紙人

Paper person

我們接下來還要研究什麼？你是否打瞌睡了？還記得嗎？那就是現場漫步技術。別擔心，我的小羊們，這並不難，只需要定期且系統性地練習。如果你還沒試過，只是閱讀或傾聽我的講解，或者瞪大雙眼看著我，那就趕快動手，輕鬆掌握就在眼前。

What are we continuing to study? Have you fallen asleep? Do you remember? The live stroll technique. Don’t worry, my lambs, it’s not that difficult. It just requires practise — regular, systematic practice. If you have not tried it yet, and have only read about it, or listened or stared at me wide-eyed, try it. You’ll do it easily.

正是外在意向 (Intention)，而非內在意向 (Intention)，在推動著那部電影膠卷的轉動。

The outer, not inner intention propels the frame.

外在意向 (Intention) 是一種力量，一個驅動現實的推動者；

The outer intention is a kind of Power, a driver of reality.

而元力量 (meta-power) 則是力量(Power) 的反應成分。

Meta-power is the reactive component of Power.

辮子就是你的外在中心，也是你通往力量(Power) 的切入點。

The plait is your outer centre, your access point to Power.

力量(Power) 是透過辮子這一媒介以間接方式運用，就如同元力量 (meta-power) 一般。

Power is used indirectly, like meta-power, through the medium of the plait.

當你激活辮子並構築出自己的現實時，元力量 (meta-power) 就開始發揮作用。

Meta-power sets in when you activate the plait and compose your reality.

因此，當你全然覺察並以意向 (Intention) 的力量推動自己時，你便在影片中進行現場漫步；若非如此，你就不是完全生動的，也根本算不上在行走，只是在履行預設的角色。

And so, you take a live stroll through a film when you are fully present and move with the power of intention. Failing this you are not fully live, and you aren’t walking at all; you’re just fulfilling a prescribed role.

我還能怎麼冒犯你？當你失去覺察時，你就不再是完整的自己；你根本不存在，僅僅宛如書中的一個虛構角色，就像把一個紙人剪下夾在書頁之間——這正是你現在的狀態。

How else can I offend you? When your awareness is absent, you are not fully yourself; you aren’t there at all. You are just a fictional character, like an illustration in a book. You could cut a figure out of paper and insert it between the pages of a book. That is what you are.

紙製的人能做些什麼？更不用說那紙蝸牛了——只能像書中的囚犯般靜坐。其中唯一區別你與純粹虛構角色的，是那偶爾閃現的自我覺察：當你驚呼「為什麼一切都不如我所願？」時，那便是唯一的不同。

What can a paper person do, to say nothing of a paper snail? Sit like a prisoner in a book, that’s all. All that distinguishes you from a purely fictional character, are rare glimmers of self-awareness, when you exclaim: why isn’t everything the way I want it to be? That is where the difference ends.

一切不如你所願，是因為你總是以那微不足道的小意向 (Intention) 頭腦行事。你渴望被愛、受尊重、得到幫助或被給與，所以你以孩子氣的方式要求：愛我、尊重我、幫助我、給我。

Everything isn’t the way you want it to be, because you always act head on, with your petty intention. You want to be loved, respected, helped with something, given something, and so you demand in a childish manner: love me, respect me, help me, give me.

從外在看去，場景是這樣的：你站在鏡前，伸出雙手大叫「把它給我！」，試圖拉近鏡中的倒影；而倒影也同你作出同樣回應。它不會給你什麼，只會奪走。事實上，就像鏡中所呈現的，你總會收到你所有心理態度與行動的反饋——你發出什麼，最終便回到你身上。

From the outside, this is what the scene looks like: you are standing in front of a mirror, reaching out your hands and shouting “Give it to me!”, trying to pull the reflection closer. The reflection responds by doing the same. It does not give, it takes away. In reality, as in the mirror, you always get the reflection of all your mental attitudes and actions. As the message, so the response, what you put out is what you get back.

你大概不記得了（畢竟你記不住，對吧？），但正如我所說，即使在分心、無覺察的狀態下，你仍在某種程度上構築著自己的現實——雖然遠不如當你全神貫注、運用辮子並以意向 (Intention) 行動時那樣有效，尤其在你全心抵抗某事之際。現實通常會以鏡像般的方式回應；你投射出去的，終究會反饋回來。

You probably don’t remember (for you don’t, do you?), but as I have already said, even in a state of distraction and non-awareness, you still compose your own reality to some degree, not as effectively as you do with awareness and intention, with the plait, but you are still composing it nonetheless, particularly when you are wholeheartedly set against something. Reality, as a rule, gives a mirror-like response. What you give out, is what you get back.

然而，現實並非普通的鏡子，而是一面充滿悖論的鏡子。其悖論在於，當你凝望它時，並不會客觀地看見真實的自己，因為那倒影正是環繞你的物理環境——當前幀；而你卻完全沈浸在這倒影中，彷彿你的自我被黏貼在這部影片上，如同書中的虛構插圖。

Reality, however, isn’t like a normal mirror, it’s a paradoxical mirror. Its paradox lies in the fact that when you look into it, you don’t see yourself objectively as you really are. This is because the reflection is the set of physical circumstances that surrounds you — the current frame. Your attention is totally immersed in that reflection. This means, that your Self is literally pasted into the motion-picture like a fictional character or an illustration in a book.

作為影片中的角色，你無法以任何方式改變或調整這倒影，也無法推動自己向前；你的「我」會融入幀中並消失不見。只有當你把注意力從這部影片或鏡子中抽離（兩者意義相同）時，你才能獲得推動自己與外界前行的能力。

Being a character inside a film, you aren’t capable of changing or shifting the reflection in any way. You can’t propel yourself ahead either; your ‘I’ dissolves into the frame and ceases to exist. You acquire the ability to propel yourself ahead and things outside of yourself when you pull your attention away from the motion-picture, or away from the mirror, which amounts to the same thing.

你的身體依然停留在倒影中，但你的注意力則聚焦於鏡外，注視著那倒影的一面。於是，你看到自己站在鏡前，看見現實正映射出你所有的思想與行為。只有當你在此見到自己、面對鏡子時，你才能以讓倒影呈現出「一切都如我所願」的方式推動自己向前。

Your body remains inside it, in the reflection, but your attention is focused here, outside of the mirror, on the side of the image that is being reflected. And then, you see yourself standing in front of a mirror, and you see reality as a reflection of all your thoughts and actions. Only when you see yourself here, standing facing the mirror you are able to propel yourself forward in such a way that “everything is how I want it to be” in the reflection.

你大概從未預料到（畢竟你確實沒有，是吧？），但我們再次談論的是你的存在。你就是你的注意力：要麼你是真正活著的個體，要麼你就像紙人一樣不存在。只有當你的注意力聚焦在能讓你同時觀察自己與現實的場所時，你才真正存在於這部影片中。實際上，無論螢幕位於何處，你總能發現鏡子也在那裡。

As you probably won’t have guessed (for you haven’t, have you?) we are talking once again about your presence. You are your attention. You are either a living individual and you exist, or you are a paper person and you don’t exist. You are only present in the film when your attention is focused on the auditorium, where you can see both yourself and reality. In essence, wherever the screen is, you’ll find the mirror too.

普通螢幕或鏡子與現實螢幕或鏡子的區別在於，在現實中圖像與倒影是重疊在一起的；你所見到的是一個整體，而不是被某個表面分割成兩部分的圖像。但這並未改變事物的本質。你的日常現實乃由你的思想和行動創造而成；如果你站在鏡前或螢幕前，自覺地推動自己，那麼倒影也會保持一致——這就等於是在拍攝你自己的影片，你自己的現實。

The difference between a normal screen or mirror and the reality screen or mirror is that, in reality, the image and its reflection are superimposed. You observe one image around you, not an image separated by a surface into two. But that doesn’t change the essence of the thing. Your everyday reality is created by your thoughts and actions. If, when standing in front of the mirror or screen, you propel yourself consciously, then the reflection will look the same. When you do this, you are practically shooting your own film, your own reality.

為了拍攝屬於你自己的影片，首先你必須覺醒並全然存在。試想你已在一部影片中獲得生命，你不再只是觀看影片，而是真正生活其中。感受它，睜開雙眼，以全新的視角審視周遭的一切，刷新你的看法，你會發現色彩變得更豐富。接著，設想一下，若你不僅僅是影片中的一個角色，而是能以客觀旁觀者的身份存在，會是怎樣的感覺？但事實上，你以內在者的身分進入了這部影片，只有你自己知道。在肉體上你身處於影片之中，而在覺察中你卻站在影片之外——感受你的個體性，體驗你的存在。

The first thing you must do in order to shoot your own film, is to wake up and become fully present. Imagine that you have come to life inside a film. You aren’t watching the film as you usually do; you are living in it. Feel it. Open your eyes and look at everything that surrounds you afresh. Refresh your view. You’ll notice that the colours are richer. And now, imagine how you would feel to be not a character in a film but an objective outsider. But you have entered the film as an insider. No-one knows except you. In body, you are inside the film, but in your awareness, you are outside of it. Feel your individuality, your presence.

其次，在你開始渴求、期待甚至向他人和現實索求任何東西之前，必須先想像自己正站在鏡前，自問：我需要怎麼做，才能讓鏡中的倒影與我彼此呼應？顯然，你必須採取第一步。別再用過去那種獨占大多部分蛋糕、不斷重複「給，給，給……」(give, give, give)的方法；而是要覺醒並意識到，現實之鏡只是單純地模仿你的動作。如果你渴望得到某物，必須先付出相似的東西。究竟該付出什麼並不重要，只需將你那句「給我」換成相反的「來，收下」(here, take)。如此一來，彷彿施展了魔法般，在倒影中你將獲得你所期盼的——你投射出去的，正是你最終收到的。

Second. Before you start desiring, expecting, and asking something of other people and reality, you must imagine that you are standing in front of a mirror and asking yourself the question: what must I do for the reflection to meet me half way? Obviously, you have to make the first move. Instead of your usual manner of claiming the larger portion of the cake for yourself and harping on “give, give, give...”, you wake up and realise that the reality mirror is simply repeating your movements. And if you want to receive something, you must first give something similar. It doesn’t actually matter what that is. Simply, replace your ‘give me’ with the opposite, ‘here, take’. Then, as if by magic, in the reflection, you will receive the very thing you wanted. What you give out is what you get back.

紙人

Paper person

我們在繼續學習什麼？你睡著了嗎？你還記得嗎？活著走過的技巧。別擔心，我的小羊羔們，這並不難。只需要練習——定期、系統的練習。如果你還沒有嘗試過，只是讀過、聽過或瞪大眼睛看著我，那就試試吧。你會輕鬆做到的。

What are we continuing to study? Have you fallen asleep? Do you remember? The live stroll technique. Don’t worry, my lambs, it’s not that difficult. It just requires practise — regular, systematic practice. If you have not tried it yet, and have only read about it, or listened or stared at me wide-eyed, try it. You’ll do it easily.

外在意圖推動幀，而不是內在意圖。

The outer, not inner intention propels the frame.

外在意圖是一種力量，是現實的驅動力。

The outer intention is a kind of Power, a driver of reality.

元力量是力量的反應成分。

Meta-power is the reactive component of Power.

辮子是你的外在中心，是你接觸力量的入口。

The plait is your outer centre, your access point to Power.

力量是通過辮子這一媒介間接使用的，就像元力量一樣。

Power is used indirectly, like meta-power, through the medium of the plait.

當你激活辮子並創造你的現實時，元力量開始運作。

Meta-power sets in when you activate the plait and compose your reality.

因此，當你完全存在並用意圖的力量移動時，你在電影中活著走過。若未能做到這一點，你就不是真正活著，也根本沒有在行走；你只是在履行一個預定的角色。

And so, you take a live stroll through a film when you are fully present and move with the power of intention. Failing this you are not fully live, and you aren’t walking at all; you’re just fulfilling a prescribed role.

我還能怎麼冒犯你呢？當你的意識缺席時，你就不是真正的自己；你根本不存在。你只是一個虛構的角色，就像書中的插圖一樣。你可以把一個紙人剪下來，插在書頁之間。這就是你的樣子。

How else can I offend you? When your awareness is absent, you are not fully yourself; you aren’t there at all. You are just a fictional character, like an illustration in a book. You could cut a figure out of paper and insert it between the pages of a book. That is what you are.

紙人能做什麼，更不用說紙蝸牛了？像囚犯一樣坐在書中，僅此而已。區別於純粹虛構角色的唯一之處，是你偶爾的自我意識閃現，當你驚呼：為什麼一切都不是我想要的樣子？這就是區別的終點。

What can a paper person do, to say nothing of a paper snail? Sit like a prisoner in a book, that’s all. All that distinguishes you from a purely fictional character, are rare glimmers of self-awareness, when you exclaim: why isn’t everything the way I want it to be? That is where the difference ends.

一切都不是你想要的樣子，因為你總是用你的小意圖直接行動。你想被愛、被尊重、被幫助，想得到一些東西，所以你以孩子氣的方式要求：愛我，尊重我，幫助我，給我。

Everything isn’t the way you want it to be, because you always act head on, with your petty intention. You want to be loved, respected, helped with something, given something, and so you demand in a childish manner: love me, respect me, help me, give me.

從外面看，這場景是這樣的：你站在鏡子前，伸出雙手喊著“給我！”，試圖把倒影拉近。倒影也做同樣的事。它不給予，而是奪走。現實中，就像在鏡子裡，你總是得到你所有心態和行動的反映。信息如何，回應就如何，你發出的就是你得到的。

From the outside, this is what the scene looks like: you are standing in front of a mirror, reaching out your hands and shouting “Give it to me!”, trying to pull the reflection closer. The reflection responds by doing the same. It does not give, it takes away. In reality, as in the mirror, you always get the reflection of all your mental attitudes and actions. As the message, so the response, what you put out is what you get back.

你可能不記得了（因為你不記得，是嗎？），但正如我已經說過的，即使在分心和無意識的狀態下，你仍然在某種程度上創造自己的現實，雖然不如在意識和意圖、辮子的幫助下那樣有效，但你仍然在創造，特別是當你全心全意地反對某件事時。現實通常會給出鏡像反應。你發出的就是你得到的。

You probably don’t remember (for you don’t, do you?), but as I have already said, even in a state of distraction and non-awareness, you still compose your own reality to some degree, not as effectively as you do with awareness and intention, with the plait, but you are still composing it nonetheless, particularly when you are wholeheartedly set against something. Reality, as a rule, gives a mirror-like response. What you give out, is what you get back.

然而，現實不像普通的鏡子，它是一面悖論鏡。它的悖論在於，當你看進去時，你並不能客觀地看到真實的自己。這是因為倒影是圍繞你的物理環境——當前的幀。你的注意力完全沉浸在那個倒影中。這意味著，你的自我字面上被貼在電影中，就像虛構角色或書中的插圖一樣。

Reality, however, isn’t like a normal mirror, it’s a paradoxical mirror. Its paradox lies in the fact that when you look into it, you don’t see yourself objectively as you really are. This is because the reflection is the set of physical circumstances that surrounds you — the current frame. Your attention is totally immersed in that reflection. This means, that your Self is literally pasted into the motion-picture like a fictional character or an illustration in a book.

作為電影中的角色，你無法以任何方式改變或移動倒影。你也無法推動自己前進；你的“我”融入幀中，消失不見。當你將注意力從電影中或鏡子中抽離時，你獲得了推動自己和外界事物的能力，這兩者實際上是同一回事。

Being a character inside a film, you aren’t capable of changing or shifting the reflection in any way. You can’t propel yourself ahead either; your ‘I’ dissolves into the frame and ceases to exist. You acquire the ability to propel yourself ahead and things outside of yourself when you pull your attention away from the motion-picture, or away from the mirror, which amounts to the same thing.

你的身體仍然在其中，在倒影中，但你的注意力集中在這裡，鏡子之外，集中在被反映的圖像一側。然後，你看到自己站在鏡子前，看到現實是你所有思想和行動的反映。只有當你看到自己站在鏡子前時，你才能推動自己前進，以便在倒影中“所有事情都如我所願”。

Your body remains inside it, in the reflection, but your attention is focused here, outside of the mirror, on the side of the image that is being reflected. And then, you see yourself standing in front of a mirror, and you see reality as a reflection of all your thoughts and actions. Only when you see yourself here, standing facing the mirror you are able to propel yourself forward in such a way that “everything is how I want it to be” in the reflection.

你可能沒有猜到（因為你沒有，是嗎？），我們再次在談論你的存在。你就是你的注意力。你要麼是一個活生生的個體並存在，要麼是一個紙人並不存在。只有當你的注意力集中在觀眾席上時，你才在電影中存在，在那裡你可以看到自己和現實。本質上，無論屏幕在哪裡，你都會找到鏡子。

As you probably won’t have guessed (for you haven’t, have you?) we are talking once again about your presence. You are your attention. You are either a living individual and you exist, or you are a paper person and you don’t exist. You are only present in the film when your attention is focused on the auditorium, where you can see both yourself and reality. In essence, wherever the screen is, you’ll find the mirror too.

普通屏幕或鏡子與現實屏幕或鏡子的區別在於，現實中，圖像及其倒影是重疊的。你觀察到的是你周圍的一個圖像，而不是被表面分成兩個的圖像。但這並不改變事物的本質。你的日常現實是由你的思想和行動創造的。如果，當你站在鏡子或屏幕前時，你有意識地推動自己，那麼倒影會看起來一樣。當你這樣做時，你實際上是在拍攝自己的電影，自己的現實。

The difference between a normal screen or mirror and the reality screen or mirror is that, in reality, the image and its reflection are superimposed. You observe one image around you, not an image separated by a surface into two. But that doesn’t change the essence of the thing. Your everyday reality is created by your thoughts and actions. If, when standing in front of the mirror or screen, you propel yourself consciously, then the reflection will look the same. When you do this, you are practically shooting your own film, your own reality.

要拍攝自己的電影，首先要做的是醒來並完全存在。想像一下你在電影中活過來了。你不是像往常一樣觀看電影；你生活在其中。感受它。睜開眼睛，重新看待周圍的一切。刷新你的視野。你會注意到顏色更加豐富。現在，想像一下你不是電影中的角色，而是一個客觀的旁觀者。但你已經作為內部人進入了電影。除了你，沒有人知道。你的身體在電影中，但你的意識在電影之外。感受你的個性，你的存在。

The first thing you must do in order to shoot your own film, is to wake up and become fully present. Imagine that you have come to life inside a film. You aren’t watching the film as you usually do; you are living in it. Feel it. Open your eyes and look at everything that surrounds you afresh. Refresh your view. You’ll notice that the colours are richer. And now, imagine how you would feel to be not a character in a film but an objective outsider. But you have entered the film as an insider. No-one knows except you. In body, you are inside the film, but in your awareness, you are outside of it. Feel your individuality, your presence.

第二。在你開始渴望、期待和向其他人和現實要求什麼之前，你必須想像自己站在鏡子前，問自己一個問題：我必須做什麼才能讓倒影與我相遇？顯然，你必須先行一步。與其像往常一樣為自己爭取更大的一塊蛋糕並不斷要求“給我，給我，給我……”，不如醒來並意識到現實鏡子只是在重複你的動作。如果你想得到什麼，你必須先給予類似的東西。實際上這是什麼並不重要。簡單地將你的“給我”替換為相反的“給你”。然後，就像魔法一樣，在倒影中，你會得到你想要的東西。你發出的就是你得到的。

Second. Before you start desiring, expecting, and asking something of other people and reality, you must imagine that you are standing in front of a mirror and asking yourself the question: what must I do for the reflection to meet me half way? Obviously, you have to make the first move. Instead of your usual manner of claiming the larger portion of the cake for yourself and harping on “give, give, give...”, you wake up and realise that the reality mirror is simply repeating your movements. And if you want to receive something, you must first give something similar. It doesn’t actually matter what that is. Simply, replace your ‘give me’ with the opposite, ‘here, take’. Then, as if by magic, in the reflection, you will receive the very thing you wanted. What you give out is what you get back.