允許

Allowing

好了，我的親愛者，我的美麗夥伴們，在上一課中我們學到，那些愚蠢的蝸牛總是固執於自己訂定的劇本來推演事件發展，一旦事情偏離軌道，他們便會心生怨恨甚至發怒；但這絕不是發生在你們身上，對吧，我的天使們？

So, my dears, my beauties, in our last lesson we learned that stupid snails always insist on their own script for the development of certain events, and that when something goes awry, they become resentful and even angry, but not in your case, right, my angels?

當你放下劇本時，劇本也便會放下對你的牽制。

The script will let you go when you let go of the script.

一旦目標設定完成，劇本便會自我調整，將那目標實現。

Once a goal has been set, the script will arrange itself so that it is achieved.

固守你自己的計劃，只會阻礙整個設計的運行。

By insisting on your own plan, you get in the way of the design.

每當你表達出拒絕接受時，你就為自己構築了一個比原有更糟糕的現實。

By expressing non-acceptance, you compose a reality that is even worse.

若你選擇尋找優勢，你便能收穫裨益。

By choosing to seek advantage, you reap the benefit.

讓我們重申那矛盾卻又真實的原則——設定目標幀，而非劇本。這看似矛盾，因為它和你習以為常的觀念不符：你以為你可以也應該與現有的現實抗爭，認為構築未來現實既錯誤又不可能；事實上，情形正好相反。

Let’s repeat the paradoxical principle — set the goal frame, not the script. It is paradoxical because it does not tally with your accustomed beliefs, that you can and should battle with your current reality, and that composing forthcoming reality is wrong and even impossible. In fact, it’s the other way round.

你無法知道目標會如何達成，也無需知曉，特別是在事情的初始階段。因為如果對「如何達成？」的可能答案讓你徹底感到恐懼或絕望，那將在心理上形成阻礙，削弱你構築目標現實的能力。

You can’t know how the goal will be reached and you don’t need to know, particularly in the early stages of things. Because if the probable answers to asking “how?” plunge you into feelings of horror or despair, this will impose a psychological block on your ability to compose your target reality.

你無法精確預見哪一套劇本能在你個人生活的情境中促成此一目標，何況你正如電影中那被劇本牽引的角色，又豈能洞察其中奧妙？你的任務，是明白那「結果」——也就是你想要達成的目標，並運用你的意圖編織在思緒、言語與影像中構築出對應的現實圖景。接著，劇本便會引導你抵達目的，並揭示「如何達成」的過程。

You can’t know exactly which script will lead to the accomplishment of precisely this goal in the context of your individual life. How could you know when you are a character in a film being led by a script? Your task is to know the ‘result’ — what you want to achieve, and use your plait to compose the corresponding picture of reality in thoughts, words, and images. Then the script itself will lead you there and reveal the ‘how’.

你甚至不必顯得聰明。只要你保持動力，即使繼續如那愚鈍的蝸牛一樣，或者成為既有能力又覺醒的蝸牛，都無妨。因為當你設定了目標後，劇本可能會給你以震撼。你或許會認為一切都陷入災難；然而，事實上，你再也不需要的陳舊事物正被從你的現實中清除，為美好而嶄新的事物騰出空間。

You don’t even have to be clever. You can continue being dunce snails, so long as you are driven. And, competent, aware snails. Because, once you have set the goal, the script could just shock you. You might think that everything is disastrous. Whereas, in fact, old stuff you no longer need is being cleared out of your reality, so that the free space can be filled with beautiful, new things.

事件在劇本中展開時，可能會讓你感覺“一切都在瓦解”，然而，此時如果你能保持覺察，就能運用優勢法則來化解局面。依據這一原則行動，你不僅能避免干擾劇本，還能更迅速地朝向目標前進；因為在尋求優勢的那一刻，你會脫離那慣性且有害的劇本，迅速跳轉到充滿優勢的新電影膠卷——即便不借助意圖編織也能如此；若能同時運用意圖編織，你前進的效果更佳且更迅速。

It is quite possible that events in the script will unfold as if ‘everything is falling apart at the seams’. And then, awareness will serve you very well so that you can apply the principle of advantage. Acting in accordance with this principle, you not only avoid getting in the way of the script, you move toward the goal more quickly because in the moment of seeking the advantage, you detach yourself from your habitual “harmful” script and jump to an “advantageous” film roll. Even without the plait. If you carry out the advantage method using the plait as well, you will move even better and even faster.

此外，你將不再如沉寂的蝸牛，而是化身為螢火蟲，成為充滿生命力的影片英雄。追尋優勢正是覺醒的方法之一。任何事件都不該將你牢牢桎梏，而應激發你的警覺，成為促使你覺醒的信號。你的任務，就是要及時覺醒，看見現實並構築你的現實。

And beyond that, you’ll no longer be snails, but fireflies, the living heroes of a motion picture. Tracking advantage is one of the means of awakening. No event should hook you, but it should make you alert, and serve as a call to wake-up. Your task is to wake up in time, see reality and then compose reality.

先前：只要有事不對勁，你立刻會大喊「啊啊啊！」，揮舞雙手、跺起腳來！

Previously: the moment something is wrong, instantly, “Aaaargh!” You wave your hands about and stamp your feet!

如今：當事情出現差錯時，無論你是自言自語還是大聲喊出，都會脫口而出「優勢！(Advantage)」。

Now: the moment something is wrong, you exclaim (to yourself or aloud, as you like): “Advantage!”.

從此以後，「讓」世界開始為你做一些美好的事，助你一臂之力，縮短你與目標之間的距離。

And from now on — allow the world to do something nice for you, to help you, to bring you closer to your goal.

這並不意味著你必須變成那種無條件接納一切的人，也不代表你要對所有人事俯首帖耳。當然，不是所有事物都蘊含優勢，也並非所有情況都適合接納與同意。別擔心，當你達到「我看見自己，我看見現實」這樣的能力狀態時，就能做出合適的判斷，決定是否讓某些事物進入你的生活。

This naturally does not mean that you must become the very epitome of Allowing and bend over backwards for all and sundry. Of course, not everything carries an advantage and it isn’t always appropriate to allow and agree to certain things. Don’t worry, you will be able to make an adequate decision whether to allow something into your life or not because you’ll be in a competent state, i.e. I see myself and I see reality.

在你平常的狀態下，你的反應可能要麼大發雷霆，要麼全然服從；這兩種反應大多都是無意識地跟隨著劇本。但藉由優勢法則，你能做出充分覺察與明智的選擇，既能如動畫角色般自在穿梭於靜止的影片之中，又能表現出一種若無其事的樣子。

In your normal state, how do you respond? Either you are up in arms, or you automatically obey. You respond in both cases non-consciously, just following the script. The difference in the advantage method is that you make an informed choice, fully present, and hence, walk into a frozen movie as an animated character, at the same time as feigning lifelessness.

優勢原則彷彿是一瓶集追蹤、模仿、覺醒與構築現實於一身的神奇藥劑。當你運用這種方法，你不僅追蹤自己的狀態，還能洞察現實並確定前進方向，讓下一幀自然而然地緊隨其後。尋求優勢，其實就是最純粹的模仿；你仍在遵循劇本，但這一次你是帶著意識和目的行動。

The advantage principle is everything in one vial: tracking, imitation, being present, and composing reality. Performing the method, you track yourself, you track reality and set a course, which the next frame will follow. Seeking the advantage is imitation in its purest form; you are still following the script, but you are doing it intentionally and consciously.

請注意，當你追蹤優勢時，必須側目觀察現實。無論是劇本還是周遭的人，都不會察覺你的秘密。你像所有沉睡的存在一樣，既忠實扮演著自己的角色，完成每日義務，又從旁留意一切發生的變化。你全然覺察卻不暴露自身存在，這正是所需之態。保持若無其事的隱秘極為重要——這究竟是為什麼呢？

Note that when you track the advantage, you need to look at reality askance. Nobody suspects anything, neither the script nor those around you. You, like all dormant beings, diligently play your role and carry out your daily obligations, at the same time observing what is happening out of the corner of your eye. You are fully present, without giving away your presence. This is exactly what is needed. And it is very important to remain undetected as if nothing had anything to do with you. Why?

你是否已經忘記原因了？老實說，我之前已向你解釋過，且我還會一再重申：若無其事地行事，是「活躍穿梭於電影之中」的根本原則。首先，你不暴露自己的存在，讓周遭的人不會對你產生戒備與懷疑，就像假裝沉睡一樣。

Have you already forgotten why? Honestly! I explained it to you before. I am going to repeat it many times yet though. Behaving as if nothing had anything to do with you is the fundamental principle of ‘a live stroll through a movie’. Firstly, you don’t give away your presence, so that those around you won’t treat you with wariness and suspicion. Pretend to be asleep.

其次，不要再用你那慣常的直接方式行動——即用力抓住現實、與當前幀中的事件與角色硬碰硬，結果只會使你再次陷入劇本。當你全然覺察地漫步於影片之中，你便能以你的意圖推動下一幀，並順勢轉換電影膠卷。但這種意圖究竟是什麼呢？最重要的是，它屬於外在意圖！當你側目而視、若無其事時，你便激活了你的外在意圖中心。

Secondly, do not act in the same direct manner as you are used to, that is, grabbing reality by the scruff of the neck, battling with the events and characters of the current frame, and as a result, plunging back into the script, as in a dream. You are strolling live through a film when your attention is present, and you propel the upcoming frame with your intention and change the film roll. But what intention is that? The most important thing is that it’s outer intention! By looking askance and staying as if nothing had anything to do with you, you activate the outer intention centre.

接納

Allowing

那麼，我的親愛的，我的美人們，在我們的上一課中，我們了解到愚蠢的蝸牛總是堅持自己的劇本來發展某些事件，當事情出錯時，他們會感到憤怒甚至生氣，但這不會發生在你們身上，對吧，我的天使們？

So, my dears, my beauties, in our last lesson we learned that stupid snails always insist on their own script for the development of certain events, and that when something goes awry, they become resentful and even angry, but not in your case, right, my angels?

當你放下劇本時，劇本就會放過你。

The script will let you go when you let go of the script.

一旦設定了目標，劇本就會自行安排以達成目標。

Once a goal has been set, the script will arrange itself so that it is achieved.

堅持自己的計劃，你就會妨礙設計。

By insisting on your own plan, you get in the way of the design.

通過表達不接受，你創造了一個更糟的現實。

By expressing non-acceptance, you compose a reality that is even worse.

選擇尋找優勢，你就能獲得利益。

By choosing to seek advantage, you reap the benefit.

讓我們重溫這個悖論原則——設定目標幀，而不是劇本。這是悖論的，因為它與你習慣的信念不符，你認為可以且應該與當前現實抗爭，而創造即將到來的現實是錯誤甚至不可能的。事實上，情況正好相反。

Let’s repeat the paradoxical principle — set the goal frame, not the script. It is paradoxical because it does not tally with your accustomed beliefs, that you can and should battle with your current reality, and that composing forthcoming reality is wrong and even impossible. In fact, it’s the other way round.

你無法知道目標將如何達成，也不需要知道，特別是在事情的初期階段。因為如果對“如何？”這個問題的可能答案讓你感到恐懼或絕望，這將對你創造目標現實的能力造成心理障礙。

You can’t know how the goal will be reached and you don’t need to know, particularly in the early stages of things. Because if the probable answers to asking “how?” plunge you into feelings of horror or despair, this will impose a psychological block on your ability to compose your target reality.

你無法確切知道哪個劇本會在你的個人生活背景下實現這個目標。當你是被劇本引導的電影角色時，你怎麼可能知道？你的任務是知道“結果”——你想達成什麼，並用你的辮子在思想、言語和圖像中創造相應的現實畫面。然後劇本本身會引導你到達那裡並揭示“如何”。

You can’t know exactly which script will lead to the accomplishment of precisely this goal in the context of your individual life. How could you know when you are a character in a film being led by a script? Your task is to know the ‘result’ — what you want to achieve, and use your plait to compose the corresponding picture of reality in thoughts, words, and images. Then the script itself will lead you there and reveal the ‘how’.

你甚至不必聰明。只要你有動力，你可以繼續當愚笨的蝸牛。而且，要成為有能力、有意識的蝸牛。因為，一旦你設定了目標，劇本可能會讓你震驚。你可能認為一切都災難性地發生了。然而，事實上，你不再需要的舊東西正在被清理出你的現實，以便自由空間可以被美麗的新事物填滿。

You don’t even have to be clever. You can continue being dunce snails, so long as you are driven. And, competent, aware snails. Because, once you have set the goal, the script could just shock you. You might think that everything is disastrous. Whereas, in fact, old stuff you no longer need is being cleared out of your reality, so that the free space can be filled with beautiful, new things.

劇本中的事件很可能會展開得像“一切都在崩潰”。然後，意識將很好地幫助你應用優勢原則。按照這個原則行事，你不僅避免妨礙劇本，還更快地朝著目標前進，因為在尋找優勢的那一刻，你從習慣的“有害”劇本中脫離，跳到“有利”的膠卷上。即使沒有辮子。如果你也用辮子執行優勢方法，你會移動得更好更快。

It is quite possible that events in the script will unfold as if ‘everything is falling apart at the seams’. And then, awareness will serve you very well so that you can apply the principle of advantage. Acting in accordance with this principle, you not only avoid getting in the way of the script, you move toward the goal more quickly because in the moment of seeking the advantage, you detach yourself from your habitual “harmful” script and jump to an “advantageous” film roll. Even without the plait. If you carry out the advantage method using the plait as well, you will move even better and even faster.

此外，你將不再是蝸牛，而是螢火蟲，電影中的活生生的英雄。追蹤優勢是喚醒的手段之一。沒有事件應該勾住你，而是應該讓你警覺，並作為喚醒的信號。你的任務是及時醒來，看到現實，然後創造現實。

And beyond that, you’ll no longer be snails, but fireflies, the living heroes of a motion picture. Tracking advantage is one of the means of awakening. No event should hook you, but it should make you alert, and serve as a call to wake-up. Your task is to wake up in time, see reality and then compose reality.

以前：一旦出現問題，立刻，“啊啊啊！”你揮舞雙手，跺腳！

Previously: the moment something is wrong, instantly, “Aaaargh!” You wave your hands about and stamp your feet!

現在：一旦出現問題，你驚呼（對自己或大聲說，隨你喜歡）：“優勢！”。

Now: the moment something is wrong, you exclaim (to yourself or aloud, as you like): “Advantage!”.

從現在開始——讓世界為你做些好事，幫助你，讓你更接近目標。

And from now on — allow the world to do something nice for you, to help you, to bring you closer to your goal.

這自然不意味著你必須成為接納的典範，為所有人和事物彎腰。當然，不是所有事情都有優勢，也不是總是適合接納和同意某些事情。別擔心，你將能夠做出適當的決定，是否允許某事進入你的生活，因為你將處於一個有能力的狀態，即我看到自己，我看到現實。

This naturally does not mean that you must become the very epitome of Allowing and bend over backwards for all and sundry. Of course, not everything carries an advantage and it isn’t always appropriate to allow and agree to certain things. Don’t worry, you will be able to make an adequate decision whether to allow something into your life or not because you’ll be in a competent state, i.e. I see myself and I see reality.

在你的正常狀態下，你如何反應？要麼你激烈反抗，要麼你自動服從。你在這兩種情況下的反應都是無意識的，只是遵循劇本。優勢方法的不同之處在於你做出知情的選擇，完全存在，從而走進一部凍結的電影中，作為一個活生生的角色，同時假裝無生命。

In your normal state, how do you respond? Either you are up in arms, or you automatically obey. You respond in both cases non-consciously, just following the script. The difference in the advantage method is that you make an informed choice, fully present, and hence, walk into a frozen movie as an animated character, at the same time as feigning lifelessness.

優勢原則是一切的集合：追蹤、模仿、存在和創造現實。執行這個方法時，你追蹤自己，追蹤現實並設定一個路徑，下一個幀將遵循這個路徑。尋找優勢是最純粹的模仿；你仍然在遵循劇本，但你是有意識和有意圖地這樣做。

The advantage principle is everything in one vial: tracking, imitation, being present, and composing reality. Performing the method, you track yourself, you track reality and set a course, which the next frame will follow. Seeking the advantage is imitation in its purest form; you are still following the script, but you are doing it intentionally and consciously.

注意，當你追蹤優勢時，你需要斜視現實。沒有人懷疑任何事情，無論是劇本還是周圍的人。你像所有沉睡的生物一樣，勤奮地扮演你的角色，履行你的日常義務，同時用餘光觀察正在發生的事情。你完全存在，而不暴露你的存在。這正是所需要的。而且非常重要的是保持不被察覺，好像一切都與你無關。為什麼？

Note that when you track the advantage, you need to look at reality askance. Nobody suspects anything, neither the script nor those around you. You, like all dormant beings, diligently play your role and carry out your daily obligations, at the same time observing what is happening out of the corner of your eye. You are fully present, without giving away your presence. This is exactly what is needed. And it is very important to remain undetected as if nothing had anything to do with you. Why?

你已經忘記為什麼了嗎？真的！我之前解釋過。我還會多次重複。表現得好像一切都與你無關是“活著走過電影”的基本原則。首先，你不暴露你的存在，以免周圍的人對你警惕和懷疑。假裝睡著。

Have you already forgotten why? Honestly! I explained it to you before. I am going to repeat it many times yet though. Behaving as if nothing had anything to do with you is the fundamental principle of ‘a live stroll through a movie’. Firstly, you don’t give away your presence, so that those around you won’t treat you with wariness and suspicion. Pretend to be asleep.

其次，不要像你習慣的那樣直接行動，也就是說，抓住現實的後頸，與當前幀的事件和角色搏鬥，結果又陷入劇本，就像在做夢一樣。當你的注意力存在時，你正在電影中活著走過，並用你的意圖推動即將到來的幀並更換膠卷。但那是什麼意圖？最重要的是，這是外在意圖！通過斜視並保持好像一切都與你無關，你激活了外在意圖中心。

Secondly, do not act in the same direct manner as you are used to, that is, grabbing reality by the scruff of the neck, battling with the events and characters of the current frame, and as a result, plunging back into the script, as in a dream. You are strolling live through a film when your attention is present, and you propel the upcoming frame with your intention and change the film roll. But what intention is that? The most important thing is that it’s outer intention! By looking askance and staying as if nothing had anything to do with you, you activate the outer intention centre.