劇本

The script

再次問候，一無是處的傢伙們！你們之所以如此無用且令人討厭，是因為總喜歡只看到生活中的害處多於益處。但一切都能迎刃而解，因為那些主動追求優勢的人，最終都會找到它，自己也變得充滿優勢。

Hello again, hello again, my fit-for-nothing creatures! You are so good-for-nothing and nasty because you have such a tendency to see more harm than good in life. But everything can be put right. Those who seek the advantage find it and become advantageous themselves.

你無需去設定劇本，也無需知道「如何？」的答案。

It is not your job to set the script and know the answer to “how?”.

你的任務是明確你想要達成什麼，並確定那最終的結果— 目標幀

Your job is to know what you want to achieve, and to set the result — the goal frame.

當你感覺「生活正逐漸崩裂」時，那正是優勢所在——現實正在被淨化。

When it feels like ‘life is falling apart,’ that is the advantage — reality is being cleansed.

當你的注意力完全集中時，你就像在影片中漫步，用自己的意圖推動自己前行。

You are walking through a film when your attention is fully present and you are propelling yourself with intention.

允許，即外在意圖的作用，在你與一切無關時自然彰顯。

Allowing is the work of external intention when nothing has anything to do with you.

覺醒、觀察、構築——一旦有任何不對勁的情況發生，你便會脫口喊出：「優勢！」

Wake up, see, compose. As soon as anything goes wrong — “Advantage!”

如果你沒有及時覺醒、尋求優勢，往往事後回首時才能明白當初那隱藏的優勢是什麼，但那時已為時太晚，你會回想起自己當初是如何與現狀對抗、錯失了哪些機會。

If you don’t wake up in time and seek the advantage, in many cases you will understand what the advantage was in hindsight, but then it will be too late. You will understand when you look back and remember, why and how you pushed against the situation and the opportunity you missed.

是的，是的，你會一次又一次地遲遲忘記又後知後覺，直到追蹤自己的注意力變成一種習慣。為什麼你總是忘記關注自己的注意力？你還記得嗎？

Yes-yes-yes, you will keep forgetting and remembering too late, many, many times, until tracking your attention becomes a habit. And why do you constantly forget about your attention? Do you remember?

給你一個謎題：對蝸牛而言，哪個問題既最簡單又最重要，卻悄無聲息地折磨著它們，而它們卻未曾意識到？別皺眉頭，你是猜不到的。

Here’s a riddle for you: what is the easiest and at the same time the most important question that torments snails, even without them realising that it torments them? There’s no point in frowning at me, you won’t guess.

「為什麼事物不能如我所願？」——這正是那個問題！答案是：因為你正被劇本牽引，因為你對現實的本質毫無覺察，而你不是親自構築現實，而僅僅是其中的一個存在，就像水族箱裡的魚，或者更確切地說，就像蝸牛。

< Why aren’t things the way I want them to be? > That is the question! So what is the answer? It is because you are being led by the script, because you are unaware of the fact, because you don’t compose reality yourself but simply exist within it, like fish in an aquarium, or more precisely, like snails.

事實上，你總處於植物人般的狀態，只有偶爾才醒來發覺自己一直在睡著，這正證明了你被劇本牽制。你以為自己因為心不在焉而忘記注意力？不，那是因為你正被劇本帶領。

The fact that you are constantly in a vegetative state and only occasionally wake up and realise that you were sleeping, proves that you are being led by the script. Why did you think that you forget about your attention? From absent-mindedness? No, it is because you are being led by the script.

你自以為是在獨立行動、順遂如意，但那只是一種幻覺。所謂行動的幻覺，正在於你過於沉浸於現實中，以致未能察覺這一切，未能意識到自己其實只是順從劇本的角色而已。

You think that you are acting independently, getting your own way, but that’s just an illusion. The illusion of action, if I may remind you, lies in being so caught up in reality that you don’t notice the illusion and aren’t aware that you are the obedient character of a game.

這實際上就像一部電影。電影中的角色也未能完全意識到自己的境遇。我說的不是演員，而是影片中的英雄。儘管演員早已逝去，但他們飾演的角色每當被觀看時便重現生機。你難道不覺得這很奇妙嗎？從技術上講，這沒什麼奇怪的——只是用一卷電影膠卷拍下的生活片段而已，但這又確實讓人感到非常奇異，不是嗎？

It is literally like a film. The characters in a film don’t fully realise their situation either. I am not referring to the actors but the heroes of the film specifically. The actors may be long dead, but the characters they played come to life every time someone watches the film. Don’t you find it strange? Technically speaking, there is nothing strange about it — just scenes from life shot on a roll of film. And yet, it is very strange, isn’t it?

你之所以發明出電影，不是因為你們自己產生了那個創意，而是因為這種現實的表現早已存在。你無法創造出全新的東西，除非那東西已存在於清醒的現實中或尚未明確顯現。你擁有電影的唯一原因，是因為你正生活在一部影片中。電影就是現實的一種模式。

You invented films not because you came up with the idea yourselves, but because this aspect of reality already exists. You cannot come up with anything new, that does not already exist in waking reality or that is not yet explicitly manifest. The only reason you have film is that you are living in a motion picture. Film is a model of reality.

同樣奇特的是這樣一個矛盾：你作為角色，與電影中的英雄不同，卻被賦予了意識。這是一個悖論——現實彷彿在開一個玩笑。不過，你仍有機會。縱使在你親自問自己問題的那一刻你能全然覺察到自己，但其餘時候你的意識卻處於沉睡狀態，任由外在劇本支配。

Equally as strange is the contradiction whereby you, as characters, unlike the heroes of a motion picture, are endowed with consciousness. It is a paradox — reality’s a joke. And still, you have a chance. Although you are fully present and self-aware in the moment that you ask yourself the question, the rest of the time your awareness is sleeping and surrenders to the outer script.

更不可思議的是，你竟對自己僅是沉睡中的角色這一現實毫無震驚，儘管你本該如此。這不令你震驚，是因為你無法洞察那行動幻覺的本質。這力量實在強大，當我說「你正被劇本牽引」時，你根本不把它當回事，你以為那只是一個笑話，或者某種神祕的幻想。但這，確是事實！

What is also incredible is that you aren’t shocked by the idea that you are merely sleeping characters in a script, although you should. The reason it doesn’t shock you is that you aren’t capable of seeing through the illusion of action. It is very powerful. You simply don’t take it seriously when I say, “You are being led by the script.” You think it is a joke or some kind of esoteric fantasy. It’s true!

即使你照我所言行事，你也並非全然意識到這點，就像電影中的角色並未察覺自己是電影中的角色一樣。但或許有一天，在你深入實驗現實之後，會有那麼一刻，你會變得異常清醒，屆時你真的會大為震驚。

And even when you take me at my word, you aren’t fully aware of it, just like the characters in a film aren’t aware that they are characters in a film. But perhaps, one day, after you have experimented with reality, the moment will come when you will be acutely aware of it. And then you really will be shocked.

但就目前而言……你只隱隱約約懷疑劇本——亦即命運現象——的存在。然而命運僅是一個大致的方向，你可以選擇你的命運，就像選擇一條道路一樣；只是你這些小角色總是選擇讓命運走向更糟的方向，因為你總從生活中看到傷害而非優勢，並且你並非真正做選擇，而是事事操控，結果反而製造出更多傷害。

But for now... you only vaguely suspect the existence of the script — the phenomenon of fate. Yet fate is just a general di-rection. You can choose your fate, like a road, but you are twerps that you choose fate in a worsening direction because you see harm rather than advantage in life; and also because you do not really choose; instead you go out of your way to control everything, thereby creating even more harm.

劇本比你對命運的認知要來得更嚴格、更精確。它是一個在當前電影膠卷上支配你行為與舉止的程序，你無法控制劇本。你唯一能做的，是透過構築出一個協調一致的現實，從而選擇另一套劇本。

The script is much more strict and precise than your perception of fate. It is a program that dictates your behaviour and all your actions on the current film roll. It is not possible to control the script. All you can do is choose a different one by composing a concordant reality.

鑒於你固有的習慣以及那種你甚至認為自己可能做到的幻想，試圖直接控制劇本確實令人心動。但當你試圖直接影響他人與事件時，就會犯下一個錯誤，從而引發連串負面的行為和不良後果。

It is tempting to try and control the script, given your habit of doing so and the illusion that such a thing is even possible for you. When you try to exert direct influence on people and events, you are making a mistake that leads to a whole series of negative actions and adverse effects.

隨後劇本便會以這樣的方式展開，使你現實地平線上的雲層變得越來越沉重，最終使你宛如迷宮中的老鼠，艱難地尋找出路，而這出路既辛苦又無法產出成果。

Then the script begins to move in such a way that the clouds on the horizon of your reality can only get heavier. And then you will find yourself like a rat in a maze, looking for a way out, which is gruelling and unproductive.

你必須明白，無法直接影響局部劇本或事件的整體進程。你只能抓住現實畫布的邊緣，並利用其某些組成部分，而尋求優勢正是其中之一。如果你不明白這點，我就會把你們全部消滅。那些笨蛋，我是不需要的！我有一個名為「刪除Delete」的按鈕；它能取消一切……或者抹去一切，我記不太清楚；我得去檢查一下。

You must understand that it is not possible to directly influence either the local script or the general course of events. You can only grasp the edge of the canvas of reality and make use of some of its components. Seeking the advantage is one of those components. And if you don’t get this, I’ll annihilate you all. Dimwits I can do without! I have a button called ‘Delete’; it countermands everything... or erases it, I don’t remember which exactly; I should check.

劇本

The script

又見面了，又見面了，我的無用生物！你們如此無用和討厭，因為你們傾向於在生活中看到更多的壞事而不是好事。但一切都可以得到糾正。那些尋找優勢的人會找到它，並成為有利的人。

Hello again, hello again, my fit-for-nothing creatures! You are so good-for-nothing and nasty because you have such a tendency to see more harm than good in life. But everything can be put right. Those who seek the advantage find it and become advantageous themselves.

設定劇本和知道“如何？”的答案不是你的工作。

It is not your job to set the script and know the answer to “how?”.

你的工作是知道你想達成什麼，並設定結果——目標幀。

Your job is to know what you want to achieve, and to set the result — the goal frame.

當感覺“生活在崩潰”時，那就是優勢——現實正在被清理。

When it feels like ‘life is falling apart,’ that is the advantage — reality is being cleansed.

當你的注意力完全存在並用意圖推動自己時，你正在走過一部電影。

You are walking through a film when your attention is fully present and you are propelling yourself with intention.

當一切都與你無關時，接納是外在意圖的工作。

Allowing is the work of external intention when nothing has anything to do with you.

醒來，看到，創造。一旦出現問題——“優勢！”

Wake up, see, compose. As soon as anything goes wrong — “Advantage!”

如果你沒有及時醒來並尋找優勢，很多時候你會在事後才明白優勢是什麼，但那時已經太晚了。當你回顧過去並記得為什麼以及如何抵觸情況和錯過機會時，你就會明白。

If you don’t wake up in time and seek the advantage, in many cases you will understand what the advantage was in hindsight, but then it will be too late. You will understand when you look back and remember, why and how you pushed against the situation and the opportunity you missed.

是的，是的，是的，你會不斷忘記並在太晚時才記起，很多很多次，直到追蹤你的注意力成為一種習慣。為什麼你總是忘記你的注意力？你還記得嗎？

Yes-yes-yes, you will keep forgetting and remembering too late, many, many times, until tracking your attention becomes a habit. And why do you constantly forget about your attention? Do you remember?

這裡有個謎題給你：什麼是最簡單但同時最重要的問題，讓蝸牛感到困擾，即使他們沒有意識到這困擾著他們？皺眉頭是沒用的，你猜不到。

Here’s a riddle for you: what is the easiest and at the same time the most important question that torments snails, even without them realising that it torments them? There’s no point in frowning at me, you won’t guess.

<為什麼事情不是我想要的樣子？> 這就是問題！那麼答案是什麼？因為你被劇本引導，因為你沒有意識到這一點，因為你沒有自己創造現實，而只是像魚在水族箱裡一樣存在其中，或者更準確地說，像蝸牛一樣。

< Why aren’t things the way I want them to be? > That is the question! So what is the answer? It is because you are being led by the script, because you are unaware of the fact, because you don’t compose reality yourself but simply exist within it, like fish in an aquarium, or more precisely, like snails.

你不斷處於植物狀態，只是偶爾醒來並意識到你在睡覺，這證明你被劇本引導。為什麼你認為你忘記了你的注意力？是因為心不在焉嗎？不，是因為你被劇本引導。

The fact that you are constantly in a vegetative state and only occasionally wake up and realise that you were sleeping, proves that you are being led by the script. Why did you think that you forget about your attention? From absent-mindedness? No, it is because you are being led by the script.

你認為你在獨立行動，按自己的方式行事，但這只是一種幻覺。如果我可以提醒你，行動的幻覺在於如此沉浸在現實中，以至於你沒有注意到幻覺，並且沒有意識到你是遊戲中聽話的角色。

You think that you are acting independently, getting your own way, but that’s just an illusion. The illusion of action, if I may remind you, lies in being so caught up in reality that you don’t notice the illusion and aren’t aware that you are the obedient character of a game.

這就像一部電影。電影中的角色也沒有完全意識到他們的處境。我不是指演員，而是特指電影中的英雄。演員可能早已去世，但他們所扮演的角色每次有人觀看電影時都會復活。你不覺得奇怪嗎？從技術上講，這沒什麼奇怪的——只是拍攝在膠卷上的生活場景。然而，這非常奇怪，不是嗎？

It is literally like a film. The characters in a film don’t fully realise their situation either. I am not referring to the actors but the heroes of the film specifically. The actors may be long dead, but the characters they played come to life every time someone watches the film. Don’t you find it strange? Technically speaking, there is nothing strange about it — just scenes from life shot on a roll of film. And yet, it is very strange, isn’t it?

你們發明電影不是因為你們自己想出了這個主意，而是因為這個現實的方面已經存在。你無法想出任何新的東西，這些東西在清醒的現實中已經存在或尚未明顯顯現。你擁有電影的唯一原因是因為你生活在一部電影中。電影是現實的模型。

You invented films not because you came up with the idea yourselves, but because this aspect of reality already exists. You cannot come up with anything new, that does not already exist in waking reality or that is not yet explicitly manifest. The only reason you have film is that you are living in a motion picture. Film is a model of reality.

同樣奇怪的是，作為角色的你們，與電影中的英雄不同，被賦予了意識。這是一個悖論——現實的玩笑。然而，你仍然有機會。儘管在你問自己問題的那一刻你完全存在且自我意識，但其餘時間你的意識在沉睡，屈服於外在的劇本。

Equally as strange is the contradiction whereby you, as characters, unlike the heroes of a motion picture, are endowed with consciousness. It is a paradox — reality’s a joke. And still, you have a chance. Although you are fully present and self-aware in the moment that you ask yourself the question, the rest of the time your awareness is sleeping and surrenders to the outer script.

更不可思議的是，你並不因為自己只是劇本中的沉睡角色而感到震驚，儘管你應該感到震驚。你不感到震驚的原因是你無法看穿行動的幻覺。它非常強大。當我說“你被劇本引導”時，你根本不認真對待。你認為這是一個玩笑或某種神秘的幻想。這是真的！

What is also incredible is that you aren’t shocked by the idea that you are merely sleeping characters in a script, although you should. The reason it doesn’t shock you is that you aren’t capable of seeing through the illusion of action. It is very powerful. You simply don’t take it seriously when I say, “You are being led by the script.” You think it is a joke or some kind of esoteric fantasy. It’s true!

即使你相信我的話，你也沒有完全意識到這一點，就像電影中的角色沒有意識到他們是電影中的角色一樣。但也許有一天，當你對現實進行實驗後，會有那麼一刻你會深刻意識到這一點。然後你真的會感到震驚。

And even when you take me at my word, you aren’t fully aware of it, just like the characters in a film aren’t aware that they are characters in a film. But perhaps, one day, after you have experimented with reality, the moment will come when you will be acutely aware of it. And then you really will be shocked.

但現在……你只是模糊地懷疑劇本的存在——命運的現象。然而，命運只是一個總體方向。你可以選擇你的命運，就像選擇一條路，但你選擇命運的方向越來越糟，因為你在生活中看到的更多是壞處而不是好處；而且因為你並沒有真正選擇；相反，你不遺餘力地控制一切，從而造成更多的壞處。

But for now... you only vaguely suspect the existence of the script — the phenomenon of fate. Yet fate is just a general di-rection. You can choose your fate, like a road, but you are twerps that you choose fate in a worsening direction because you see harm rather than advantage in life; and also because you do not really choose; instead you go out of your way to control everything, thereby creating even more harm.

劇本比你對命運的感知要嚴格和精確得多。它是一個程序，規定了你在當前膠卷上的行為和所有行動。無法控制劇本。你所能做的就是通過創造和諧的現實來選擇不同的劇本。

The script is much more strict and precise than your perception of fate. It is a program that dictates your behaviour and all your actions on the current film roll. It is not possible to control the script. All you can do is choose a different one by composing a concordant reality.

由於你習慣於這樣做並且有這樣的幻覺，認為這樣的事情對你來說甚至是可能的，所以試圖控制劇本是很有誘惑力的。當你試圖對人和事件施加直接影響時，你犯了一個錯誤，導致一系列負面行動和不利影響。

It is tempting to try and control the script, given your habit of doing so and the illusion that such a thing is even possible for you. When you try to exert direct influence on people and events, you are making a mistake that leads to a whole series of negative actions and adverse effects.

然後劇本開始以一種方式運行，使得你現實中的雲層只能變得更重。然後你會發現自己像迷宮中的老鼠一樣，尋找出路，這既累人又無效。

Then the script begins to move in such a way that the clouds on the horizon of your reality can only get heavier. And then you will find yourself like a rat in a maze, looking for a way out, which is gruelling and unproductive.

你必須明白，無法直接影響局部劇本或事件的總體進程。你只能抓住現實畫布的邊緣，利用其一些組成部分。尋找優勢就是其中之一。如果你不明白這一點，我會消滅你們所有人。我不需要笨蛋！我有一個叫“刪除”的按鈕；它可以取消一切……或者抹去它，我不記得確切是哪個；我應該檢查一下。

You must understand that it is not possible to directly influence either the local script or the general course of events. You can only grasp the edge of the canvas of reality and make use of some of its components. Seeking the advantage is one of those components. And if you don’t get this, I’ll annihilate you all. Dimwits I can do without! I have a button called ‘Delete’; it countermands everything... or erases it, I don’t remember which exactly; I should check.