。

It is not easy to achieve a state of harmony between heart and mind once you step beyond the realms of common sense. Common sense is like a lifetime cell, from which is difficult to escape. A person may be interested in mystical teachings, have their head in the clouds and believe in the impossible but there will always be place for doubt. The mind will go along with things but at the end of the day, it knows that apples really fall to the ground. This is why it is so difficult to completely align outer intention with your own will. Nonetheless, personal experience will show that mindfulness greatly increases your chances.

只要內在守護者始終存在於你的意識中，你就能達到最大的覺察。守護者會客觀評估正在發生的一切，並判斷這場遊戲究竟為了誰的利益運行。它確保你不會像木偶一樣被捲入其中。你必須時時提醒自己：「你現在是清醒的嗎？」如此態度才能長存。如果你無所畏懼，也可以練習清醒夢，但夢境最終會結束，日常現實將再度來臨。更明智的做法是專注於培養日常生活中的有意識覺察與正念，因為這種選擇能讓你依個人品味來塑造自己的人生層（World layer）。

Maximum awareness can be achieved as long as the inner Guardian is constantly present in your consciousness. The Guardian objectively evaluates what is happening and assesses in whose interests the game is being played. It makes sure that you will not get drawn into the game like a puppet. You have to remember to ask yourself every minute of the day: “Are you asleep or not?” so that it becomes an attitude. You can also practice lucid dreaming if you are unafraid to do so but the dream will come to an end and everyday reality will return. Surely it makes more sense to focus on developing conscious awareness and mindfulness in your everyday life. As you can now see, this alternative gives you the chance to furnish your life layer according to your own taste. It is your choice.

根據你的規則進行的遊戲

The Game According to Your Rules

如果你在夢中被攻擊，你可以怎麼做？有四種內在意圖(inner intention)：逃跑、戰鬥、醒來和實現。面對夢中的攻擊，對抗和退縮是由內在意圖(inner intention)產生的原始反應形式。如果你在夢中被攻擊並反擊，事件將以與清醒現實中相同的方式展開，即按照標準行為模式。你的意識心靈已經有一個關於戰鬥應該如何結束的劇本。如果你習慣於失敗，你會輸掉戰鬥，反之亦然。你的夢將根據你的劇本在"可能性空間"(alternatives space)中移動。

What can you do if you are attacked in a dream? There are four types of inner intention: flight, fight, awakening and realization. Opposition and retreat, in response to being attacked in a dream, are primitive forms of response generated by inner intention. If you are attacked in a dream and you fight back events will unfold in much the same way as they would in waking reality, i.e. in accordance with the standard model of behaviour. Your conscious mind already has a script for how the fight should end. If you are accustomed to losing, you will lose the fight and vice versa. Your dream will shift around the alternatives space in accordance with your script.

在夢中，你往往會像在清醒現實中一樣行事，但因為在夢中一切皆有可能，與外在意圖(outer intention)合作可能非常有效。憑藉外在意圖(outer intention)的力量，你可以安靜地轉向對手，想像他們退縮，最終變成青蛙。這並不是說你渴望或努力讓對手變成青蛙，因為這將是使用內在意圖(inner intention)的力量積極地改變外部世界。當你與外在意圖(outer intention)合作時，你只是想像你的對手正在變成青蛙。換句話說，你接受他們變成青蛙是一種潛在的現實。外在意圖(outer intention)只是想像一個事件是真實的，並接受不同劇本的可能性。如果心靈能夠完全接受事件通常發展的替代方案，心就不會反對。心與心靈的統一激活了外在意圖(outer intention)，將選擇的劇本轉化為物質現實。

In a dream you tend to behave in the same way as you are used to behaving in waking reality, but because in a dream anything is possible, working with outer intention can be very effective. With the power of outer intention you can quietly turn to your opponent and imagine them retreating before finally turning into a frog. It is not that you yearn or strive for your opponent to turn into a frog for this would be to actively will a change on the outside world using the power of inner intention. When you work with outer intention you simply imagine that your opponent is turning into a frog. In other words, you accept that their turning into a frog is a potential reality. Outer intention only imagines an event to be true and accepts the possibility of a different script. If the mind can fully accept the idea that there can be an alternative to the usual development of events, the heart will not object. Union between the heart and mind activates outer intention which transforms the chosen script into physical reality.

如你所見，外在意圖(outer intention)的產生不是意志的結果，而是心與心靈之間和諧的結果。外在意圖(outer intention)獨立於個人意志運作，因此內在意圖(inner intention)（個人意志）應僅用於實現心與心靈之間的和諧連接。要成功設置外在意圖(outer intention)，你必須首先承認劇本是可以控制的。如果你希望外在意圖(outer intention)對你有利，意識也至關重要。

As you can see, outer intention arises not as a result of will but as a consequence of harmony between the heart and mind. Outer intention acts independently of personal will and so inner intention (personal will) should only be directed towards achieving a harmonious connection between heart and mind. To successfully set outer intention you have to first acknowledge that the script can be controlled. Awareness is also essential if you want outer intention to work in your favour.

當夢者不清醒時，夢無法控制；它只是“發生”。在做夢和清醒中，大多數人類行為都是相對無意識地進行的。當一個人對周圍環境的關係是無意識的時，他們會將情況視為由外部因素決定和制約的東西，而他們既沒有力量也沒有能力去影響。如果一個人相信這是真的，其他人和命運的變幻將對他們的生活產生更大的影響。在這種意義上，現實也只是“發生”，遊戲的規則不是由個人設定的，而是由外部世界設定的。

Whilst the dreamer is not lucid the dream cannot be controlled; it just ‘happens’. In dreaming and in waking the majority of human actions are carried out relatively unconsciously. When a person’s relationship to their surroundings is unconscious they experience a situation as something determined and conditioned by external factors which they have neither the strength nor the capacity to influence. If a person believes this to be true, other people and the vagaries of fate will have a greater impact on their life. In this sense, reality also just ‘happens’, the rules of the game being set not by the individual but by the outside world.

要在做夢和現實生活中獲得控制權，必須從沉浸的參與者角色轉換為見證者角色。你繼續參與並在遊戲中扮演你的角色，但你的內在"守護者的謎題"(Guardian's Riddle)總是保持警覺。就像你脫離自己，足以扮演演員的角色，同時從觀眾席觀察你的角色和其他人的戲劇。"守護者的謎題"(Guardian's Riddle)總是在背景中開啟。它不參與；它只是仔細而清醒地評估它觀察到的一切。

To gain control both in dreaming and in real life it is essential to switch from the role of immersed participant to the role of witness. You continue to take part and play your role in the game but your inner Guardian is always vigilant. It is as if you detach yourself, enough to be playing the part of an actor at the same time as observing your role and the theatricals of others from the auditorium. The Guardian is always switched on in the background. It does not get involved; it just follows carefully and soberly assessing all that it observes.

在非清醒夢中，就好像觀察者已經關閉，留下演員獨自參與。在這種狀態下，個體完全沉浸在自己的角色中，無法從外部看到情況。為了避免完全沉浸在角色中，內在重要性(Importance)的強度和外在重要性(Importance)的投射必須保持在最低限度，"守護者的謎題"(Guardian's Riddle)必須隨時準備好。即使不考慮外在意圖(outer intention)，一個人控制情況的能力也與他們的意識水平成正比。在做夢中，意識水平較低，因此夢“發生”。然而，如果一個人意識到自己在做夢，情況就會得到控制，他們可以做任何他們想做的事情。

In non-lucid dreaming it is as if the observer has switched off leaving the actor alone to get involved. In this state the individual becomes totally absorbed in their role unable to see the situation from the outside. To avoid getting completely absorbed in a role the intensity of inner importance and the projection of outer importance must be kept to a minimum and the Guardian must be always ready. Even without taking outer intention into account, a person’s ability to control a situation is directly proportionate to their level of conscious awareness. In dreaming the level of awareness is minor and so the dream ‘happens’. If however, a person is aware that they are dreaming the situation is under control and they can do whatever they wish.

對他人影響和破壞性"鐘擺"(Pendulums)的易感性與一個人的意識水平成反比。在睡眠中，許多人表現得像殭屍。如果他們在噩夢中被追趕，他們會逃跑，無法做其他任何事情。劇本屬於個人，但它已經交給了不同的製作人來上演。個體是他們自己對事件可能如何發展的條件感知的囚徒。儘管感知源於個人，但它們支配著他們自己的意志，將其擁有者降低到受害者的位置。

Susceptibility to the influence of other people and destructive pendulums is in inverse proportionality to a person’s level of conscious awareness. In sleep many people behave like zombies. If they are being chased in a nightmare they run away unable to do anything else about it. The script belongs to the individual but it has been given over to a different producer for staging. The individual is prisoner of their own conditioned perceptions of how an event may develop. Despite the fact that the perceptions originate with the individual they dictate their own will reducing their owner to the position of victim.

記住當你完全沉浸在問題中時會發生什麼。想像一下，例如，一位同事走近你，告訴你有些工作必須完成。如果做這項工作是一個問題，你的第一反應可能是擔憂，也許是沮喪。然後你會在腦海中運行各種事件可能發展的場景：“這不會是一個簡單的任務。我該怎麼做？我真的不想做！我的生活如此困難和壓力重重，但如果我不這樣做，這樣那樣的事情就會發生，等等。”在這個階段，你已經加入了遊戲，變得容易受到外部影響；換句話說，你已經打盹了。現在你可以被牽著手，像一個聽話的孩子一樣被帶到一個困難、苛刻的工作等待你的房間，最終進入一條這正是發生的"生命線"(life line)。

Remember what happens when you become totally immersed in a problem. Imagine, for example, that you are approached by a colleague who announces that some job has to be done. If doing the job is a problem your first response would probably be concern, perhaps a feeling of dejection. You would then run various scenarios around in your mind for events might develop: “That’s not going to be an easy task. How will I do it? I so do not want to! My life is so difficult and stressful but if I do not do it such and such will happen, etc.” At this stage you have joined in the game, becoming susceptible to outside influence; in other words you have dozed off. You can now be taken by the hand and lead like an obedient child into a room where difficult, exacting work awaits you, ending up on a life line where this is exactly what happens.

如果你允許"鐘擺"(Pendulums)催眠你並將它自己的遊戲變成你的問題，就會發生這種情況。通過在你的意識心靈中轉動問題的劇本，你達到了一個心靈和心在擔憂上達成一致的地步，此時外在意圖(outer intention)立即將你轉移到一條問題的"生命線"(life line)。這很容易發生，因為恐懼、絕望、不滿和擔憂等感覺可以很快地控制一個人。根本原因當然是重要性(Importance)，無論是內在還是外在。每當你評估遊戲本身或對你個人來說很重要時，你都可能被拉入遊戲或被催眠。

This is what happens if you allow the pendulum to hypnotise you and make its own game your problem. By turning the problematic script round in your conscious mind you reach a point where the heart and mind are in agreement over their concern, at which point outer intention immediately shifts you onto a problematic life line. This can happen quite easily as feelings such as fear, despair, dissatisfaction and worry can take hold of a person quite quickly. The underlying cause is of course, importance, both inner and outer. You can be pulled into the game or lulled into a slumber whenever you assess the game to be important either of itself or for you personally.

現在想像一個不同版本的事件。有人帶著問題來找你。此時你搖醒自己，告訴自己你沒有在睡覺，可以決定"鐘擺"(Pendulums)的第一次推動是否會成為你的問題。這是建立對情況控制的第一個條件。第二個條件是讓自己打算擊敗"鐘擺"(Pendulums)。即使在你了解問題的本質之前，也要讓自己將其視為微不足道的事情。最重要的是不要讓自己被牽著走。不要採取任何斷然的步驟，拒絕參與，推諉或變得惱火。只需聽聽這個人想從你那裡得到什麼。外表上最好點頭，發出正確的聲音，內心保持見證者，而不是參與者。這是參與的觀察者的角色，就像有時也參加比賽的教練一樣。

Now imagine a different version of events. A person comes up to you with a problem. In this moment you shake yourself and tell yourself that you are not sleeping and can decide whether the first prod of the pendulum will become a problem for you or not. This is the first condition to establishing control over the situation. The second condition is to take it into your head to defeat the pendulum. Even before you learn the nature of the problem, program yourself to perceive whatever it is as a mere trifle. The most important thing is not to allow yourself to be lead by the hand. Do not take any assertive steps, refuse to get involved, prevaricate or become irritated. Simply listen to what the person wants from you. Externally it is best to nod your head, make the right noises and internally remain the witness, not the participant. This is the role of the observer who takes part, like a trainer who sometimes plays as well.

在這種情況下，超然並不意味著分心或缺乏專注。恰恰相反；對情況的控制預設了注意力和完全的頭腦清晰。退後一步意味著意識到你制定了遊戲的規則，決定戲劇是變成悲劇還是喜劇小品或輕鬆的雜耍。這取決於你想要什麼，可能是希望一切都能快速輕鬆地解決。如果你擔心總會有複雜的問題在角落裡等待著被解決，不要擔心。任何複雜問題總有簡單的解決方案。簡單的解決方案位於“雜耍”"生命線"(life line)上。要轉移到這條"生命線"(life line)，所需的只是想像它就是這樣的意圖(Intention)。

To be detached in this case does not mean to be distracted or lacking in concentration. Quite the opposite; control over a situation presupposes attentiveness and total clarity of mind. To stand back from something means to be aware of the fact that you make up the rules of the game deciding whether the play will turn either into a tragedy or a comic sketch or light vaudeville. It depends on what you want which is probably for everything to be resolved quickly and easily. If you fear that there will always be complex problems just around the corner to be wrestled with for ages, do not worry. There is always a simply solution to any complex problem. The simple solution lies on the ‘vaudeville’ life line. To shift to this life line all that is required is the intention to imagine to yourself that it is so.

一旦你開始練習這種技術，你會感到驚喜。結果可能最不可能。至少問題會輕鬆解決，或者可能消失或交給其他人解決。在“雜耍”"生命線"(life line)上根本沒有複雜的問題。你無法完全掌控外在意圖(outer intention)，但你可以採取這樣的行動，首先，它不會對你不利，其次，你有機會幫助它為你的利益工作。情況可能以各種方式展開，不一定對你有利，但通過採取這種立場，你顯著增加了成功的機會。不要忘記也要相信"可能性流動"(alternatives flow)。如果在對問題的雜耍態度中心與心靈的統一程度足夠高，你將獲得只有在夢中才能夢想到的驚人結果。

Once you start practicing this technique you will be pleasantly surprised. The outcome may be most improbable. At the very least the problem will be solved easily, or it may disappear or given to someone else to resolve. There simply are no complex problems on the ‘vaudeville’ life line. You do not have total power over outer intention but you can act in such a way that firstly, it does not act against you and secondly, that you get the opportunity to help it work in your interests. Circumstances may unfold in various ways and not necessarily in your favour but by taking this position you significantly increase your chances of coming up roses. Do not forget to trust the alternatives flow as well. If the level of unity between heart and mind in the vaudeville attitude to the problem is sufficiently high you will receive mind boggling results that you could only have dreamed of.

你不再是線上的木偶。不過，我應該警告你要小心將自己視為操縱者的誘惑。你明白這會擾亂平衡，你會在任何自負、優越感、蔑視或（天啊）對他人的輕蔑的跡象出現時立即受到打擊。即使在做夢中，任何個人都無法完全控制生活中發生的一切。記住，你只有選擇(Choice)的權利，而不是改變的權利。讓自己感到賓至如歸，但不要忘記你是一位客人。還要記住，當你從情況中脫離時，必須完全誠實地行動。對問題的“雜耍”態度並不意味著鬆懈或漫不經心，而是意味著能夠清醒地評估事物的重要性(Importance)。

You are no longer a puppet on a string. I should warn you though to be careful of the temptation of considering yourself the puppeteer. You understand that this would disturb the balance and you would instantly receive a slap at the first sign of any conceit, feeling of superiority, contempt or (heaven forbid) disdain towards others. No individual can ever have complete control over all that happens in life even in dreaming. Remember, you only have the right to choose, not to change. Make yourself at home but do not forget you are a guest. It is also important to remember that when you detach yourself from a situation it is essential to act with complete integrity. A ‘vaudeville’ attitude to a problem does not suggest being slack or nonchalant but it does mean being capable of soberly assessing the importance of things.

將意識解釋為努力控制周圍世界是一個錯誤。理性心靈習慣於堅持自己的觀點，試圖改變事件的進程，並與潮流對抗。有時，當一個人從舞台走到觀眾席時，他們會被改變劇本的慾望所誘惑，將自己的意志強加於其他演員。這種行為與Transurfing毫無共同之處，因為它完全依賴於個人意志（內在意圖(inner intention)）來逆流而上。你必須一再提醒自己需要順應潮流。意識在於觀察，而不在於控制的能力。控制應該只用於想像一個吉祥的劇本，允許它進入你的生活，並全心全意地擁抱它，而不是在負面中掙扎。這不是強迫你的劇本在世界上，而是考慮它的可能性，允許一個替代方案實現並允許自己接受它。只有當心與心靈合一時，你才能停止與世界鬥爭，允許自己選擇(Choice)。

It would be a mistake to interpret conscious awareness as the striving to establish control over the surrounding world. The rational mind is accustomed to insisting on its own view of things, trying to alter the course of events, and fighting against the current. Sometimes, when a person steps off the stage into the auditorium they are seduced by the desire to change the script by force, imposing their will on the remaining actors. This type of behaviour has nothing in common with Transurfing because it depends exclusively on personal will (inner intention) to push against the current. You have to remind yourself again and again of the need to go with the flow. Conscious awareness lies in observation, not in the ability to control. Control should only be directed towards imagining an auspicious script, allowing it into your life and embracing it with all your heart, instead of floundering about in negativity. It is not about forcing your own script on the world so much as considering it possible, allowing an alternative to be realized and allowing yourself to receive it. You will only succeed in ceasing to do battle with the world and allowing yourself to choose if the heart and mind are one.

在上一章中，我們探討了不同的行為模式以及乞丐、憤怒者和鬥士的角色，這些都不符合Transurfing模型的背景。那麼在這個叫做生活的遊戲中，什麼角色才配得上成為自己命運的主人呢？到現在你可能已經猜到了，在Transurfing模型中，它被認為是"守護者的謎題"(Guardian's Riddle)。你在清醒時擁有的意識越多，你就能越有效地掌控自己的命運。

In the previous chapter we looked at different models of behaviour and the roles of the beggar, the indignant and the fighter, neither of which fit the context of the Transurfing model. So what role could be worthy of the one who is master of their own fate in this game called Life? By now you have probably guessed that in the Transurfing model it is considered to be the Guardian. The more conscious awareness you have in waking, the more effectively you will be able to take charge of your own destiny.

"守護者的謎題"(Guardian's Riddle)的角色比管理者的角色更具吸引力。船長、經理和其他領導者往往比普通管理者在生活中採取更積極的立場，不僅因為他們有更大的責任。高級管理人員更有可能採取"守護者的謎題"(Guardian's Riddle)的角色，因為他們的職位要求他們比其他工人“更清醒”，而其他工人可以因為必須履行責任而保持沉睡。當你接受"守護者的謎題"(Guardian's Riddle)的角色時，你會感受到能量的爆發和活力的增加，因為現在，你不再是沮喪地執行他人的意志，而是在創造自己的命運。對自己命運負責不是一種負擔，而是一種自由的行為。

The role of the Guardian is much more engaging than the role of the administrator. Captains, managers and other leaders tend to take a more proactive position in life than simple administrators and not only because they have greater responsibilities. Senior management personnel are more likely to adopt the role of guardian because their position requires them to be ‘more awake’ in comparison to other workers, who are able to remain asleep fulfilling their responsibilities simply because they have to. As soon as you embrace the position of Guardian you will feel a burst of energy and increased levels of vitality because now, rather than dejectedly carrying out actions that are the will of another, you are creating your own destiny. Taking responsibility for your own fate is not a burden, but an act of freedom.

人類與動物的區別不在於智力水平，而在於意識水平。動物體現了一種更沉睡的狀態。它們的行為主要由自然灌輸給它們的刻板劇本決定，這些劇本以本能和反射的形式顯現。動物行為就像一個固定劇本的戲劇中的演員。在這個意義上，人類“更清醒”。人類天生更傾向於自我意識和理解自己在世界中的位置。與此同時，人類的總體意識水平仍然非常有限，大多數人太完全沉浸在劇本中，無法擁有必要的超然意識。

Man differs from animals not so much in level of intellect as in level of awareness. Animals embody a sleepier state. Their behaviour is mainly determined by stereotypical scripts, instilled in them by nature, and which manifest in the form of instinct and reflexes. Animal behaviour is like that of an actor in a play with a fixed script. In this sense, human beings are ‘more awake’. Man is by nature more inclined to self awareness and understanding of their place in the world. At the same time, the general level of human awareness is still very limited with most people too completely immersed in the script to have the necessary detachment for awareness.

所謂聰明人的秘密在於他們的意識。意識賦予頭腦清晰。一些人能夠清晰地思考和表達他們的想法，而另一些人則混亂。一個人的頭腦相對的敏銳或遲鈍更多地取決於意識，而不是智力。選擇簡單的心智也可以作為保護自己免受不必要信息的手段：“我不想知道。讓我一個人！”與此相反，敏銳的頭腦體現了開放、好奇和接收信息的慾望，以“我想知道一切！”的精神來處理信息。遲鈍有時是遲滯的結果，這兩種特徵都可以在童年時期發展，例如當孩子被迫學習或受到心理操控時。

The secret of so-called clever people lies in their awareness. Awareness gives clarity of mind. Some people are able to think and express their thoughts clearly whilst others are muddled. The relative sharpness or dullness of one’s mind depends more on awareness than it does on intellect. Choosing simplicity of mind can also be means of protection from unwanted information: “I don’t want to know. Leave me alone!”, in contrast to an astute mind that embodies openness, curiosity and the desire to receive and process information in the spirit of: “I want to know everything!” Obtuseness is sometimes a result of retardation and both these traits can be developed in childhood, for example, when a child is forced to learn or psychologically manipulated.

在日常生活中，我們越是白日夢，就越容易犯錯。那隻在窗玻璃上拍打自己的蒼蠅也在深深地沉睡。當你完全沉浸在劇本中時，你無法對現實有更廣泛、更客觀的看法。對遊戲的痴迷會縮小感知並設置障礙。當人們意識到自己犯了錯誤時，他們感到驚訝，因為他們太沉浸於某些事情而看得更清楚，並問自己：“我當時在看哪裡？”就好像他們被某種幻影誘惑了一樣。即使在愚人節，人們知道可能會被捉弄，他們仍然會掉進陷阱。如果這不是白日夢，那是什麼？

The more we daydream in everyday life, the more mistakes we make. The fly that beats itself against the window pane is also deeply asleep. When you are totally immersed in the script you are not able to take a wider, more objective view of reality. Obsession with the game narrows perception and puts up a barrier. People are surprised when they realize they have made a mistake because they were so immersed in something to see more clearly, and ask themselves: “Where was I looking?” as if they had been seduced by some apparition. Even on April Fool’s Day when people know they may have tricks played on them, they still fall into the trap. What is this if not a daydream?

缺乏意識是因為不想直視現實。鴕鳥把頭埋在沙子裡以逃避現實的威脅。當人們把頭埋在沙子裡時，這反映了他們想要隔絕外部世界的願望：“我什麼也看不見，我什麼也聽不見，我什麼也不想要。讓我一個人！”在生活中不可能完全把頭埋在毯子裡睡覺，所以人們試圖削弱他們的感知能力。不幸的是，這損害了他們的意識。例如，一個溫和無害的人可能試圖躲避即將到來的攻擊威脅，但他們無法躲避打擊，因為他們的意識被恐懼所阻礙。他們的反應遲鈍，就好像他們的眼睛被一層薄膜覆蓋一樣。憤怒也會削弱理解。當一個人沉浸在遊戲中時，他們無法看到或聽到周圍的任何其他東西，因此有“盲目憤怒”這個詞。

Lack of awareness is the result of not wanting to look reality in the eye. The ostrich hides its head in the sand to escape the threat of reality. When people have their head in the sand it reflects the desire to insulate themselves from the outside world in the sense of: “I cannot see anything, I can’t hear anything, I don’t want anything. Leave me alone!” It is not possible in life to totally pull your head under the blanket and sleep and so people try to dull their powers of perception. Unfortunately this compromises their awareness. For example, a mild, harmless person may try to hide from the imminent threat of aggression but they will not be able to dodge the blow because their awareness is blocked by fear. Their reactions are dulled as if their eyes were covered in a film. Rage also dims understanding. When a person is immersed in the game they are incapable of seeing or hearing anything else around them, hence the phrase ‘blind rage’.

恐懼和憤怒是缺乏意識的極端例子。"鐘擺"(Pendulums)也會試圖輕柔地削弱你的警覺性，產生殭屍效應，利用大多數人花費大部分時間處於半清醒狀態的事實，只有在合適的情況下，當腎上腺素激增時，他們才會體驗到敏銳的意識和清晰的感知。這就是為什麼做一些看似簡單的事情，比如在夢中醒來並說：“嘿！你！別再捉弄我了。這只是一場夢，更重要的是，這是我的夢，所以我說了算，不是你。”是如此困難的原因。

Fear and anger are extreme examples of the absence of awareness. Pendulums will also try to gently dull your vigilance with a zombifying effect, playing on the fact that most people spend the majority of their time in a semi-aware state, only experiencing acute awareness and clarity of perception when the right circumstances give them an adrenalin rush. This is why it is so difficult to do something as seemingly simple as wake up in a dream and say: “Hey! You! Stop messing me about. It is just a dream and what’s more, it’s my dream, so I say what goes, not you.”

直覺知識可以通過意識的力量從潛意識中提取出來。如果你能抓住自己在想：“為什麼我突然想這樣做？”的時候，直覺知識會更容易被感知。靈魂的回答會很輕柔，幾乎聽不見。然而，理性心靈會大喊：“閉嘴。我非常清楚自己想要什麼，應該做什麼！”你必須養成不斷傾聽晨星沙沙聲的習慣，以聽到直覺的音樂。在半清醒狀態下，幾乎不可能足夠快地記住你的內心聲音試圖說什麼。即使在早晨你給自己設定了嚴格的任務去聆聽靈魂的聲音，如果你陷入白日夢中，你也不會在適當的時刻記得這樣做。

Intuitive knowledge can be drawn from the subconscious by the power of awareness. Intuitive knowledge can be more easily perceived if you can catch yourself thinking: “Why do I suddenly want to do this?” The soul’s reply will be soft and barely audible. The rational mind however will shout: “Shut up. I know very well what I want and what I should be doing!” You have to develop the habit of constantly listening for the rustle of the morning stars to hear the music of intuition. In a semi-conscious state it is almost impossible to remember quickly enough to note what your inner voice is trying to say. Even if early in the morning you set yourself the strict task of listening to the voice of your soul you will not remember to do so at the appropriate moment if you sink into the daydream.

因此，心與心靈的和諧產生了外在意圖(outer intention)，而正念使你能夠讓它為你所用。心與心靈的統一在夢中很容易實現，原因很簡單，因為在夢中，心靈不受心的權威控制。在清醒夢中仍然存在控制的元素，但它僅限於調整劇本。在夢中，心靈會接受各種奇蹟般的事件。在安徒生的童話《打火匣》中，有一個場景，公主相信自己在做夢，於是同意和士兵一起走在屋頂上。在夢中，理性心靈會接受任何事情，但在清醒現實中，它會緊緊抓住其熟悉的世界觀。

So, harmony between heart and mind generates outer intention, and mindfulness enables you to have it work in your favour. Unity of heart and mind is so easily achieved in dreams for the simple reason that in dreams, the heart is free of the authoritative control of the mind. In lucid dreaming there is still an element of control but it is limited to adjusting the script. In dreams the mind will accept all manner of miraculous event. In ‘The Tinderbox’ a fairytale by Hans Christian Anderson, there is a scene in which the princess, convinced that she is dreaming, agrees to walk on the roof with the soldier. In dreams the rational mind will accept anything, but in waking reality it fitfully grabs hold of its familiar worldview.

一旦你超越常識的領域，就很難實現心與心靈之間的和諧狀態。常識就像一個終身的牢籠，很難逃脫。一個人可能對神秘教義感興趣，頭腦在雲端，並相信不可能的事情，但總會有懷疑的空間。心靈會順應事情，但最終，它知道蘋果確實會掉到地上。這就是為什麼完全將外在意圖(outer intention)與自己的意志對齊如此困難的原因。儘管如此，個人經驗將顯示正念大大增加了你的機會。

It is not easy to achieve a state of harmony between heart and mind once you step beyond the realms of common sense. Common sense is like a lifetime cell, from which is difficult to escape. A person may be interested in mystical teachings, have their head in the clouds and believe in the impossible but there will always be place for doubt. The mind will go along with things but at the end of the day, it knows that apples really fall to the ground. This is why it is so difficult to completely align outer intention with your own will. Nonetheless, personal experience will show that mindfulness greatly increases your chances.

只要內在"守護者的謎題"(Guardian's Riddle)不斷存在於你的意識中，就可以實現最大的意識。"守護者的謎題"(Guardian's Riddle)客觀地評估正在發生的事情，並評估遊戲是為了誰的利益而進行的。它確保你不會像木偶一樣被拉入遊戲。你必須記住每天每分鐘都問自己：“你在睡覺嗎？”以便它成為一種態度。如果你不害怕這樣做，你也可以練習清醒夢，但夢會結束，日常現實會回來。當然，更有意義的是專注於在日常生活中發展意識和正念。正如你現在所見，這種選擇給了你根據自己的品味裝飾你的"世界層"(world layer)的機會。這是你的選擇(Choice)。

Maximum awareness can be achieved as long as the inner Guardian is constantly present in your consciousness. The Guardian objectively evaluates what is happening and assesses in whose interests the game is being played. It makes sure that you will not get drawn into the game like a puppet. You have to remember to ask yourself every minute of the day: “Are you asleep or not?” so that it becomes an attitude. You can also practice lucid dreaming if you are unafraid to do so but the dream will come to an end and everyday reality will return. Surely it makes more sense to focus on developing conscious awareness and mindfulness in your everyday life. As you can now see, this alternative gives you the chance to furnish your life layer according to your own taste. It is your choice.

按你的規則玩遊戲

The Game According to Your Rules

如果你在夢中被攻擊，你能做什麼？內在意圖有四種類型：逃跑、戰鬥、醒來和實現。對夢中攻擊的反應，逃跑和對抗是內在意圖產生的原始回應形式。如果你在夢中被攻擊並反擊，事件將以與清醒現實中大致相同的方式展開，即按照標準行為模式。你的意識已經有一個關於戰鬥如何結束的劇本。如果你習慣於失敗，你會輸掉戰鬥，反之亦然。你的夢將根據你的劇本在另闢蹊徑之空間 (Alternatives Space) 中移動。

What can you do if you are attacked in a dream? There are four types of inner intention: flight, fight, awakening and realization. Opposition and retreat, in response to being attacked in a dream, are primitive forms of response generated by inner intention. If you are attacked in a dream and you fight back events will unfold in much the same way as they would in waking reality, i.e. in accordance with the standard model of behaviour. Your conscious mind already has a script for how the fight should end. If you are accustomed to losing, you will lose the fight and vice versa. Your dream will shift around the alternatives space in accordance with your script.

在夢中，你傾向於以清醒現實中習慣的方式行事，但因為夢中一切皆有可能，使用外在意圖可以非常有效。憑藉外在意圖的力量，你可以平靜地轉向對手，想像他們後退，最終變成青蛙。這不是你渴望或努力讓對手變成青蛙，因為這將是使用內在意圖的力量積極改變外部世界。當你使用外在意圖時，你只是想像對手正在變成青蛙。換句話說，你接受他們變成青蛙是潛在現實。外在意圖只想像事件為真，並接受不同劇本的可能性。如果頭腦能完全接受事件發展有替代方案的想法，心不會反對。心與頭腦的統一激活外在意圖，將選擇的劇本轉化為物質現實 (Material Realisation)。

In a dream you tend to behave in the same way as you are used to behaving in waking reality, but because in a dream anything is possible, working with outer intention can be very effective. With the power of outer intention you can quietly turn to your opponent and imagine them retreating before finally turning into a frog. It is not that you yearn or strive for your opponent to turn into a frog for this would be to actively will a change on the outside world using the power of inner intention. When you work with outer intention you simply imagine that your opponent is turning into a frog. In other words, you accept that their turning into a frog is a potential reality. Outer intention only imagines an event to be true and accepts the possibility of a different script. If the mind can fully accept the idea that there can be an alternative to the usual development of events, the heart will not object. Union between the heart and mind activates outer intention which transforms the chosen script into physical reality.

如你所見，外在意圖不是意志的結果，而是心與頭腦和諧的結果。外在意圖獨立於個人意志運作，因此內在意圖（個人意志）應僅用於實現心與頭腦的和諧聯繫。要成功設定外在意圖，你必須首先承認劇本可以被控制。如果你希望外在意圖為你服務，意識覺知也是必不可少的。

As you can see, outer intention arises not as a result of will but as a consequence of harmony between the heart and mind. Outer intention acts independently of personal will and so inner intention (personal will) should only be directed towards achieving a harmonious connection between heart and mind. To successfully set outer intention you have to first acknowledge that the script can be controlled. Awareness is also essential if you want outer intention to work in your favour.

當夢者未處於清醒狀態時，夢無法被控制；它只是“發生”。在夢中和清醒時，人類的大多數行動相對無意識地進行。當一個人對周圍環境的關係是無意識的，他們將情況體驗為由外部因素決定和制約的東西，他們沒有力量或能力影響。如果一個人相信這是真實的，其他人和命運的變幻將對他們的生活產生更大影響。在這個意義上，現實也只是“發生”，遊戲規則不是由個人設定，而是由外部世界設定。

Whilst the dreamer is not lucid the dream cannot be controlled; it just ‘happens’. In dreaming and in waking the majority of human actions are carried out relatively unconsciously. When a person’s relationship to their surroundings is unconscious they experience a situation as something determined and conditioned by external factors which they have neither the strength nor the capacity to influence. If a person believes this to be true, other people and the vagaries of fate will have a greater impact on their life. In this sense, reality also just ‘happens’, the rules of the game being set not by the individual but by the outside world.

要在夢中和現實生活中獲得控制，必須從沉浸的參與者角色轉換到見證者角色。你繼續參與並扮演你的角色，但你的內在守護者 (Guardian’s Riddle) 始終保持警惕。就像你足夠超脫，同時扮演演員角色並從觀眾席觀察自己的角色和其他人的表演。守護者在背景中始終開啟。它不參與；它只是小心而清醒地評估它觀察到的一切。

To gain control both in dreaming and in real life it is essential to switch from the role of immersed participant to the role of witness. You continue to take part and play your role in the game but your inner Guardian is always vigilant. It is as if you detach yourself, enough to be playing the part of an actor at the same time as observing your role and the theatricals of others from the auditorium. The Guardian is always switched on in the background. It does not get involved; it just follows carefully and soberly assessing all that it observes.

在非清醒夢中，觀察者就像關閉了，留下演員獨自沉浸其中。在這種狀態下，個人完全沉浸在角色中，無法從外部看待情況。要避免完全沉浸於角色，內在重要性 (Inner Importance) 和投射外在重要性 (Outer Importance) 的強度必須保持在最低，守護者必須始終準備好。即使不考慮外在意圖，一個人控制情況的能力與其意識覺知水平成正比。在夢中，覺知水平較低，因此夢“發生”。然而，如果一個人意識到自己在做夢，情況就在控制之下，他們可以做任何想做的事。

In non-lucid dreaming it is as if the observer has switched off leaving the actor alone to get involved. In this state the individual becomes totally absorbed in their role unable to see the situation from the outside. To avoid getting completely absorbed in a role the intensity of inner importance and the projection of outer importance must be kept to a minimum and the Guardian must be always ready. Even without taking outer intention into account, a person’s ability to control a situation is directly proportionate to their level of conscious awareness. In dreaming the level of awareness is minor and so the dream ‘happens’. If however, a person is aware that they are dreaming the situation is under control and they can do whatever they wish.

對他人和破壞性擺錘 (Pendulum) 影響的易感性與一個人的意識覺知水平成反比。在睡眠中，許多人像殭屍一樣行為。如果他們在噩夢中被追逐，他們會逃跑，無法做其他事情。劇本屬於個人，但已被交給不同的製作人上演。個人是自己條件化事件發展感知的囚犯。儘管這些感知源自個人，它們強加自己的意志，將其主人降為受害者地位。

Susceptibility to the influence of other people and destructive pendulums is in inverse proportionality to a person’s level of conscious awareness. In sleep many people behave like zombies. If they are being chased in a nightmare they run away unable to do anything else about it. The script belongs to the individual but it has been given over to a different producer for staging. The individual is prisoner of their own conditioned perceptions of how an event may develop. Despite the fact that the perceptions originate with the individual they dictate their own will reducing their owner to the position of victim.

記住當你完全沉浸於問題時會發生什麼。例如，假設一個同事走近你，宣佈某項工作必須完成。如果這項工作是個問題，你的第一反應可能是擔憂，或許是沮喪的感覺。你會在腦海中運行各種事件可能發展的場景：“這不會是個簡單的任務。我怎麼做？我真不想做！我的生活如此困難和壓力大，但如果我不做，會發生這樣那樣的事，等等。”在這個階段，你已經加入了遊戲，容易受到外部影響；換句話說，你已經打盹了。你現在可以被牽著手，像順從的孩子一樣被帶進一個困難、苛刻的工作等待你的房間，最終到達一個這正是發生情況的人生線 (Life Line)。

Remember what happens when you become totally immersed in a problem. Imagine, for example, that you are approached by a colleague who announces that some job has to be done. If doing the job is a problem your first response would probably be concern, perhaps a feeling of dejection. You would then run various scenarios around in your mind for events might develop: “That’s not going to be an easy task. How will I do it? I so do not want to! My life is so difficult and stressful but if I do not do it such and such will happen, etc.” At this stage you have joined in the game, becoming susceptible to outside influence; in other words you have dozed off. You can now be taken by the hand and lead like an obedient child into a room where difficult, exacting work awaits you, ending up on a life line where this is exactly what happens.

如果你讓擺錘催眠你，將它自己的遊戲變成你的問題，就會發生這種情況。通過在意識中反覆思考問題劇本，你達到心與頭腦對其擔憂一致的點，此時外在意圖立即將你轉移到有問題的人生線。這種情況很容易發生，因為恐懼、絕望、不滿和擔憂等感覺可以很快控制一個人。根本原因是重要性，內在和外在的 (Inner Importance, Outer Importance)。只要你認為遊戲本身或對你個人重要，你就會被拉入遊戲或被催眠入睡。

This is what happens if you allow the pendulum to hypnotise you and make its own game your problem. By turning the problematic script round in your conscious mind you reach a point where the heart and mind are in agreement over their concern, at which point outer intention immediately shifts you onto a problematic life line. This can happen quite easily as feelings such as fear, despair, dissatisfaction and worry can take hold of a person quite quickly. The underlying cause is of course, importance, both inner and outer. You can be pulled into the game or lulled into a slumber whenever you assess the game to be important either of itself or for you personally.

現在想像一個不同的事件版本。有人帶著問題來找你。在這一刻，你抖動自己，告訴自己你沒有睡著，可以決定擺錘的第一次推動是否會成為你的問題。這是建立對情況控制的第一條件。第二個條件是下定決心擊敗擺錘。即使在你了解問題的本質之前，程式化自己將其視為小事一樁。最重要的是不讓自己被牽著鼻子走。不要採取任何強硬的步驟，拒絕參與，拖延或變得惱怒。只是聽聽這個人想從你那裡得到什麼。外在最好點頭，發出適當的聲音，內在保持見證者而非參與者的角色。這是參與者的觀察者角色，就像有時也玩的教練。

Now imagine a different version of events. A person comes up to you with a problem. In this moment you shake yourself and tell yourself that you are not sleeping and can decide whether the first prod of the pendulum will become a problem for you or not. This is the first condition to establishing control over the situation. The second condition is to take it into your head to defeat the pendulum. Even before you learn the nature of the problem, program yourself to perceive whatever it is as a mere trifle. The most important thing is not to allow yourself to be lead by the hand. Do not take any assertive steps, refuse to get involved, prevaricate or become irritated. Simply listen to what the person wants from you. Externally it is best to nod your head, make the right noises and internally remain the witness, not the participant. This is the role of the observer who takes part, like a trainer who sometimes plays as well.

在這種情況下超脫並不意味著分心或缺乏專注。恰恰相反；對情況的控制假設專注和完全清晰的頭腦。退後一步意味著意識到你制定遊戲規則，決定這場戲是變成悲劇、喜劇小品還是輕歌舞劇。這取決於你想要什麼，你可能希望一切快速簡單解決。如果你害怕總有複雜問題在拐角處等待你長時間掙扎，不用擔心。任何複雜問題總有簡單的解決方案。簡單的解決方案在“歌舞劇”人生線上。要轉移到這條人生線，只需意圖 (Intention) 想像它是如此。

To be detached in this case does not mean to be distracted or lacking in concentration. Quite the opposite; control over a situation presupposes attentiveness and total clarity of mind. To stand back from something means to be aware of the fact that you make up the rules of the game deciding whether the play will turn either into a tragedy or a comic sketch or light vaudeville. It depends on what you want which is probably for everything to be resolved quickly and easily. If you fear that there will always be complex problems just around the corner to be wrestled with for ages, do not worry. There is always a simply solution to any complex problem. The simple solution lies on the ‘vaudeville’ life line. To shift to this life line all that is required is the intention to imagine to yourself that it is so.

一旦你開始實踐這項技術，你會驚喜地發現。結果可能是最不可能的。至少問題會輕鬆解決，或者它可能消失或交給其他人解決。在“歌舞劇”人生線上根本沒有複雜問題。你對外在意圖沒有完全的控制權，但你可以以這樣的方式行動：首先，它不會反對你；其次，你有機會讓它為你的利益服務。情況可能以各種方式展開，不一定對你有利，但採取這個立場，你顯著增加了成功的机会。不要忘記信任另闢蹊徑之流 (Alternatives Flow)。如果對問題的歌舞劇態度中，心與頭腦的統一程度足夠高，你將獲得令人震驚的結果，你只能夢想。

Once you start practicing this technique you will be pleasantly surprised. The outcome may be most improbable. At the very least the problem will be solved easily, or it may disappear or given to someone else to resolve. There simply are no complex problems on the ‘vaudeville’ life line. You do not have total power over outer intention but you can act in such a way that firstly, it does not act against you and secondly, that you get the opportunity to help it work in your interests. Circumstances may unfold in various ways and not necessarily in your favour but by taking this position you significantly increase your chances of coming up roses. Do not forget to trust the alternatives flow as well. If the level of unity between heart and mind in the vaudeville attitude to the problem is sufficiently high you will receive mind boggling results that you could only have dreamed of.

你不再是線上的傀儡。但我要警告你，小心認為自己是操縱者的誘惑。你明白這會擾亂平衡 (Balanced Forces)，在任何自負、優越感、蔑視或（天哪）對他人的鄙視的最初跡象，你會立即受到一擊。沒有人能完全控制生活中發生的一切，即使在夢中。記住，你只有選擇的權利，而不是改變。賓至如歸，但不要忘記你是訪客。還要記住，當你從情況中超脫時，必須以完全的誠信行事。對問題的“歌舞劇”態度不建議懈怠或漫不經心，但它確實意味著能夠清醒地評估事物的重視程度 (Importance)。

You are no longer a puppet on a string. I should warn you though to be careful of the temptation of considering yourself the puppeteer. You understand that this would disturb the balance and you would instantly receive a slap at the first sign of any conceit, feeling of superiority, contempt or (heaven forbid) disdain towards others. No individual can ever have complete control over all that happens in life even in dreaming. Remember, you only have the right to choose, not to change. Make yourself at home but do not forget you are a guest. It is also important to remember that when you detach yourself from a situation it is essential to act with complete integrity. A ‘vaudeville’ attitude to a problem does not suggest being slack or nonchalant but it does mean being capable of soberly assessing the importance of things.

將意識覺知解釋為努力控制周圍世界的追求是錯誤的。理性頭腦習慣於堅持自己的觀點，試圖改變事件進程，與潮流對抗。有時，當一個人從舞台走進觀眾席，他們被強行改變劇本的渴望誘惑，將自己的意志強加於其他演員。這種行為與Transurfing無關，因為它完全依賴於個人意志（內在意圖）推逆潮流。你必須一次又一次提醒自己順流而行的需要。意識覺知在於觀察，而不是控制能力。控制應僅用於想像一個有利的劇本，允許它進入你的生活，全心擁抱它，而不是在負面中掙扎。這不是將你自己的劇本強加於世界，而是認為它是可能的，允許替代方案實現，並允許自己接受它。只有當心與頭腦 (Unity of Heart and Mind) 一致時，你才能成功停止與世界爭鬥並允許自己選擇。

It would be a mistake to interpret conscious awareness as the striving to establish control over the surrounding world. The rational mind is accustomed to insisting on its own view of things, trying to alter the course of events, and fighting against the current. Sometimes, when a person steps off the stage into the auditorium they are seduced by the desire to change the script by force, imposing their will on the remaining actors. This type of behaviour has nothing in common with Transurfing because it depends exclusively on personal will (inner intention) to push against the current. You have to remind yourself again and again of the need to go with the flow. Conscious awareness lies in observation, not in the ability to control. Control should only be directed towards imagining an auspicious script, allowing it into your life and embracing it with all your heart, instead of floundering about in negativity. It is not about forcing your own script on the world so much as considering it possible, allowing an alternative to be realized and allowing yourself to receive it. You will only succeed in ceasing to do battle with the world and allowing yourself to choose if the heart and mind are one.

在前一章中，我們探討了不同的行為模式和乞丐、憤怒者和鬥士的角色，這些都不適合Transurfing模型的背景。那麼，什麼角色適合在名為生活的遊戲中成為自己命運的主人？到現在你可能已經猜到，在Transurfing模型中，這被認為是守護者 (Guardian’s Riddle)。你在清醒時的意識覺知越高，你就越能有效地掌控自己的命運。

In the previous chapter we looked at different models of behaviour and the roles of the beggar, the indignant and the fighter, neither of which fit the context of the Transurfing model. So what role could be worthy of the one who is master of their own fate in this game called Life? By now you have probably guessed that in the Transurfing model it is considered to be the Guardian. The more conscious awareness you have in waking, the more effectively you will be able to take charge of your own destiny.

守護者的角色比管理員的角色更引人入勝。船長、經理和其他領導者傾向於在生活中採取比簡單管理員更積極的立場，不僅因為他們有更大的責任。高級管理人員更可能採取守護者的角色，因為他們的職位要求他們與其他工人相比“更清醒”，其他工人可以僅僅因為必須而保持睡眠履行職責。一旦你接受守護者的立場，你會感到一陣能量爆發和活力提升，因為現在，你不是沮喪地執行他人的意志，而是創造自己的命運。承擔自己命運的責任不是負擔，而是自由的行為。

The role of the Guardian is much more engaging than the role of the administrator. Captains, managers and other leaders tend to take a more proactive position in life than simple administrators and not only because they have greater responsibilities. Senior management personnel are more likely to adopt the role of guardian because their position requires them to be ‘more awake’ in comparison to other workers, who are able to remain asleep fulfilling their responsibilities simply because they have to. As soon as you embrace the position of Guardian you will feel a burst of energy and increased levels of vitality because now, rather than dejectedly carrying out actions that are the will of another, you are creating your own destiny. Taking responsibility for your own fate is not a burden, but an act of freedom.

人與動物的區別不在於智力水平，而在於覺知水平。動物體現更睡眠的狀態。它們的行為主要由自然灌輸的刻板劇本決定，以本能和反射的形式表現。動物行為就像固定劇本的戲劇演員。在這個意義上，人類“更清醒”。人天生更傾向於自我意識和理解自己在世界中的位置。同時，人類的總體覺知水平仍然非常有限，大多數人太沉浸於劇本，缺乏必要的超脫來實現覺知。

Man differs from animals not so much in level of intellect as in level of awareness. Animals embody a sleepier state. Their behaviour is mainly determined by stereotypical scripts, instilled in them by nature, and which manifest in the form of instinct and reflexes. Animal behaviour is like that of an actor in a play with a fixed script. In this sense, human beings are ‘more awake’. Man is by nature more inclined to self awareness and understanding of their place in the world. At the same time, the general level of human awareness is still very limited with most people too completely immersed in the script to have the necessary detachment for awareness.

所謂聰明人的秘密在於他們的覺知。覺知賦予頭腦清晰。有些人能夠清晰地思考和表達思想，而其他人則混亂。頭腦的相對敏銳或遲鈍更多取決於覺知而非智力。選擇頭腦的簡單性也可以是保護免受不想要信息的手段：“我不想知道。別煩我！”相比之下，敏銳的頭腦體現開放、好奇和接收及處理信息的渴望：“我想知道一切！”遲鈍有時是遲緩的結果，這兩種特質可能在童年發展，例如當孩子被強迫學習或心理操縱時。

The secret of so-called clever people lies in their awareness. Awareness gives clarity of mind. Some people are able to think and express their thoughts clearly whilst others are muddled. The relative sharpness or dullness of one’s mind depends more on awareness than it does on intellect. Choosing simplicity of mind can also be means of protection from unwanted information: “I don’t want to know. Leave me alone!”, in contrast to an astute mind that embodies openness, curiosity and the desire to receive and process information in the spirit of: “I want to know everything!” Obtuseness is sometimes a result of retardation and both these traits can be developed in childhood, for example, when a child is forced to learn or psychologically manipulated.

我們在日常生活中越是白日夢，就越容易犯錯。在窗戶玻璃上撞擊的蒼蠅也深深睡著。當你完全沉浸於劇本時，你無法採取更廣闊、更客觀的現實視角。對遊戲的執迷縮窄了感知，設立了障礙。人們在意識到自己犯錯時感到驚訝，因為他們太沉浸於某事而無法更清楚地看到，並問自己：“我在看哪裡？”好像被某個幻象誘惑。即使在愚人節，人們知道可能會被捉弄，他們仍然落入陷阱。這不是白日夢是什麼？

The more we daydream in everyday life, the more mistakes we make. The fly that beats itself against the window pane is also deeply asleep. When you are totally immersed in the script you are not able to take a wider, more objective view of reality. Obsession with the game narrows perception and puts up a barrier. People are surprised when they realize they have made a mistake because they were so immersed in something to see more clearly, and ask themselves: “Where was I looking?” as if they had been seduced by some apparition. Even on April Fool’s Day when people know they may have tricks played on them, they still fall into the trap. What is this if not a daydream?

缺乏覺知是不想正視現實的結果。鴕鳥將頭埋在沙中以逃避現實的威脅。當人們把頭埋在沙中時，這反映了與外界隔絕的渴望：“我什麼也看不見，什麼也聽不見，我什麼也不想要。別煩我！”生活中不可能完全把頭埋在毯子下睡覺，因此人們試圖鈍化他們的感知能力。不幸的是，這損害了他們的覺知。例如，一個溫和、無害的人可能試圖躲避即將發生的侵略威脅，但他們無法躲避打擊，因為他們的覺知被恐懼阻礙。他們的反應遲鈍，好像眼睛被一層膜覆蓋。憤怒也會減弱理解。當一個人沉浸於遊戲中，他們無法看到或聽到周圍的任何東西，因此有“盲目憤怒”一詞。

Lack of awareness is the result of not wanting to look reality in the eye. The ostrich hides its head in the sand to escape the threat of reality. When people have their head in the sand it reflects the desire to insulate themselves from the outside world in the sense of: “I cannot see anything, I can’t hear anything, I don’t want anything. Leave me alone!” It is not possible in life to totally pull your head under the blanket and sleep and so people try to dull their powers of perception. Unfortunately this compromises their awareness. For example, a mild, harmless person may try to hide from the imminent threat of aggression but they will not be able to dodge the blow because their awareness is blocked by fear. Their reactions are dulled as if their eyes were covered in a film. Rage also dims understanding. When a person is immersed in the game they are incapable of seeing or hearing anything else around them, hence the phrase ‘blind rage’.

恐懼和憤怒是缺乏覺知的極端例子。擺錘 (Pendulum) 也會試圖輕輕鈍化你的警惕性，產生催眠效果，利用大多數人大部分時間處於半覺知狀態的事實，只有在正確的情況下獲得腎上腺素激增時才體驗到敏銳的覺知和清晰的感知。這就是為什麼像在夢中醒來並說：“嘿！你！別再搞亂我了。這只是一個夢，而且是我的夢，所以我說了算，不是你。”這樣看似簡單的事情如此困難。

Fear and anger are extreme examples of the absence of awareness. Pendulums will also try to gently dull your vigilance with a zombifying effect, playing on the fact that most people spend the majority of their time in a semi-aware state, only experiencing acute awareness and clarity of perception when the right circumstances give them an adrenalin rush. This is why it is so difficult to do something as seemingly simple as wake up in a dream and say: “Hey! You! Stop messing me about. It is just a dream and what’s more, it’s my dream, so I say what goes, not you.”

通過覺知的力量，可以從潛意識中提取直覺知識。如果 你能捕捉到自己思考：“為什麼我突然想做這個？”直覺知識更容易被感知。靈魂的回答會柔和且幾乎聽不見。然而，理性頭腦會喊道：“閉嘴。我很清楚自己想要什麼，應該做什麼！”你必須養成持續聆聽晨星沙沙聲的習慣，以聽到直覺的音樂。在半意識狀態下，幾乎不可能快速記得注意你的內在聲音在說什麼。即使清晨你嚴格設定聆聽靈魂聲音的任務，如果沉入白日夢，你也不會在適當時刻記得這樣做。

Intuitive knowledge can be drawn from the subconscious by the power of awareness. Intuitive knowledge can be more easily perceived if you can catch yourself thinking: “Why do I suddenly want to do this?” The soul’s reply will be soft and barely audible. The rational mind however will shout: “Shut up. I know very well what I want and what I should be doing!” You have to develop the habit of constantly listening for the rustle of the morning stars to hear the music of intuition. In a semi-conscious state it is almost impossible to remember quickly enough to note what your inner voice is trying to say. Even if early in the morning you set yourself the strict task of listening to the voice of your soul you will not remember to do so at the appropriate moment if you sink into the daydream.

因此，心與頭腦的和諧產生外在意圖，覺知使你能讓它為你服務。夢中實現心與頭腦的和諧很容易，因為在夢中，心免於頭腦的權威控制。在清醒夢中，控制仍存在，但僅限於調整劇本。在夢中，頭腦會接受各種奇蹟事件。在漢斯·克里斯蒂安·安徒生的童話《打火匣》中，有一幕公主確信自己在做夢，同意與士兵在屋頂上行走。在夢中，理性頭腦會接受任何東西，但在清醒現實中，它焦躁地抓住熟悉的世界觀。

So, harmony between heart and mind generates outer intention, and mindfulness enables you to have it work in your favour. Unity of heart and mind is so easily achieved in dreams for the simple reason that in dreams, the heart is free of the authoritative control of the mind. In lucid dreaming there is still an element of control but it is limited to adjusting the script. In dreams the mind will accept all manner of miraculous event. In ‘The Tinderbox’ a fairytale by Hans Christian Anderson, there is a scene in which the princess, convinced that she is dreaming, agrees to walk on the roof with the soldier. In dreams the rational mind will accept anything, but in waking reality it fitfully grabs hold of its familiar worldview.

一旦超越常識範圍，實現心與頭腦的和諧並不容易。常識就像終身監禁的牢房，難以逃脫。一個人可能對神秘教義感興趣，頭腦在雲端，相信不可能的事，但總有懷疑的空間。頭腦會順從，但最終，它知道蘋果真的會落地。這就是為什麼完全將外在意圖與你的意志對齊如此困難。然而，個人經驗將顯示，覺知大大增加你的機會。

It is not easy to achieve a state of harmony between heart and mind once you step beyond the realms of common sense. Common sense is like a lifetime cell, from which is difficult to escape. A person may be interested in mystical teachings, have their head in the clouds and believe in the impossible but there will always be place for doubt. The mind will go along with things but at the end of the day, it knows that apples really fall to the ground. This is why it is so difficult to completely align outer intention with your own will. Nonetheless, personal experience will show that mindfulness greatly increases your chances.

只要內在守護者 (Guardian’s Riddle) 始終存在於你的意識中，就能實現最大覺知。守護者客觀評估發生的事情，評估遊戲為誰的利益進行。它確保你不會像傀儡一樣被拉入遊戲。你必須每天每分鐘記得問自己：“你睡著了還是沒睡？”以成為一種態度。你也可以練習清醒夢，如果你不害怕這樣做，但夢會結束，日常現實會回來。專注於在日常生活中發展意識覺知和正念更有意義。如你現在所見，這種選擇讓你有機會根據自己的喜好裝飾你的生活層 (World Layer)。這是你的選擇 (Choice)。

Maximum awareness can be achieved as long as the inner Guardian is constantly present in your consciousness. The Guardian objectively evaluates what is happening and assesses in whose interests the game is being played. It makes sure that you will not get drawn into the game like a puppet. You have to remember to ask yourself every minute of the day: “Are you asleep or not?” so that it becomes an attitude. You can also practice lucid dreaming if you are unafraid to do so but the dream will come to an end and everyday reality will return. Surely it makes more sense to focus on developing conscious awareness and mindfulness in your everyday life. As you can now see, this alternative gives you the chance to furnish your life layer according to your own taste. It is your choice.

遊戲依據你的規則

The Game According to Your Rules

如果你在夢中受到攻擊，你該怎麼辦？內在意圖有四種類型：逃跑、戰鬥、覺醒和實現。對於夢中被攻擊的反應，對抗和撤退是由內在意圖產生的原始反應形式。如果你在夢中受到攻擊並反擊，事件將以與清醒現實相似的方式展開，即根據標準行為模型。你的意識心靈已經有了一個劇本，知道戰鬥應該如何結束。如果你習慣於失敗，你將會輸掉戰鬥，反之亦然。你的夢境將根據你的劇本在替代空間 (alternatives space) 中轉變。

What can you do if you are attacked in a dream? There are four types of inner intention: flight, fight, awakening and realization. Opposition and retreat, in response to being attacked in a dream, are primitive forms of response generated by inner intention. If you are attacked in a dream and you fight back events will unfold in much the same way as they would in waking reality, i.e. in accordance with the standard model of behaviour. Your conscious mind already has a script for how the fight should end. If you are accustomed to losing, you will lose the fight and vice versa. Your dream will shift around the alternatives space in accordance with your script.

在夢中，你往往會以你在清醒現實中習慣的方式行為，但因為在夢中任何事情都是可能的，與外在意圖合作可以非常有效。憑藉外在意圖的力量，你可以靜靜地轉向對手，想像他們撤退，最終變成一隻青蛙。這並不是說你渴望或努力讓對手變成青蛙，因為這樣做就是在利用內在意圖的力量主動意圖改變外部世界。當你與外在意圖合作時，你只是想像你的對手正在變成一隻青蛙。換句話說，你接受他們變成青蛙是一種潛在的現實。外在意圖僅僅想像一個事件為真，並接受不同劇本的可能性。如果心靈能夠完全接受事件的發展可以有替代方案，心臟就不會反對。心靈與心臟的聯合激活了外在意圖，將所選劇本轉化為物理現實。

In a dream you tend to behave in the same way as you are used to behaving in waking reality, but because in a dream anything is possible, working with outer intention can be very effective. With the power of outer intention you can quietly turn to your opponent and imagine them retreating before finally turning into a frog. It is not that you yearn or strive for your opponent to turn into a frog for this would be to actively will a change on the outside world using the power of inner intention. When you work with outer intention you simply imagine that your opponent is turning into a frog. In other words, you accept that their turning into a frog is a potential reality. Outer intention only imagines an event to be true and accepts the possibility of a different script. If the mind can fully accept the idea that there can be an alternative to the usual development of events, the heart will not object. Union between the heart and mind activates outer intention which transforms the chosen script into physical reality.

如你所見，外在意圖不是由意志產生的，而是心靈與心臟之間和諧的結果。外在意圖獨立於個人意志行動，因此內在意圖（個人意志）應該僅僅指向實現心靈與心臟之間的和諧連結。要成功設置外在意圖，你必須首先承認劇本是可以控制的。如果你希望外在意圖對你有利，意識也是必不可少的。

As you can see, outer intention arises not as a result of will but as a consequence of harmony between the heart and mind. Outer intention acts independently of personal will and so inner intention (personal will) should only be directed towards achieving a harmonious connection between heart and mind. To successfully set outer intention you have to first acknowledge that the script can be controlled. Awareness is also essential if you want outer intention to work in your favour.

當夢者不清醒時，夢境無法被控制；它只是「發生」了。在夢境和清醒中，大多數人類行為都是相對無意識地進行的。當一個人對周圍環境的關係是無意識的時，他們會將情況視為由外部因素決定和條件化的東西，而他們既沒有力量也沒有能力去影響。如果一個人相信這是真的，其他人和命運的變化將對他們的生活產生更大的影響。在這個意義上，現實也只是「發生」了，遊戲的規則不是由個人設定，而是由外部世界設定。

Whilst the dreamer is not lucid the dream cannot be controlled; it just ‘happens’. In dreaming and in waking the majority of human actions are carried out relatively unconsciously. When a person’s relationship to their surroundings is unconscious they experience a situation as something determined and conditioned by external factors which they have neither the strength nor the capacity to influence. If a person believes this to be true, other people and the vagaries of fate will have a greater impact on their life. In this sense, reality also just ‘happens’, the rules of the game being set not by the individual but by the outside world.

要在夢中和現實生活中獲得控制，必須從沉浸的參與者角色轉變為見證者角色。你繼續參與並在遊戲中扮演你的角色，但你的內在守護者 (Guardian) 始終保持警覺。就像你脫離自己，足夠地扮演一個演員的角色，同時從觀眾席觀察你的角色和其他人的戲劇。守護者始終在背景中開啟。它不會介入；它只是仔細跟隨，清醒地評估它所觀察到的一切。

To gain control both in dreaming and in real life it is essential to switch from the role of immersed participant to the role of witness. You continue to take part and play your role in the game but your inner Guardian is always vigilant. It is as if you detach yourself, enough to be playing the part of an actor at the same time as observing your role and the theatricals of others from the auditorium. The Guardian is always switched on in the background. It does not get involved; it just follows carefully and soberly assessing all that it observes.

在非清醒夢中，似乎觀察者已經關閉，讓演員獨自參與。在這種狀態下，個體完全沉浸在自己的角色中，無法從外部看清情況。為了避免完全沉浸在角色中，內在重要性 (inner importance) 的強度和外在重要性 (outer importance) 的投射必須保持在最低限度，守護者必須始終準備好。即使不考慮外在意圖，一個人控制情況的能力與其意識水平直接相關。在夢中，意識水平較低，因此夢境「發生」了。然而，如果一個人意識到自己在做夢，情況就會受到控制，他們可以隨心所欲地行動。

In non-lucid dreaming it is as if the observer has switched off leaving the actor alone to get involved. In this state the individual becomes totally absorbed in their role unable to see the situation from the outside. To avoid getting completely absorbed in a role the intensity of inner importance and the projection of outer importance must be kept to a minimum and the Guardian must be always ready. Even without taking outer intention into account, a person’s ability to control a situation is directly proportionate to their level of conscious awareness. In dreaming the level of awareness is minor and so the dream ‘happens’. If however, a person is aware that they are dreaming the situation is under control and they can do whatever they wish.

對其他人和破壞性擺動 (pendulums) 的影響敏感性與個體的意識水平成反比。在睡眠中，許多人像殭屍一樣行為。如果他們在噩夢中被追趕，他們會逃跑，無法做其他任何事情。劇本屬於個體，但它已經交給了另一個製作人來上演。個體是自己對事件發展的條件化認知的囚徒。儘管這些認知源於個體，但它們卻支配著自己的意志，將其擁有者降至受害者的地位。

Susceptibility to the influence of other people and destructive pendulums is in inverse proportionality to a person’s level of conscious awareness. In sleep many people behave like zombies. If they are being chased in a nightmare they run away unable to do anything else about it. The script belongs to the individual but it has been given over to a different producer for staging. The individual is prisoner of their own conditioned perceptions of how an event may develop. Despite the fact that the perceptions originate with the individual they dictate their own will reducing their owner to the position of victim.

記住當你完全沉浸在一個問題中時會發生什麼。想像一下，例如，一位同事接近你，宣布某項工作必須完成。如果完成這項工作是一個問題，你的第一反應可能是擔憂，也許還有沮喪的感覺。然後你會在腦海中運行各種情景，因為事件可能會發展：“這可不是一個簡單的任務。我該怎麼做？我真的不想這樣！我的生活如此艱難和壓力重重，但如果我不這樣做，那麼這樣那樣就會發生，等等。”在這個階段，你已經參與了遊戲，變得容易受到外部影響；換句話說，你已經打盹了。你現在可以被牽著手，像一個乖孩子一樣被帶入一個等待著你艱難、苛刻工作的房間，最終進入一條生命線 (life line)，在那裡這正是發生的事情。

Remember what happens when you become totally immersed in a problem. Imagine, for example, that you are approached by a colleague who announces that some job has to be done. If doing the job is a problem your first response would probably be concern, perhaps a feeling of dejection. You would then run various scenarios around in your mind for events might develop: “That’s not going to be an easy task. How will I do it? I so do not want to! My life is so difficult and stressful but if I do not do it such and such will happen, etc.” At this stage you have joined in the game, becoming susceptible to outside influence; in other words you have dozed off. You can now be taken by the hand and lead like an obedient child into a room where difficult, exacting work awaits you, ending up on a life line where this is exactly what happens.

如果你讓擺動催眠你，讓它的遊戲成為你的問題，這就是會發生的事情。通過在你的意識中轉變問題劇本，你達到了一個心靈與心臟在關注上達成一致的點，此時外在意圖立即將你轉移到一條有問題的生命線上。這可以相當容易地發生，因為恐懼、絕望、不滿和擔憂等情感可以迅速控制一個人。根本原因當然是重要性 (Importance)，無論是內在還是外在。每當你評估遊戲為重要時，無論是對其本身還是對你個人而言，你都可能被拉入遊戲或催眠入睡。

This is what happens if you allow the pendulum to hypnotise you and make its own game your problem. By turning the problematic script round in your conscious mind you reach a point where the heart and mind are in agreement over their concern, at which point outer intention immediately shifts you onto a problematic life line. This can happen quite easily as feelings such as fear, despair, dissatisfaction and worry can take hold of a person quite quickly. The underlying cause is of course, importance, both inner and outer. You can be pulled into the game or lulled into a slumber whenever you assess the game to be important either of itself or for you personally.

現在想像一個不同的事件版本。一個人向你提出一個問題。在這一刻，你搖醒自己，告訴自己你沒有在睡覺，可以決定擺動的第一擊是否會成為你的問題。這是建立對情況控制的第一個條件。第二個條件是要在心中下定決心擊敗擺動。即使在你了解問題的性質之前，也要給自己編程，將無論是什麼都視為微不足道。最重要的是不要讓自己被牽著手。不要採取任何果斷的步驟，拒絕參與、拖延或變得惱怒。只需聆聽對方想要你做什麼。在外部，最好點頭、發出正確的聲音，而在內心保持見證者的角色，而不是參與者。這是參與的觀察者的角色，就像一位有時也會參與的教練。

Now imagine a different version of events. A person comes up to you with a problem. In this moment you shake yourself and tell yourself that you are not sleeping and can decide whether the first prod of the pendulum will become a problem for you or not. This is the first condition to establishing control over the situation. The second condition is to take it into your head to defeat the pendulum. Even before you learn the nature of the problem, program yourself to perceive whatever it is as a mere trifle. The most important thing is not to allow yourself to be lead by the hand. Do not take any assertive steps, refuse to get involved, prevaricate or become irritated. Simply listen to what the person wants from you. Externally it is best to nod your head, make the right noises and internally remain the witness, not the participant. This is the role of the observer who takes part, like a trainer who sometimes plays as well.

在這種情況下，保持超然並不意味著分心或缺乏專注。恰恰相反；對情況的控制需要注意力和完全的心智清晰。從某件事情中退後意味著意識到你制定了遊戲的規則，決定這場表演會變成悲劇、喜劇小品還是輕鬆的雜耍。這取決於你想要什麼，這可能是希望一切都能迅速而輕鬆地解決。如果你擔心總會有複雜的問題在角落裡等待著你去奮鬥，不用擔心。對於任何複雜問題總有簡單的解決方案。簡單的解決方案位於「雜耍」生命線上。要轉移到這條生命線，所需的只是想像它是這樣的意圖。

To be detached in this case does not mean to be distracted or lacking in concentration. Quite the opposite; control over a situation presupposes attentiveness and total clarity of mind. To stand back from something means to be aware of the fact that you make up the rules of the game deciding whether the play will turn either into a tragedy or a comic sketch or light vaudeville. It depends on what you want which is probably for everything to be resolved quickly and easily. If you fear that there will always be complex problems just around the corner to be wrestled with for ages, do not worry. There is always a simply solution to any complex problem. The simple solution lies on the ‘vaudeville’ life line. To shift to this life line all that is required is the intention to imagine to yourself that it is so.

一旦你開始練習這種技術，你會感到驚喜。結果可能是最不可能的。至少問題會輕鬆解決，或者可能消失，或者交給其他人解決。「雜耍」生命線上根本沒有複雜問題。你對外在意圖並沒有完全的控制權，但你可以以這樣的方式行動：首先，它不會對你不利，其次，你有機會幫助它在你的利益中運作。情況可能以各種方式展開，並不一定對你有利，但採取這種立場會顯著增加你獲得成功的機會。不要忘記信任替代流 (alternatives flow)。如果在對問題的雜耍態度中，心靈與心臟的統一水平足夠高，你將獲得令人難以置信的結果，這是你只能夢想的。

Once you start practicing this technique you will be pleasantly surprised. The outcome may be most improbable. At the very least the problem will be solved easily, or it may disappear or given to someone else to resolve. There simply are no complex problems on the ‘vaudeville’ life line. You do not have total power over outer intention but you can act in such a way that firstly, it does not act against you and secondly, that you get the opportunity to help it work in your interests. Circumstances may unfold in various ways and not necessarily in your favour but by taking this position you significantly increase your chances of coming up roses. Do not forget to trust the alternatives flow as well. If the level of unity between heart and mind in the vaudeville attitude to the problem is sufficiently high you will receive mind boggling results that you could only have dreamed of.

你不再是牽線木偶。我應該警告你要小心將自己視為操縱者的誘惑。你明白這會擾亂平衡，並且在任何自負、優越感、輕蔑或（天哪）對他人的輕視的第一個跡象下，你會立即受到懲罰。沒有任何個體能夠完全控制生活中發生的一切，即使在夢中也是如此。記住，你只有選擇的權利，而不是改變的權利。讓自己感到自在，但不要忘記你是客人。還要記住，當你從一個情況中脫離時，必須以完全的誠信行事。對問題的「雜耍」態度並不意味著鬆懈或漠不關心，而是意味著能夠清醒地評估事物的重要性。

You are no longer a puppet on a string. I should warn you though to be careful of the temptation of considering yourself the puppeteer. You understand that this would disturb the balance and you would instantly receive a slap at the first sign of any conceit, feeling of superiority, contempt or (heaven forbid) disdain towards others. No individual can ever have complete control over all that happens in life even in dreaming. Remember, you only have the right to choose, not to change. Make yourself at home but do not forget you are a guest. It is also important to remember that when you detach yourself from a situation it is essential to act with complete integrity. A ‘vaudeville’ attitude to a problem does not suggest being slack or nonchalant but it does mean being capable of soberly assessing the importance of things.

將意識解釋為努力控制周圍世界將是一個錯誤。理性心靈習慣於堅持自己的觀點，試圖改變事件的進程，並與潮流作鬥爭。有時，當一個人從舞台走進觀眾席時，他們會被強迫改變劇本的慾望所誘惑，將自己的意志強加於其他演員。這種行為與Transurfing毫無關係，因為它完全依賴於個人意志（內在意圖）來逆流而上。你必須一次又一次地提醒自己需要隨波逐流。意識在於觀察，而不是控制的能力。控制應該僅僅指向想像一個吉祥的劇本，讓它進入你的生活，並全心全意地擁抱它，而不是在消極中掙扎。這不是在強迫自己的劇本進入世界，而是考慮它是可能的，允許替代方案實現，並允許自己接受它。只有當心靈與心臟合一時，你才能成功停止與世界作鬥爭，並允許自己選擇。

It would be a mistake to interpret conscious awareness as the striving to establish control over the surrounding world. The rational mind is accustomed to insisting on its own view of things, trying to alter the course of events, and fighting against the current. Sometimes, when a person steps off the stage into the auditorium they are seduced by the desire to change the script by force, imposing their will on the remaining actors. This type of behaviour has nothing in common with Transurfing because it depends exclusively on personal will (inner intention) to push against the current. You have to remind yourself again and again of the need to go with the flow. Conscious awareness lies in observation, not in the ability to control. Control should only be directed towards imagining an auspicious script, allowing it into your life and embracing it with all your heart, instead of floundering about in negativity. It is not about forcing your own script on the world so much as considering it possible, allowing an alternative to be realized and allowing yourself to receive it. You will only succeed in ceasing to do battle with the world and allowing yourself to choose if the heart and mind are one.

在前一章中，我們看到了不同的行為模型和乞丐、憤怒者和戰鬥者的角色，這些角色都不符合Transurfing模型的背景。那么，在這個名為生命的遊戲中，哪個角色才配得上掌握自己命運的人呢？到現在你可能已經猜到，在Transurfing模型中，它被認為是守護者。你在清醒時擁有的意識越多，你就能越有效地掌控自己的命運。

In the previous chapter we looked at different models of behaviour and the roles of the beggar, the indignant and the fighter, neither of which fit the context of the Transurfing model. So what role could be worthy of the one who is master of their own fate in this game called Life? By now you have probably guessed that in the Transurfing model it is considered to be the Guardian. The more conscious awareness you have in waking, the more effectively you will be able to take charge of your own destiny.

守護者的角色比管理者的角色更具吸引力。船長、經理和其他領導者往往在生活中採取更積極的立場，而不僅僅是因為他們擁有更大的責任。高層管理人員更可能採取守護者的角色，因為他們的職位要求他們與其他工作人員相比「更加清醒」，而其他工作人員則能夠在履行責任時保持沉睡。當你擁抱守護者的角色時，你會感到一陣能量的爆發和活力的增加，因為現在，你不再沮喪地執行他人的意志，而是在創造自己的命運。對自己命運負責並不是一種負擔，而是一種自由的行為。

The role of the Guardian is much more engaging than the role of the administrator. Captains, managers and other leaders tend to take a more proactive position in life than simple administrators and not only because they have greater responsibilities. Senior management personnel are more likely to adopt the role of guardian because their position requires them to be ‘more awake’ in comparison to other workers, who are able to remain asleep fulfilling their responsibilities simply because they have to. As soon as you embrace the position of Guardian you will feel a burst of energy and increased levels of vitality because now, rather than dejectedly carrying out actions that are the will of another, you are creating your own destiny. Taking responsibility for your own fate is not a burden, but an act of freedom.

人類與動物的區別不在於智力水平，而在於意識水平。動物體現了一種更沉睡的狀態。它們的行為主要由自然灌輸的刻板劇本決定，並以本能和反射的形式表現出來。動物行為就像一個有固定劇本的演員。在這個意義上，人類是「更清醒」的。人類天生更傾向於自我意識和理解自己在世界中的位置。同時，人類的整體意識水平仍然非常有限，大多數人過於沉浸於劇本中，無法具備必要的超然來獲得意識。

Man differs from animals not so much in level of intellect as in level of awareness. Animals embody a sleepier state. Their behaviour is mainly determined by stereotypical scripts, instilled in them by nature, and which manifest in the form of instinct and reflexes. Animal behaviour is like that of an actor in a play with a fixed script. In this sense, human beings are ‘more awake’. Man is by nature more inclined to self awareness and understanding of their place in the world. At the same time, the general level of human awareness is still very limited with most people too completely immersed in the script to have the necessary detachment for awareness.

所謂聰明人的秘密在於他們的意識。意識帶來心智的清晰。有些人能夠清晰地思考和表達自己的想法，而其他人則顯得混亂。心智的相對敏銳或遲鈍更多地取決於意識，而不是智力。選擇簡單的心智也可以是保護自己免受不必要信息的手段：“我不想知道。讓我一個人！”這與一個敏銳的心智形成對比，後者體現了開放、好奇和接收及處理信息的願望，精神是：“我想知道一切！”遲鈍有時是發展遲緩的結果，這兩種特徵都可以在童年時期發展，例如，當孩子被迫學習或受到心理操控時。

The secret of so-called clever people lies in their awareness. Awareness gives clarity of mind. Some people are able to think and express their thoughts clearly whilst others are muddled. The relative sharpness or dullness of one’s mind depends more on awareness than it does on intellect. Choosing simplicity of mind can also be means of protection from unwanted information: “I don’t want to know. Leave me alone!”, in contrast to an astute mind that embodies openness, curiosity and the desire to receive and process information in the spirit of: “I want to know everything!” Obtuseness is sometimes a result of retardation and both these traits can be developed in childhood, for example, when a child is forced to learn or psychologically manipulated.

我們在日常生活中越是白日夢，就越容易犯錯。那隻撞擊窗戶的蒼蠅也是深度沉睡的。當你完全沉浸在劇本中時，你無法對現實有更廣泛、更客觀的看法。對遊戲的執著縮小了感知並設立了障礙。當人們意識到自己犯了錯誤時感到驚訝，因為他們如此沉浸於某事以至於無法更清晰地看見，並問自己：“我在看什麼？”就好像他們被某種幻影所誘惑。即使在愚人節，人們知道可能會被惡作劇，他們仍然會陷入陷阱。這不就是白日夢嗎？

The more we daydream in everyday life, the more mistakes we make. The fly that beats itself against the window pane is also deeply asleep. When you are totally immersed in the script you are not able to take a wider, more objective view of reality. Obsession with the game narrows perception and puts up a barrier. People are surprised when they realize they have made a mistake because they were so immersed in something to see more clearly, and ask themselves: “Where was I looking?” as if they had been seduced by some apparition. Even on April Fool’s Day when people know they may have tricks played on them, they still fall into the trap. What is this if not a daydream?

缺乏意識是因為不想直視現實。鴕鳥把頭埋在沙子裡以逃避現實的威脅。當人們把頭埋在沙子裡時，這反映了他們想要與外部世界隔絕的願望，意義是：“我什麼都看不見，我什麼都聽不見，我什麼都不想要。讓我一個人！”在生活中不可能完全把頭埋在被子裡睡覺，因此人們試圖麻痹自己的感知能力。不幸的是，這會妨礙他們的意識。例如，一個溫和、無害的人可能試圖躲避即將來臨的攻擊威脅，但他們將無法躲避打擊，因為他們的意識被恐懼阻礙了。他們的反應變得遲鈍，就好像他們的眼睛被一層膜覆蓋。憤怒也會使理解變得模糊。當一個人沉浸在遊戲中時，他們無法看到或聽到周圍的任何其他事物，因此有了「盲目憤怒」這一說法。

Lack of awareness is the result of not wanting to look reality in the eye. The ostrich hides its head in the sand to escape the threat of reality. When people have their head in the sand it reflects the desire to insulate themselves from the outside world in the sense of: “I cannot see anything, I can’t hear anything, I don’t want anything. Leave me alone!” It is not possible in life to totally pull your head under the blanket and sleep and so people try to dull their powers of perception. Unfortunately this compromises their awareness. For example, a mild, harmless person may try to hide from the imminent threat of aggression but they will not be able to dodge the blow because their awareness is blocked by fear. Their reactions are dulled as if their eyes were covered in a film. Rage also dims understanding. When a person is immersed in the game they are incapable of seeing or hearing anything else around them, hence the phrase ‘blind rage’.

恐懼和憤怒是缺乏意識的極端例子。擺動也會試圖輕輕地麻痹你的警覺，產生一種僵尸效應，利用大多數人花費大部分時間處於半意識狀態的事實，只有在合適的情況下才會體驗到強烈的意識和清晰的感知。這就是為什麼要做一些看似簡單的事情，比如在夢中醒來並說：“嘿！你！別再捉弄我了。這只是一個夢，更重要的是，這是我的夢，所以我說了算，而不是你。”

Fear and anger are extreme examples of the absence of awareness. Pendulums will also try to gently dull your vigilance with a zombifying effect, playing on the fact that most people spend the majority of their time in a semi-aware state, only experiencing acute awareness and clarity of perception when the right circumstances give them an adrenalin rush. This is why it is so difficult to do something as seemingly simple as wake up in a dream and say: “Hey! You! Stop messing me about. It is just a dream and what’s more, it’s my dream, so I say what goes, not you.”

直覺知識可以通過意識的力量從潛意識中提取。如果你能捕捉到自己在想：“我為什麼突然想這樣做？”直覺知識會更容易被感知。靈魂的回應將是柔和且幾乎聽不見的。然而，理性心靈卻會大喊：“閉嘴。我非常清楚我想要什麼和我應該做什麼！”你必須養成不斷傾聽晨星沙沙聲的習慣，以聽到直覺的音樂。在半意識狀態下，幾乎不可能迅速記住內心聲音試圖說什麼。即使在清晨，你嚴格要求自己傾聽靈魂的聲音，如果你沉浸在白日夢中，你也不會在適當的時刻記得這樣做。

Intuitive knowledge can be drawn from the subconscious by the power of awareness. Intuitive knowledge can be more easily perceived if you can catch yourself thinking: “Why do I suddenly want to do this?” The soul’s reply will be soft and barely audible. The rational mind however will shout: “Shut up. I know very well what I want and what I should be doing!” You have to develop the habit of constantly listening for the rustle of the morning stars to hear the music of intuition. In a semi-conscious state it is almost impossible to remember quickly enough to note what your inner voice is trying to say. Even if early in the morning you set yourself the strict task of listening to the voice of your soul you will not remember to do so at the appropriate moment if you sink into the daydream.

因此，心靈與思想之間的和諧產生外在意圖 (outer intention)，而正念使你能夠讓它對你有利。心靈與思想的統一 (Unity of heart and mind) 在夢中是如此容易實現，因為在夢中，心靈不受思想的權威控制。在清醒夢中仍然有一定的控制元素，但它僅限於調整劇本。在夢中，思想會接受各種奇蹟事件。在漢斯·克里斯蒂安·安徒生的童話《火柴盒》中，有一個場景，公主相信自己在做夢，於是同意與士兵一起走在屋頂上。在夢中，理性思想會接受任何事物，但在清醒的現實中，它時而緊緊抓住熟悉的世界觀。

So, harmony between heart and mind generates outer intention, and mindfulness enables you to have it work in your favour. Unity of heart and mind is so easily achieved in dreams for the simple reason that in dreams, the heart is free of the authoritative control of the mind. In lucid dreaming there is still an element of control but it is limited to adjusting the script. In dreams the mind will accept all manner of miraculous event. In ‘The Tinderbox’ a fairytale by Hans Christian Anderson, there is a scene in which the princess, convinced that she is dreaming, agrees to walk on the roof with the soldier. In dreams the rational mind will accept anything, but in waking reality it fitfully grabs hold of its familiar worldview.

一旦你超越常識的領域，實現心靈與思想之間的和諧狀態並不容易。常識就像一個終身的牢籠，難以逃脫。一個人可能對神秘的教導感興趣，頭腦飄浮，並相信不可能的事情，但總會有懷疑的空間。思想會隨著事物而走，但到頭來，它知道蘋果真的會掉到地上。這就是為什麼完全將外在意圖與你自己的意志對齊如此困難。然而，個人經驗會顯示，正念大大提高了你的機會。

It is not easy to achieve a state of harmony between heart and mind once you step beyond the realms of common sense. Common sense is like a lifetime cell, from which is difficult to escape. A person may be interested in mystical teachings, have their head in the clouds and believe in the impossible but there will always be place for doubt. The mind will go along with things but at the end of the day, it knows that apples really fall to the ground. This is why it is so difficult to completely align outer intention with your own will. Nonetheless, personal experience will show that mindfulness greatly increases your chances.

只要內在守護者 (Guardian) 不斷存在於你的意識中，就能達到最大的覺知。守護者客觀地評估正在發生的事情，並評估這場遊戲是為了誰的利益。它確保你不會像木偶一樣被捲入遊戲。你必須記得每天每分鐘都問自己：“你是清醒的還是睡著了？”這樣它就會成為一種態度。如果你不害怕的話，你也可以練習清醒夢，但夢終究會結束，日常現實會回來。顯然，專注於在日常生活中發展意識覺知和正念更有意義。正如你現在所看到的，這個替代方案給了你根據自己的品味來裝飾你的生活層的機會。這是你的選擇 (Choice)。

Maximum awareness can be achieved as long as the inner Guardian is constantly present in your consciousness. The Guardian objectively evaluates what is happening and assesses in whose interests the game is being played. It makes sure that you will not get drawn into the game like a puppet. You have to remember to ask yourself every minute of the day: “Are you asleep or not?” so that it becomes an attitude. You can also practice lucid dreaming if you are unafraid to do so but the dream will come to an end and everyday reality will return. Surely it makes more sense to focus on developing conscious awareness and mindfulness in your everyday life. As you can now see, this alternative gives you the chance to furnish your life layer according to your own taste. It is your choice.