Tufti the priestess

Tufti the Priestess 31--35的思维导图，31. The three achievements way、32. You are brilliant、33. The imitation technique、34. Thought forms、35. Thought markers.

Tufti the Priestess

• Cover
• Meet the new world sensation. It’s Tufti.
  • Why is it that nothing seems to work out the way you want it to, despite the fact that you act according to your own free will? You might think that the reason why nothing is working out the way you want, is because that’s just how life is. But the real reason things don‘t work out the way you want them to, is because you aren‘t acting according to your own free will--you are being directed by a script. Another reason things don‘t work out the way people want them to, is because they don‘t know how to take the right action to shape events the way they want. Rather than composing the reality of the upcoming film roll, they tend to battle with the reality they face in the current frame. Reality exists only in the here and now, and what is real is real only to the extent that it has taken place in the material world.
    • Why is it that nothing seems to work out the way you want it to, despite the fact that you act according to your own free will?
    • 为什么尽管你按照自己的自由意志行事，似乎都没有事情按照你想要的方式发展?
    • You might think that the reason why nothing is working out the way you want, is because that’s just how life is.
    • 你可能会认为，为什么没有事情会按照你想要的方式发展，是因为生活就是这样。
    • But the real reason things don‘t work out the way you want them to, is because you aren‘t acting according to your own free will--you are being directed by a script.
    • 但事情没有按照你想要的方式发展的真正原因，是因为你没有按照自己的自由意志行事——你正在被一个脚本所引导。
    • Another reason things don‘t work out the way people want them to, is because they don‘t know how to take the right action to shape events the way they want.
    • 事情没有按照人们希望的方式发展的另一个原因是，他们不知道如何采取正确的行动来塑造他们想要的方式。
    • Rather than composing the reality of the upcoming film roll, they tend to battle with the reality they face in the current frame.
    • 他们倾向于在当前的画面中与他们所面对的现实作斗争，而不是为即将到来的胶卷构图。
    • Reality exists only in the here and now, and what is real is real only to the extent that it has taken place in the material world.
    • 现实只存在于此时此地，真实的东西只有在物质世界中发生时才是真实的。
  • You cannot change what has already happened. Yet when you fight with your current reality, that is exactly what you are doing, because everything that surrounds you consists of something that has already happened. If you want to change the script, you have to wake up and come alive inside the movie.
    • You cannot change what has already happened.
    • 你无法改变已经发生的事情。
    • Yet when you fight with your current reality, that is exactly what you are doing, because everything that surrounds you consists of something that has already happened.
    • 然而，当你与你当前的现实斗争时，那正是你正在做的，因为你周围的一切都是由已经发生的事情组成的。
    • If you want to change the script, you have to wake up and come alive inside the movie.
    • 如果你想改变角本，你必须在电影中清醒过来。
• Contents
  • 1. Introduction
  • 2. Two screens
  • 3. A stroll through a dream
  • 4. First entry into reality
  • 5. Tracking your attention
  • 6. Composing reality
  • 7. The intention plait
  • 8. How to work with the plait
  • 9. The illusion of action
  • 10. How to escape a trap
  • 11. Reprogramming
  • 12. Transformation
  • 13. Meta-power
  • 14. Imitating action
  • 15. Being Present
  • 16. Advantage
  • 17. Allowing
  • 18. The script
  • 19. The Creator’s Spark
  • 20. Dictates of Power
  • 21. Following
  • 22. Outer Power
  • 23. Paper person
  • 24. Composing the image
  • 25. Communicating with the mirror
  • 26. Manipulation
  • 27. Composing the reflection
  • 28. Fatal dilemma
  • 29. You are amazing
  • 30. You are perfect
  • 31. The three achievements way
  • 32. You are brilliant
  • 33. The imitation technique
  • 34. Thought forms
  • 35. Thought markers
  • 36. Greedy catchers
  • 37. Sweet harmony
  • 38. Plait with threads
  • 39. The power of past incarnations
  • 40. Infinity in infinity
  • 41. Conclusion
  • 42. Methods
  • 43. Review of basic principles

Tufti the Priestess 01--05

• 2023.07.01，02
• 1. Introduction
  • Hello, hello, my little freaks!
    • 你好，你好，我的小怪物们!
  • You don’t remember me, but I am Tufti and I’ve come to you from Time. Time is eternal. From Eternity you can go wherever you like, whenever you like.
    • You don’t remember me, but I am Tufti and I’ve come to you from Time.
    • 你不记得我了，但我是塔夫提，我从时间来到你这里。
    • Time is eternal.
    • 时间是永恒的。
    • From Eternity you can go wherever you like, whenever you like.
    • 从永恒开始，你可以随时随地去你想去的地方。
  • Three thousand years ago, I was a priestess of the Temple of Isis. Who I am now, I will divulge sometime later. The important thing is that I know who you are. And I’ll tell you about that in due course, for you already know who you are, right?
    • Three thousand years ago, I was a priestess of the Temple of Isis.
    • 三千年前，我是伊西斯神庙的女祭司。
    • Who I am now, I will divulge sometime later.
    • 我现在是谁，稍后我会透露。
    • The important thing is that I know who you are.
    • 重要的是我知道你是谁。
    • And I’ll tell you about that in due course, for you already know who you are, right?
    • 我会在适当的时候告诉你，因为你已经知道你是谁了，对吧?
  • You have been brought into the world deprived of a ‘Self instruction manual’. Of course, they taught you to wash your hands, change your nappies... But you don’t know any more than that, either about yourself or the world.
    • You have been brought into the world deprived of a ‘Self instruction manual’.
    • 你们被带到这个世界，但被剥夺了“自我指导手册”。
    • Of course, they taught you to wash your hands, change your nappies...
    • 当然，他们教你洗手，换尿布……
    • But you don’t know any more than that, either about yourself or the world.
    • 但除此之外，你对自己和世界都一无所知。
  • For example, you think, you have your own opinion, whereas, in fact, that opinion was implanted in you. You think that you are in control of your actions, whereas, in fact, it is much more important to control your thoughts. Can you? No, you’re just little, brainless idiots. It makes me want to slap you.
    • For example, you think, you have your own opinion, whereas, in fact, that opinion was implanted in you.
    • 例如，你认为，你有自己的观点，然而，事实上，这种观点是植入你头脑的。
    • You think that you are in control of your actions, whereas, in fact, it is much more important to control your thoughts.
    • 你以为你能控制你的行为，然而，事实上，控制你的思想更重要。
    • Can you?
    • 你能吗?
    • No, you’re just little, brainless idiots.
    • 不，你们只是些没脑子的小白痴。
    • It makes me want to slap you.
    • 这让我想扇你一巴掌。
  • I know, you’re lonely, unhappy, and think nobody loves you. But I love you. And I’ll tell you.
    • 我知道，你很孤独，不开心，觉得没人爱你。但我爱你。我来告诉你。
  • I’ll tell you how the world works and what is really happening. I’ll tell you, why you’re here and what to do with your life because you don’t know, what to do with your life, do you? You see! Get comfortable on your potties and listen.
    • I’ll tell you how the world works and what is really happening.
    • 我会告诉你这个世界是如何运转的，到底发生了什么。
    • I’ll tell you, why you’re here and what to do with your life because you don’t know, what to do with your life, do you?
    • 我来告诉你，你为什么在这里，你的人生该怎么过? 因为你不知道，你的人生该怎么过，对吧?
    • You see!
    • 你看!
    • Get comfortable on your potties and listen.
    • 舒服地坐在便盆上，倾听。
  • Let’s start with the fact that reality is not quite as you imagine it to be. Reality is multi-layered like an onion. You are familiar with two layers only: the physical reality in which you live, and the dream space that you see when you fall asleep every night.
    • Let’s start with the fact that reality is not quite as you imagine it to be.
    • 让我们从现实并不完全像你想象的那样这个事实开始。
    • Reality is multi-layered like an onion.
    • 现实像洋葱一样是多层的。
    • You are familiar with two layers only: the physical reality in which you live, and the dream space that you see when you fall asleep every night.
    • 你只熟悉两层:你生活的物质现实，以及你每晚入睡时看到的梦境。
  • The dream space is not a figment of your imagination; it is real and takes the form of something like a film archive, in which everything is stored that ever was, will be or ever could be.
    • The dream space is not a figment of your imagination;
    • 梦的空间不是你想象的虚构;
    • it is real and takes the form of something like a film archive, in which everything is stored that ever was, will be or ever could be.
    • 它是真实的，采取了类似电影资料馆的形式，其中存储了所有曾经存在，将会存在或可能存在的东西。
  • When you dream, you are watching one of the films from the archive. In this sense, your dream is real and an illusion at the same time. The film you are watching is virtual, while the film roll itself is material.
    • When you dream, you are watching one of the films from the archive.
    • 当你做梦的时候，你正在看资料馆里的一部电影。
    • In this sense, your dream is real and an illusion at the same time.
    • 从这个意义上说，你的梦是真实的，同时也是一种幻觉。
    • The film you are watching is virtual, while the film roll itself is material.
    • 你正在看的电影是虚拟的，而胶卷本身是物质的。
  • Reality is what has never been and never will be, and only is here and now. Reality exists only for a single moment, like a frame on a film roll, which moves from the past into the future.
    • Reality is what has never been and never will be, and only is here and now.
    • 现实是从未有过的，也永远不会有，只有此时此地。
    • Reality exists only for a single moment, like a frame on a film roll, which moves from the past into the future.
    • 现实只存在于一瞬间，就像胶卷上的一个画面，从过去走向未来。
  • Your life, or rather your essence--your soul--also moves from one incarnation into another. There was a time when you were all fish, dinosaurs and all kinds of crawling reptiles. Don’t kid yourself that you’ve moved on much since then. There is still a long way to crawl before reaching perfection, such as I, for example.
    • Your life, or rather your essence--your soul--also moves from one incarnation into another.
    • 你的生命，或者更确切地说，你的本质——你的灵魂——也会从一个化身转到另一个化身。
    • There was a time when you were all fish, dinosaurs and all kinds of crawling reptiles.
    • 曾几何时，你们都是鱼、恐龙和各种爬行动物。
    • Don’t kid yourself that you’ve moved on much since then.
    • 别骗自己说从那以后你已经发展很多了。
    • There is still a long way to crawl before reaching perfection, such as I, for example.
    • 在达到完美之前还有很长的路要走，比如我。
  • You don’t remember your previous incarnations because every incarnation is a separate life of your soul, a separate dream if you like.
    • You don’t remember your previous incarnations because every incarnation is a separate life of your soul, a separate dream if you like.
    • 你不记得你以前的化身，因为每一次化身都是你灵魂的一个单独的生命，如果你愿意，是一个单独的梦。
  • The soul is not dependent on the presence of the body. This is just one of the forms in which it can exist. The body is just a kind of bio-suit.
    • The soul is not dependent on the presence of the body.
    • 灵魂并不依赖于肉体的存在。
    • This is just one of the forms in which it can exist.
    • 这只是它存在的形式之一。
    • The body is just a kind of bio-suit.
    • 身体只是一种生命制服。
  • You may ask, what’s the point of all these transformations?
    • 你可能会问，所有这些变换的意义是什么?
  • Such are the fundamental qualities of reality and life: movement and transformation. A frame moves along a film roll; a caterpillar transforms into a butterfly; the butterfly lays its larvae; the larvae transform into caterpillars, and those, in turn, become butterflies.
    • Such are the fundamental qualities of reality and life: movement and transformation.
    • 这就是现实和生命的基本品质:运动和转变。
    • A frame moves along a film roll;
    • 一帧帧画面沿着胶卷移动;
    • a caterpillar transforms into a butterfly;
    • 毛毛虫变成蝴蝶;
    • the butterfly lays its larvae;
    • 蝴蝶产幼虫;
    • the larvae transform into caterpillars, and those, in turn, become butterflies.
    • 幼虫变成毛毛虫，而毛毛虫又变成蝴蝶。
  • At your current stage of evolution, you are caterpillars--small and unpleasant. That’s just how you are. I’m going to keep an eye on you.
    • At your current stage of evolution, you are caterpillars--small and unpleasant.
    • 在你们目前的进化阶段，你们是毛毛虫——又小又讨厌。
    • That’s just how you are.
    • 你就是这样的人。
    • I’m going to keep an eye on you.
    • 我会盯着你的。
  • So, listen. Sleeping and waking life are roughly the same thing. In the early years, you did not distinguish your dreams from reality. You don’t remember it now, but back then, you did not think there was a boundary or any difference between this world and that. Then the grown-ups explained to you that the world of dreams is just a product of your imagination, that it isn’t real.
    • So, listen.
    • 所以,倾听。
    • Sleeping and waking life are roughly the same thing.
    • 睡眠和醒着的生活基本上是一样的。
    • In the early years, you did not distinguish your dreams from reality.
    • 早年，你分不清梦想和现实。
    • You don’t remember it now, but back then, you did not think there was a boundary or any difference between this world and that.
    • 你现在不记得了，但那时候，你不认为这个世界和那个世界有界限或任何区别。
    • Then the grown-ups explained to you that the world of dreams is just a product of your imagination, that it isn’t real.
    • 然后大人们向你解释说，梦的世界只是你想象的产物，它不是真实的。
  • In fact, you were fed a false belief. That world is just as real as this. It exists, just in another space. You move from one space to another when you wake up and when you fall asleep. Does that surprise you? Does it scare you?
    • In fact, you were fed a false belief.
    • 事实上，你被灌输了一个错误的信念。
    • That world is just as real as this.
    • 那个世界和这个世界一样真实。
    • It exists, just in another space.
    • 它存在，只是在另一个空间。
    • You move from one space to another when you wake up and when you fall asleep.
    • 当你醒来和入睡时，你从一个空间移动到另一个空间。
    • Does that surprise you?
    • 这让你感到惊讶吗?
    • Does it scare you?
    • 它吓到你了吗?
  • You got used to the idea, but, still, dreaming and the waking that follows the dream are like life and death. Life is the dream, death is the waking experience, but not the other way around, you see?
    • You got used to the idea, but, still, dreaming and the waking that follows the dream are like life and death.
    • 你已经习惯了这个想法，但是，做梦和梦后的清醒就像生与死一样。
    • Life is the dream, death is the waking experience, but not the other way around, you see?
    • 生是梦，死是醒着的经历，而不是反过来，明白吗?
  • Ok, my dears, let’s not run before we can walk; one step at a time. There are three similarities and one difference between dreams and waking. I’ll come to the difference a little later. The similarities are these:
    • Ok, my dears, let’s not run before we can walk;
    • 好了，亲爱的，在我们能走之前，我们不要跑;
    • one step at a time.
    • 一步一步来。
    • There are three similarities and one difference between dreams and waking.
    • 梦和醒有三个相似之处，一个不同之处。
    • I’ll come to the difference a little later.
    • 我稍后会讲到它们的区别。
    • The similarities are these:
    • 相似之处如下:
  • First. Both in waking and in dreaming, you are asleep. And because of this, you are helpless in both. This and the other reality exist independently of your will, but I will teach you to wake up, both in dreaming and in waking life.
    • First.
    • 第一。
    • Both in waking and in dreaming, you are asleep.
    • 无论是醒着还是做梦，你都在睡觉。
    • And because of this, you are helpless in both.
    • 正因为如此，你在这两方面都无能为力。
    • This and the other reality exist independently of your will, but I will teach you to wake up, both in dreaming and in waking life.
    • 这个现实和另一个现实独立于你的意志而存在，但我会教你在梦中和现实生活中醒来。
  • Second. In both spaces, reality moves like a frame in a film roll. Yet you don’t understand that because you only know how to see what is right underfoot. You lost the ability to look ahead when you started to believe what the grown-ups said about dreams not being real.
    • Second.
    • 第二。
    • In both spaces, reality moves like a frame in a film roll.
    • 在这两个空间里，现实就像胶卷上的画框一样移动。
    • Yet you don’t understand that because you only know how to see what is right underfoot.
    • 你们却不明白，因为你们只知道看见脚下的东西。
    • You lost the ability to look ahead when you started to believe what the grown-ups said about dreams not being real.
    • 当你开始相信大人说的梦不是真的，你就失去了向前看的能力。
  • Third. Here and there, the moving frame can be controlled. The reason you don’t control the movement is that your attention is stuck in the current frame. You’ll find out what this means in a bit, although finding out doesn’t necessarily mean understanding it. When you do understand it, however, you will be able to shift reality.
    • Third.
    • 第三。
    • Here and there, the moving frame can be controlled.
    • 这里和那里，移动的帧可以被控制。
    • The reason you don’t control the movement is that your attention is stuck in the current frame.
    • 你无法控制动作的原因是你的注意力被困在当前的画面中。
    • You’ll find out what this means in a bit, although finding out doesn’t necessarily mean understanding it.
    • 你很快就会知道这是什么意思，尽管这并不意味着你一定要理解它。
    • When you do understand it, however, you will be able to shift reality.
    • 然而，当你真正理解它时，你将能够改变现实。
• 2. Two screens
  • And so, my dears, we have arrived at three premises.
    • • Both in dreaming and in waking life, you are asleep.
      • •无论是在梦中还是在清醒的生活中，你都在睡觉。
    • • Dreams and everyday reality are a moving frame.
      • •做梦和日常现实是一个移动的帧。
    • • The frame’s movement ca be controlled, but you don’t know how to.
      • •帧的运动可以控制，但你不知道如何控制。
  • You don’t control the movement in your silly dreams and your sorry, little life, firstly, because you are asleep, and secondly, because you don’t even realize it is possible.
    • 在你愚蠢的梦和你可怜的小生命中，你无法控制运动，首先是因为你睡着了，其次是因为你甚至没有意识到这是可能的。
  • Let’s begin with something simple: what is sleep? Remember I said that when you were brought into the world, you were not given a Self -instruction manual? Ok, so you have two screens: an inner and an outer screen. You also have the faculty of attention. This is always directed either towards the inside or the outside--very rarely in-between. So, you are constantly asleep.
    • 让我们从一个简单的问题开始:什么是睡眠?还记得我说过，当你被带到这个世界时，你并没有得到一本自我指导手册吗?好的，你有两个屏幕:一个内屏幕和一个外屏幕。你也有集中注意力的能力。这总是指向内部或外部-很少介于两者之间。所以，你一直在睡觉。
  • When you are lost in thought, your attention is totally immersed in the inner screen. When this is the case, you may not notice what is happening around you and be acting on autopilot. Conversely, when your attention is occupied by something external, you forget yourself and, again, act reflexively.
    • 当你陷入沉思时，你的注意力完全沉浸在内心的屏幕上。在这种情况下，你可能不会注意到周围发生的事情，而是自动驾驶。相反，当你的注意力被外部事物占据时，你会忘记自己，并再次采取条件反射性行动。
  • This is what sleep is, a reflexive state, in which your attention is immersed either in the outer or the inner screen. In this kind of state, you are helpless, unable to control either yourself or what is happening to you.
    • 这就是睡眠，一种反射状态，在这种状态下，你的注意力要么沉浸在外部屏幕上，要么沉浸在内部屏幕上。在这种状态下，你是无助的，无法控制自己或发生在你身上的事情。
  • In this sense, sleeping and dreaming are not the same. Sleep is an anabiotic state. A dream is something you see, either in the dream space or in the waking space.
    • 从这个意义上说，睡觉和做梦是不一样的。睡眠是一种复苏的状态。梦是你在梦中或清醒时看到的东西。
  • Dreams and everyday reality are essentially the same. Reality is your waking dream. Reality is a dream and a dream is also reality. Why? You will understand very soon.
    • 梦和日常的现实本质上是一样的。现实是你清醒时的梦。现实是梦，梦也是现实。为什么?你很快就会明白的。
  • Now for the instructions: To wake up in a dream or waking reality, you must pull your attention away from the inner and outer screen and shift it to your awareness center.
    • 现在是指示:要在梦中或清醒的现实中醒来，你必须把你的注意力从内在和外在的屏幕上转移到你的意识中心。
  • You are quite capable of doing this. It’s easy. Tap your fingers around the area of your nose. Where were you just now? Were you flying in your dreams or were you admiring me wide-eyed, fabulous as I am? What was your attention immersed in, which screen? Where is it now?
    • 你很有能力做这件事。很容易。用手指在鼻子周围轻拍。你刚才在哪儿?你是在梦中飞翔呢，还是你在羡慕我睁大眼睛，像我这么棒?你的注意力集中在哪个屏幕上?它现在在哪里?
  • Find a midpoint between the two screens. From this point, you will be able to observe your thoughts and what is going on around you. You will be able to see the reality that surrounds you and yourself within this reality. Nothing is stopping you from watching both screens at the same time. You can do this.
    • 在两个屏幕之间找到一个中点。从这一点上，你将能够观察到你的想法和你周围发生的事情。你将能够看到围绕着你和你自己的现实。没有什么能阻止你同时看两个屏幕。你能做到的。
  • It’s just that nobody has ever told you it was possible, and it has never occurred to you that it might be a good idea. Grown-ups have told you to ‘look here,’ ‘listen to me’ and‘ do as I tell you’. You were taught to focus your attention on the outer screen.
    • 只是没有人告诉过你这是可能的，你也从来没有想过这可能是个好主意。大人们告诉你“看这里”、“听我的话”和“照我说的去做”。你被教导要把注意力集中在外部屏幕上。
  • When something does not work out, you fall into despair and sit alone with your unhappy thoughts about how small, helpless and unfortunate you are. You have chained yourselves to the inner screen as the only available refuge.
    • 当事情没有成功时，你会陷入绝望，独自坐在那里，想着自己是多么渺小、无助和不幸。你们把自己锁在内屏上，作为唯一的避难所。
  • Gradually, your attention got used to sticking to one screen or the other without resting in the middle. Eventually, you stopped controlling your attention entirely, so it does not obey you; it floats about of its own accord and you are constantly falling into a non-conscious state.
    • 渐渐地，你的注意力习惯了在一个屏幕或另一个屏幕上，而不是在中间休息。最终，你不再完全控制你的注意力，所以它不再服从你;它会自行漂浮，你会不断地陷入一种无意识的状态。
  • In this state, you are incapable of taking effective action. You may be deceived, hurt, frightened, robbed, even beaten, and still, you cannot respond adequately. You are constantly struggling with emotional complexes; you depend on external circumstances and chase after good luck.
    • 在这种状态下，你无法采取有效的行动。你可能被欺骗、伤害、惊吓、抢劫，甚至殴打，但你仍然不能做出适当的反应。你一直在与复杂的情绪作斗争;你依赖外部环境，追求好运。
  • You know who chases after good luck? Losers. That’s what you are--losers--because the level of your effectiveness in a non-conscious state is no more than 5-10%.
    • 你知道谁会追求好运吗?失败者。这就是你们——失败者——因为你们在无意识状态下的效率水平不超过5-10%。
  • It’s ok, don’t cry, my little ones, everything can be put right, and I’ll tell you how.
    • 没关系，别哭，我的孩子们，一切都会好起来的，我会告诉你们怎么做。
• 3. A stroll through a dream
  • In the last lesson, my dear ones, you learned that...
    • 在上一课中,亲爱的,你知道……
    • • Sleep is a condition in which your attention is immersed in a screen.
      • •睡眠是你的注意力沉浸在屏幕上的一种状态。
    • • You can sleep or not sleep in a dream as in waking reality.
      • •你可以在梦中睡觉或不睡觉，就像在现实中一样。
    • • To wake up, you must bring your attention to the awareness center.
      • 要醒来，你必须把你的注意力带到觉知中心。
  • Your awareness center is an observation point, from which you can see where your attention is directed in any one moment and what it is focusing on. At the same time, you see what you are doing and what is going on around you.
    • 你的觉知中心是一个观察点，从那里你可以看到你的注意力在任何一个时刻都集中在哪里，集中在什么地方。与此同时，你看到你在做什么，你周围发生了什么。
  • Now, wake up and ask yourself: Where am I? What am I doing? Where is my attention? Right now, you have just woken up and found yourself at the awareness point. Here I am, and this is the reality that surrounds me. I am aware. I can see myself and I can see reality.
    • 现在，醒来问问你自己:我在哪里?我在做什么?我的注意力在哪里?现在，你刚刚醒来，发现自己处于觉知点。我在这里，这就是我周围的现实。我知道。我能看到自己，也能看到现实。
  • This is an unfamiliar state for you, my precious ones. You only get occasional glimpses of it. The rest of the time, you are transfixed by either the inner or the outer screen. Now, try and hold the state of awareness for at least for an hour and see what happens. You’ll find it will be interesting.
    • 这对你们来说是一种陌生的状态，我的宝贝们。你只能偶尔瞥见它。剩下的时间，你要么被里面的屏幕，要么被外面的屏幕惊呆（牢牢地锁定）了。现在，试着保持这种意识状态至少一个小时，看看会发生什么。你会发现它很有趣。
  • It is best to do this in the morning after you have slept well and are feeling bright and happy. It is not worth trying it when you are in a bad mood: it won’t work.
    • 最好是在你睡得很好，感觉精神愉快的早晨做这件事。当你心情不好的时候，不值得尝试:它不会起作用的。
  • So, get into the observation point telling yourself: I see myself and I see reality. Set yourself the intention, ‘today I am going to stroll through a waking dream’. Then go for a walk, wherever you like, to work or to university, in this state of clarity.
    • 所以，进入观察点，告诉自己:我看到了我自己，我看到了现实。给自己设定一个目标，“今天我要在一个清醒的梦中漫步”。然后在这种清醒的状态下，散散步，去你喜欢的任何地方，去工作或去大学。
  • For the best effect, go to a place where nobody knows you, on a walk to a shopping center or an entertainment center. This will be a free walk through a dream.
    • 为了达到最佳效果，去一个没人认识你的地方，步行去购物中心或娱乐中心。这将是一次穿越梦想的自由漫步。
  • When you are immersed in either one of the screens, you are not yourself. You aren’t in control either of yourself or the situation. The opposite is true in fact: any situation can turn into a dream and control you.
    • 当你沉浸在其中一个屏幕时，你就不是你自己。你既无法控制自己，也无法控制局面。事实恰恰相反:任何情况都可能变成一场梦，并控制你。
  • And what happens when you become self -aware? You free yourself, and from this moment on, your dreaming, whether asleep or in waking, it doesn’t matter which, becomes conscious. You are in control of yourself, and most importantly, you acquire the capacity to control the situation around you, but more on that later. For now, try just going for a walk and observing what you see.
    • 当你变得有自我意识时会发生什么呢?你解放了自己，从这一刻起，你的梦，无论是睡着还是醒着，都变成了意识。你可以控制自己，最重要的是，你获得了控制周围环境的能力，但稍后会详细介绍。现在，试着去散步，观察你所看到的。
  • For example, you turn on your awareness and go into a shop. Say hello, walk about, look around, maybe ask a question and observe the reaction of the shop assistants. Just don’t fall asleep. Before you speak, be sure to direct your attention to the center: I see myself and I see reality.
    • 例如，你打开你的觉知，走进一家商店。打个招呼，四处走走，看看周围，也许问个问题，观察店员的反应。只是不要睡着。在你说话之前，确保你的注意力集中在中心:我看到了我自己，我看到了现实。
  • You’ll find that people will look at you with a certain curiosity and for some reason be especially responsive and well-disposed towards you, in a way they were not before. What has changed?
    • 你会发现人们会带着一定的好奇心看着你，出于某种原因，对你特别有反应，对你很友好，这是他们以前从未有过的。发生了什么变化?
  • Unlike you, the people around you are still asleep. Their attention is occupied, and they are involved in their everyday scenarios, like in a film. Their thoughts are unclear and their actions non-conscious. You could say, they live as if they were characters in a film.
    • 不像你，你周围的人还在睡觉。他们的注意力被占据了，他们沉浸在日常场景中，就像在电影里一样。他们的思想不清晰，他们的行为无意识。你可以说，他们的生活就像电影里的人物一样。
  • You, unlike the others around you, have woken up in the dream as if you had stepped from the screen down into the cinema hall. At any moment, you can leave, return to the movie, and walk around freely among the other characters, regardless of the narrative.
    • 与周围的人不同，你在梦中醒来，仿佛从银幕上走下来，走进了电影院。在任何时候，你都可以离开，回到电影中，在其他角色中自由走动，而不管故事是什么。
  • When you are in this state, you may come across to others as a little otherworldly. They vaguely sense that there is something odd about you, but cannot say what exactly. Don’t worry, they’re not aware that they are treating you with a certain friendliness and curiosity. And you don’t let on that you know something they don’t.
    • 当你处于这种状态时，别人可能会觉得你有点超凡脱俗。他们隐约感觉到你有些奇怪，但又说不出到底是什么。别担心，他们没有意识到他们对你是一种友好和好奇。你不会让别人知道你知道他们不知道的事。
  • Do you know where their friendliness towards you comes from, especially in those who don’t know you? To them, you are like a firefly in a land of shadows. When you are in a state of conscious awareness, your energy flows differently. It can’t be seen physically, but it can be felt subconsciously.
    • 你知道他们对你的友好是从哪里来的吗，尤其是那些不认识你的人?对他们来说，你就像影子里的萤火虫。当你处于有意识的状态时，你的能量会以不同的方式流动。身体上看不见，但潜意识里却能感觉到。
  • Just by walking through a waking dream, at the very least you will attract the Attention and good-will of those around you. You can make new friends and spend the time in pleasant conversation. But that is just the start. Be smart. Learn to drive reality. If you don’t drive yourselves mad first! Hey! Ok, ok, don’t worry, my little ones.
    • 只要走过一个醒着的梦，至少你会吸引周围人的注意和善意。你可以结交新朋友，在愉快的交谈中度过时光。但这仅仅是个开始。是聪明的。学会驾驭现实。只要你们不先把自己逼疯!嘿!好了，好了，别担心，小家伙们。
• 4. First entry into reality
  • Well, my dears, if you have already walked through a waking dream, you should now be clear that the comparison of reality to a motion picture is no simple allegory. You really were there, as a living character, while the other participants continued to move around as if they were sleeping and following some kind of external script.
    • 好吧，亲爱的，如果你已经经历过一个醒着的梦，你现在应该清楚，现实与电影的比较不是简单的寓言。你真的在那里，作为一个活生生的角色，而其他参与者继续四处走动，好像他们在睡觉，并遵循某种外部脚本。
  • The comparison may not seem wholly fitting, after all, we all understand that people sleep in bed at night, and during the day operate more or less consciously.
    • 这种比较似乎并不完全合适，毕竟，我们都明白，人们晚上睡在床上，白天或多或少有意识地活动。
  • However, you saw for yourself how negligible this proportion of “more or less” is when you noticed your own attention constantly falling into either the internal or the external screen. You undoubtedly saw this and now know how it happens.
    • 然而，当你注意到自己的注意力不断地落在内部或外部屏幕上时，你就会发现“或多或少”的比例是多么微不足道。毫无疑问，你看到了这一点，现在知道它是如何发生的。
  • From now on, whenever you go for a walk in the dream, you will catch yourself continually falling back into the screen and drifting off to sleep again. Something distracted you, caught your attention, or you started thinking about something and… and that’s it! You cease to exist as an aware human being; you can’t even call your soul your own.
    • 从今以后，只要你在梦中散步，你就会发现自己不断地掉到屏幕上，然后又睡着了。有什么东西分散了你的注意力，吸引了你的注意力，或者你开始思考某事，就这样!你不再作为一个有意识的人而存在;你甚至不能称自己的灵魂为自己的。
  • So, who owns it? Who are you taking orders from?
    • 那么，谁拥有它呢?你在听谁的命令?
  • You are being directed by an external script, woven into a motion picture, in which you are now one of the characters.
    • 你正在被一个外部剧本指导，编织成一部电影，你现在是其中的一个角色。
  • I shall gradually explain what all this means, all in goodtime. For now, you must be clear about one simple thing. Both in sleeping and in waking, you are in a film being carried along in the flow of the script. You can’t call your soul your own because your attention is not your own.
    • 在适当的时候，我将逐步解释这一切的含义。现在，你必须清楚一件简单的事情。无论是睡觉还是醒着，你都是在一部电影中，随着剧本的发展而前进。你不能称你的灵魂为你自己的，因为你的注意力不是你自己的。
  • The moment you wake up and take control of your attention, the script will lose its hold on you. Of course, you have to go to work and attend classes as usual and fulfil your day to day obligations, but not as strictly as when you are directed by the script.
    • 当你醒来并控制你的注意力的那一刻，剧本就会失去对你的控制。当然，你必须像往常一样去上班，去上课，履行你的日常义务，但不像剧本指导那样严格。
  • Unlike the other characters around you who are sleeping, you see yourself, you see reality and you can consciously control your will, which you haven’t been doing before now. This is your first step into a new level of self-mastery and mastering of your reality. You have woken up from ordinary sleep many times, but you have not yet tried reaching a higher level, right?
    • 不像你周围的其他角色在睡觉，你看到了自己，你看到了现实，你可以有意识地控制你的意志，这是你以前从未做过的。这是你迈向自我控制和掌握现实的新水平的第一步。你已经多次从平常的睡眠中醒来，但你还没有尝试过达到更高的水平，对吗?
  • In an ordinary dream, you are helpless, even if you are aware that you are dreaming. You are inside a film and completely gripped by the story because your attention is immersed in the screen. But unlike the other characters, you are capable of dragging your attention up another level, i.e. waking up in the dream and even going two levels higher, and waking up in reality.
    • 在一个普通的梦里，你是无助的，即使你觉知到你在做梦。你在电影里，完全被故事所吸引，因为你的注意力都沉浸在屏幕上了。但与其他角色不同的是，你可以将注意力提升到另一个层次，即在梦中醒来，甚至在更高的两个层次，在现实中醒来。
  • The characters in a dream can’t do this. How are they different to waking people? They have no self -awareness; they have no sense of personal identity; they have no personal will; they are not free to act as they see fit; they are subject to the script. They have no soul. They are simply templates--mannequins /ˈmænɪkɪn/模特儿；人体模型.
    • 梦里的人物做不到这一点。他们和醒着的人有什么不同?他们没有自我意识;他们没有个人认同感;他们没有个人意志;他们不能自由地做他们认为合适的事;他们受制于剧本。他们没有灵魂。它们只是模板——人体模型。
  • When you learn to wake up in the dream, try the following experiment. Ask a dream mannequin this question: “Who are you?” They will try and avoid the question or will tell you what their role in the script is. But they won’t say, “I am myself ”. They don’t have their own ‘Self ’.
    • 当你学会在梦中醒来时，试试下面的实验。问一个梦中模特这个问题:“你是谁?”他们会试图回避这个问题，或者告诉你他们在剧本中的角色。但他们不会说，“我是我自己”。他们没有自己的“自我”。
  • In the same way, you could ask the mannequin, “Do you know that I am sleeping now and am seeing you in a dream?” This question will throw them, too, because they have never fallen asleep and never woken up. The dream mannequin lives in a film just like a fictional character, once shot on a film roll.
    • 同样地，你可以问假人:“你知道我现在正在睡觉，并且在梦中见到你吗?”这个问题也会使他们困惑，因为他们从来没有睡着，也从来没有醒来。梦想中的人体模型就像一个虚构的人物一样生活在电影中，一旦拍摄在胶卷上。
  • The only difference is that a normal film is shot by normal people, whereas the film rolls of dreams are stored in the Eternity archive. They have always been there and always will be, for as long as this Universe exists.
    • 唯一的区别是，一部普通的电影是由普通人拍摄的，而那些梦的胶卷则保存在永恒档案馆里。只要这个宇宙存在，它们就一直存在，而且将永远存在。
  • Living people have a soul, will, and self -perception. They can say, “I am myself ”, although that is all they can say about themselves. Living people are aware of themselves, but their self -awareness, as you have seen for yourself, sleeps, and their will is used rarely, when they need to mobilize themselves to take some kind of action.
    • 活着的人有灵魂、意志和自我认知。他们会说，“我就是我自己”，尽管他们对自己只能说这么多。活着的人都有自我意识，但是他们的自我意识，正如你亲眼所见，是睡眠的，当他们需要动员自己采取某种行动时，他们的意志很少被使用。
  • And what’s more, the will is used only within the context of the current frame, but we’ll talk about this a little later. I have already done you a great honor, spending so much time with you, my little fit-for-nothings. Make the most of this moment, admire me, praise me, flatter me--I am Tufti, your High Priestess!
    • 更重要的是，意志只在当前的框架下使用，但我们稍后会讨论这个。我已经很荣幸了，花了这么多时间陪你，我的小废物。好好利用这一刻吧，赞美我，赞美我，奉承我——我是塔夫蒂，你的大祭司!
• 5. Tracking your attention
  • And so, my dear ones, let’s repeat what we’ve covered so far.
    • 所以，我亲爱的朋友们，让我们重复一下目前为止所讲的内容。
  • • In your usual state of consciousness, you are characters in a film.
    • •在你通常的意识状态下，你是电影中的角色。
  • • if your attention is not your own, your soul is not your own.
    • •如果你的注意力不属于你自己，你的灵魂也不属于你自己。
  • • You are directed by an external script, which wires you into the film.
    • •你是由一个外部剧本指导的，它把你连接到电影中。
  • I use these terms so that it will be more accessible for you, because in sleeping and waking life, you do pretty much the same thing: you watch the film and take part in it as a character with a set role, without the right to spontaneous behavior.
    • 我使用这些术语是为了让你们更容易理解，因为在睡眠和清醒的生活中，你做的事情几乎是一样的:你看电影，作为一个固定角色的角色参与其中，没有自发行为的权利。
  • If you still doubt that your actions are bound rather than autonomous, look at your attention--where was it just now? To whom did it belong? Not to you, do you see? Then to whom and for what?
    • 如果你仍然怀疑你的行为是受约束的，而不是自主的，看看你的注意力——刚才它在哪里?它属于谁?不是对你，明白吗?然后是谁，为了什么?
  • To the very same script. You, or rather, your Self is your attention. if you do not control yourself, the script directs you, whether when you are sleeping, or in waking life; it’s the same either way. A dream is the same as reality and reality is the same as a dream. Let’s say that life is a waking dream, and an ordinary dream is a sleeping dream.
    • 同样的剧本。你，或者更确切地说，你的自我就是你的注意力。如果你不能控制自己，剧本就会引导你，无论你是在睡梦中，还是在清醒的生活中;两者都是一样的。梦就是现实，现实就是梦。人生就是一场醒着的梦，平常的梦就是一场睡着的梦。
  • A dream can be conscious or non-conscious. In the unconscious dream, you are as stupid and helpless as little bunnies. But take control of your attention, and you come alive in the film, acquiring the ability to act willfully, as you see fit.
    • 梦可以是有意识的，也可以是无意识的。在无意识的梦里，你像小兔子一样愚蠢无助。但是控制好你的注意力，你就会在电影中变得生动起来，获得随心所欲地表演的能力，只要你觉得合适。
  • You become a responsible, sane character who can freely roam around in the dream. You have already tried it in waking life. With time, you will learn to do the same in your sleep.
    • 你变成了一个负责任的、理智的角色，可以在梦里自由地漫游。你已经在现实生活中试过了。随着时间的推移，你会学会在睡觉时做同样的事情。
  • However, it is much more important to have this ability in waking life because even though the film of sleep has a real film roll in the Eternity archive, it is still virtual. Life, on the other hand, is real. In life, you either helplessly kick your legs about in someone else’s script or you implement your own.
    • 然而，在清醒的生活中拥有这种能力更为重要，因为即使在永恒的档案中有一个真实的电影卷，它仍然是虚拟的。另一方面，生活是真实的。在生活中，你要么无助地在别人的脚本里乱踢，要么自己实现自己的脚本。
  • The only thing stopping you from doing this is your habit of falling into the inner and outer screen. Your attention won’t stay long in the center of awareness. This is quite normal for you. But what can you do, ugly fit-for-nothings that you are. You need to develop the new habit of returning your attention to the center.
    • 唯一阻止你这样做的是你陷入内外屏幕的习惯。你的注意力不会在意识的中心停留太久。这对你来说很正常。但你能做什么呢，你就是个一无是处的丑八怪。你需要养成把注意力重新集中到中心的新习惯。
  • Setting out for a stroll through the dream, tell yourself that you won’t forget that you must wake up. Literally set yourself this goal, otherwise it will completely slip your mind that you are meant to be focusing on something. if you are lazy and forgetful, you won’t learn anything.
    • 在梦中漫步，告诉自己你不会忘记你必须醒来。严格地给自己设定这个目标，否则你会完全忘记你应该专注于某件事。如果你又懒又健忘，你什么也学不到。
  • Whilst on your walk, you will need to catch yourself as you constantly fall and drift off. Don’t worry, don’t give up, just bring your attention back, over and over again. Arrange to track your attention with your attention itself--that is, yourself.
    • 在你走路的时候，你需要抓住自己，因为你经常摔倒和打瞌睡。不要担心，不要放弃，只要把你的注意力拉回来，一遍又一遍。安排用你的注意力本身来追踪你的注意力——也就是你自己。
  • There is no need to try and hold your attention at the center all the time without taking a break. The meaning and value of this exercise lie in something else: your ability to respond to what is happening. Usually, any event, even the most inconsequential, draws you into the outer film or into your inner concerns. Whatever the situation, it lulls you into sleep.
    • 没有必要试着把你的注意力一直集中在中心而不休息。这个练习的意义和价值在于别的东西:你对正在发生的事情做出反应的能力。通常情况下，任何事件，即使是最无关紧要的事件，都会把你拉到外部的电影或你内心的担忧中。不管是什么情况，它都能让你入睡。
  • Now you need to develop the reverse habit—not to fall asleep but to wake up. Any event, even the slightest whiff of your environment should put you on your guard. Take it as a signal to awaken. Likewise, any action you take should remind you that you need to check your focus of attention.
    • 现在你需要养成相反的习惯——不是入睡，而是醒来。任何事件，即使是你周围环境中最轻微的气味都应该让你保持警惕。把它当作醒过来的信号。同样，你采取的任何行动都应该提醒你需要检查你的注意力。
  • You have two triggers for this.
    • 你有两个触发点。
  • Outer--as soon as something happens, you wake up.
  • And inner--before you do something, you wake up.
  • Examples of external triggers: you met with someone, someone asked you something, something happened close to you, it doesn’t matter what, some kind of sound, any kind of movement, anything that previously attracted and engaged you. As soon as something happens, focus your attention on it, but don’t lose control of your attention--keep it at the center.
    • 外部触发的例子:你遇到某人，某人问你某事，发生在你身边的事情，不管什么，某种声音，任何一种动作，任何之前吸引你并吸引你的东西。一旦有事情发生，集中你的注意力，但不要失去对你的注意力的控制——把它放在中心。
  • Examples of internal triggers: you’re getting ready to go somewhere, to do something, to talk to someone. Before you take any action at all, bring your attention to the center. Specifically before, because afterwards it will be too late; you will simply discover that you fell asleep, then woke up to remember that you were sleeping.
    • 内部触发的例子:你准备去某个地方，做某事，和某人说话。在你采取任何行动之前，把你的注意力集中到中心。具体来说是在之前，因为之后就太迟了;你只会发现你睡着了，然后醒来记得你睡着了。
  • All this can only be learned through frequent repetition like in the martial arts. There is no other way. On the other hand, when you learn to control the focus of your attention, you will be able to control your piffling life. And then, perhaps, your life will stop being so piffling.
    • 所有这些都只能通过频繁的重复来学习，就像武术一样。没有别的办法。另一方面，当你学会控制你的注意力焦点时，你就能控制你琐碎的生活。然后，也许，你的生活将不再如此微不足道。
  • For now, I give you a warning. You have woken up in a dream, acquired strength and awareness, while those around you continue to sleep. Do not think this advantage makes you superior. Don’t treat others with arrogance or condescension. This prerogative belongs solely to me because I am Tufti, your priestess, and you are my subjects who must listen to me--and admire me unstintingly. Do you? Look at me!
    • 现在，我给你一个警告。你在梦中醒来，获得了力量和觉知，而你周围的人还在继续睡觉。不要认为这个优势让你高人一等。不要傲慢或居高临下地对待别人。这个特权只属于我，因为我是塔夫提，你的女祭司，你是我的臣民，必须听我的话——并且毫不吝啬地钦佩我。你呢?看着我!

Tufti the Priestess 06--10

• 2023.07.03--04
• 6. Composing reality
  • So, my dear pretties, you now have a greater understanding and have learned something. See, I praise you too! In our last lesson, we studied how to track attention. 所以，我亲爱的美女们，你现在有了更深刻的理解，也学到了一些东西。看哪，我也赞美你!在上节课中，我们学习了如何追踪注意力。
    • • Set yourself the goal of remembering to track your attention.
      • •给自己设定一个目标，记得追踪自己的注意力。
    • • As soon as something happens, you wake up.
      • •只要有事情发生，你就会醒过来。
    • • Before doing anything, you wake up again.
      • •在做任何事情之前，你又醒来了。
  • If you do this, you will develop the habit of controlling your attention, and eventually, your life. But this does not give you the right to look down on those who are asleep. Observe them quietly without giving away that you know something they don’t. Pretend that you are also asleep. This goes for all walks, both in waking and in sleeping.
    • 如果你这样做，你就会养成控制注意力的习惯，并最终控制你的生活。但这并没有给你权柄看不起那些睡着的人。静静地观察他们，不要让他们知道你所知道的事情。假装你也睡着了。这适用于各行各业，无论是在醒着还是睡觉的时候。
  • Remember: before entering the dream, you should be well-disposed towards others, otherwise you will be punished. A superior, arrogant, disdainful, insolent, pompous, stuck up, finicky, smart Alec know-all will get a clip round the ear. Not from me but from reality. Don’t expect such an honored privilege from me.
    • Remember: before entering the dream, you should be well-disposed towards others, otherwise you will be punished.
    • 记住:入梦前，你要对别人好一点，否则你会受到惩罚。
    • A superior, arrogant, disdainful, insolent, pompous, stuck up, finicky, smart Alec know-all will get a clip round the ear.
    • 一个高高在上、自负、不屑、傲慢无礼、浮夸、高傲、挑剔、聪明的亚历克万事通会被打一顿耳光。
    • Not from me but from reality.
    • 不是来自我，而是来自现实。
    • Don’t expect such an honored privilege from me.
    • 别指望我有这种荣幸。
  • Now listen. At our first meeting I said this phrase: Reality is what has never been and never will be, and only is in the here and now. Reality exists only for a single moment like a frame on a film roll, which moves from the past into the future. What are we meant to understand by this?
    • 现在听。在我们的第一次会面时，我说了这样一句话:现实从来没有也永远不会有，只存在于此时此地。现实只存在一个瞬间，就像胶卷上的一个画面，从过去走向未来。这意味着我们要理解什么?
  • This means that in any moment, only the immediate impression of reality--the illuminated frame--is ever real. Everything else is virtual, the past as well as the future. And it is all stored forever in a film archive, where everything is recorded, everything that has been, that will be, and ever may be.
    • 这意味着，在任何时刻，只有现实的直接印象——被照亮的框架——才是真实的。其他一切都是虚拟的，包括过去和未来。所有这些都被永久地储存在电影资料馆里，在那里所有的东西都被记录下来，所有已经发生的，将要发生的，以及可能发生的。
  • The past and the future are both information. Information is intangible. You can’t touch it, but the media that carries the information is material and can be opened. This is how clairvoyants look into the past and tell the future.
    • 过去和未来都是信息。信息是无形的。你不能触摸它，但承载信息的媒介是物质的，可以打开。这就是千里眼看到过去并预测未来的方式。
  • The film archive truly exists, although it is intangible, like the ether. Ether substance hangs in the dream space. Both in sleeping and in waking reality, the dream space is whole. In your sleep, what you see is what could be, either past or future.
    • 电影资料馆确实存在，尽管它像以太一样是无形的。以太物质悬挂在梦境空间中。无论是在睡眠中还是在清醒的现实中，梦的空间都是完整的。在你的睡眠中，你所看到的可能是过去或未来。
  • But whether it happened or will happen is not a foregone conclusion as the variants are infinite in number.
    • 但它是否已经发生或将要发生并不是一个定局，因为变量的数量是无限的。
  • What might happen in a dream could also take place in waking reality, and vice versa. In this sense, the dream space is a single film archive. You can watch it and you can exist within it, both in a dream and in waking, but you only actually exist in each frame once. Each subsequent frame is a new realization, an upgrade of everything living and non-living, right down to the level of the atom.
    • 在梦中可能发生的事情也可能在现实中发生，反之亦然。从这个意义上说，梦的空间是一个单一的电影资料馆。你可以观看它，你可以存在于其中，无论是在梦中还是在清醒时，但你实际上只存在于每一帧中一次。随后的每一帧都是一个新的实现，是一切生物和非生物的升级，一直到原子的水平。
  • Only the souls of living beings remain unchanged--they are capable of watching the films of dreams and moving along the film roll of reality, together with the frame. So, your Self is the same as it was in the past, as when it flew about in your dream when you were asleep, and as it will be in the future.
    • 只有生物的灵魂是不变的——他们能够观看梦的电影，能够与画面一起沿着现实的胶卷移动。所以，你的自我与过去一样，与你睡着时它在你梦中飞来飞去的时候一样，与未来一样。
  • Our world exists in animate and inanimate form. Life is embedded like inclusions in a material reality. Reality is an inanimate substance. Life is animate and life can influence the course of reality. Life can compose reality.
    • 我们的世界以有生命和无生命的形式存在。生命就像包裹物一样嵌在物质现实中。现实是一种无生命的物质。生命是有活力的，生命可以影响现实的进程。生命可以构想形成现实。
  • The last point, my little mites, is the most important thing you need to understand. To compose reality means to choose the film roll and determine the direction in which the frame is moving. You have this opportunity, but you don’t use it, just as you fail to use your capacity for directing the focus of your attention.
    • 最后一点，我的小宝贝们，是你们需要理解的最重要的事情。构思就是选择胶卷，确定画面的运动方向。你有这个机会，但你没有利用它，就像你没有运用你的能力来引导你注意力的焦点一样。
  • You have to compose reality ahead of time, instead of fighting the current circumstances of your life. But what do you do? You try and change your reality within the current frame. Do you understand what you are doing?
    • 你必须提前构造现实，而不是与当前的生活环境抗争。但是你会怎么做呢?你试图在当前的框架内改变你的现实。你知道你在做什么吗?
  • Again: what is the actuality of life? It is that which has never been and never will be, and is here and now. The actuality of life only exists to the extent that it has already occurred. You cannot change what has already happened. But that is what you are trying to do because everything that surrounds you is that which has already happened.
    • 再问一次:生活的现实是什么?它从来没有，也永远不会有，它就在此时此地。生活的现实只存在于它已经发生的程度。你无法改变已经发生的事情。但这正是你试图做的，因为你周围的一切都是已经发生的。
  • The present differs very little from the past. The past is long gone and the present exists only for a brief moment, so you can’t change that either. Whilst you are in the present moment, you are, in effect, continually in the past because your attention is enmeshed in the current frame. The illusion grabs hold of you and keeps you from entering the future, which is why the future isn’t up to you.
    • 现在和过去差别不大。过去早已过去，现在也只是短暂的一刻，所以你也无法改变。当你活在当下的时候，你实际上一直活在过去，因为你的注意力被当前的框架缠住了。幻觉抓住了你，阻止你进入未来，这就是为什么未来不是由你决定的原因。
  • You might think that you are conscious of what you are doing, that you are taking decisive action, solving problems, and achieving your goals. But all this is happening in the current frame in a non-conscious state, and so, the script carries you along a film roll that you did not choose. All you are doing, really, is helplessly twitching your paws.
    • 你可能认为你意识到你在做什么，你正在采取果断的行动，解决问题，实现你的目标。但所有这些都是在无意识状态下发生在当前的画面中，所以，角本带着你走一个你没有选择的胶卷。你所做的一切，实际上，只是无助地抽动你的爪子。
  • That’s who you are, my sweets, my pumpkins. It’s exhausting being with you!
    • 这就是你，我的甜心，我的南瓜。和你在一起太累了!
• 7. The intention plait
  • As always, my precious ones, we will recap what we did last time. 像往常一样，我的宝贝们，我们将回顾一下上次所做的。
    • • The actuality of life is that, which has already occurred.
      • •生活的现实就是已经发生的事情。
    • • You cannot change what has already happened. And nonetheless you try and change your given reality in the current frame.
      • •你无法改变已经发生的事情。尽管如此，你还是试图在当前的框架中改变你所给予的现实。
    • • Which is why the future does not depend on you. What do you need to do?
      • •这就是为什么未来并不取决于你们。你需要做什么?
    • • Setting reality ahead of time, instead of fighting the actuality of your current life.
      • •提前设定现实，而不是与现状抗争。
  • Much of this will sound quirky to you, as for the first time, you come across a reality that is unfamiliar and strange. It’s still all the same--your reality, to which you are accustomed, but somehow different, baffling, right? Listen to what I’m saying, and don’t bother me with questions.
    • Much of this will sound quirky to you, as for the first time, you come across a reality that is unfamiliar and strange.
    • 对你来说，这听起来很奇怪，因为你第一次遇到了一个不熟悉和奇怪的现实。
    • It’s still all the same--your reality, to which you are accustomed, but somehow different, baffling, right?
    • 一切都是一样的——你的现实，你已经习惯了，但不知何故不同了，令人困惑，对吧?
    • Listen to what I’m saying, and don’t bother me with questions.
    • 听我说，别拿问题来烦我。
  • Why the film roll archive exists, and who shot the films to capture them for eternity, is not given to snotty pookies like yourselves to understand. Be grateful to the High Creator, that you are allowed to move with the frame for that is quite something. But you are seriously slacking in your development. You’re not even using what you already have.
    • Why the film roll archive exists, and who shot the films to capture them for eternity, is not given to snotty pookies like yourselves to understand.
    • 为什么胶卷档案资料存在，是谁拍了这些电影，把它们永久地记录下来，这些都不是你们这些鼻涕虫能理解的。
    • Be grateful to the High Creator, that you are allowed to move with the frame for that is quite something.
    • 感谢高级创造者，你被允许与框架一起移动，因为那是相当的东西。
    • But you are seriously slacking in your development.
    • 但是你的发展真的很迟缓。
    • You’re not even using what you already have.
    • 你甚至没有使用你已经拥有的东西。
  • Let me remind you what it means to move with the frame. As you know, the past cannot be changed. Forget about the present too. It has already occurred and is of no interest to you. On the other hand, you have the opportunity to compose the future, to choose the film roll, along which the next frame will move. How?
    • Let me remind you what it means to move with the frame.
    • 让我提醒你们随框架移动是什么意思。
    • As you know, the past cannot be changed.
    • 如你所知，过去是无法改变的。
    • Forget about the present too.
    • 忘记现在。
    • It has already occurred and is of no interest to you.
    • 它已经发生了，你不感兴趣。
    • On the other hand, you have the opportunity to compose the future, to choose the film roll, along which the next frame will move.
    • 另一方面，你有机会构思未来，选择胶卷，下一帧将沿着它移动。
    • How?
    • 如何?
  • You have two control functions: attention and intention. We have already dealt with attention. This accounts for your state of awareness. Intention accounts for your actions. In order to undertake something, you must first take into your head the idea of it. When you actually come to execute your conceived idea, your intention is realized through action.
    • You have two control functions: attention and intention.
    • 你有两种控制功能:注意力和意图。
    • We have already dealt with attention.
    • 我们已经讨论过注意力。
    • This accounts for your state of awareness.
    • 这说明了你的意识状态。
    • Intention accounts for your actions.
    • 意图说明你的行为。
    • In order to undertake something, you must first take into your head the idea of it.
    • 为了着手做一件事，你必须首先在头脑中形成关于这件事的想法。
    • When you actually come to execute your conceived idea, your intention is realized through action.
    • 当你真正开始执行你的设想时，你的意图就会通过行动实现。
  • However, all your actions pertain to the current frame and are realized there because your intention is wedged inside it. It is just the same as when your attention gets glued to one of the screens. And just as attention has two screens, there are two intention centers: inner and outer.
    • However, all your actions pertain to the current frame and are realized there because your intention is wedged inside it.
    • 然而，你所有的行为都与当前的帧有关，并在那里实现，因为你的意图被嵌入其中。
    • It is just the same as when your attention gets glued to one of the screens.
    • 这就像你的注意力被粘在屏幕上一样。
    • And just as attention has two screens, there are two intention centers: inner and outer.
    • 就像注意力有两个屏幕一样，也有两个意图中心:内部和外部。
  • The inner center is responsible for all of your basic functionality and is located in the frontal part of the skull. This is your petty intention. When you concentrate, you wrinkle your forehead. When you intend to do something, you tense your muscles. Your muscles allow you to carry out primitive activities in the current frame.
    • The inner center is responsible for all of your basic functionality and is located in the frontal part of the skull.
    • 内中心负责你所有的基本功能，位于头骨的前部。
    • This is your petty intention.
    • 这就是你的琐碎的意图。
    • When you concentrate, you wrinkle your forehead.
    • 当你集中注意力时，你会皱起额头。
    • When you intend to do something, you tense your muscles.
    • 当你打算做某事时，你会绷紧肌肉。
    • Your muscles allow you to carry out primitive activities in the current frame.
    • 你的肌肉允许你在当前的框架下进行原始的活动。
  • The outer center you totally neglect to make use of, even though it accounts for the movement of the future frame. You can determine instantly where the outer center is located, right now.
    • The outer center you totally neglect to make use of, even though it accounts for the movement of the future frame.
    • 你完全忽略了外中心，即使它解释了未来框架的运动。
    • You can determine instantly where the outer center is located, right now.
    • 你可以立刻确定外中心的位置，就在现在。
  • Every single one of you has an intention plait. It is an energy plexus, similar to an ordinary plait. You can’t see it, but you can feel it like a phantom limb, which used to be there but is not anymore. Rather than hanging straight down, it sticks out at an angle to the spine. It’s a really funny kind of plait.
    • Every single one of you has an intention plait.
    • 你们每个人都有一个意图辫。
    • It is an energy plexus, similar to an ordinary plait.
    • 它是一个能量丛，类似于普通的辫子。
    • You can’t see it, but you can feel it like a phantom limb, which used to be there but is not anymore.
    • 你看不见它，但你能感觉到它就像一个幻肢，曾经在那里，但现在不在了。
    • Rather than hanging straight down, it sticks out at an angle to the spine.
    • 它不是笔直地垂下来，而是与脊柱成一定的角度伸出来。
    • It’s a really funny kind of plait.
    • 这是一种非常有趣的辫子。
  • The outer intention center is at the tip of the plait. It is a spot between the shoulders, only not flat to the spine, but a little away from it. You will find the precise spot intuitively. The exact distance is of no significance. It is enough to focus your attention on it, and you will feel where it is. if you can’t feel it yet, read the chapter “Plait With Flow” and then you will get it.
    • The outer intention center is at the tip of the plait.
    • 外在意向中心在辫的顶端。
    • It is a spot between the shoulders, only not flat to the spine, but a little away from it.
    • 它是肩膀之间的一个点，与脊柱不平坦，但离脊柱有点远。
    • You will find the precise spot intuitively.
    • 你凭直觉就能找到准确的位置。
    • The exact distance is of no significance.
    • 确切的距离并不重要。
    • It is enough to focus your attention on it, and you will feel where it is.
    • 把你的注意力集中在它身上就足够了，你会感觉到它在哪里。
    • if you can’t feel it yet, read the chapter “Plait With Flow” and then you will get it.
    • 如果你还感觉不到，那就读读“流动的辫子”一章，然后你就会明白了。
  • The principle of the outer center is very simple. You transfer your attention to the end of the plait and imagine the picture of any event you would like to attract into your life. This illuminates the future frame, and what you visualized becomes manifest in physical reality.
    • The principle of the outer center is very simple.
    • 外中心的原理很简单。
    • You transfer your attention to the end of the plait and imagine the picture of any event you would like to attract into your life.
    • 你把注意力转移到辫子的末端，想象你想要吸引到你生活中的任何事件的画面。
    • This illuminates the future frame, and what you visualized becomes manifest in physical reality.
    • 这照亮了未来的框架，你所想象的在物质现实中变得显化。
  • You may ask, my sweets, how this is possible. It is very simple, and yet you did not know about the plait or how to use it.
    • You may ask, my sweets, how this is possible.
    • 亲爱的，你可能会问，这怎么可能。
    • It is very simple, and yet you did not know about the plait or how to use it.
    • 这是很简单的，但你不知道的辫子或如何使用它。
  • The thing is that you are bogged down in the current slide, big time. You are used to looking at what your eyes can see, but they only see what is right in front of you. And you feel that you can only do something about the things your eyes can see. So where are your eyes focused? In the outer screen.
    • The thing is that you are bogged down in the current slide, big time.
    • 问题是，你陷入了当前投影片段中。
    • You are used to looking at what your eyes can see, but they only see what is right in front of you.
    • 你习惯于看你的眼睛能看到的东西，但它们只看到你眼前的东西。
    • And you feel that you can only do something about the things your eyes can see.
    • 你觉得你只能对你的眼睛看到的东西做些什么。
    • So where are your eyes focused?
    • 那么你的目光集中在哪里呢?
    • In the outer screen.
    • 在外部屏幕上。
  • When something is not going right, you immerse yourself in the inner screen of your thoughts and feelings. And what are all your thoughts and feelings about? Again, about everything you can see and everything that is happening to you. This means that your attention is not your own, and your intention is subordinate to a script that is not your own.
    • When something is not going right, you immerse yourself in the inner screen of your thoughts and feelings.
    • 当事情不顺利时，你会沉浸在你的思想和感觉的内心屏幕中。
    • And what are all your thoughts and feelings about?
    • 你的想法和感受是什么?
    • Again, about everything you can see and everything that is happening to you.
    • 再说一遍，关于你所看到的一切以及发生在你身上的一切。
    • This means that your attention is not your own, and your intention is subordinate to a script that is not your own.
    • 这意味着你的注意力不是你自己的，你的意图服从于一个不是你自己的角本。
  • You are capable of coming up with the idea for your own script, it’s just that you don’t know how to bring it to life. Sometimes you dream of what you would like your future to look like. Yet the future frame can only be illuminated from the external intention center, whereas you are accustomed to using the inner, petty center. The current slide is your illusion and a trap. That’s how it is.
    • You are capable of coming up with the idea for your own script, it’s just that you don’t know how to bring it to life.
    • 你有能力为自己的角本想出想法，只是你不知道如何把它变成现实。
    • Sometimes you dream of what you would like your future to look like.
    • 有时候你会梦想你想要的未来是什么样子。
    • Yet the future frame can only be illuminated from the external intention center, whereas you are accustomed to using the inner, petty center.
    • 然而，未来的框架只能由外在的意图中心照亮，而你却习惯于使用内在的、琐碎的中心。
    • The current slide is your illusion and a trap.
    • 当前的幻灯片是你的幻觉和陷阱。
    • That’s how it is.
    • 事情就是这样。
  • Ok, ok! Don’t cry, my sweets, my darlings; don’t get your plaits in a twist. I will teach you how to escape the trap, and how to work with the plait. You will learn.
    • 好吧,好吧!别哭，我的甜心，我的宝贝;别把你的辫子扭成一团。我将教你如何逃离陷阱，以及如何使用辫子。你会学到的。
  • Hey! It’ll be fun!
    • 嘿!会很有趣的!
• 8. How to work with the plait
  • Chop-chop, hurry-hurry, my pitiful ones, a new lesson, but first, a recap so far.
    • 快点，快点，快点，我可怜的孩子们，上新课了，但首先，回顾一下目前为止的内容。
  • • Intention has two centers: inner and outer.
    • •意图有两个中心:内在的和外在的。
  • • The inner center is located in the forehead, the outer, at the tip of the plait.
    • •内中心位于前额，外中心位于辫子的尖端。
  • • Inner intention accounts for everyday activities in the current frame.
    • •内在意图负责当前框架下的日常活动。
  • • Outer intention is capable of moving the future slide: composing reality.
    • •外在意图能够移动未来的幻灯:构造现实。
  • You do want to learn to compose reality, don’t you? Of course, you do, good.
    • 你是想学会构造现实的，不是吗?你当然想，很好。
  • So, let’s say, you have a dream. There is a saying in your folklore “it does no harm to dream” which hints that it is also useless to dream. Does this mean, that the silly saying is true and that my snottites have nothing to hope for?
    • So, let’s say, you have a dream.
    • 比方说，你有一个梦想。
    • There is a saying in your folklore “it does no harm to dream” which hints that it is also useless to dream.
    • 在你们的民间传说中有句话“做梦没有害处”，这暗示着做梦也是无用的。
    • Does this mean, that the silly saying is true and that my snottites have nothing to hope for?
    • 这是否意味着，这个愚蠢的说法是正确的，我的鼻涕没有任何希望?
  • I will explain to you in the next lesson why dreams don’t come true. For now, we will move directly to the technique. First do it, then you will understand. That’s the best way to learn. Now, listen carefully.
    • I will explain to you in the next lesson why dreams don’t come true.
    • 下一课我将向你解释为什么梦想不能成真。
    • For now, we will move directly to the technique.
    • 现在，我们将直接转向技术。
    • First do it, then you will understand.
    • 先去做，然后你就会明白。
    • That’s the best way to learn.
    • 这是最好的学习方式。
    • Now, listen carefully.
    • 现在，仔细听。
  • First: wake up and log into the awareness point. As usual, say to yourself: I see myself and I see reality.
    • 第一:醒来并登录到觉知点。像往常一样，对自己说:我看到了我自己，我看到了现实。
  • Second: activate the plait. Feel it: here it is. As soon as you focus your attention on the plait, it instantly rises up at an angle to your spine and is activated.
    • 第二:激活辫子。感受一下，就在这里。只要你把注意力集中在辫子上，它就会立即上升，与你的脊柱成一定角度，并被激活。
  • Third: without taking your attention away from the plait, imagine a picture of the future. In your thoughts, in words, on the screen, as well as you can, compose your reality.
    • Third: without taking your attention away from the plait, imagine a picture of the future.
    • 第三，不要把你的注意力从辫子上移开，想象一下未来的画面。
    • In your thoughts, in words, on the screen, as well as you can, compose your reality.
    • 在你的思想中，在你的语言中，在屏幕上，尽你所能，组成你的现实。
  • You may notice that when you activate the plait, your eyes shift into a different gear. Try and feel that: you have raised your plait. Now, what happens to your eyes? They become a little wider as if they are beginning to shine. This is a new, unfamiliar mode of being for you. Previously, you just watched the outer film and surrendered yourself to it. Now, you can turn the film roll independently.
    • You may notice that when you activate the plait, your eyes shift into a different gear.
    • 你可能会注意到，当你激活辫子时，你的眼睛会切换到不同的档位。
    • Try and feel that: you have raised your plait.
    • 试着感受一下:你的辫子已经竖起来了。
    • Now, what happens to your eyes?
    • 现在，你的眼睛发生了什么变化?
    • They become a little wider as if they are beginning to shine.
    • 它们变宽了一点，好像开始发光了。
    • This is a new, unfamiliar mode of being for you.
    • 这对你来说是一种新的，不熟悉的存在模式。
    • Previously, you just watched the outer film and surrendered yourself to it.
    • 以前，你只是看了外面的电影，然后臣服于它。
    • Now, you can turn the film roll independently.
    • 现在，你可以独立转动胶卷了。
  • Once again, this is how: you’ve woken up, focused your attention on the plait, and then, keeping your senses attuned to the plait, you imagine what you desire as if it were depicted on the screen. That is how you illuminate the future frame, and how to make it manifest in physical reality. Later, you’ll learn how to do this instantaneously, in a single movement.
    • Once again, this is how: you’ve woken up, focused your attention on the plait, and then, keeping your senses attuned to the plait, you imagine what you desire as if it were depicted on the screen.
    • 再一次，这是怎么做的:你醒来，把注意力集中在辫子上，然后，保持你的感觉与辫子相协调，你想象你想要的东西，就像它在屏幕上被描绘出来一样。
    • That is how you illuminate the future frame, and how to make it manifest in physical reality.
    • 这就是你如何照亮未来的框架，以及如何使它在物质现实中显化。
    • Later, you’ll learn how to do this instantaneously, in a single movement.
    • 稍后，您将学习如何在一个动作中立即做到这一点。
  • The plait works like a film projector. You can turn your little ‘I want’s’ and ‘if only’ s’ on the inner screen as much as you like, but it won’t be very effective--practically a misfire. The projector runs at full capacity in the moment, that your thoughts, words, and images originate from the outer intention center. So, if you want to do more than just wallow in your own thoughts, if you want to influence how your reality is shaped, turn on the plait.
    • The plait works like a film projector.
    • 这辫子就像电影放映机。
    • You can turn your little ‘I want’s’ and ‘if only’ s’ on the inner screen as much as you like, but it won’t be very effective--practically a misfire.
    • 你可以随心所欲地在内部屏幕上转动你的“我想要”和“只要”，但它不会很有效——实际上是失败的。
    • The projector runs at full capacity in the moment, that your thoughts, words, and images originate from the outer intention center.
    • 当你的思想、言语和图像来自于外在意图中心时，投影仪就会满负荷运转。
    • So, if you want to do more than just wallow in your own thoughts, if you want to influence how your reality is shaped, turn on the plait.
    • 所以，如果你想做的不仅仅是沉浸在自己的想法中，如果你想影响你的现实是如何形成的，打开辫子。
  • It is not essential to keep your attention totally focused on the tip of the plait. It is enough to sense it, like you would a phantom limb. However, you can activate it whenever you wish. The specific sensations are a very personal thing. You don’t have to pay attention to the eyes. You can keep them closed, or be completely blind; it doesn’t make any difference. What is important is that the thoughts, words and images are in tandem with the plait.
    • It is not essential to keep your attention totally focused on the tip of the plait.
    • 把你的注意力完全集中在发梢上是没有必要的。
    • It is enough to sense it, like you would a phantom limb.
    • 能感觉到它就足够了，就像你能感觉到幻肢一样。
    • However, you can activate it whenever you wish.
    • 但是，您可以随时激活它。
    • The specific sensations are a very personal thing.
    • 具体的感觉是非常私人的事情。
    • You don’t have to pay attention to the eyes.
    • 你不需要注意眼睛。
    • You can keep them closed, or be completely blind;
    • 你可以闭上眼睛，或者完全失明;
    • it doesn’t make any difference.
    • 这没什么区别。
    • What is important is that the thoughts, words and images are in tandem with the plait.
    • 重要的是，思想、文字和图像与辫子是一致的。
  • So, my bunnies, my little fish, you’re just a step away from becoming Rulers of the Universe. I am filled with such awe, that I don’t know whether to swoon or bow in reverence. Go on, surprise me with your abilities! First of all, though, you must surprise yourself. And for that, you must acquire the practical skills needed to control the moving frame.
    • So, my bunnies, my little fish, you’re just a step away from becoming Rulers of the Universe.
    • 所以，我的小兔子们，我的小鱼们，你们离成为宇宙的统治者只有一步之遥了。
    • I am filled with such awe, that I don’t know whether to swoon or bow in reverence.
    • 我心中充满了敬畏，我不知道是该狂喜（昏厥）还是该敬畏地鞠躬。
    • Go on, surprise me with your abilities!
    • 来吧，用你的能力让我大吃一惊!
    • First of all, though, you must surprise yourself.
    • 首先，你必须给自己一个惊喜。
    • And for that, you must acquire the practical skills needed to control the moving frame.
    • 为此，您必须掌握控制移动框架所需的实用技能。
  • We’ll begin with the basics, the fulfilment of immediate desires. Let’s say, on the film roll of the day, a certain event is looming, which could have a successful or an unsuccessful outcome for you. To start with, take the simplest thing that will fit into one frame. This could be, for example, making a purchase, finding a parking space, any everyday task at work, university, outside, or at home.
    • We’ll begin with the basics, the fulfilment of immediate desires.
    • 我们从最基本的开始，满足眼前的欲望。
    • Let’s say, on the film roll of the day, a certain event is looming, which could have a successful or an unsuccessful outcome for you.
    • 比方说，在一天的胶卷上，某个事件正在逼近，它可能会给你带来成功或不成功的结果。
    • To start with, take the simplest thing that will fit into one frame.
    • 首先，从最简单的东西开始，把它放在一个框架里。
    • This could be, for example, making a purchase, finding a parking space, any everyday task at work, university, outside, or at home.
    • 例如，这可以是购物，找停车位，任何日常工作，大学，户外或家中的任务。
  • You have the power to insert the frame into a successful film roll. You already know what to do. You wake up, activate the plait, and without losing a sense of the plait, you imagine that what you desire is coming true. Then you can let go of the feeling of the plait and continue to operate as normal. Repeat the act of illuminating the frame a few times over, just to make sure.
    • You have the power to insert the frame into a successful film roll.
    • 你有能力把这个框架插入一个成功的胶卷。
    • You already know what to do.
    • 你已经知道该怎么做了。
    • You wake up, activate the plait, and without losing a sense of the plait, you imagine that what you desire is coming true.
    • 你醒来，激活辫子，在不失去对辫子的感觉的情况下，你想象你所渴望的正在实现。
    • Then you can let go of the feeling of the plait and continue to operate as normal.
    • 然后你就可以放下对辫子的感觉，继续像往常一样工作。
    • Repeat the act of illuminating the frame a few times over, just to make sure.
    • 重复几次照亮框架的动作，只是为了确保。
  • You will see for yourself what follows. Keep your diapers dry! Don’t wet yourself in the process! You experience very mixed feelings when you understand that something has taken place that is impossible. You will find it hard to believe that outer reality surrenders to your will. Usually the opposite happens, and you are subject to external reality.
    • You will see for yourself what follows.
    • 你会看到接下来会发生什么。
    • Keep your diapers dry!
    • 保持尿布干燥!
    • Don’t wet yourself in the process!
    • 不要在这个过程中弄湿自己!
    • You experience very mixed feelings when you understand that something has taken place that is impossible.
    • 当你明白不可能发生的事情发生时，你会经历非常复杂的感觉。
    • You will find it hard to believe that outer reality surrenders to your will.
    • 你会发现很难相信外在的现实会屈服于你的意志。
    • Usually the opposite happens, and you are subject to external reality.
    • 通常情况正好相反，你受制于外部现实。
  • The statistics for your successful experiments depend--wait for it!--on your sense of the reality of what is happening. Your criterion for reality is routine and habit. Anything is real if it has happened several times. Something that has never happened cannot be real, right?
    • The statistics for your successful experiments depend--wait for it!
    • 你实验成功的统计数据取决于——等待!
    • --on your sense of the reality of what is happening.
    • ——基于你对正在发生的事情的现实的感觉。
    • Your criterion for reality is routine and habit.
    • 你对现实的判断标准是例行公事和习惯。
    • Anything is real if it has happened several times.
    • 任何事情如果发生过几次，就是真实的。
    • Something that has never happened cannot be real, right?
    • 从未发生过的事不可能是真的，对吧?
  • In other words, for you, things are only possible if they fit into the mould of your worldview. if you didn’t know that it was possible to ride a bike with two wheels, you wouldn’t be riding one. It’s exactly the same with the movement of the frame. You won’t be able to control it whilst you believe it to be unrealistic. So what can you do to make it real? You will find out very soon, my darlings!
    • In other words, for you, things are only possible if they fit into the mould of your worldview.
    • 换句话说，对你来说，只有符合你的世界观，事情才有可能发生。
    • if you didn’t know that it was possible to ride a bike with two wheels, you wouldn’t be riding one.
    • 如果你不知道有可能骑两个轮子的自行车，你就不会骑只二个轮的车。
    • It’s exactly the same with the movement of the frame.
    • 这和帧的运动完全一样。
    • You won’t be able to control it whilst you believe it to be unrealistic.
    • 当你相信它是不现实的时候，你就无法控制它。
    • So what can you do to make it real?
    • 那么你能做些什么来实现它呢?
    • You will find out very soon, my darlings!
    • 你很快就会知道的，亲爱的!
• 9. The illusion of action
  • Again and again, over and over, my sweeties. Repetition--your pain, my gain! Let’s recap what you need to do.
    • 一遍又一遍，一遍又一遍，亲爱的。重复——你的痛苦，我的收获!让我们回顾一下你需要做什么。
  • • Wake up, activate the plait, hold the feeling, compose reality.
    • •醒来，激活辫子，保持感觉，编织现实。
  • • Whether it works or not depends on whether you accept or negate what is happening.
    • 它是否有效取决于你是接受还是否定正在发生的事情。
  • • It is only possible if it fits into the mould of your world-view.
    • •只有当它符合你的世界观模式时才有可能。
  • You are relatively primitive beings. Nothing can happen to you that does not fit with how you perceive the world and yourself within it. All sorts of incredible things happen in your dreams, but simply because you reduce your standards of critical assessment. In waking, it’s the opposite. Everything has to be rigorously reconciled with the mould. So your ability to move the frame depends on whether you can concede the possibility with certainty, or whether you remain in doubt of its viability.
    • You are relatively primitive beings.
    • 你们是相对原始的生物。
    • Nothing can happen to you that does not fit with how you perceive the world and yourself within it.
    • 不符合你对世界和你自己处于世界之中的观点的事情不会发生在你身上，
    • All sorts of incredible things happen in your dreams, but simply because you reduce your standards of critical assessment.
    • 各种不可思议的事情都能够在你的梦中发生，但仅仅是因为你降低了你的批判性评估标准。
    • In waking, it’s the opposite.
    • 醒着的时候，情况正好相反。
    • Everything has to be rigorously reconciled with the mould.
    • 一切都必须严格地与（你的世界观模式）模具协调一致。
    • So your ability to move the frame depends on whether you can concede the possibility with certainty, or whether you remain in doubt of its viability.
    • 所以你移动帧的能力取决于你是否可以肯定地承认这种可能性，或者你是否仍然怀疑它的可行性。
  • Performing simple ‘miracles’ will be easy for you. You will be able to create anything that corresponds with your everyday, routine experience. Your experience is what consolidates the mould. More complex movements of the frame require new content to be spliced in. I will repeat the same thing many times, over and over, again and again until you understand. And if you don’t understand, I will order you all to chop off your head. I can do without idiots!
    • Performing simple ‘miracles’ will be easy for you.
    • 创造简单的“奇迹”对你来说很容易。
    • You will be able to create anything that corresponds with your everyday, routine experience.
    • 你将能够创造任何与你的日常经验相对应的东西。
    • Your experience is what consolidates the mould.
    • 你的经历巩固了这个模型。
    • More complex movements of the frame require new content to be spliced in.
    • 更复杂的帧运动需要拼接新的内容。
    • I will repeat the same thing many times, over and over, again and again until you understand.
    • 我将重复同样的事情很多次，一遍又一遍，一遍又一遍，直到你明白。
    • And if you don’t understand, I will order you all to chop off your head.
    • 如果你们不明白，我就命令把你们的头砍下来。
    • I can do without idiots!
    • 我不需要白痴!
  • Alright, don’t cry, my feeble ones, listen on. Once, previously, I said, the script carries you along a film roll that you did not choose. Broadly speaking, the film roll is your lifeline, and the script is your fate. You don’t choose your fate and not only that, you don’t even try and change it, although you could.
    • Alright, don’t cry, my feeble ones, listen on.
    • 好了，别哭，我的弱者，听着。
    • Once, previously, I said, the script carries you along a film roll that you did not choose.
    • 有一次，以前，我说过，角本带着你沿着一个你没有选择的电影胶片行走。
    • Broadly speaking, the film roll is your lifeline, and the script is your fate.
    • 从广义上讲，胶卷是你的生命线，角本是你的命运。
    • You don’t choose your fate and not only that, you don’t even try and change it, although you could.
    • 你不能选择你的命运，不仅如此，你甚至不能尝试改变它，尽管你可以。
  • You are foolish to console yourselves with the hope that fate, although preordained, is still in your hands. In fact, it’s a lot worse than that. You are being led by a harsh script. It only appears to you that you take action as you see fit. It sounds plausible, but it’s still an illusion. Not only what you see, but the things you do can be illusory. You won’t be able to see through this kind of illusion though because you are constantly in it.
    • You are foolish to console yourselves with the hope that fate, although preordained, is still in your hands.
    • 你们是愚蠢的，以为命运虽已注定，但仍掌握在你们手中，以此来安慰自己。
    • In fact, it’s a lot worse than that.
    • 事实上，情况比这糟糕得多。
    • You are being led by a harsh script.
    • 你被一个苛刻的角本牵着走。
    • It only appears to you that you take action as you see fit.
    • 只有在你看来，你才应该采取你认为合适的行动。
    • It sounds plausible, but it’s still an illusion.
    • 这听起来似乎有道理，但它仍然是一种错觉。
    • Not only what you see, but the things you do can be illusory.
    • 不仅你所看到的是虚幻的，你所做的也是虚幻的。
    • You won’t be able to see through this kind of illusion though because you are constantly in it.
    • 你无法看穿这种幻觉，因为你一直在其中。
  • Do you remember we talked about the dream mannequins? Mannequins inhabit the pictures of your dreams, like the heroes of a motion picture, once shot onto a roll of film. You watch a dream and the mannequins move. You watch a film and the heroes come to life. As soon as the film or dream is over, all the characters freeze until the next viewing or, otherwise, forever.
    • Do you remember we talked about the dream mannequins?
    • 你还记得我们说过的梦中人体模型吗?
    • Mannequins inhabit the pictures of your dreams, like the heroes of a motion picture, once shot onto a roll of film.
    • 人体模型居住在你梦想的照片中，就像电影中的英雄，一旦拍摄到一卷胶卷上。
    • You watch a dream and the mannequins move.
    • 你看着一个梦，假人在动。
    • You watch a film and the heroes come to life.
    • 你看电影，英雄们就活过来了。
    • As soon as the film or dream is over, all the characters freeze until the next viewing or, otherwise, forever.
    • 一旦电影或梦结束，所有的角色都被冻结，直到下一次观看，否则，永远。
  • Do you think that the characters in a motion picture or a computer game are aware That they are in a film, and that You are watching them? No. Are the dream mannequins aware that you are seeing them in a dream? Again, no. And now I am asking you: do you know who you are?
    • Do you think that the characters in a motion picture or a computer game are aware That they are in a film, and that You are watching them?
    • 你认为电影或电脑游戏中的角色知道他们在电影中，并且知道你在看他们吗?
    • No.
    • 不。
    • Are the dream mannequins aware that you are seeing them in a dream?
    • 梦中的人体模型知道你在梦中看到他们吗?
    • Again, no.
    • 再一次,没有。
    • And now I am asking you: do you know who you are?
    • 现在我问你:你知道你是谁吗?
  • You can’t ask the characters in the film. You could ask the mannequins, but there is not much point. You are different from the former and the latter in that you can at least dimly grasp the meaning of the question. And also, in that you are able to be self -aware. But when are you self -aware? Only in the moment that you ask yourself this question. The rest of the time, where are you? Who are you?
    • You can’t ask the characters in the film.
    • 你不能问电影里的角色。
    • You could ask the mannequins, but there is not much point.
    • 你可以问人体模型，但这没什么意义。
    • You are different from the former and the latter in that you can at least dimly grasp the meaning of the question.
    • 你与前者和后者的不同之处在于，你至少能模糊地把握这个问题的意义。
    • And also, in that you are able to be self -aware.
    • 同时，你也能够有自我意识。
    • But when are you self -aware?
    • 但是你什么时候有自我意识呢?
    • Only in the moment that you ask yourself this question.
    • 只有当你问自己这个问题的时候。
    • The rest of the time, where are you?
    • 剩下的时间，你在哪里?
    • Who are you?
    • 你是谁?
  • You are the characters in a film roll, in the life that is happening to you. You don’t live your life--your life happens to you. Neither the dream mannequin, nor the hero of the motion picture are capable of distinguishing the illusion of their actions or, more precisely, the illusion of action occurring. So why would you think that you would be capable of doing so?
    • You are the characters in a film roll, in the life that is happening to you.
    • 你们是电影里的角色，是发生在你们身上的生活中的角色。
    • You don’t live your life--your life happens to you.
    • 你不是在过你自己的生活——你的生活发生在你身上。
    • Neither the dream mannequin, nor the hero of the motion picture are capable of distinguishing the illusion of their actions or, more precisely, the illusion of action occurring.
    • 无论是梦中的假人，还是电影中的男主角，都不能分辨出他们行动的幻觉，或者更准确地说，分辨出行动发生的幻觉。
    • So why would you think that you would be capable of doing so?
    • 那你为什么认为你有能力做到呢?
  • No, you are, of course, capable, my clever ones, and yet you don’t. All the time that you aren’t asking yourself the question, where are you and who are you, you are just exactly as lacking in rational understanding as the characters of a film or dream. Your attention is constantly immersed in one of the screens, and your intention, in the current frame. So your motives and actions are not in fact yours, do you see?
    • No, you are, of course, capable, my clever ones, and yet you don’t.
    • 不，你们当然是能做到的，我聪明的孩子们，可你们却没有。
    • All the time that you aren’t asking yourself the question, where are you and who are you, you are just exactly as lacking in rational understanding as the characters of a film or dream.
    • 一直以来，你都没有问自己，你在哪里，你是谁，你就像电影或梦中的人物一样缺乏理性的理解。
    • Your attention is constantly immersed in one of the screens, and your intention, in the current frame.
    • 你的注意力不断地沉浸在其中一个屏幕上，而你的意图则沉浸在当前的画面中。
    • So your motives and actions are not in fact yours, do you see?
    • 所以你的动机和行为实际上并不是你的，明白吗?
  • What happens, literally, is the following. At a certain point in time, you start to want something, and you struggle to do whatever it is. You think that these are your own motives and actions, whereas, in fact, they are spelled out in the script. You might think that you had the idea for something, but in actual fact, this is just the story twist for your role. You are consumed by current reality to such an extent that you stop being aware of what you are doing and fail to see through the illusion.
    • What happens, literally, is the following.
    • 从字面上看，发生的事情如下。
    • At a certain point in time, you start to want something, and you struggle to do whatever it is.
    • 在某个时间点，你开始想要一些东西，你努力去做它。
    • You think that these are your own motives and actions, whereas, in fact, they are spelled out in the script.
    • 你认为这些是你自己的动机和行为，然而，事实上，它们是在角本中阐明的。
    • You might think that you had the idea for something, but in actual fact, this is just the story twist for your role.
    • 你可能会认为你有什么想法，但实际上，这只是你角色的故事转折。
    • You are consumed by current reality to such an extent that you stop being aware of what you are doing and fail to see through the illusion.
    • 你被当前的现实消耗到这样的程度，以至于你不再意识到你在做什么，也无法看穿幻觉。
  • You have your own mannequins in the films stored in the Eternity archive. When you watch one of these films in a dream, your consciousness finds a mannequin, which comes to life and starts moving. As long as you are having the dream, you are living in the body of a dream mannequin as one of multiple different variants. Take a look in a mirror some time in a dream. You won’t recognize yourself.
    • You have your own mannequins in the films stored in the Eternity archive.
    • 你在电影里有你自己的人体模型保存在永恒档案馆里。
    • When you watch one of these films in a dream, your consciousness finds a mannequin, which comes to life and starts moving.
    • 当你在梦中观看其中一部电影时，你的意识会发现一个人体模型，它会活过来并开始移动。
    • As long as you are having the dream, you are living in the body of a dream mannequin as one of multiple different variants.
    • 只要你在做梦，你就生活在一个梦模型的身体里，作为多个不同的变体之一。
    • Take a look in a mirror some time in a dream.
    • 找个时间在梦里照照镜子。
    • You won’t recognize yourself.
    • 你会认不出自己。
  • In the film roll, along which your life is running, it is exactly the same. Your consciousness enters the next version of the dummy, which comes to life and becomes you in the current frame. But here’s the question: how are you different to the dream mannequins if in waking life, you live as if you were in a dream?
    • In the film roll, along which your life is running, it is exactly the same.
    • 在你的生命运行的胶卷上，这是完全相同的。
    • Your consciousness enters the next version of the dummy, which comes to life and becomes you in the current frame.
    • 你的意识进入下一个版本的假人，它活过来，成为当前框架中的你。
    • But here’s the question: how are you different to the dream mannequins if in waking life, you live as if you were in a dream?
    • 但问题来了:如果在现实生活中，你像在做梦一样生活，你和梦中的人体模型有什么不同?
  • And generally speaking, what makes you any better than a snail? Repulsive, slimy snails, which respond equally as primitively to all external stimuli. They tuck away their horns and hide in a little house... Your fate is as predetermined as you are predictable.
    • And generally speaking, what makes you any better than a snail?
    • 一般来说，你比蜗牛好到哪里去了?
    • Repulsive, slimy snails, which respond equally as primitively to all external stimuli.
    • 令人厌恶的、黏糊糊的蜗牛，它们对所有外界刺激的反应都一样原始。
    • They tuck away their horns and hide in a little house...
    • 它们把角藏起来，躲在一个小房子里。
    • Your fate is as predetermined as you are predictable.
    • 你的命运是注定的，就像你是可以预测的一样。
  • Even the little that you have learned so far, my dears, is incomprehensible to you because it does not fit the mould of your worldview. And as long as it remains inaccessible to you, you will be free in dreams and bound in your fate. But when, finally, you see the light and ditch the illusion, you will be able to stroll through reality, like a living being inside a film. And you will be able to pick a new reality, like choosing a reel from the archive.
    • Even the little that you have learned so far, my dears, is incomprehensible to you because it does not fit the mould of your worldview.
    • 即使是到目前为止你所学到的一点点，我亲爱的，对你来说也是不可理解的，因为它不符合你的世界观的模式。
    • And as long as it remains inaccessible to you, you will be free in dreams and bound in your fate.
    • 只要你还遥不可及，你就会在梦中自由，被命运束缚。
    • But when, finally, you see the light and ditch the illusion, you will be able to stroll through reality, like a living being inside a film.
    • 但是，当你最终看到光明，抛弃幻觉时，你将能够在现实中漫步，就像电影里的生物一样。
    • And you will be able to pick a new reality, like choosing a reel from the archive.
    • 你将能够选择一个新的现实，就像从档案中选择一个卷轴一样。
  • And now an interlude! I am exiting my film and setting off for a book. I’ll see you there. Bye for now, snails!*
    • And now an interlude!
    • 现在是幕间休息!
    • I am exiting my film and setting off for a book.
    • 我正要离开我的电影，出发去看一本书。
    • I’ll see you there.
    • 我们在那儿见。
    • Bye for now, snails!
    • 再见了，蜗牛们!
  • * This phrase sounds in the video.
• 10. How to escape a trap
  • Pleasure before business, my little buffoons. Who said the opposite? Your pain is my gain, or even my amusement, so!
    • Pleasure before business, my little buffoons.
    • 娱乐在先，我的小小丑们。
    • Who said the opposite?
    • 谁说了相反的话?
    • Your pain is my gain, or even my amusement, so!
    • 你的痛苦是我的收获，甚至是我的娱乐，所以!
  • • There is illusion of image, and there is illusion of action.
    • •有形象的错觉，也有行动的错觉。
  • • Motion is not what you do but rather, what is happening.
    • •运动不是你做了什么，而是发生了什么。
  • • You are not living your life--life is happening to you.
    • •你不是在过自己的生活——生活发生在你身上。
  • • You are directed by a strict script, and for this reason —
    • •你是由一个严格的角本指导的，因为这个原因
  • • You are free to daydream but bound in your choice of fate.
    • •你可以自由地做白日梦，而被你选择的命运所束缚。
  • What other insulting things can I say to you? I’ll remind you of the main point of the previous lesson. You might think that you are your own master and that you act consciously. In actual fact, you are only aware of yourself in the moment that you ask yourself this question. The remainder of the time, your awareness sleeps and surrenders to the outer script.
    • What other insulting things can I say to you?
    • 我还能对你说什么侮辱的话吗?
    • I’ll remind you of the main point of the previous lesson.
    • 我要提醒你上一课的要点。
    • You might think that you are your own master and that you act consciously.
    • 你可能会认为你是自己的主人，你的行为是有意识的。
    • In actual fact, you are only aware of yourself in the moment that you ask yourself this question.
    • 事实上，只有在你问自己这个问题的那一刻，你才会意识到自己。
    • The remainder of the time, your awareness sleeps and surrenders to the outer script.
    • 剩下的时间，你的意识沉睡，臣服于外在的角本。
  • The ability to show self -awareness for a single moment won’t free you from the script. You are characters inside a film and this is simultaneously an illusion and a trap. Regardless of how much you might think of yourself,--that is where you are, and the trap has its hold on you.
    • The ability to show self -awareness for a single moment won’t free you from the script.
    • 一时表现出自我意识的能力并不能让你从角本中解脱出来。
    • You are characters inside a film and this is simultaneously an illusion and a trap.
    • 你是电影中的角色，这同时是一种幻觉和陷阱。
    • Regardless of how much you might think of yourself,--that is where you are, and the trap has its hold on you.
    • 不管你把自己想得多好，——那就是你所在的地方，陷阱已经抓住了你。
  • What is stopping you from escaping? Mainly, three things:
    • 是什么阻止了你逃跑?主要有三点:
  • 1. Ignorance of the fact that you are a character.
    • 忽视了你是一个角色的事实
  • 2. A reflexive psyche--“snail horns”.
    • 反射性的心理--蜗牛角
  • 3. The mould, limited by notions of the possible and the impossible.
    • 模式，被可能和不可能的概念所限制。
  • Look livelier-livelier, happier-happier, amphibians! Everything can be put right.
    • Look livelier-livelier, happier-happier, amphibians!
    • 看起来更活泼，更活泼，更快乐，更快乐，两栖动物!
    • Everything can be put right.
    • 一切都可以恢复正常。
  • You already have the first thing you need to escape. This is very important, because anyone who is ignorant of the illusion, remains in it forever. Nobody has told you about the illusion of action, and you never had an inkling because such a thing, in your opinion, ‘is impossible’.
    • You've got the first thing you need to escape.
    • 你已经有了逃跑的第一件东西。
    • This is very important, because anyone who is ignorant of illusion is always in illusion.
    • 这是非常重要的，因为任何对幻觉无知的人，都永远停留在幻觉中。
    • No one told you about the illusion of action, and you never had a clue, because it seemed to you that such a thing was "impossible."
    • 没有人告诉过你行动的幻觉，你也从来没有一点头绪，因为在你看来，这样的事情“是不可能的”。
  • Now you know. But this is not enough. Let’s say you’re a snail, and you have learned about the illusion. Would you then stop being a snail? if you cry, “Oh, what a misfortune, I don’t want to be a snail!”, will anything change?
    • Now you know.
    • 现在你知道了。
    • But this is not enough.
    • 但这还不够。
    • Let’s say you’re a snail, and you have learned about the illusion.
    • 假设你是一只蜗牛，你已经了解了这种错觉。
    • Would you then stop being a snail?
    • 那你能不能别再做蜗牛了?
    • if you cry, “Oh, what a misfortune, I don’t want to be a snail!
    • 如果你喊道:“哦，真不幸，我不想当蜗牛!”
    • ”, will anything change?
    • ，会有什么改变吗?
  • No. You cannot just come to life in a motion picture and start doing whatever you want without following the script. Here a slightly different approach is needed. There are still two hurdles that must be overcome: habits and views. In actual fact, you don’t possess these things, they possess you. But that’s ok, we’ll drag you out of the coma yet.
    • No.
    • 不。
    • You cannot just come to life in a motion picture and start doing whatever you want without following the script.
    • 你不能就这么活在电影里，不按照角本去做你想做的事。
    • Here a slightly different approach is needed.
    • 这里需要一种稍微不同的方法。
    • There are still two hurdles that must be overcome: habits and views.
    • 还有两个障碍必须克服:习惯和观点。
    • In actual fact, you don’t possess these things, they possess you.
    • 事实上，不是你占有这些东西，是它们占有了你。
    • But that’s ok, we’ll drag you out of the coma yet.
    • 不过没关系，我们会把你从昏迷中拉出来的。
  • You are made snails by the habit of waiting and hoping for something to happen rather than composing your own reality. Will it come off or not? Will it work out or not? This is a passive position. From this position, all you are capable of doing is giving reality a prod and pulling back your horns at the slightest little thing.
    • You are made snails by the habit of waiting and hoping for something to happen rather than composing your own reality.
    • 等待和希望事情发生的习惯，而不是创造你自己的现实，把你变成了蜗牛。
    • Will it come off or not?
    • 它到底能不能掉下来?
    • Will it work out or not?
    • 这到底能不能成功?
    • This is a passive position.
    • 这是一个被动的位置。
    • From this position, all you are capable of doing is giving reality a prod and pulling back your horns at the slightest little thing.
    • 在这个位置上，你所能做的就是给现实一点刺激，在最微不足道的事情上退缩。
  • In order to stop being wet and snotty and become beautiful and happy, you need to shift into active gear. Not wait and hope, but compose your reality. Your mould is an obstacle, as it tells you that it is impossible to compose your own reality. This is your little house, but I’ll drag you out of it, nasty and slippery though you are!
    • In order to stop being wet and snotty and become beautiful and happy, you need to shift into active gear.
    • 为了不再湿漉漉、流鼻涕，变得美丽和快乐，你需要换到积极的档位。
    • Not wait and hope, but compose your reality.
    • 不是等待和希望，而是谱写你的现实。
    • Your mould is an obstacle, as it tells you that it is impossible to compose your own reality.
    • 你的模式是一个障碍，因为它告诉你不可能构成你自己的现实。
    • This is your little house, but I’ll drag you out of it, nasty and slippery though you are!
    • 这是你的小房子，尽管你又脏又滑，我还是要把你拖出来!
  • New habits and views are developed just exactly as the old ones took root--through multiple repetitions. Only from now on, instead of staring at reality and following it, you will actively control the movement of the frame. Can you guess which frame?
    • New habits and views are developed just exactly as the old ones took root--through multiple repetitions.
    • 新的习惯和观点是的养成与旧的习惯和观点扎根的过程是一样的——通过多次重复。
    • Only from now on, instead of staring at reality and following it, you will actively control the movement of the frame.
    • 只有从现在开始，你不再盯着现实，跟着现实走，而是主动控制画面的移动。
    • Can you guess which frame?
    • 你能猜出是哪个框架吗?
  • Not the one in which you find yourself in the present moment but the one that is coming up. As you already know, you can’t change the reality of the current frame because it has already come into being. You can only specify the nature of the reality that is yet to come. So your attention should be focused several frames ahead.
    • Not the one in which you find yourself in the present moment but the one that is coming up.
    • 不是你发现自己在当下的那个，而是即将到来的那个。
    • As you already know, you can’t change the reality of the current frame because it has already come into being.
    • 正如你已经知道的，你不能改变当前框架的现实，因为它已经形成了。
    • You can only specify the nature of the reality that is yet to come.
    • 你只能指定尚未到来的实相的性质。
    • So your attention should be focused several frames ahead.
    • 所以你的注意力应该集中在前面的几帧。
  • Just like when you tracked your attention, now, you will need to track the forthcoming frame. For this, there are three triggers:
    • 就像你追踪你的注意力一样，现在，你需要追踪即将到来的画面。对此，有三个触发因素:
  • Expectation--something is going to happen; you are waiting, hoping for something.
    • 期望——某事将要发生;你在等待，期待着什么。
  • Intention--you intend to set off somewhere or do something.
    • 意图——你打算去某个地方或做某事。
  • Problem--something happened that need resolving.
    • 问题——发生了需要解决的事情。
  • Whenever you expect something, don’t wait or hope —compose reality. Whenever you intend to do something, don’t rush to get on with it. First, compose reality.
    • Whenever you expect something, don’t wait or hope —compose reality.
    • 当你期待某事时，不要等待或希望——创造现实。
    • Whenever you intend to do something, don’t rush to get on with it.
    • 无论何时你打算做什么事，都不要急于去做。
    • First, compose reality.
    • 首先，构成现实。
  • Whenever a problem arises, again, don’t wait, don’t hope, don’t fuss; compose your reality.
    • 当问题出现时，再一次，不要等待，不要希望，不要大惊小怪;整理你的现实。
  • Frame illumination method.框架照明方法。
    • 1. Catch yourself at one of the triggers.
      • 让自己抓住触发因素。
    • 2. Wake up: I can see myself and I can see reality.
      • 醒来:我能看到我自己，我能看到现实。
    • 3. Activate the plait, hold the feeling, compose reality.
      • 激活辫子，保持感觉，构思现实。
      • 1. Drop the feeling off the plait. 丢掉那种辫子的感觉。
      • 2. if the event is very important to you, repeat the illumination several times.
        • 如果事件对你来说非常重要，重复几次照明。
  • Try to remember and constantly think about the forthcoming frame. It won’t work for you every time. At first, you will keep forgetting. Old habits aren’t that easy to unstick. You have to see it out, and replace it with a new one. Don’t be lazy, be smart, get on with it or else I’ll see you out. You’re good for nothing. Nobody loves you except me.
    • Try to remember and keep thinking about the upcoming framework.
    • 试着记住并不断思考即将到来的框架。
    • It won't work for you every time.
    • 它不会每次都对你有效。
    • At first, you'll keep forgetting.
    • 一开始，你会一直忘记。
    • Old habits are not so easily broken.
    • 旧习惯不是那么容易改掉的。
    • You have to take it apart and replace it with a new one.
    • 你得把它拆开，然后换一个新的。
    • Don't be lazy, be smart, do it, or I'll walk you out.
    • 别偷懒，放聪明点，干吧，不然我送你出去。
    • You're nothing.
    • 你一无是处。
    • No one loves you except me.
    • 没有人爱你，除了我。

Tufti the Priestess 11--15

• 11. Reprogramming
  • Don’t get all steamed up, don’t get steamed up, my dears--mug up! Let’s repeat what we’ve covered so far. 别生气，别生气，亲爱的——别生气!让我们重复一下目前为止所讲的内容。
    • • The snail horns and house keep you trapped in the current frame.
      • •蜗牛的角和房子让你困在当前帧。
    • • To free yourself from the trap, you must shift into active gear —
      • •为了使自己摆脱陷阱，你必须换到主动档
    • • Don’t wait and hope, compose reality.
      • •不要等待和希望，创造现实。
  • Requirements:
    • • Constantly practice managing the upcoming frame.
      • •不断练习管理即将到来的帧。
  • Method:
    • • Expectation, intention, problem—immediate activation and frame illumination.
      • •期望、意图、问题即时激活和框架照明。
  • Compose events in which the outcome is unknown but also compose things that are likely to come true. For example, you are going somewhere and intend to go through a door. You know that this event will happen anyway. Nevertheless, illuminate this frame. Imagine in your thoughts, in words, and even better, visually, opening the door and walking through it.
    • Compose events in which the outcome is unknown but also compose things that are likely to come true.
    • 对结果未知的事件进行构想，但也对可能实现的事情进行构想。
    • For example, you are going somewhere and intend to go through a door.
    • 例如，你要去某个地方，打算穿过一扇门。
    • You know that this event will happen anyway.
    • 你知道这件事无论如何都会发生。
    • Nevertheless, illuminate this frame.
    • 然而，照亮这个框架。
    • Imagine in your thoughts, in words, and even better, visually, opening the door and walking through it.
    • 想象在你的思想中，用语言，甚至更好的是，在视觉上，打开门，走进去。
  • Don’t be lazy, don’t be lazy! Do you think that you can hide in your house and no one will see you? I’ll get you either way. Why do we need endless repetition? In order to rewire the snail mould. You won’t believe that reality will succumb to your will until you see it for yourself, moreover, repeatedly.
    • Don’t be lazy, don’t be lazy!
    • 不要偷懒，不要偷懒!
    • Do you think that you can hide in your house and no one will see you?
    • 你以为你能躲在家里，没人会看见你吗?
    • I’ll get you either way.
    • 不管怎样我都会抓到你的。
    • Why do we need endless repetition?
    • 为什么我们需要无休止的重复?
    • In order to rewire the snail mould.
    • 为了给蜗牛模式重新换线。
    • You won’t believe that reality will succumb to your will until you see it for yourself, moreover, repeatedly.
    • 你不会相信现实会屈服于你的意志，直到你自己反复地看到它。
  • Controlling frame movement in small-scale events is the most effective training method, as a result of which you will...
    • Controlling frame movement in small-scale events is the most effective training method, as a result of which you will...
    • 在小规模的事件中控制框架运动是最有效的训练方法，因此你将……
    • – Learn to wake up and control your attention.
      • -学会醒来并控制你的注意力。
    • – Develop your plait, visualisation skills, and intention.
      • -发展你的辫子，可视化技能和意图。
    • – Switch into active gear, and eventually acquire the ability to free yourself from the dominant script and compose your own reality.
      • -切换到主动齿轮，并最终获得从主导角本中解放自己的能力，并构思自己的现实。
  • What happens after you activate yourself ? You become the only character in your entire environment, who is not subject to the external script. And, failing that, as soon as you lose yourself and become immersed in the motion picture, you instantly identify with it, becoming its integral part, moreover, a dependent, imitative part--a mannequin.
    • What happens after you activate yourself ?
    • 激活自己之后会发生什么?
    • You become the only character in your entire environment, who is not subject to the external script.
    • 你成为整个环境中唯一不受外部脚本影响的角色。
    • And, failing that, as soon as you lose yourself and become immersed in the motion picture, you instantly identify with it, becoming its integral part, moreover, a dependent, imitative part--a mannequin.
    • 如果做不到这一点，一旦你失去自我，沉浸在电影中，你就会立刻认同它，成为它不可分割的一部分，而且是一个依赖的、模仿的部分——一个人体模型。
  • But once again, you drag your attention away from the current frame and illuminate the upcoming frame. In this moment, you come alive in the motion picture and start moving freely, at your own discretion. Now you still occupy the same mannequin but in a totally different capacity. Imagine a mannequin in a shop stepping down from the display window and going about its business. This is roughly what happens to you.
    • But once again, you drag your attention away from the current frame and illuminate the upcoming frame.
    • 但是再一次，你把你的注意力从当前帧拖开，照亮下一帧。
    • In this moment, you come alive in the motion picture and start moving freely, at your own discretion.
    • 在这一刻，你在电影中活了起来，开始自由地移动，根据你自己的判断。
    • Now you still occupy the same mannequin but in a totally different capacity.
    • 现在你仍然占据着同样的人体模型，但以完全不同的能力。
    • Imagine a mannequin in a shop stepping down from the display window and going about its business.
    • 想象一下，在一家商店里，一个人体模型从展示窗口走下来，开始做自己的事情。
    • This is roughly what happens to you.
    • 这大概就是发生在你身上的事情。
  • You are still in the motion picture as before, but at the same time, you are taken out of the sequencing as if your individual frame could move freely along the film roll. Let’s just say, now your ‘frame frequency’ is different from the frequency of the reality frames, which enables you to free yourself up from the confines of the dominant script. have you ever seen in a movie or on TV, what a spinning wheel or propeller looks like? It appears to spin instantly or turn in the opposite direction, because the spinning blade frequency and interval are quite different to the frame interval. Similarly, your attention and plait manipulations place you in a different frequency and interval to reality. In this sense, you can move freely about the film.
    • You are still in the motion picture as before, but at the same time, you are taken out of the sequencing as if your individual frame could move freely along the film roll.
    • 你仍然像以前一样在电影中，但与此同时，你被从序列中取出，好像你的个人帧可以沿着胶卷自由移动。
    • Let’s just say, now your ‘frame frequency’ is different from the frequency of the reality frames, which enables you to free yourself up from the confines of the dominant script.
    • 让我们这么说吧，现在你的“框架频率”与现实框架的频率不同，这使你能够从主导角本的限制中解放自己。
    • have you ever seen in a movie or on TV, what a spinning wheel or propeller looks like?
    • 你在电影或电视上看过纺车或螺旋桨是什么样子吗?
    • It appears to spin instantly or turn in the opposite direction, because the spinning blade frequency and interval are quite different to the frame interval.
    • 由于旋叶频率和旋叶间隔与机架间隔有较大的差异，使其出现瞬间旋转或反方向旋转的现象。
    • Similarly, your attention and plait manipulations place you in a different frequency and interval to reality.
    • 同样地，你的注意力和辫子操作将你置于与现实不同的频率和间隔中。
    • In this sense, you can move freely about the film.
    • 从这个意义上说，你可以在电影中自由移动。
  • The yet-to-be-realized future drags you from the sequence of the present when you take hold of that future and try to affect it. The impending reality, though written in the Eternity archive, is always multi-variant and has not been totally defined or composed By anyone —nobody owns it yet. When someone turns up, who will compose a variant of it, then that future surrenders to their instruction. And if that someone is you, it becomes yours.
    • The yet-to-be-realized future drags you from the sequence of the present when you take hold of that future and try to affect it.
    • 当你抓住未来并试图影响它时，尚未实现的未来会把你从现在的顺序中拖出来。
    • The impending reality, though written in the Eternity archive, is always multi-variant and has not been totally defined or composed By anyone —nobody owns it yet.
    • 即将到来的现实，虽然写在永恒的档案中，总是多种多样的，还没有被任何人完全定义或作曲——还没有人拥有它。
    • When someone turns up, who will compose a variant of it, then that future surrenders to their instruction.
    • 当有人出现时，他会写出它的变体，然后那个未来就会屈从于他们的指令。
    • And if that someone is you, it becomes yours.
    • 如果那个人是你，它就变成了你的。
  • Do you want reality to be yours? So, take it, and compose it as you wish. This is a fundamentally new approach to your reactions, behavior, and existence. The difference is that your attention will no longer get stuck in the current frame but strive ahead instead. Observance is replaced by advance, and passive waiting by agency.
    • Do you want reality to be yours?
    • 你想让现实成为你的吗?
    • So, take it, and compose it as you wish.
    • 所以，拿着它，随心所欲地创作吧。
    • This is a fundamentally new approach to your reactions, behavior, and existence.
    • 这是对你的反应、行为和存在的一种全新的方法。
    • The difference is that your attention will no longer get stuck in the current frame but strive ahead instead.
    • 不同之处在于，你的注意力将不再停留在当前的框架中，而是努力前进。
    • Observance is replaced by advance, and passive waiting by agency.
    • 遵守被进步所取代，被动的等待被能动性所取代。
  • You no longer string along with reality as if on a leash, but direct it, driving it forward. But before your desired reality can become the physical reality of your daily life, you, my head-choppers, must get yourself a reprogramming. I can’t do this for you. You may not get it perfect, straight away. You will only be able to create what agrees with your everyday, routine experience. Until you finally believe that you are capable of composing reality, it will slip away from you unyielding.
    • You no longer string along with reality as if on a leash, but direct it, driving it forward.
    • 你不再像拴着皮带一样跟随着现实，而是指挥它，驱使它前进。
    • But before your desired reality can become the physical reality of your daily life, you, my head-choppers, must get yourself a reprogramming.
    • 但是，在你想要的现实成为你日常生活的现实之前，你，我的砍头者，必须给自己重新编程。
    • I can’t do this for you.
    • 我不能为你这么做。
    • You may not get it perfect, straight away.
    • 你可能无法马上做到完美。
    • You will only be able to create what agrees with your everyday, routine experience.
    • 你只能创造与你的日常经验相符的东西。
    • Until you finally believe that you are capable of composing reality, it will slip away from you unyielding.
    • 直到你最终相信你有能力构成现实，它才不会从你身边不屈地溜走。
  • The only way of recasting the mould is the same way it was created in the first place--through daily, mundane practice. Track the impending frame, track yourself, compose reality. if you do as I tell you, reality will do as you tell it.
    • The only way of recasting the mould is the same way it was created in the first place--through daily, mundane practice.
    • 重塑模具的唯一方法就是用最初创造它的方式——通过日常的、平凡的实践。
    • Track the impending frame, track yourself, compose reality.
    • 跟踪即将到来的框架，跟踪自己，构造现实。
    • if you do as I tell you, reality will do as you tell it.
    • 如果你照我说的做，现实就会照你说的做。
  • It is best to carry out regular, multiple repetitions until it be-comes a habit, otherwise you won’t learn anything. And If you don’t learn, I will remove your houses and turn you into even more horrible creatures--slugs. I am Tufti, your Owner, and I do with you what I wish.
    • It is best to carry out regular, multiple repetitions until it be-comes a habit, otherwise you won’t learn anything.
    • 最好是有规律地多次重复，直到它成为一种习惯，否则你什么也学不到。
    • And If you don’t learn, I will remove your houses and turn you into even more horrible creatures--slugs.
    • 如果你们不学，我就把你们的房子搬走把你们变成更可怕的生物——鼻涕虫。
    • I am Tufti, your Owner, and I do with you what I wish.
    • 我是塔夫提，你的主人，我会对你做我想做的。
• 12. Transformation
  • Here-here, my wet-eared crook-shanks! That’s it, come out of your houses, gather round, and let’s recall the previous lesson.
    • 这里，这里，我的湿耳朵的弯腿!好了，从你们的房子里出来，聚集在一起，让我们回忆一下上一课。
    • • The method of awakening and illumination detaches you from the script.
      • •唤醒和启迪的方法将你从角本中分离出来。
    • • You are mannequins, stepped down from the window going about your business.
      • •你们是人体模型，从橱窗走下来，忙着自己的事。
    • • You are still in the film, but at the same time, you have dropped out of the sequence.
      • •你仍然在电影中，但同时，你已经退出了这个序列。
    • • Having detached yourself from the film roll, you can create your own film.
      • •将自己从胶卷中分离出来，你可以创造自己的胶卷。
    • • Controlling the frame movement for simple events is your training and reprogramming.
      • •控制框架运动的简单事件是你的训练和重新编程。
  • It is also your transformation. You will gradually transform from snails to fireflies.
    • 这也是你的转变。你会逐渐从蜗牛变成萤火虫。
  • When you illuminate the frame, you radiate an inner light, and the desired events fly to you like moths to a light.
    • 当你照亮框架时，你散发出一种内在的光，你想要的事件就像飞蛾扑灯一样飞向你。
  • Luminescent creatures, looking forward--that is how the Creator conceived of you. And so you once were before you got stuck in the motion illusion.
    • 发光的生物，向前看——这就是造物主对你们的设想。在你陷入运动错觉之前，你曾经是这样的。
  • Much has been lost, but some things can be restored. Do you want to be a firefly? Then, lively-lively track the impending frame, track yourself, compose your reality. Those around you, those who are still snails will extend their horns towards you and move closer out of curiosity.
    • Much has been lost, but some things can be restored.
    • 虽然失去了很多东西，但有些东西是可以恢复的。
    • Do you want to be a firefly?
    • 你想成为一只萤火虫吗?
    • Then, lively-lively track the impending frame, track yourself, compose your reality.
    • 然后，生动活泼地跟踪即将到来的框架，跟踪你自己，组成你的现实。
    • Those around you, those who are still snails will extend their horns towards you and move closer out of curiosity.
    • 那些在你身边的，那些仍然是蜗牛的人，会因为好奇而向你伸出他们的角，靠近你。
  • You won’t always make it work at first. You may understand that you are capable of composing reality, but in the depths of your consciousness, you will still have doubts. This means that the reprogramming is not yet complete. This is why training is essential, to shift you into active gear, to get you used to looking ahead rather than down at your feet, and finally--no, not to kill you (though my hands are already itching to)--but to convince you that you really can compose your own reality incredibly and breathtakingly.
    • You won’t always make it work at first.
    • 一开始你并不总能成功。
    • You may understand that you are capable of composing reality, but in the depths of your consciousness, you will still have doubts.
    • 你可能明白你有能力构成现实，但在你的意识深处，你仍然会有怀疑。
    • This means that the reprogramming is not yet complete.
    • 这意味着重编程尚未完成。
    • This is why training is essential, to shift you into active gear, to get you used to looking ahead rather than down at your feet, and finally--no, not to kill you (though my hands are already itching to)--but to convince you that you really can compose your own reality incredibly and breathtakingly.
    • 这就是为什么训练是必要的，让你进入积极的状态，让你习惯向前看而不是低头，最后——不，不是要杀了你(尽管我的手已经痒得要命)——而是要说服你，你真的可以令人难以置信地、惊人地创造自己的现实。
  • There is just one little thing. You must try without making an effort, my assiduous ones. Illuminating the frame successfully requires concentration, not effort. Can you concentrate for a couple of minutes? Well, just for a minute then? That’s all that is required of you. Follow the illumination method in a calm, relaxed manner. You are not permitted to tense up. Not an option!
    • There is just one little thing.
    • 只有一件小事。
    • You must try without making an effort, my assiduous ones.
    • 我的勤奋的孩子们，你们必须不费力地去尝试。
    • Illuminating the frame successfully requires concentration, not effort.
    • 成功地照亮框架需要的是专注，而不是努力。
    • Can you concentrate for a couple of minutes?
    • 你能集中精神几分钟吗?
    • Well, just for a minute then?
    • 好吧，就一分钟?
    • That’s all that is required of you.
    • 这就是我对你的全部要求。
    • Follow the illumination method in a calm, relaxed manner.
    • 以平静、放松的方式遵循照明方法。
    • You are not permitted to tense up.
    • 你不允许紧张起来。
    • Not an option!
    • 不可能!
  • Why? Because in making an effort, you will trigger your inner intention center.
    • 为什么?因为在努力的过程中，你会触发你内心的意图中心。
  • Whereas reality as we have already learned, is directed from the outer center.
    • 然而，正如我们已经学到的，现实是由外部中心引导的。
  • What do you usually do when you try your upmost? You try and fight the physical reality that is already in place. So, what will you do in relation to the reality that is yet to become manifest? Exactly the same. It’s a habit you have. You are all eager to change things to your liking, the way you want them to be.
    • What do you usually do when you try your upmost?
    • 当你竭尽全力的时候，你通常会做什么?
    • You try and fight the physical reality that is already in place.
    • 你试图与已经存在的物质现实作斗争。
    • So, what will you do in relation to the reality that is yet to become manifest?
    • 那么，对于尚未显现的实相，你将做些什么呢?
    • Exactly the same.
    • 完全一样。
    • It’s a habit you have.
    • 这是你的习惯。
    • You are all eager to change things to your liking, the way you want them to be.
    • 你们都渴望按照自己的喜好，按照自己想要的方式来改变事物。
  • But you won’t succeed in changing anything that is already physically manifest, of for that matter, anything that isn’t yet manifest. How can you change a film that has already been shot? You can only choose the future, like a reel of film from an archive.
    • But you won’t succeed in changing anything that is already physically manifest, of for that matter, anything that isn’t yet manifest.
    • 但是你不会成功地改变任何已经在物理上显化的东西，就此而言，任何尚未显化的东西。
    • How can you change a film that has already been shot?
    • 你怎么能改变一部已经拍好的电影?
    • You can only choose the future, like a reel of film from an archive.
    • 你只能选择未来，就像资料馆里的一卷胶片。
  • Do you see the difference? Calmly and relaxed.
    • 你看到区别了吗?冷静和放松。
  • Note, that if your muscles become tense whilst you are illuminating the frame, this means that your petty intention is activated. You must work solely with the outer center--the plait. It is not something that you should exert or wield.
    • Note, that if your muscles become tense whilst you are illuminating the frame, this means that your petty intention is activated.
    • 注意，如果你的肌肉在照亮框架时变得紧张，这意味着你的小意图被激活了。
    • You must work solely with the outer center--the plait.
    • 你必须只用外面的中心——辫子。
    • It is not something that you should exert or wield.
    • 这不是你应该施展或挥舞的东西。
  • The plait is activated easily and effortlessly. Remembering and sensing it, calmly concentrating on it is enough. Next, without losing the sensation of the plait, focus on the frame composition . Visualize the picture you desire with ease, without trying too hard. Your muscles should be relaxed. You don’t need them for this; they have nothing to do with it. Quiet concentration on the plait and the frame. That’s what we need.
    • The plait is activated easily and effortlessly.
    • 辫子被激活是容易和毫不费力的。
    • Remembering and sensing it, calmly concentrating on it is enough.
    • 记住它，感知它，平静地专注于它就足够了。
    • Next, without losing the sensation of the plait, focus on the frame composition .
    • 接下来，在不失去编结感的情况下，重点放在框架构图上。
    • Visualize the picture you desire with ease, without trying too hard.
    • 轻松地想象你想要的画面，不要太努力。
    • Your muscles should be relaxed.
    • 你的肌肉应该放松。
    • You don’t need them for this;
    • 你不需要他们;
    • they have nothing to do with it.
    • 他们跟这事没关系。
    • Quiet concentration on the plait and the frame.
    • 安静地把注意力集中在辫子和框架上。
    • That’s what we need.
    • 这就是我们需要的。
  • Your task is not to force reality to obey you but to allow it to come to you of its own accord. Don’t force it. The principle is not to grab hold of reality but to illuminate it with the outer center--the plait. You are simultaneously the film projector and the viewer. You project the frame from behind and watch the film playing out in front as if neither had anything to do with you.
    • Your task is not to force reality to obey you but to allow it to come to you of its own accord.
    • 你的任务不是强迫现实服从你，而是允许它自己来到你身边。
    • Don’t force it.
    • 不要勉强。
    • The principle is not to grab hold of reality but to illuminate it with the outer center--the plait.
    • 原则不是抓住现实，而是用外部中心——辫子——来照亮现实。
    • You are simultaneously the film projector and the viewer.
    • 你同时是电影放映机和观众。
    • You project the frame from behind and watch the film playing out in front as if neither had anything to do with you.
    • 你从后面投射画面，看着电影在前面播放，仿佛两者都与你无关。
  • The outer center (you must have noticed) is both yours and not yours at the same time. You mustn’t put pressure on the plait. Just activate it and then send out a current of thoughts from the plait, not from the front but from behind. Not from the stubborn, stupid, out of habit forehead, but from the plait, you see? You are simply illuminating the frame; It materialises itself. That part is nothing to do with you! That’s it, that’s it! Why is it so important that it be ‘nothing to do with you’? I repeat again and again, my dears: it is so that the outer center works, not the inner center. The outer center involves a completely different instrument. Your outer center is closer to what is referred to as your higher self. The outer center is what directs you.
    • The outer center (you must have noticed) is both yours and not yours at the same time.
    • 外中心(你一定注意到了)既是你的，同时又不是你的。
    • You mustn’t put pressure on the plait.
    • 你不能压辫子。
    • Just activate it and then send out a current of thoughts from the plait, not from the front but from behind.
    • 只要激活它，然后从辫子发出思想的电流，不是从前面，而是从后面。
    • Not from the stubborn, stupid, out of habit forehead, but from the plait, you see?
    • 不是从顽固、愚蠢、习惯的额头，而是从辫子，你看到了吗?
    • You are simply illuminating the frame;
    • 你只是照亮了框架;
    • It materialises itself.
    • 它实现了自己。
    • That part is nothing to do with you!
    • 这跟你一点关系都没有!
    • That’s it, that’s it!
    • 就是这样，就是这样!
    • Why is it so important that it be ‘nothing to do with you’?
    • 为什么“与你无关”这么重要?
    • I repeat again and again, my dears: it is so that the outer center works, not the inner center.
    • 亲爱的，我一遍又一遍地重复:这是外在的中心在起作用，而不是内在的中心。
    • The outer center involves a completely different instrument.
    • 外中心是一个完全不同的仪器。
    • Your outer center is closer to what is referred to as your higher self.
    • 你的外部中心更接近所谓的“高我”。
    • The outer center is what directs you.
    • 外部中心引导你。
  • The tip of the plait is your hook, by which you can be led like a mannequin. When you have no self -awareness, you are led by the script or by puppeteers, who manipulate your consciousness. As soon as you regain self -awareness, your hook is again at your disposal and you can propel yourself freely.
    • The tip of the plait is your hook, by which you can be led like a mannequin.
    • 辫子的顶端是你的钩子，你可以像模特一样被它牵着走。
    • When you have no self -awareness, you are led by the script or by puppeteers, who manipulate your consciousness.
    • 当你没有自我意识时，你就会被角本或操纵你意识的木偶操纵者所引导。
    • As soon as you regain self -awareness, your hook is again at your disposal and you can propel yourself freely.
    • 一旦你重新获得自我意识，你的钩子又可以由你支配，你可以自由地推动自己。
  • In your usual state of consciousness, you don’t propel yourself, just your hands and feet, trying to nudge everything that stands in front of you without taking into account the fact that they have you by the scruff from behind. That is how the motion illusion arises.
    • In your usual state of consciousness, you don’t propel yourself, just your hands and feet, trying to nudge everything that stands in front of you without taking into account the fact that they have you by the scruff from behind.
    • 在你通常的意识状态下，你不会推动自己，只是你的手和脚，试图推动站在你面前的所有东西，而不考虑他们从后面抓住你的脖子。
    • That is how the motion illusion arises.
    • 这就是运动错觉产生的原因。
  • And now, you have hold of the hook yourself and begin to move reality without applying any effort, ‘as if’ you weren’t doing anything. What’s happening then? The motion illusion is turned inside out. You aren’t being moved about, you are moving yourself. You are not doing anything to reality, reality is doing it of its own accord. That’s how it is, that’s how it is, my goody-goodies! The illusion is crumbling!
    • And now, you have hold of the hook yourself and begin to move reality without applying any effort, ‘as if’ you weren’t doing anything.
    • 现在，你自己抓住了钩子，开始不费任何力气地移动现实，“好像”你什么也没做。
    • What’s happening then?
    • 然后发生了什么?
    • The motion illusion is turned inside out.
    • 运动错觉被彻底颠覆了。
    • You aren’t being moved about, you are moving yourself.
    • 你不是被人移动，你是在移动你自己。
    • You are not doing anything to reality, reality is doing it of its own accord.
    • 你没有对现实做任何事，现实在自己做这件事。
    • That’s how it is, that’s how it is, my goody-goodies!
    • 就是这样，就是这样，我的好朋友们!
    • The illusion is crumbling!
    • 幻想正在破灭!
• 13. Meta-power
  • So how are you, my dears? Are you beginning to shine or do you continue to be wet? Quick, quick, transform!
    • 亲爱的，你们好吗?你是开始发光了，还是继续湿着?快，快，变形!
    • • You were originally conceived to be luminescent creatures, looking ahead.
      • •你们最初被设想为发光的生物，向前看。
    • • Illuminating the frame successfully requires concentration, not effort.
      • •成功照亮框架需要专注，而不是努力。
    • • if the muscles are strained, the inner intention center has been triggered.
      • •如果肌肉紧张，内在意图中心已经被触发。
    • • Follow the illumination method in a calm, relaxed manner.
      • •以平静、放松的方式遵循照明方法。
    • • Principle: do not force reality; allow it to be.
      • •原则:不要强迫现实;让它去吧。
  • Allow reality to carry out your assignment. Don’t forget, you are just illuminating the frame; it materialises by itself. Very little is required of you: compose reality and stand aside, like a third-party observer. Don’t interrupt or get in the way!
    • Allow reality to carry out your assignment.
    • 让现实来完成你的任务。
    • Don’t forget, you are just illuminating the frame;
    • 别忘了，你只是照亮了画框;
    • it materialises by itself.
    • 它是自己实现的。
    • Very little is required of you: compose reality and stand aside, like a third-party observer.
    • 对你的要求很少:组成现实，站在一边，像一个第三方观察者。
    • Don’t interrupt or get in the way!
    • 不要打断或妨碍!
  • It is customary for you to think that all you have to do is apply some effort and the future will yield, but this requires a different approach. Physical strength, like willpower, only works within the reality of the current frame. You can fight manifest reality with all your stupid strength as much as you like, but that won’t work with forthcoming reality; this requires something else.
    • It is customary for you to think that all you have to do is apply some effort and the future will yield, but this requires a different approach.
    • 你习惯于认为你所要做的就是付出一些努力，未来就会有收获，但这需要一种不同的方法。
    • Physical strength, like willpower, only works within the reality of the current frame.
    • 体力和意志力一样，只能在当前的现实框架内发挥作用。
    • You can fight manifest reality with all your stupid strength as much as you like, but that won’t work with forthcoming reality;
    • 你可以随心所欲地用你所有愚蠢的力量来对抗显化的现实，但这对即将到来的现实不起作用;
    • this requires something else.
    • 这需要别的东西。
  • You, my little maniacs, must understand, just as I must explain, that there is a flip side to power--meta-power. It is, in a sense, the opposite of force, not weakness or apathy, but the power which acts from the other side of reality.
    • You, my little maniacs, must understand, just as I must explain, that there is a flip side to power--meta-power.
    • 你们，我的小疯子们，必须明白，正如我必须解释的那样，力量也有另一面，超能力。
    • It is, in a sense, the opposite of force, not weakness or apathy, but the power which acts from the other side of reality.
    • 从某种意义上说，它是力量的对立面，不是软弱或冷漠，而是从现实的另一面起作用的力量。
  • For ease of understanding, take a look in a mirror. From the side where you are standing, everything is material and can be touched. On the other side, in the reflection, everything is intangible but equally as real. if there is an object, then there will be a reflection. Is the object real? Then the reflection must be real too. I am explaining this to you so that you will understand, that it is not only the things that can be touched that are real.
    • For ease of understanding, take a look in a mirror.
    • 为了便于理解，请照照镜子。
    • From the side where you are standing, everything is material and can be touched.
    • 从你站的那一边看，一切都是物质的，都是可以触摸的。
    • On the other side, in the reflection, everything is intangible but equally as real.
    • 另一方面，在倒影中，一切都是无形的，但同样是真实的。
    • if there is an object, then there will be a reflection.
    • 如果有物体，那么就会有反射。
    • Is the object real?
    • 物体是真实的吗?
    • Then the reflection must be real too.
    • 那么反射也一定是真实的。
    • I am explaining this to you so that you will understand, that it is not only the things that can be touched that are real.
    • 我向你解释这些是为了让你明白，不仅仅是那些可以触摸的东西才是真实的。
  • The reality mirror is like a normal mirror, only it works the other way around:the image being reflected and the reflection itself change places. You can touch the reflection, but you can’t touch the image. The reflection is on the front side facing the mirror glass, and the image is on the other side. The frontal side is physical reality, while the other side is the dream space of the film roll archive.
    • The reality mirror is like a normal mirror, only it works the other way around:the image being reflected and the reflection itself change places.
    • 现实镜就像一面普通的镜子，只是它的工作方式相反:被反射的图像和反射本身改变了位置。
    • You can touch the reflection, but you can’t touch the image.
    • 你可以触摸到映像，但你不能触摸到图像。
    • The reflection is on the front side facing the mirror glass, and the image is on the other side.
    • 反射在正面对着镜面玻璃，而图像在另一面。
    • The frontal side is physical reality, while the other side is the dream space of the film roll archive.
    • 正面是物理现实，另一面是胶片资料馆的梦境空间。
  • As you already know, physical reality is like a frame, which moves along a film roll, only the film roll is primary, and the film itself is secondary, and so physical reality is a reflection of the object, located somewhere there, on the other side. And there in the film reel archive there are multiple versions of the future.
    • As you already know, physical reality is like a frame, which moves along a film roll, only the film roll is primary, and the film itself is secondary, and so physical reality is a reflection of the object, located somewhere there, on the other side.
    • 正如你们所知，物理现实就像一个框架，它沿着胶卷移动，只不过胶卷是主要的，而胶片本身是次要的，所以物理现实是物体的反射，位于另一边的某个地方。
    • And there in the film reel archive there are multiple versions of the future.
    • 在电影卷轴档案中有很多关于未来的版本。
  • Judge for yourself: if the future is located on the other side of the reality mirror, can one somehow influence it with usual force, which only works here, on the front side of the mirror? Not an option! You could bust a gut with effort, but it still wouldn’t work. Can you? Yes-yes-yes! You can, you can!
    • Judge for yourself: if the future is located on the other side of the reality mirror, can one somehow influence it with usual force, which only works here, on the front side of the mirror?
    • 你自己判断一下:如果未来位于现实之镜的另一边，你能不能用通常的力量来影响它，而这种力量只在镜子的正面起作用?
    • Not an option!
    • 不可能!
    • You could bust a gut with effort, but it still wouldn’t work.
    • 你可以努力鼓足勇气，但它仍然不起作用。
    • Can you?
    • 你能吗?
    • Yes-yes-yes!
    • Yes-yes-yes !
    • You can, you can!
    • 你行的，你行的!
  • So as not to explode and to have the future you want, you must act from the other side of the mirror in accordance with the reality mirror rules, not the ordinary rules.
    • 为了不爆炸，为了拥有你想要的未来，你必须从镜子的另一边按照现实的镜子规则行事，而不是普通的规则。
  • So, how do you get there, to the other side or the mirror glass?
    • 那么，你如何到达那里，到镜子的另一边或玻璃?
  • I have not mentioned it before, but you have in fact been there already. When in the process of waking up, you disengage from the script and practically fall into the world behind the glass. This cannot be seen overtly, and the reason it can’t be seen is that the surface of the reality mirror is not a surface or wall as such, so much as an intangible transitional boundary between the object and the reflection.
    • I have not mentioned it before, but you have in fact been there already.
    • 我以前没有提到过，但实际上你已经去过那里了。
    • When in the process of waking up, you disengage from the script and practically fall into the world behind the glass.
    • 在醒来的过程中，你脱离了角本，实际上进入了玻璃后面的世界。
    • This cannot be seen overtly, and the reason it can’t be seen is that the surface of the reality mirror is not a surface or wall as such, so much as an intangible transitional boundary between the object and the reflection.
    • 这是不能明显看到的，它不能被看到的原因是，现实镜子的表面不是表面或墙壁，而是物体和反射之间的一个无形的过渡边界。
  • Everything is the same on both sides, and they look identical, only on one side the image is material and on the other, it is not. On the frontal side of the mirror, there is your material mannequin, and on the other side, a virtual one. When you wake up, your attention passes through the mirror boundary into your virtual mannequin.
    • Everything is the same on both sides, and they look identical, only on one side the image is material and on the other, it is not.
    • 两边的一切都是一样的，它们看起来是一样的，只是一边的图像是物质的，而另一边则不是。
    • On the frontal side of the mirror, there is your material mannequin, and on the other side, a virtual one.
    • 镜子的正面是实物模型，另一面是虚拟模型。
    • When you wake up, your attention passes through the mirror boundary into your virtual mannequin.
    • 当你醒来时，你的注意力穿过镜子的边界进入你的虚拟人体模型。
  • It is your attention that moves, not your body, but this is sufficient, because you are your attention. Both bodies--virtual and material, each on either side of the mirror--move in unison. It’s a matter of where your attention is focused. If it is focused on the manifest frame, then you are totally engrossed in the script. If it is focused on the other side of the mirror, in the image frame, then you are free to move, both yourself and impending reality.
    • It is your attention that moves, not your body, but this is sufficient, because you are your attention.
    • 是你的注意力在动，而不是你的身体，但这就足够了，因为你就是你的注意力。
    • Both bodies--virtual and material, each on either side of the mirror--move in unison.
    • 两个身体——虚拟的和物质的，分别在镜子的两边——一起移动。
    • It’s a matter of where your attention is focused.
    • 关键是你的注意力集中在哪里。
    • If it is focused on the manifest frame, then you are totally engrossed in the script.
    • 如果它集中在显示的帧上，那么您就完全专注于脚本。
    • If it is focused on the other side of the mirror, in the image frame, then you are free to move, both yourself and impending reality.
    • 如果它集中在镜子的另一边，在图像框架中，那么你就可以自由移动，无论是你自己还是即将到来的现实。
  • When I say ‘to propel yourself ’ I mean it in the sense that you are self -aware and arbitrarily in control of your own motives and actions. Inside the frame, you move in the usual way, with your hands and feet using physical force. However, you move reality in a completely different way, with attention, intention, and meta-power.
    • When I say ‘to propel yourself ’ I mean it in the sense that you are self -aware and arbitrarily in control of your own motives and actions.
    • 当我说“推动你自己”时，我的意思是你有自我意识，可以任意地控制自己的动机和行为。
    • Inside the frame, you move in the usual way, with your hands and feet using physical force.
    • 在框架内，你以通常的方式移动，用你的手和脚使用物理力量。
    • However, you move reality in a completely different way, with attention, intention, and meta-power.
    • 然而，你以一种完全不同的方式移动现实，用注意力、意图和超能力。
  • You will gradually come to understand what meta-power is when you start to sense it. I would not be able to explain to you what physical force is if you had never tried using it. The same goes for meta-power; you have to feel it and develop it. Your plait is your meta-power tool. The frame illumination method is an exercise for developing meta-power at the same time as being a way of composing the reality you desire.
    • You will gradually come to understand what meta-power is when you start to sense it.
    • 当你开始感知超能力时，你就会逐渐理解它是什么。
    • I would not be able to explain to you what physical force is if you had never tried using it.
    • 如果你从未尝试过使用物理力，我就无法向你解释它是什么。
    • The same goes for meta-power;
    • 超能力也是如此;
    • you have to feel it and develop it.
    • 你必须去感受并发展它。
    • Your plait is your meta-power tool.
    • 你的辫子是你的超能力工具。
    • The frame illumination method is an exercise for developing meta-power at the same time as being a way of composing the reality you desire.
    • 框架照明法是一种发展超能力的练习，同时也是一种构成你想要的现实的方式。
  • Next, I will describe in more detail the rules and principles of the world beyond the mirror glass. You will suss it all out, eventually fathom it all. For now, don’t forget to carry out the method more often.
    • Next, I will describe in more detail the rules and principles of the world beyond the mirror glass.
    • 接下来，我将更详细地描述镜子玻璃之外的世界的规则和原则。
    • You will suss it all out, eventually fathom it all.
    • 你会弄清楚一切，最终彻底了解一切。
    • For now, don’t forget to carry out the method more often.
    • 现在，不要忘记经常执行这个方法。
  • Do you want to learn to compose your own reality? Perhaps, you don’t want to?
    • 你想要学会构建自己的现实吗?也许，你不想?
  • How could you not want to? What’s this, a slave uprising? If that’s the case, there will be sacrifices and of ferings made, and very happy ones! Look at me! I am Tufti, your priestess. You will tolerate my despotism just as I tolerate the fact that I have to spend my time with snails, frogs, and other amphibians? U-la-la!
    • How could you not want to?
    • 你怎么可能不想呢?
    • What’s this, a slave uprising?
    • 这是什么，奴隶起义吗?
    • If that’s the case, there will be sacrifices and of ferings made, and very happy ones!
    • 如果是这样的话，就会有牺牲和祭品，而且是非常幸福的!
    • Look at me!
    • 看着我!
    • I am Tufti, your priestess.
    • 我是塔夫提，你的女祭司。
    • You will tolerate my despotism just as I tolerate the fact that I have to spend my time with snails, frogs, and other amphibians?
    • 你会容忍我的专制，就像我容忍我不得不把时间花在蜗牛、青蛙和其他两栖动物身上一样吗?
    • U-la-la !
    • U-la-la!
• 14. Imitating action
  • So, my songsters and dancers, let’s carry on learning whose tune You are dancing to.
    • 所以，我的歌手和舞者们，让我们继续学习你们跟着谁的曲调跳舞。
    • • Not only that which can be touched is real.
      • •并不是只有能触摸到的才是真实的。
    • • Reality is a reverse mirror: here the reflection, there, the image.
      • •现实是一面倒过来的镜子:这里是反射，那里是映像。
    • • Physical reality is on the frontal side, whereas the film roll archive is on the reverse side.
      • •物理现实在正面，而胶卷存档在反面。
    • • Physical force works in physical reality, meta-power works inside the mirror glass.
      • •物理力量在物理现实中起作用，超能力在镜子玻璃中起作用。
    • • On awakening, attention shifts to its virtual mannequin in the world inside the mirror.
      • •醒来时，注意力转移到镜子内世界的虚拟人体模型上。
  • You must be a little confused by the notion of falling into some world beyond the mirror glass without even noticing it? And perhaps not just a little confused but quite a lot. Don’t worry, my trembling ones, you actually fall into the mirror world every night when you go asleep.
    • You must be a little confused by the notion of falling into some world beyond the mirror glass without even noticing it?
    • 你一定有点困惑了吧不知不觉就掉进了镜子之外的世界?
    • And perhaps not just a little confused but quite a lot.
    • 也许不仅仅是一点困惑，而是很多困惑。
    • Don’t worry, my trembling ones, you actually fall into the mirror world every night when you go asleep.
    • 别担心，我颤抖的孩子们，其实你们每天晚上睡着的时候都会掉入镜像世界。
  • When you awaken in waking life, when your attention stands at the awareness center, you, or more specifically, your Self appears in the body of a virtual mannequin, on the other side of reality. In the moment that you become immersed in a dream, the same thing happens. The difference is that in waking, you have the reality on both sides of the mirror, the material and the virtual side. In a dream, reality and the mirror world are not concordant —the material world remains in place, whereas your attention flies far away into other worlds.
    • When you awaken in waking life, when your attention stands at the awareness center, you, or more specifically, your Self appears in the body of a virtual mannequin, on the other side of reality.
    • 当你在清醒的生活中醒来时，当你的注意力集中在意识中心时，你，或者更具体地说，你的自我出现在现实的另一边，一个虚拟的人体模型的身体里。
    • In the moment that you become immersed in a dream, the same thing happens.
    • 当你沉浸在梦境中时，同样的事情也会发生。
    • The difference is that in waking, you have the reality on both sides of the mirror, the material and the virtual side.
    • 不同的是，醒着的时候，镜子的两面都是现实，物质的一面和虚拟的一面。
    • In a dream, reality and the mirror world are not concordant —the material world remains in place, whereas your attention flies far away into other worlds.
    • 在梦里，现实世界和镜像世界是不和谐的——物质世界仍然在原地，而你的注意力却飞到了遥远的其他世界。
  • Plus the difference is that in a dream you sink ever more deeply into the script, whereas when you awaken in waking life (I see myself and I see reality) you free yourself from it.
    • 另外，不同之处在于，在梦中，你会更深入地沉浸在剧本中，而当你在现实生活中醒来(我看到了自己，我看到了现实)，你会把自己从剧本中解放出来。
  • Remember we talked about the fact that when you are not self -aware, the script pulls you along by the tip of your plait? So who or what pulls about your physical mannequin on this side when your hook is at your disposal and You are simultaneously in a virtual mannequin in the mirror world?
    • Remember we talked about the fact that when you are not self -aware, the script pulls you along by the tip of your plait?
    • 还记得我们说过的事实吗，当你没有自我意识的时候，剧本会拉着你的辫子尖走。
    • So who or what pulls about your physical mannequin on this side when your hook is at your disposal and You are simultaneously in a virtual mannequin in the mirror world?
    • 那么，当你的钩子在你的支配下而你同时处于镜像世界中的虚拟人体模型中时，是谁或什么在拉动你的物理模型?
  • You pull yourself about. You acquire the ability to move things freely, both yourself and impending reality precisely because you are in the mirror world, beyond the glass, on the same side as the image. Only the image can propel the reflection, and not the other way around, you see?
    • You pull yourself about.
    • 你把自己拉过来。
    • You acquire the ability to move things freely, both yourself and impending reality precisely because you are in the mirror world, beyond the glass, on the same side as the image.
    • 你获得了自由移动事物的能力，包括你自己和即将到来的现实，正是因为你在镜子世界里，在玻璃之外，和图像在同一边。
    • Only the image can propel the reflection, and not the other way around, you see?
    • 只有图像能推动反射，而不是相反，明白吗?
  • Strictly speaking, the physical mannequin and material reality are not so much a reflection, as a materialisation of the image. One way or another, you can manage manifest reality (already occurred) from within the realization frame, from in front of the mirror. However, the impending reality is still just an image. The image can only be propelled from within the frame of the image--from the other side, where the image is located. This requires shifting into the mirror world.
    • Strictly speaking, the physical mannequin and material reality are not so much a reflection, as a materialisation of the image.
    • 严格地说，人体模型和物质现实与其说是一种反映，不如说是一种形象的物化。
    • One way or another, you can manage manifest reality (already occurred) from within the realization frame, from in front of the mirror.
    • 不管怎样，你都可以从实现框架内、从镜子前管理显化现实(已经发生)。
    • However, the impending reality is still just an image.
    • 然而，即将到来的现实仍然只是一个形象。
    • The image can only be propelled from within the frame of the image--from the other side, where the image is located.
    • 图像只能从图像的框架内推进——从图像所在的另一边。
    • This requires shifting into the mirror world.
    • 这需要转换到镜像世界。
  • Now the whole scenario should be clear to you. Here, in this manifest frame, we have to manage —there, we can direct. And now we come right to the notion of meta- power. I feed my hope of even the faintest glimmer of understanding from you, my feeble-minded ones.
    • Now the whole scenario should be clear to you.
      • scenario /səˈnɑːriəʊ/n. 设想，可能发生的情况 ；（电影、戏剧等的）剧情梗概；（艺术或文学作品中的）场景
    • 现在你应该很清楚整个场景了。
    • Here, in this manifest frame, we have to manage —there, we can direct.
    • 在这里，在这个显化的帧里，我们必须管理——在那里，我们可以指挥。
    • And now we come right to the notion of meta- power.
    • 现在我们来看看超能力的概念。
    • I feed my hope of even the faintest glimmer of understanding from you, my feeble-minded ones.
    • 我希望从你们那里得到哪怕是最微弱的理解，我软弱的朋友们。
  • OK, OK, don’t complain, don’t cry, my little whip-smarts. What is the main difference between reality and the mirror world? Here, everything is material, there, it’s all virtual. As far as force is concerned, you won’t be able to apply it to an immaterial object or space, which is why here, what works is force, and there, what works is meta-power. From this side of the mirror: action, from the other side of the mirror glass: the motion illusion. So, what does this mean?
    • OK, OK, don’t complain, don’t cry, my little whip-smarts.
    • 好了，好了，别抱怨，别哭，我的小智慧。
    • What is the main difference between reality and the mirror world?
    • 现实世界和镜像世界的主要区别是什么?
    • Here, everything is material, there, it’s all virtual.
    • 在这里，一切都是物质的，在那里，一切都是虚拟的。
    • As far as force is concerned, you won’t be able to apply it to an immaterial object or space, which is why here, what works is force, and there, what works is meta-power.
    • 就力而言，你无法将其应用于非物质的物体或空间，这就是为什么在这里，起作用的是力，而在那里，起作用的是超能力。
    • From this side of the mirror: action, from the other side of the mirror glass: the motion illusion.
    • 从镜子的这一边看:动作，从镜子的另一边看:运动幻觉。
    • So, what does this mean?
    • 那么，这意味着什么呢?
  • The whole point of imitation is that you don’t have the right to disrupt the established order of things. The order of things is such that you have to participate in the action and obey the script. Not a single character is permitted to jump out of the filmstrip or do whatever they please in the film. The script is not the result of any individual’s subjective will. It is objective reality, which is something you’re stuck with.
    • The whole point of imitation is that you don’t have the right to disrupt the established order of things.
    • 模仿的关键在于，你没有权利破坏既定的秩序。
    • The order of things is such that you have to participate in the action and obey the script.
    • 事情的顺序是这样的，你必须参与行动，服从剧本。
    • Not a single character is permitted to jump out of the filmstrip or do whatever they please in the film.
    • 没有一个角色被允许跳出胶片，或者在电影中做任何他们喜欢的事情。
    • The script is not the result of any individual’s subjective will.
    • 剧本不是任何个人主观意志的产物。
    • It is objective reality, which is something you’re stuck with.
    • 这是客观现实，是你不得不面对的。
  • Objective reality is such that you are doomed to exist within it, like characters in a filmstrip. You may not agree, you may complain, but there’s nothing you can do about it. You may even try to defy it, but nothing will come of it. Whatever is shot on the filmstrip is what will occur. It is impossible to avoid the action, but you can imitate it. You can deceive reality.
    • Objective reality is such that you are doomed to exist within it, like characters in a filmstrip.
    • 客观现实就是这样，你注定要存在于其中，就像电影里的人物一样。
    • You may not agree, you may complain, but there’s nothing you can do about it.
    • 你可能不同意，你可能抱怨，但你对此无能为力。
    • You may even try to defy it, but nothing will come of it.
    • 你甚至可以试着反抗它，但它不会有任何结果。
    • Whatever is shot on the filmstrip is what will occur.
    • 胶片上拍的是什么就会发生什么。
    • It is impossible to avoid the action, but you can imitate it.
    • 要避免这种行为是不可能的，但你可以模仿。
    • You can deceive reality.
    • 你可以欺骗现实。
  • Imagine that you have entered the awareness point and found yourself on the other side of the mirror glass. Everything around you looks just the same as it did before. You don’t feel as if you are observing events from somewhere beyond the glass. And yet, there you are. But now that you are there, you acquire the ability to compose reality and choose the film roll; not change the one you are in, not refuse to participate in the action but choose a different one, the one you want. Do you understand?
    • Imagine that you have entered the awareness point and found yourself on the other side of the mirror glass.
    • 想象你已经进入觉知点，发现自己在镜子玻璃的另一边。
    • Everything around you looks just the same as it did before.
    • 你周围的一切看起来都和以前一样。
    • You don’t feel as if you are observing events from somewhere beyond the glass.
    • 你不会觉得你是在从玻璃之外的某个地方观察事件。
    • And yet, there you are.
    • 然而，你却在那里。
    • But now that you are there, you acquire the ability to compose reality and choose the film roll;
    • 但现在你在那里，你获得了合成现实和选择胶卷的能力;
    • not change the one you are in, not refuse to participate in the action but choose a different one, the one you want.
    • 不要改变你现在的生活，不要拒绝参与行动，而是选择一个不同的，你想要的。
    • Do you understand?
    • 你明白吗?
  • As before, you will still continue to play the role prescribed for you in the script and to perform your daily functions, but, unlike the other characters, whilst you remain in a state of awareness, you will get something more--the ability to replace the current film roll. At the same time, you retain a certain perspective as if none of it were anything to do with you. The order of things has not been disrupted; you are neither spotted nor caught and everything has turned out the way you want.
    • As before, you will still continue to play the role prescribed for you in the script and to perform your daily functions, but, unlike the other characters, whilst you remain in a state of awareness, you will get something more--the ability to replace the current film roll.
    • 和以前一样，你仍然会继续扮演剧本中给你规定的角色，并履行你的日常职能，但是，与其他角色不同的是，当你保持意识状态时，你会得到更多的东西——更换当前胶卷的能力。
    • At the same time, you retain a certain perspective as if none of it were anything to do with you.
    • 与此同时，你保持着某种观点，好像这一切都与你无关。
    • The order of things has not been disrupted;
    • 事物的秩序并没有被打乱;
    • you are neither spotted nor caught and everything has turned out the way you want.
    • 你既没有被发现也没有被抓住，一切都按照你想要的方式发展。
  • This is the imitation game. You wander round a motion-picture like a live character, making yourself out to be inert and you change the reel as you see fit. And nobody suspects anything, neither the script, nor the other characters.
    • This is the imitation game.
    • 这就是模仿游戏。
    • You wander round a motion-picture like a live character, making yourself out to be inert and you change the reel as you see fit.
    • 你像一个活生生的人物一样在电影院里逛来逛去，让自己显得毫无生气，然后你觉得合适就换胶卷。
    • And nobody suspects anything, neither the script, nor the other characters.
    • 没有人怀疑任何事，剧本和其他角色都没有。
  • Besides, you can never avoid the script. It is just that by setting reality you initiate a new one. The new script is not yours either, you are still within its power. But it will lead you to the desired result.
    • Besides, you can never avoid the script.
    • 此外，你永远无法避开剧本。
    • It is just that by setting reality you initiate a new one.
    • 只是通过设定现实，你开始了一个新的现实。
    • The new script is not yours either, you are still within its power.
    • 新剧本也不是你的，你仍然在它的控制之下。
    • But it will lead you to the desired result.
    • 但它会引导你达到你想要的结果。
  • Should you hide from the other characters? However much you may like to stand out, I do not advise that you advertise your abilities. In the Middle Ages, people were burned at the stake for such things, and today, you could get tucked away in a quiet shelter somewhere. You are already a little loopy, so don’t be sleepers; don’t give your presence away; obey your priestess. I love you so much, I could kill you all!
    • Should you hide from the other characters?
    • 你应该躲避其他角色吗?
    • However much you may like to stand out, I do not advise that you advertise your abilities.
    • 无论你多么想脱颖而出，我都不建议你去宣传你的能力。
    • In the Middle Ages, people were burned at the stake for such things, and today, you could get tucked away in a quiet shelter somewhere.
    • 在中世纪，人们会因为这样的事情被绑在火刑柱上烧死，而今天，你可以躲在一个安静的地方。
    • You are already a little loopy, so don’t be sleepers;
    • 你已经有点糊涂了，所以不要再睡觉了;
    • don’t give your presence away;
    • 不要暴露你的存在;
    • obey your priestess.
    • 服从你的女祭司。
    • I love you so much, I could kill you all!
    • 我太爱你们了，我真想杀了你们!
• 15. Being Present
  • Hey, hey, and away! Come to me, my cunning imitators and artful pretenders, secret maniacs and hidden super-freaks! Did you enjoy the imitation game? Let’s repeat what we’ve covered so far.
    • 嘿，嘿，走开!来吧，我狡猾的模仿者和狡猾的伪装者，秘密的疯子和隐藏的超级怪物!你喜欢模仿游戏吗?让我们重复一下目前为止所讲的内容。
    • • Physical reality is accessible here, in the materialisation frame.
      • •在物质化框架中，物理现实在这里是可访问的。
    • • Access to the future is open only from the other side, in the image frame.
      • •通往未来的通道只能从另一边打开，在图像框架中。
    • • You are doomed to exist in reality, like characters in a film roll.
      • •你注定存在于现实中，就像电影里的人物一样。
    • • You cannot circumvent the script, but you can wake up and start another one.
      • •您不能绕过脚本，但您可以唤醒并启动另一个脚本。
    • • You change the filmstrip but continue playing a role, whilst hiding your presence.
      • •你改变了胶片，但继续扮演一个角色，同时隐藏你的存在。
  • Presence in a motion picture. What does that mean? Mostly, it refers to the presence of your conscious awareness of being--your Self, your presence as a living, competent and rational individual in an immutable motion picture. Although the film is spinning fast, it is already as predestined, as the behavior of all its characters is predetermined.
    • Presence in a motion picture.
    • 出现在电影中。
    • What does that mean?
    • 这是什么意思?
    • Mostly, it refers to the presence of your conscious awareness of being--your Self, your presence as a living, competent and rational individual in an immutable motion picture.
    • 在大多数情况下，它指的是你对存在的有意识觉知的存在——你的自我，你作为一个活生生的、有能力的、理性的个体在永恒的运动画面中的存在。
    • Although the film is spinning fast, it is already as predestined, as the behavior of all its characters is predetermined.
    • 虽然这部电影旋转得很快，但它已经是命中注定的，因为它所有人物的行为都是命中注定的。
  • Your presence there highlights you as awakened among the unawakened. You are consciously aware of your individuality and are aware of what is happening. Your behavior inside the film is also predetermined by the scenario. However, your presence gives you the opportunity to change the film roll and switch from one to another.
    • Your presence there highlights you as awakened among the unawakened.
    • 你在那里的存在突出了你在未觉醒的人群中觉醒。
    • You are consciously aware of your individuality and are aware of what is happening.
    • 你有意识地意识到你的个性，意识到正在发生的事情。
    • Your behavior inside the film is also predetermined by the scenario.
    • 你在电影中的行为也是由场景决定的。
    • However, your presence gives you the opportunity to change the film roll and switch from one to another.
    • 然而，你的存在给了你机会去更换胶卷，从一个胶卷切换到另一个胶卷。
  • To achieve presence, you have to come alive, give yourself a shake and determine your location: the image frame or the materialisation frame. In other words, where is your attention focused: at the central awareness point or on one of the screens. In essence, you are dual beings that can be both on this side of the mirror and the other.
    • To achieve presence, you have to come alive, give yourself a shake and determine your location: the image frame or the materialisation frame.
    • 要达到临场感，你必须活起来，摇晃一下自己，确定你的位置:图像框架还是物化框架。
    • In other words, where is your attention focused: at the central awareness point or on one of the screens.
    • 换句话说，你的注意力集中在哪里:在中心意识点还是在其中一个屏幕上。
    • In essence, you are dual beings that can be both on this side of the mirror and the other.
    • 本质上，你们是双重存在，既可以在镜子的这一边，也可以在另一边。
  • You are present here when You are there. It’s a paradox. Failing that, You are absent, that is, you are in an incompetent state of non-awareness and entirely at the mercy of the script.
    • You are present here when You are there.
    • 当你在那里时，你就在这里。
    • It’s a paradox.
    • 这是一个悖论。
    • Failing that, You are absent, that is, you are in an incompetent state of non-awareness and entirely at the mercy of the script.
    • 如果做不到这一点，你就会缺席，也就是说，你处于一种没有意识的无能状态，完全受剧本的摆布。
  • Remember I said: when you are awakened in waking life, your attention crosses the mirror boundary and ends up in your virtual mannequin. When you fall asleep in bed and see a dream, the same thing happens, only the quality of it is different. In your sleep, you can only propel virtual reality. You can’t influence physical reality. It would be more accurate to say that you can, but it is very difficult--not a matter for snails.
    • Remember I said: when you are awakened in waking life, your attention crosses the mirror boundary and ends up in your virtual mannequin.
    • 记得我说过:当你在现实生活中被唤醒时，你的注意力会越过镜子的边界，最终落在你的虚拟人体模型上。
    • When you fall asleep in bed and see a dream, the same thing happens, only the quality of it is different.
    • 当你在床上睡着，看到一个梦，同样的事情发生，只是它的质量不同。
    • In your sleep, you can only propel virtual reality.
    • 在你的睡眠中，你只能推动虚拟现实。
    • You can’t influence physical reality.
    • 你不能影响物理现实。
    • It would be more accurate to say that you can, but it is very difficult--not a matter for snails.
    • 更准确地说，你可以，但这是非常困难的——这不是蜗牛的事。
  • In a state of waking presence, you acquire the ability to compose impending reality, which will become physically manifest. (You see, I keep repeating the thought, so that you understand well that you can and should be composing your own reality.) However, there is one thing which you must understand for yourselves. When you compose reality, you are determining the end goal--the impending frame, not a chain of events.
    • In a state of waking presence, you acquire the ability to compose impending reality, which will become physically manifest.
    • 在清醒的状态下，你获得了构建即将到来的现实的能力，它将在物质上显现。
    • (You see, I keep repeating the thought, so that you understand well that you can and should be composing your own reality.)
    • (你看，我一直在重复这个想法，这样你就能很好地理解，你可以而且应该构成你自己的现实。)
    • However, there is one thing which you must understand for yourselves.
    • 然而，有一件事你们必须自己明白。
    • When you compose reality, you are determining the end goal--the impending frame, not a chain of events.
    • 当你创作现实时，你是在确定最终目标——即将到来的框架，而不是一连串的事件。
  • Composing reality is about choosing the film roll, not about controlling the script. The script is beyond your power. You are not given to know what exactly the script should look like in order to bring you to your goal. And you don’t need to know. You are working as a film projector. Once the goal frame is illuminatedin your projector, the course of events will automatically turn out as they should.
    • Composing reality is about choosing the film roll, not about controlling the script.
    • 创作现实是选择胶卷，而不是控制剧本。
    • The script is beyond your power.
    • 剧本超出了你的能力范围。
    • You are not given to know what exactly the script should look like in order to bring you to your goal.
    • 你不知道剧本应该是什么样子，以使你达到你的目标。
    • And you don’t need to know.
    • 你不需要知道。
    • You are working as a film projector.
    • 你的工作是电影放映机。
    • Once the goal frame is illuminated in your projector, the course of events will automatically turn out as they should.
    • 一旦目标框架在投影仪中被照亮，事件的过程就会自动地呈现出来。
  • In choosing the film roll, you set a new script in motion. The script does not belong to you but to the events that have been recorded on it, moreover, without your knowledge. Only the goal frame is yours. The film roll chooses itself in accordance with the specified frame. You don’t have to understand exactly how this happens. Illuminate your frame again and again, and you will shift from one roll to another until you eventually arrive at your destination.
    • In choosing the film roll, you set a new script in motion.
    • 在选择胶卷的过程中，你启动了一个新的剧本。
    • The script does not belong to you but to the events that have been recorded on it, moreover, without your knowledge.
    • 剧本不属于你，而是属于记录在上面的事件，而且是在你不知情的情况下。
    • Only the goal frame is yours.
    • 只有目标框架是你的。
    • The film roll chooses itself in accordance with the specified frame.
    • 胶卷根据规定的相框自行选择。
    • You don’t have to understand exactly how this happens.
    • 你不需要完全理解这是怎么发生的。
    • Illuminate your frame again and again, and you will shift from one roll to another until you eventually arrive at your destination.
    • 一次又一次地照亮你的框架，你就会从一个卷到另一个卷，直到你最终到达目的地。
  • In the Eternity archive, film rolls are arranged in parallel. The scripts of the film rolls placed most closely differ only in minor nuances. In composing reality, you gradually shift from one to another. First you appear on a film roll, where the result is close to the set goal but not quite there yet. Then it gets closer and closer.
    • In the Eternity archive, film rolls are arranged in parallel.
    • 在永恒档案馆，胶卷是平行排列的。
    • The scripts of the film rolls placed most closely differ only in minor nuances.
    • 最接近的电影剧本只有细微的差别。
    • In composing reality, you gradually shift from one to another.
    • 在构成现实的过程中，你逐渐从一个转向另一个。
    • First you appear on a film roll, where the result is close to the set goal but not quite there yet.
    • 首先，你出现在胶卷上，结果接近设定的目标，但还没有完全实现。
    • Then it gets closer and closer.
    • 然后就越来越近了。
  • All this takes place invisibly to the eye and at different realization speeds, depending on the complexity of the desired goal. Simple goals are reached almost immediately, whereas more challenging ones that require you to ‘go far’, require time and patience.
    • All this takes place invisibly to the eye and at different realization speeds, depending on the complexity of the desired goal.
    • 所有这些都是肉眼看不见的，而且实现速度也不同，这取决于期望目标的复杂程度。
    • Simple goals are reached almost immediately, whereas more challenging ones that require you to ‘go far’, require time and patience.
    • 简单的目标几乎可以立即实现，而更有挑战性的目标则需要你“走得更远”，需要时间和耐心。
  • Your task is to focus your attention on the impending frame. The script is not a matter for your concern. if you try and set the script or resist it, you will get caught up in its trap. When trying to influence the course of events, you take the reality of the current frame in a death grip, which is pointless. The harder you hold on, the more tightly you will be gripped by the tail, by the plait that is.
    • Your task is to focus your attention on the impending frame.
    • 你的任务是把注意力集中在即将到来的框架上。
    • The script is not a matter for your concern.
    • 脚本不是你要关心的问题。
    • if you try and set the script or resist it, you will get caught up in its trap.
    • 如果你试图设定脚本或抵制它，你就会陷入它的陷阱。
    • When trying to influence the course of events, you take the reality of the current frame in a death grip, which is pointless.
    • 当你试图影响事件的进程时，你会死死抓住当前框架的现实，这是毫无意义的。
    • The harder you hold on, the more tightly you will be gripped by the tail, by the plait that is.
    • 你抓得越紧，你就越会被尾巴紧紧抓住，也就是被尾巴的辫子紧紧抓住。
  • Similarly, it is pointless trying to influence other people. Trying to manipulate others is a base, thankless task. It can end up knocking you sideways or even creating the opposite effect to the one you wanted. Characters act according to their own script. Trying to influence them, you fall into a trap again. Don’t do it. They will come running to you themselves and do everything that you want them to. More on that later.
    • Similarly, it is pointless trying to influence other people.
    • 同样，试图影响他人也是毫无意义的。
    • Trying to manipulate others is a base, thankless task.
    • 试图操纵别人是卑鄙的、吃力不讨好的事。
    • It can end up knocking you sideways or even creating the opposite effect to the one you wanted.
    • 它最终会把你撞到一边，甚至产生与你想要的相反的效果。
    • Characters act according to their own script.
    • 角色根据自己的剧本行事。
    • Trying to influence them, you fall into a trap again.
    • 试图影响他们，你又掉进了一个陷阱。
    • Don’t do it.
    • 不要这样做。
    • They will come running to you themselves and do everything that you want them to.
    • 他们会自己跑到你身边，做你想让他们做的一切。
    • More on that later.
    • 稍后会详细介绍。
  • I repeat, that you need to influence the end result--the impending frame, not events or other people although you will still try to do so, mainly out of habit. You always persist in having everything go according to your plan, but I will win this habit of f you as well.
    • I repeat, that you need to influence the end result--the impending frame, not events or other people although you will still try to do so, mainly out of habit.
    • 我再说一遍，你需要影响最终结果——即将到来的框架，而不是事件或其他人，尽管你仍然会尝试这样做，主要是出于习惯。
    • You always persist in having everything go according to your plan, but I will win this habit off you as well.
    • 你总是坚持一切都按照你的计划进行，但我也要使你改掉这个习惯。
  • How stuffy and pushy you are! I would gladly dissect you all. I would staple you to Water colour paper like harmful insects, or roll you in a jar with formalin and make an example of you to all other creatures. I advise you to be have decently. Don’t forget: I am Tufti, your priestess. Praise me, worship me, do not dare to anger me!
    • How stuffy and pushy you are!
    • 你真是个古板又固执的人!
    • I would gladly dissect you all.
    • 我很乐意解剖你们。
    • I would staple you to Water colour paper like harmful insects, or roll you in a jar with formalin and make an example of you to all other creatures.
    • 我会把你像害虫一样钉在水彩纸上，或者用福尔马林把你卷进罐子里，给其他生物杀一儆百。
    • I advise you to behave decently.
    • 我劝你做人要得体。
    • Don’t forget: I am Tufti, your priestess.
    • 别忘了，我是塔夫提，你的女祭司。
    • Praise me, worship me, do not dare to anger me!
    • 赞美我，敬拜我，不敢惹我生气!

Tufti the Priestess 16--20

• 16. Advantage
  • Uh, I am so bored of you! You are so spoiled! So capricious! That’s what you are!
    • 我受够你了!你被宠坏了!如此反复无常!这就是你!
  • But just you so much as hint that you’ve had enough of me! Let’s repeat the lesson, now!
    • 但你只是在暗示你受够我了!现在让我们重复课程!
    • • You are dual beings, capable of being on both sides of the mirror.
      • •你们是双重存在，能够出现在镜子的两面。
    • • You are present here when you are there.
      • •当你在那里的时候，你就在这里。
    • • To be present, you have to shift your attention to the center.
      • •为了处于当下，你必须把注意力转移到中心。
    • • In the condition of being present, you are capable of jumping from one film roll to another.
      • •在处于当下的情况下，你能够从一个胶卷跳到另一个胶卷。
    • • Composing reality is not about controlling the script but choosing the film roll.
      • •创作现实不是控制剧本，而是选择胶卷。
    • • The desire to influence the script binds you to it.
      • •想要影响剧本的欲望将你束缚在剧本中。
  • Once again, let’s consolidate what we’ve covered so far. You need to influence the final result--the forthcoming frame, not events and people. All you have to do is illuminate the goal frame, and the course of events will unfold as they should.
    • Once again, let’s consolidate what we’ve covered so far.
    • 再一次，让我们巩固到目前为止所涵盖的内容。
    • You need to influence the final result--the forthcoming frame, not events and people.
    • 你需要影响最终结果——即将到来的框架，而不是事件和人。
    • All you have to do is illuminate the goal frame, and the course of events will unfold as they should.
    • 你所要做的就是阐明目标框架，然后事情就会按部就班地展开。
  • The script does not belong to you. It is never yours, even when you think that it is your idea. if you try to change it or oppose it, the script will trap you. The script is like a spider’s web. The more you wriggle, the more you become entwined. For the script to let you go, you have to let go of the script.
    • The script does not belong to you.
    • 剧本不属于你。
    • It is never yours, even when you think that it is your idea.
    • 它从来不是你的，即使你认为它是你的主意。
    • if you try to change it or oppose it, the script will trap you.
    • 如果您试图更改它或反对它，该脚本将使您陷入困境。
    • The script is like a spider’s web.
    • 剧本就像一张蜘蛛网。
    • The more you wriggle, the more you become entwined.
    • 你越扭动，你就越被緾住。
    • For the script to let you go, you have to let go of the script.
    • 剧本要放你走，你必须先放剧本走。
  • You can never be entirely free of the script. Remember when we spoke about imitation, I told you that the script is not the result of anyone’s subjective will but an objective reality, from which there is no escape. And yet there is no need to escape! The script will work towards your goal if you set one.
    • You can never be entirely free of the script.
    • 你永远不可能完全摆脱脚本。
    • Remember when we spoke about imitation, I told you that the script is not the result of anyone’s subjective will but an objective reality, from which there is no escape.
    • 记得我们谈到模仿的时候，我告诉过你们，剧本不是任何人主观意志的结果，而是客观现实，无法逃避。
    • And yet there is no need to escape!
    • 然而，没有必要逃跑!
    • The script will work towards your goal if you set one.
    • 如果你设定了一个目标，脚本将朝着你的目标工作。
  • When you compose reality, the script rearranges itself to fit your composition , even If you cannot perceive this happening. All you have to do is systematically illuminate the goal frame. But you will persist in having everything run according to your plan, and in this, you hinder the implementation of what you have imagined.
    • When you compose reality, the script rearranges itself to fit your composition , even If you cannot perceive this happening.
    • 当你构想创造现实的时候，剧本会自我调整以适应你的构想，即使你无法察觉到这一点。
    • All you have to do is systematically illuminate the goal frame.
    • 你所要做的一切就是有条理地照亮目标帧。
    • But you will persist in having everything run according to your plan, and in this, you hinder the implementation of what you have imagined.
    • 但是你会坚持让一切都按照你的计划进行，这样，你就阻碍了你想象的实现。
  • And even when you do not actively compose reality, passively drifting along the current of events, the script isn’t out to harm you, because causing harm is energetically costly. The script always takes the path of least resistance, but you resist and so you spoil everything.
    • And even when you do not actively compose reality, passively drifting along the current of events, the script isn’t out to harm you, because causing harm is energetically costly.
    • 即使你不主动地构造现实，被动地随波逐流，剧本也不会伤害你，因为造成伤害的能量成本很高。
    • The script always takes the path of least resistance, but you resist and so you spoil everything.
    • 剧本总是走阻力最小的那条路，但如果你反抗，你就毁了一切。
  • You spoil things in as much as you express non-acceptance. In this way Unconsciously and without deliberately meaning to, you compose for yourself a worse reality than the existing one, albeit not as effectively as you would with intention and awareness. You condescend to express your dislike every time something contradicts your expectations and plans. That’s how you are--irritating and tedious.
    • You spoil things in as much as you express non-acceptance.
    • 当你表示不接受时，你就破坏了事情。
    • In this way Unconsciously and without deliberately meaning to, you compose for yourself a worse reality than the existing one, albeit not as effectively as you would with intention and awareness.
    • 以这种方式，你无意识地、无意地为自己创造了一个比现有的现实更糟糕的现实，尽管不如你有意图和有觉知那样有效。
    • You condescend to express your dislike every time something contradicts your expectations and plans.
    • 每当有什么事情与你的期望和计划相矛盾时，你就会屈尊表达你的不喜欢。
    • That’s how you are--irritating and tedious.
    • 你就是这样，烦人又乏味。
  • So, to avoid distorting reality, instead of turning it into a wonderful world that is pleasant in all respects, you will need to make a habit of one simple principle: find the advantage in everything. Literally, try and take the advantage from any disappointing situation, and generally from any event that causes you the slightest feeling of aversion. Set yourself the goal of reaping the benefit.
    • So, to avoid distorting reality, instead of turning it into a wonderful world that is pleasant in all respects, you will need to make a habit of one simple principle: find the advantage in everything.
    • 因此，为了避免扭曲现实，而是把它变成一个各方面都令人愉快的美好世界，你需要养成一个简单原则的习惯:发现一切事物的优点。
    • Literally, try and take the advantage from any disappointing situation, and generally from any event that causes you the slightest feeling of aversion.
    • 从字面上讲，试着从任何令人失望的情况中获益，通常是从任何让你感到最轻微厌恶的事件中获益。
    • Set yourself the goal of reaping the benefit.
    • 给自己设定一个收获的目标。
  • Any event or situation in life is made up of the negative and the positive. Reality is dual in nature. Where there is black, there you will find white. Your task, instead of wrestling with it and being single-minded and stroppy, is to set about seeking the advantage in any situation. I won’t give examples, just try it and you’ll understand instantly, just how brilliantly this approach works.
    • Any event or situation in life is made up of the negative and the positive.
    • 生活中的任何事件或情况都是由消极和积极组成的。
    • Reality is dual in nature.
    • 现实在本质上是双重的。
    • Where there is black, there you will find white.
    • 哪里有黑，哪里就有白。
    • Your task, instead of wrestling with it and being single-minded and stroppy, is to set about seeking the advantage in any situation.
    • 你的任务，而不是与它搏斗，一根筋和刚愎自用，是在任何情况下寻求优势。
    • I won’t give examples, just try it and you’ll understand instantly, just how brilliantly this approach works
    • 我不会给出例子，只是尝试一下，你就会立刻明白，这种方法是多么出色
  • But in order for it to work, as you must understand already, it is essential that you wake up and shift your attention to the center. The triggers here are mainly external: someone says something or does something, or something is happening or being done around you--anything that evokes a feeling of nonacceptance, from slight displeasure to rage (interesting, what does a raging snail look like?). The feelings activated include irritation, depression, anxiety, aggression, and fear.
    • But in order for it to work, as you must understand already, it is essential that you wake up and shift your attention to the center.
    • 但是为了让它起作用，正如你必须已经理解的那样，你必须醒来并将你的注意力转移到中心。
    • The triggers here are mainly external: someone says something or does something, or something is happening or being done around you--anything that evokes a feeling of nonacceptance, from slight displeasure to rage (interesting, what does a raging snail look like?).
    • 这里的触发因素主要是外部的:有人说了什么或做了什么，或者你周围正在发生或正在做的事情——任何让你产生不被接受感的事情，从轻微的不快到愤怒(有趣的是，愤怒的蜗牛是什么样子的?)
    • The feelings activated include irritation, depression, anxiety, aggression, and fear.
    • 被激活的感觉包括愤怒、抑郁、焦虑、攻击和恐惧。
  • The attention is shifted to the center in order to disengage from the script on the current film roll and skip to another, alternative one. The fact is that your usual script affects your standard film roll: you give a knee-jerk reaction due to your noxiousness character or your propensity to be negative, or your habit of being defensive, or elevated opinion of yourself, or simply because nothing is going “the way you want it to”. As a result, usually, you make life difficult for yourself and others.
    • The attention is shifted to the center in order to disengage from the script on the current film roll and skip to another, alternative one.
    • 注意力被转移到中心，以便从当前胶卷上的剧本中脱离出来，跳到另一个，另一个。
    • The fact is that your usual script affects your standard film roll: you give a knee-jerk reaction due to your noxiousness character or your propensity to be negative, or your habit of being defensive, or elevated opinion of yourself, or simply because nothing is going “the way you want it to”.
    • 事实是，你通常的剧本会影响你的标准电影:你会因为你的恶毒角色或你的消极倾向，或你的防御习惯，或对自己的过高评价而做出下意识的反应，或者只是因为一切都没有“按你想要的方式发展”。
    • As a result, usually, you make life difficult for yourself and others.
    • 因此，通常情况下，你会给自己和他人的生活带来困难。
  • On the alternative film roll, in contrast, everything turns out to your advantage because you stopped at the right moment and made that advantage your choice. It is very simple. What you choose is what you get. In order to make the choice, all you have to do is think for a moment and ask yourself, what might be the advantage of this? And from then on, try and follow the script rather than resist it. Literally, take the piece of advice, listen to the opinion, agree, go for something, accept whatever you would previously have rejected or seen as a cause for conflict.
    • On the alternative film roll, in contrast, everything turns out to your advantage because you stopped at the right moment and made that advantage your choice.
    • 相反，在另一卷胶卷上，一切结果都对你有利，因为你在正确的时刻停下脚步，做出了有利的选择。
    • It is very simple.
    • 这很简单。
    • What you choose is what you get.
    • 你的选择就是你得到的。
    • In order to make the choice, all you have to do is think for a moment and ask yourself, what might be the advantage of this?
    • 为了做出选择，你所要做的就是思考一下，问问自己，这样做的好处是什么?
    • And from then on, try and follow the script rather than resist it.
    • 从那时起，试着跟着剧本走，而不是抗拒它。
    • Literally, take the piece of advice, listen to the opinion, agree, go for something, accept whatever you would previously have rejected or seen as a cause for conflict.
    • 从字面上看，接受建议，倾听意见，同意，去做某事，接受任何你以前拒绝或认为是冲突的原因。
  • The advantage method is the following:
    • 1. Catch yourself playing out the non-acceptance activator.
      • 1. 发现自己在玩不接受激活器。
    • 2. Wake up: I see myself and I see reality.
      • 2. 醒醒:我看到了我自己，我看到了现实。
    • 3. Ask yourself the question: what advantage might there be in this?
      • 3.问你自己一个问题:这样做会有什么好处?
    • 4. If an answer comes to you, accept it and reap the benefit.
      • 4. 如果你得到了答案，接受它，并从中获益。
    • 5. If nothing comes to you, try and accept the situation for what it is.
      • 5. 如果什么都没有发生，试着接受现状。
  • The last point might sound questionable to you. After all, not everything in life is acceptable and there is not necessarily an advantage to every situation. Suppose that someone is about to beat you round the head. What are you supposed to do--hold it out for them to take another swipe? Nonetheless, in reality, there is one immutable law. The law has it that if you take seeking advantage as a guiding principle, in life you will encounter fewer and fewer events that are harmful. This includes the kind of events that result in having a blue face and a cold body and lying in the morgue.
    • The last point might sound questionable to you.
    • 最后一点对你来说可能有问题。
    • After all, not everything in life is acceptable and there is not necessarily an advantage to every situation.
    • 毕竟，不是生活中的每件事都是可以接受的，也不是每种情况都有一定的优势。
    • Suppose that someone is about to beat you round the head.
    • 假设有人要打你的头。
    • What are you supposed to do--hold it out for them to take another swipe?
    • 你该怎么做，等着他们再来一拳吗?
    • Nonetheless, in reality, there is one immutable law.
    • 然而，在现实中，有一条永恒不变的法则。
    • The law has it that if you take seeking advantage as a guiding principle, in life you will encounter fewer and fewer events that are harmful.
    • 规律告诉我们，如果你把寻求利益作为指导原则，那么你在生活中遇到的有害事件就会越来越少。
    • This includes the kind of events that result in having a blue face and a cold body and lying in the morgue.
    • 这包括导致脸色发青、身体冰冷、躺在停尸间的事件。
  • U-la-la!
• 17. Allowing
  • 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?
    • 所以，我亲爱的，我的美女们，在上节课中，我们学到了愚蠢的蜗牛总是坚持自己的剧本来发展某些事情，当事情出错时，它们会变得怨恨甚至生气，但不是你的情况，对吧，我的天使们?
  • • The script will let you go when you let go of the script.
    • •当你放弃剧本的时候，剧本也会让你放弃。
  • • Once a goal has been set, the script will arrange itself so that it is achieved.
    • •一旦设定了目标，剧本会自行安排以实现目标。
  • • By insisting on your own plan, you get in the way of the design.
    • •坚持自己的计划，会阻碍设计。
  • • By expressing non-acceptance, you compose a reality that is even worse.
    • •通过表达不接受，你构成了一个更糟糕的现实。
  • • By choosing to seek advantage, you reap the benefit.
    • •选择寻求优势，你就会收获利益。
  • 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.
    • Let’s repeat the paradoxical principle--set the goal frame, not the script.
    • 让我们重复这个矛盾的原则——设定目标框架，而不是脚本。
    • 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.
    • 它是矛盾的，因为它不符合你习惯的信念，你可以而且应该与你当前的现实战斗，而构想即将到来的现实是错误的，甚至是不可能的。
    • In fact, it’s the other way round.
    • 事实上，情况正好相反。
  • 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.
    • You can’t know how the goal will be reached and you don’t need to know, particularly in the early stages of things.
    • 你不可能知道如何实现目标，你也不需要知道，尤其是在事情的早期阶段。
    • Because if the probable answers to asking “how?
    • 因为如果可能的答案是“如何?”
    • ” plunge you into feelings of horror or despair, this will impose a psychological block on your ability to compose your target reality.
    • 让你陷入恐惧或绝望的感觉，这将对你构建目标现实的能力施加心理障碍。
  • 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’.
    • You can’t know exactly which script will lead to the accomplishment of precisely this goal in the context of your individual life.
    • 你不可能确切地知道，在你个人生活的背景下，哪个脚本会导致这个精确的目标的实现。
    • How could you know when you are a character in a film being led by a script?
    • 你怎么知道自己是电影里的一个角色，被剧本牵着鼻子走呢?
    • 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.
    • 你的任务是知道“结果”——你想要达到的目标，然后用你的辫子在思想、文字和图像中组成相应的现实画面。
    • Then the script itself will lead you there and reveal the ‘how’.
    • 然后，脚本本身将引导你到那里，并揭示“如何”。
  • 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.
    • You don’t even have to be clever.
    • 你甚至不需要很聪明。
    • You can continue being dunce snails, so long as You are driven.
    • 你可以继续做蠢蜗牛，只要你有动力。
    • And, competent, aware snails.
    • 还有，有能力，有意识的蜗牛。
    • Because, once you have set the goal, the script could just shock you.
    • 因为，一旦你设定了目标，剧本可能会让你大吃一惊。
    • You might think that everything is disastrous.
    • 你可能会认为一切都是灾难性的。
    • 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.
    • 然而，事实上，你不再需要的旧东西正在被清除出你的现实，这样自由的空间就可以被美丽的新事物填满。
  • 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.
    • It is quite possible that events in the script will unfold as if ‘everything is falling apart at the seams’.
    • 剧本中的事件很可能会像“一切都在接缝处分崩离析”一样展开。
    • And then, awareness will serve you very well so that you can apply the principle of advantage.
    • 然后，觉知会很好地为你服务，这样你就可以运用优势原则。
    • 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.
    • 按照这个原则行事，你不仅可以避免妨碍剧本，还可以更快地朝着目标前进，因为在寻求优势的那一刻，你把自己从习惯性的“有害”剧本中抽离出来，跳到一个“有利”的胶卷上。
    • Even without the plait.
    • 即使没有辫子。
    • If you carry out the advantage method using the plait as well, you will move even better and even faster.
    • 如果你也使用辫子来执行优势方法，你会移动得更好更快。
  • 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.
    • And beyond that, you’ll no longer be snails, but fireflies, the living heroes of a motion picture.
    • 超越那些，你将不再是蜗牛，而是萤火虫，电影中的活英雄。
    • Tracking advantage is one of the means of awakening.
    • 跟踪优势是唤醒的手段之一。
    • No event should hook you, but it should make you alert, and serve as a call to wake-up.
    • 任何事件都不应该吸引您，但它应该使您警觉，并充当唤醒的呼叫。
    • Your task is to wake up in time, see reality and then compose reality.
    • 你的任务是及时觉醒，看清现实，然后构成现实。
  • Previously: the moment something is wrong, instantly, “Aaaargh!” You wave your hands about and stamp your feet!
    • 前情提要:出现问题的那一刻，立刻“啊啊!”你挥舞着双手，跺着脚!
  • Now: the moment something is wrong, you exclaim (to yourself for aloud, as you like): “Advantage!”.
    • 现在，一旦出了问题，你就会大叫(对自己大声说，随你喜欢):“有利!”
  • And from now on--allow the world to do something nice for you, to help you, to bring you closer to your goal.
    • 从现在开始，让这个世界为你做些好事，帮助你，让你更接近你的目标。
  • 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.
    • This naturally does not mean that you must become the very epitome of allowing and bend over backwards for all and sundry.
    • 当然，这并不意味着你必须成为允许和竭尽全力为所有人和杂事的缩影。
    • Of course, not everything carries an advantage and it isn’t always appropriate to allow and agree to certain things.
    • 当然，不是每件事都有好处，允许和同意某些事情并不总是合适的。
    • 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.
    • 别担心，你将能够做出适当的决定，是否允许某些事情进入你的生活，因为你将处于一种胜任的状态，也就是说，我看到了自己，我看到了现实。
  • 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.
    • In your normal state, how do you respond?
    • 在你的正常状态下，你是如何反应的?
    • Either you are up in arms, or you automatically obey.
    • 你要么奋起反抗，要么自动服从。
    • You respond in both cases non-consciously, just following the script.
    • 在这两种情况下，你的反应都是无意识的，只是跟着剧本走。
    • 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.
    • 优势方法的不同之处在于，你做了一个知情的选择，完全在场，因此，作为一个动画角色走进一部冰冻的电影，同时假装没有生命。
  • 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.
    • The advantage principle is everything in one vial: tracking, imitation, being present, and composing reality.
    • 优势原则是把一切都集中在一个小瓶子里:跟踪、模仿、在场和构成现实。
    • Performing the method, you track yourself, you track reality and set a course, which the next frame will follow.
    • 在执行这个方法时，你跟踪自己，跟踪现实，设定一个路线，下一帧将遵循这个路线。
    • Seeking the advantage is imitation in its purest form;
    • 追寻优势就是最纯粹的模仿;
    • you are still following the script, but you are doing it intentionally and consciously.
    • 你仍然在遵循剧本，但你是有目的和有意识地这样做。
  • Note that when you track the advantage, you need to look at reality askance.
    • askance /əˈskæns/ adv. 怀疑地；斜视地
    • 请注意，当您跟踪优势时，您需要斜视现实。
  • 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?
    • Nobody suspects anything, neither the script nor those around you.
    • 没有人怀疑任何事情，无论是剧本还是你周围的人。
    • 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.
    • 你，像所有休眠的生物一样，勤奋地扮演你的角色，履行你的日常义务，同时从你的眼角观察正在发生的事情。
    • You are fully present, without giving away your presence.
    • 你是完全在场的，而不是放弃你的存在。
    • This is exactly what is needed.
    • 这正是我们所需要的。
    • And it is very important to remain undetected as if nothing had anything to do with you.
    • 保持不被发现是很重要的，就好像你和什么都没有关系一样。
    • Why?
    • 为什么?
  • 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.
    • have you already forgotten why?
    • 你已经忘记为什么了吗?
    • Honestly!
    • 老实说!
    • I explained it to you before.
    • 我之前跟你解释过了。
    • I am going to repeat it many times yet though.
    • 尽管如此，我还是要重复很多次。
    • Behaving as if nothing had anything to do with you is the fundamental principle of ‘a live stroll through a movie’.
    • 表现得好像与你无关是“在电影中现场漫步”的基本原则。
    • Firstly, you don’t give away your presence, so that those around you won’t treat you with wariness and suspicion.
    • 首先，不要暴露你的存在，这样你周围的人就不会对你产生警惕和怀疑。
    • Pretend to be asleep.
    • 假装睡着了。
  • 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 center.
    • 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.
    • 其次，不要用你习惯的那种直接的方式来表演，也就是说，抓住现实的脖颈，与当前框架中的事件和人物作斗争，结果又像在梦中一样陷入剧本。
    • 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.
    • 当你的注意力集中的时候，你就像在电影中漫步，你用你的意图推动即将到来的画面，改变胶卷。
    • But what intention is that?
    • 但这样做的目的是什么?
    • The most important thing is that it’s outer intention!
    • 最重要的是它的外在意图!
    • By looking askance and staying as if nothing had anything to do with you, you activate the outer intention center.
    • 通过斜视和停留，仿佛没有任何事情与你有关，你激活了外在意图中心。
• 18. The script
  • 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.
    • Hello again, hello again, my fit-for-nothing creatures!
    • 你好啊，你好啊，我这些一无是处的生物!
    • You are so good-for-nothing and nasty because you have such a tendency to see more harm than good in life.
    • 你一无是处，令人讨厌，因为你总是倾向于看到生活中的坏处多于好处。
  • But everything can be put right. Those who seek the advantage find it and become advantageous themselves.
    • 但一切都可以恢复正常。寻求优势的人会找到优势，自己也会成为具有优势的人。
  • • It is not your job to set the script and know the answer to “how?”.
    • •设定剧本并知道“怎么做”的答案不是你的工作。
  • • Your job is to know what you want to achieve, and to set the result--the goal frame.
    • •你的工作是知道你想要实现什么，并设定结果——目标框架。
  • • When it feels like ‘life is falling apart,’ that is the advantage--reality is being cleansed.
    • •当你感觉“生活正在分崩离析”时，这是一种优势——现实正在被净化。
  • • You are walking through a film when your attention is fully present and you are propelling yourself with intention.
    • •你正在从电影中走过，当你的注意力完全集中在当下，并且你在用意图推动自己。
  • • Allowing is the work of external intention when nothing has anything to do with you.
    • •允许是外部意图的工作，与你没有任何关系。
  • • Wake up, see, compose. As soon as anything goes wrong--“Advantage!”
    • •醒来，看，构想。一旦出了问题就说"优势"
  • 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.
    • 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.
    • 如果你没有及时觉醒并寻求优势，在很多情况下，你会在事后才明白优势是什么，但那时就太晚了。
    • You will understand when you look back and remember, why and how you pushed against the situation and the opportunity you missed.
    • 当你回首往事，记起你为什么以及如何与这种情况抗争，以及你错过的机会时，你就会明白了。
  • Yes-yes-yes, you will keep forgetting and remembering too late, many, many times, until tracking our attention becomes a habit. And why do you constantly forget about your attention? Do you remember?
    • Yes-yes-yes, you will keep forgetting and remembering too late, many, many times, until tracking our attention becomes a habit.
    • 是的，是的，是的，你会不断地忘记和记住，但为时已晚，很多很多次，直到跟踪我们的注意力成为一种习惯。
    • And why do you constantly forget about your attention?
    • 为什么你总是忘记你的注意力?
    • Do you remember?
    • 你还记得吗?
  • 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?
    • 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?
    • 这里有一个谜语给你:什么是最简单的，同时也是最重要的问题，它折磨着蜗牛，即使它们没有意识到它在折磨它们?
  • There’s no point in frowning at me, you won’t guess.
    • 你不会猜到的，对我皱眉是没有意义的。
  • 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.
    • Why aren’t things the way I want them to be?
    • 为什么事情不是我想要的样子?
    • That is the question!
    • 这就是问题所在!
    • So what is the answer?
    • 那么答案是什么呢?
    • 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.
    • 这是因为你被剧本牵着走，因为你没有意识到事实，因为你自己并不构成现实，而只是存在于现实之中，就像水族馆里的鱼，或者更准确地说，就像蜗牛。
  • The fact that you are constantly in a vegetative state and only occasionally wake up and realize 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.
    • The fact that you are constantly in a vegetative state and only occasionally wake up and realize that you were sleeping, proves that you are being led by the script.
    • 事实上，你一直处于植物人状态，只是偶尔醒来意识到自己在睡觉，这证明你是被剧本引导的。
    • Why did you think that you forget about your attention?
    • 为什么你认为你忘记了你的注意力?
    • From absent-mindedness?
    • 从心不在焉?
    • No, it is because you are being led by the script.
    • 不，是因为你被剧本牵着鼻子走。
  • 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.
    • You think that you are acting independently, getting your own way, but that’s just an illusion.
    • 你认为你在独立行动，随心所欲，但那只是一种错觉。
    • 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.
    • 如果我可以提醒你的话，行动的幻觉在于你被现实所困，以至于你没有注意到这种幻觉，也没有意识到你是游戏中顺从的角色。
  • It is literally like a film. The characters in a film don’t fully realize 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?
    • It is literally like a film.
    • 这简直就像一部电影。
    • The characters in a film don’t fully realize their situation either.
    • 电影中的人物也没有完全意识到自己的处境。
    • I am not referring to the actors but the heroes of the film specifically.
    • 我指的不是演员，而是电影中的英雄。
    • The actors may be long dead, but the characters they played come to life every time someone watches the film.
    • 演员们可能已经死了很久，但每次有人看这部电影，他们扮演的角色就会复活。
    • Don’t you find it strange?
    • 你不觉得奇怪吗?
    • Technically speaking, there is nothing strange about it--just scenes from life shot on a roll of film.
    • 从技术上讲，这并没有什么奇怪的——只是在一卷胶卷上拍摄的生活场景。
    • And yet, it is very strange, isn’t it?
    • 然而，这很奇怪，不是吗?
  • 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.
    • You invented films not because you came up with the idea yourselves, but because this aspect of reality already exists.
    • 你们发明电影并不是因为你们自己想出了这个想法，而是因为这方面的现实已经存在了。
    • You cannot come up with anything new, that does not already exist in waking reality or that is not yet explicitly manifest.
    • 你不能想出任何新的东西，在清醒的现实中还没有存在，或者还没有明确地显化。
    • The only reason you have film is that you are living in a motion picture.
    • 你有胶卷的唯一原因是你生活在电影里。
    • Film is a model of reality.
    • 电影是现实的典范。
  • Equally as strange is the contradiction where by 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.
    • Equally as strange is the contradiction where by you, as characters, unlike the heroes of a motion picture, are endowed with consciousness.
    • 同样奇怪的矛盾是，你作为角色，不像电影里的英雄，被赋予了意识。
    • It is a paradox--reality’s a joke.
    • 这是一个悖论——现实是一个笑话。
    • And still, you have a chance.
    • 而且，你还有机会。
    • 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.
    • 虽然在你问自己问题的那一刻，你是完全在当下和有自我意识的，但其余时间你的意识都在睡觉，并屈从于外部剧本。
  • 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!
    • 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.
    • 同样令人难以置信的是，当你想到自己只是剧本中睡觉的角色时，你并没有感到震惊，尽管你应该感到震惊。
    • The reason it doesn’t shock you is that you aren’t capable of seeing through the illusion of action.
    • 它不会让你震惊的原因是你没有能力看穿行动的幻觉。
    • It is very powerful.
    • 它非常强大。
    • You simply don’t take it seriously when I say, “You are being led by the script.”
    • 当我说“你被剧本牵着鼻子走”时，你根本不把它当回事。
    • You think it is a joke or some kind of esoteric fantasy.
    • 你认为这是一个笑话或某种深奥的幻想。
    • It’s true!
    • 这是真的!
  • 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.
    • 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.
    • 即使你相信我的话，你也没有完全意识到这一点，就像电影中的角色没有意识到他们是电影中的角色一样。
    • But perhaps, one day, after you have experimented with reality, the moment will come when you will be acutely aware of it.
    • 但是，也许有一天，在你体验了现实之后，你会敏锐地意识到它的那一刻会到来。
    • And then you really will be shocked.
    • 然后你真的会大吃一惊。
  • 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.
    • But for now...
    • 但是现在……
    • you only vaguely suspect the existence of the script--the phenomenon of fate.
    • 你只是模糊地怀疑剧本的存在——命运的现象。
    • Yet fate is just a general di-rection.
    • 然而，命运只是一个总的方向。
    • 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;
    • 你可以选择你的命运，就像选择一条路一样，但你是笨蛋，因为你在生活中看到的是坏处而不是好处，所以你选择了一个越来越坏的方向;
    • and also because you do not really choose;
    • 也因为你没有真正选择;
    • instead you go out of your way to control everything, thereby creating even more harm.
    • 相反，你不遗余力地控制一切，从而造成更大的伤害。
  • The script is much more strict and precise than your perception of fate. It is a program that dictates your behaviors 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.
    • The script is much more strict and precise than your perception of fate.
    • 剧本比你对命运的感知要严格和精确得多。
    • It is a program that dictates your behaviors and all your actions on the current film roll.
    • 它是一个程序，在当前的胶卷上，指示你的行为和所有的行动。
    • It is not possible to control the script.
    • 控制脚本是不可能的。
    • All you can do is choose a different one by composing a concordant reality.
    • 你所能做的就是通过构建一个和谐的现实来选择一个不同的现实。
  • 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.
    • 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.
    • 尝试控制脚本是很有诱惑力的，因为你有这样做的习惯，并且幻想这样的事情对你来说甚至是可能的。
    • 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.
    • 当你试图对人和事施加直接影响时，你就犯了一个错误，导致了一系列的负面行为和不利影响。
  • 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 grueling and unproductive.
    • Then the script begins to move in such a way that the clouds on the horizon of your reality can only get heavier.
    • 然后剧本开始以这样一种方式移动，你现实的地平线上的云只会变得更重。
    • And then you will find yourself like a rat in a maze, looking for a way out, which is grueling and unproductive.
    • 然后你会发现自己就像迷宫里的老鼠一样，寻找出路，这是一种折磨人的徒劳。
  • 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.
    • You must understand that it is not possible to directly influence either the local script or the general course of events.
    • 您必须明白，不可能直接影响本地脚本或事件的总体进程。
    • You can only grasp the edge of the canvas of reality and make use of some of its components.
    • 你只能把握现实画布的边缘，并利用它的一些组成部分。
    • Seeking the advantage is one of those components.
    • 寻求优势是其中一个组成部分。
    • And if you don’t get this, I’ll annihilate you all.
    • 如果你们不明白，我就把你们都灭了。
    • Dimwits I can do without!
    • 我不需要这些笨蛋!
    • I have a button called ‘Delete’;
    • 我有一个button，叫做“删除”;
    • it countermands everything...
    • 它命令一切……
    • or erases it, I don’t remember which exactly;
    • 或者擦掉，我不记得具体是哪一个了;
    • I should check.
    • 我应该检查一下。
• 19. The Creator’s Spark
  • Repetition, repetition, my dears, my beauties, repetition is to your advantage!
    • 重复，重复，我亲爱的，我的美女，重复对你有好处!
  • Although it is torment for me... Or not, as I said, repetition is your pain and my gain, my little maniacs.
    • 虽然这对我来说是一种折磨……或者不是，正如我所说，重复是你的痛苦，我的收获，我的小疯子们。
  • • You aren’t yet seeing or composing reality; you live within it like fish in an aquarium.
    • •你还没有看到或构成现实;你就像鱼缸里的鱼一样生活在里面。
  • • You forget to track your attention because you are being led by the script.
    • •你忘记了追踪自己的注意力，因为你被剧本牵着走。
  • • You were only able to invent cinema because you are already living in a film.
    • •你之所以能够发明电影，是因为你已经生活在电影中。
  • • The cinema is one aspect of reality, literally a model of it.
    • •电影是现实的一个方面，实际上是现实的一个模型。
  • • The script is the program for your behavior on this particular film roll.
    • •剧本是你在这个特定胶卷上的行为程序。
  • • You can’t control the script; you can only compose the goal frame.
    • •你无法控制剧本;你只能构建目标框架。
  • Now, we return once again to that age-old question: why is everything not quite as I want it to be? You already know the answer to this question; it lies in the fact that you don’t fully realize the situation you find yourself in. At least, you didn’t until now. Is it possible to make things in life the way you would like them to be? The answer is affirmative, the only problem is that you aren’t going about it in the right way.
    • Now, we return once again to that age-old question: why is everything not quite as I want it to be?
    • 现在，我们再一次回到那个古老的问题:为什么一切都不像我希望的那样?
    • You already know the answer to this question;
    • 你已经知道这个问题的答案;
    • it lies in the fact that you don’t fully realize the situation you find yourself in.
    • 它在于你没有完全意识到你所处的情况。
    • At least, you didn’t until now.
    • 至少，直到现在你还不知道。
    • Is it possible to make things in life the way you would like them to be?
    • 有可能让生活中的事情变成你想要的样子吗?
    • The answer is affirmative, the only problem is that you aren’t going about it in the right way.
    • 答案是肯定的，唯一的问题是你没有以正确的方式去做。
  • Imagine that you have woken up inside a film. What can you possibly change?
    • 想象一下，你在一部电影中醒来。你能改变什么?
  • The film develops irrespective of your actions. There’s no point in trying to influence people and events because everything is predetermined. Yet, this is precisely what you do your best to achieve. The break occurs in the moment that a tiny spark of awareness tells you that nothing is going as you want it to, and yet at that, the spark fades.
    • The film develops irrespective of your actions.
    • 不管你做什么，胶卷都会继续发展。
    • There’s no point in trying to influence people and events because everything is predetermined.
    • 试图影响人和事是没有意义的，因为一切都是预先确定的。
    • Yet, this is precisely what you do your best to achieve.
    • 然而，这正是你尽最大努力去实现的。
    • The break occurs in the moment that a tiny spark of awareness tells you that nothing is going as you want it to, and yet at that, the spark fades.
    • 中断发生在一个微小的意识火花告诉你没有什么是你想要的，但在那一刻，火花消失了。
  • By virtue of being incompetent characters on the one hand and having the capacity for self -awareness on the other, you are ruled by the powerful temptation to control the course of events and other people directly, exerting influence upon them and manipulating them within the current frame. You soon realize that this isn’t actually impossible and begin to be tormented by the question of “how?”. And yet, you can’t possibly know ‘how’ because you “ haven’t read the script”.
    • By virtue of being incompetent characters on the one hand and having the capacity for self -awareness on the other, you are ruled by the powerful temptation to control the course of events and other people directly, exerting influence upon them and manipulating them within the current frame.
    • 一方面，你是无能的角色，另一方面，你有自我意识的能力，你被强大的诱惑所支配，想直接控制事件和其他人的进程，对他们施加影响，在当前的框架内操纵他们。
    • You soon realize that this isn’t actually impossible and begin to be tormented by the question of “how?”.
    • 你很快意识到这其实不是不可能的，并开始被“怎么做”的问题所折磨。
    • And yet, you can’t possibly know ‘how’ because you “ haven’t read the script”.
    • 然而，你不可能知道“怎么做”，因为你“没有读过剧本”。
  • So, if the script is a mystery, and you can’t control it or the people within in, what can you do exactly?
    • 所以，如果剧本是一个谜，你无法控制它或里面的人，你到底能做什么?
  • First: propel the forthcoming frame.
    • 第一:推动即将到来的框架。
  • Second: propel yourself.
    • 第二:激励自己。
  • Third: propel yourself from within.
    • 第三:从内心推动自己。
  • This is the sum total of the tools at your disposal.
    • 这是你可以使用的全部工具。
  • The first one you already know: compose the goal slide. You must be wondering, why I repeat this point so often. It is because you have settled hard into your snail house, your mould, which would make you believe that, ‘it is impossible to compose forthcoming reality—you can only battle with the conditions of your current physical reality’. In fact, in life it’s the opposite. In composing reality, you install a film roll with a script that works for you, if, Of course, you seek advantage from the situations it brings your way, rather than hindering it by always expecting the worst.
    • The first one you already know: compose the goal slide.
    • 第一个你已经知道了:编写目标幻灯片。
    • You must be wondering, why I repeat this point so often.
    • 你一定很奇怪，为什么我经常重复这一点。
    • It is because you have settled hard into your snail house, your mould, which would make you believe that, ‘it is impossible to compose forthcoming reality—you can only battle with the conditions of your current physical reality’.
    • 这是因为你已经牢牢地扎根于你的蜗牛屋，你的框架模型，这会让你相信，“不可能创作即将到来的现实——你只能与你当前的物质现实条件作斗争”。
    • In fact, in life it’s the opposite.
    • 事实上，在生活中恰恰相反。
    • In composing reality, you install a film roll with a script that works for you, if, Of course, you seek advantage from the situations it brings your way, rather than hindering it by always expecting the worst.
    • 在创作现实时，你安装了一个适合你的剧本的胶卷，当然，如果你从它给你带来的情况中寻求优势，而不是总是期待最坏的情况来阻碍它。
  • We will talk about the third point later; for now, the second: what does it mean to propel yourself ? Imagine that you are in a film. The film is already running and you can’t change anything about the storyline, but no one is stopping you from changing yourself. Don’t listen to those who would try to convince you that you should be yourself and never change. To a certain extent, yes, you can’t lose your core identity, your uniqueness, but should you stay a snail? Is that what you want?
    • We will talk about the third point later;
    • 我们稍后会谈到第三点;
    • for now, the second: what does it mean to propel yourself ?
    • 现在来看第二个问题:什么是推动自己?
    • Imagine that you are in a film.
    • 想象你在一部电影里。
    • The film is already running and you can’t change anything about the storyline, but no one is stopping you from changing yourself.
    • 电影已经开始了，你无法改变故事情节，但没有人能阻止你改变自己。
    • Don’t listen to those who would try to convince you that you should be yourself and never change.
    • 不要听信那些试图说服你做你自己，永远不要改变的人。
    • To a certain extent, yes, you can’t lose your core identity, your uniqueness, but should you stay a snail?
    • 在某种程度上，是的，你不能失去你的核心身份，你的独特性，但你应该继续做一只蜗牛吗?
    • Is that what you want?
    • 这就是你想要的吗?
  • You have to change without changing. You will understand soon what I mean by that. Self -improvement does not mean changing your core self. You were originally created by Nature as perfection itself, even taking into account your failings, which all of us have. Where there is no development, there is degradation. It is a natural law.
    • You have to change without changing.
    • 你必须在不改变的情况下改变。
    • You will understand soon what I mean by that.
    • 你很快就会明白我的意思。
    • Self -improvement does not mean changing your core self.
    • 自我提升并不意味着改变你的核心自我。
    • You were originally created by Nature as perfection itself, even taking into account your failings, which all of us have.
    • 即使考虑到我们所有人都有的缺点，你最初还是被大自然创造得完美无缺。
    • Where there is no development, there is degradation.
    • 哪里没有发展，哪里就有退化。
    • It is a natural law.
    • 这是自然规律。
  • It is important for you to understand that you have to work on yourself, develop your physical and your spiritual qualities unless you wish to turn into shrivelled slugs. Much depends on self -development. In each of you there is a spark of the Creator, so kindle it. The spark is not of the lord but specifically of the Creator. To lord it over others is another kind of temptation which you must never give in to. Create your reality and yourself perfect. The Supreme Creator does not contradict this rule; he does not rule over you (what would be the point, you wouldn’t listen anyway), he creates, and you are capable of doing the same.
    • It is important for you to understand that you have to work on yourself, develop your physical and your spiritual qualities unless you wish to turn into shrivelled slugs.
    • 重要的是你要明白，你必须在自己身上工作，发展你的身体和精神品质，除非你希望变成干瘪的鼻涕虫。
    • Much depends on self -development.
    • 很大程度上取决于自我发展。
    • In each of you there is a spark of the Creator, so kindle it.
    • 在你们每个人身上都有造物主的火花，所以点燃它。
    • The spark is not of the lord but specifically of the Creator.
    • 火花不是上帝的，而是造物主的。
    • To lord it over others is another kind of temptation which you must never give in to.
    • 凌驾于人之上是另一种诱惑，你绝对不能屈服。
    • Create your reality and yourself perfect.
    • 创造你的现实，让自己变得完美。
    • The Supreme Creator does not contradict this rule;
    • 至尊造物主并不违背这一规则;
    • he does not rule over you (what would be the point, you wouldn’t listen anyway), he creates, and you are capable of doing the same.
    • 他不会统治你(有什么意义，反正你也不会听)，他会创造，你也有能力这样做。
  • How and why we focus on physical self -development, you and I are all well aware. Who needs a shrivelled slug? What can they possibly achieve except frown and complain of their fate? It sounds harsh, but it is the truth and you can’t hide from the truth forever in your little snail’s house.
    • How and why we focus on physical self -development, you and I are all well aware.
    • 我们如何以及为什么要关注身体的自我发展，你我都很清楚。
    • Who needs a shrivelled slug?
    • 谁需要干瘪的鼻涕虫?
    • What can they possibly achieve except frown and complain of their fate?
    • 除了皱眉抱怨命运，他们还能做什么呢?
    • It sounds harsh, but it is the truth and you can’t hide from the truth forever in your little snail’s house.
    • 这听起来很残酷，但这是事实，你不可能永远躲在你的小蜗牛的房子里。
  • In spiritual terms, we must become as fireflies in the realm of shadows. I have already explained to you how: enlighten your attention, that is, track it in time, see yourself and see reality. Even just doing this, you begin to shine. And what if you were to radiate even more brightly? What should you radiate precisely? Do you really need to ask? Well, naturally, with the same things that attract you--with happiness, love, and rejoicing.
    • In spiritual terms, we must become as fireflies in the realm of shadows.
    • 在精神层面上，我们必须成为暗影中的萤火虫。
    • I have already explained to you how: enlighten your attention, that is, track it in time, see yourself and see reality.
    • 我已经向你解释过如何:启迪你的注意力，即及时追踪它，看到你自己，看到现实。
    • Even just doing this, you begin to shine.
    • 即使只是这样做，你也开始发光了。
    • And what if you were to radiate even more brightly?
    • 如果你的辐射更明亮呢?
    • What should you radiate precisely?
    • 你到底应该辐射什么?
    • Do you really need to ask?
    • 你真的需要问吗?
    • Well, naturally, with the same things that attract you--with happiness, love, and rejoicing.
    • 当然，吸引你的是同样的东西——幸福、爱和欢乐。
  • When you do, snails from all around will crawl towards you, stretching out their snail horns. Even without changing the film roll, people will show interest and favour towards you. The film continues as before, only now, you are a megastar. You barely have to do anything at all; just learn to track your attention and direct it properly. Kindle the Creator’s spark within--a most pleasant exercise and worthy goal, is it not?
    • When you do, snails from all around will crawl towards you, stretching out their snail horns.
    • 当你这样做的时候，周围的蜗牛就会向你爬过来，伸出它们的蜗牛角。
    • Even without changing the film roll, people will show interest and favour towards you.
    • 即使不换胶卷，人们也会对你表现出兴趣和好感。
    • The film continues as before, only now, you are a megastar.
    • 电影一如既往地继续，只是现在，你是一个超级巨星。
    • You barely have to do anything at all;
    • 你几乎不需要做任何事情;
    • just learn to track your attention and direct it properly.
    • 只要学会追踪你的注意力并正确地引导它。
    • Kindle the Creator’s spark within--a most pleasant exercise and worthy goal, is it not?
    • 点燃造物主内心的火花——这是一种最愉快的锻炼和最值得追求的目标，不是吗?
  • There are a couple of finer points I will tell you about too. 我也会告诉你一些更细微的地方。
    • 1. You must ‘compose reality’ at the same time as doing whatever the script requires of you. First, compose reality; then having jumped to a new film roll, do everything you have to do: go wherever you must, say and do whatever you must. Yes, all this is in the current frame. You didn’t think that you could get away with lounging on the sofa indulging in mental imaginings alone, did you?
      • You must ‘compose reality’ at the same time as doing whatever the script requires of you.
      • 你必须在做剧本要求你做的事情的同时“创作现实”。
      • First, compose reality;
      • 第一，构成现实;
      • then having jumped to a new film roll, do everything you have to do: go wherever you must, say and do whatever you must.
      • 然后跳到新的胶卷上，做你必须做的一切:去你必须去的地方，说你必须说的话，做你必须做的事。
      • Yes, all this is in the current frame.
      • 是的，所有这些都在当前框架中。
      • You didn’t think that you could get away with lounging on the sofa indulging in mental imaginings alone, did you?
      • 你不会以为你一个人懒洋洋地躺在沙发上沉浸在想象中就能逃脱惩罚吧?
    • 2. Don’t just seek advantage for yourself ; allow all other snails to do the same. Advantages for yourself and advantages for others. This should be on the list of principles that make up your personal philosophy. Otherwise, you’ll go back to the same senseless rigmarole of trying to control people and events. That’s how it is, my angels!
      • Don’t just seek advantage for yourself ;
      • 不要只为自己谋取利益;
      • allow all other snails to do the same.
      • 让所有其他蜗牛也这样做。
      • Advantages for yourself and advantages for others.
      • 对自己有利，对别人有利。
      • This should be on the list of principles that make up your personal philosophy.
      • 这应该列在构成你个人哲学的原则清单上。
      • Otherwise, you’ll go back to the same senseless rigmarole of trying to control people and events.
      • 否则，你就会回到试图控制人和事的无谓的繁琐过程中。
      • That’s how it is, my angels!
      • 就是这样，我的天使们!
• 20. Dictates of Power
  • Come closer, snails! I have good news for you. Do you know, what the main idea of the script is, once you are beyond 20 years old? It’s your personal degradation. Are you pleased? Why not? You have hope; you have me!
    • Come closer, snails!
    • 蜗牛们，靠近点!
    • I have good news for you.
    • 我有个好消息要告诉你。
    • Do you know, what the main idea of the script is, once you are beyond 20 years old?
    • 你知道剧本的主旨是什么吗，一旦你超过了20岁?
    • It’s your personal degradation.
    • 这是你个人的退化。
    • Are you pleased?
    • 你满意吗?
    • Why not?
    • 为什么不呢?
    • You have hope;
    • 你有希望;
    • you have me!
    • 你有我!
  • • You can’t change the current film roll, even once you’ve woken up.
    • •你不能改变当前的胶卷，即使你已经醒来。
  • • When you compose your own reality, you start another film script that works for you.
    • •当你创作自己的现实时，你就开始了另一个适合你的电影剧本。
  • • if you don’t work on self -development, there will be degradation instead.
    • •如果你不致力于自我发展，反而会有退化。
  • • You were originally created perfect.
    • •你生来是完美的。
  • • There is a spark of the Creator in each and every one of you.
    • 在你们每一个人身上都有造物主的火花。
  • • To kindle the Creator’s spark within, focus on self -development.
    • •为了点燃造物主内在的火花，专注于自我发展。
  • You have a choice: either allow the script to propel you forward or take yourself for yourself, so that you can propel yourself and significantly accelerate the implementation of the design.
    • 你有一个选择:要么让脚本推动你前进，要么让你自己做你自己，这样你就可以推动你自己，并显著加快设计的实现。
  • Now, rather than getting into explanations of what ‘propel yourself ’ means, I will return again to the question of your obsessive need to control the script. This is a very important issue. It is linked to your paranoia, my little irks. I have to explain constantly, what you mustn’t do, and what that which you mustn’t do really is. So, stretch out those snail horns and listen carefully.
    • Now, rather than getting into explanations of what ‘propel yourself ’ means, I will return again to the question of your obsessive need to control the script.
    • 现在，与其解释“推动你自己”是什么意思，我将再次回到你对控制剧本的强迫性需求的问题上。
    • This is a very important issue.
    • 这是一个非常重要的问题。
    • It is linked to your paranoia, my little irks.
    • 这和你的偏执有关，我的小讨厌鬼。
    • I have to explain constantly, what you mustn’t do, and what that which you mustn’t do really is.
    • 我必须不断地解释，什么是你不能做的，你真正不能做的是什么。
    • So, stretch out those snail horns and listen carefully.
    • 所以，伸出你的蜗牛角，仔细听。
  • You constantly want something from people or events, trying to coerce or somehow influence them, so that things turn out your way, at the same time as being tormented by the question of how to make it happen. For example, say you are a guy trying to make an impression of an individual of the opposite sex, so that she’ll agree to go on a date with you; you implement what in your opinion is nothing short of the impressive mating dance of a jaybird, but she gives you the hard shoulder nonetheless. Why? Having the capacity for self -awareness, you ask the question ‘how?’ and design a whole seduction strategy based on your own perceptions. Yes, in the moment that you ask yourself ‘how,’ your self -awareness is awakened, but it gets in your way because you’re not thinking about the goal but your own silly ideas of how to manifest it. Your imagined script contradicts the real one, but you insist on having your own way and spoil everything as a result.
    • You constantly want something from people or events, trying to coerce or somehow influence them, so that things turn out your way, at the same time as being tormented by the question of how to make it happen.
    • 你总是想从别人或事情那里得到一些东西，试图强迫或以某种方式影响他们，这样事情就会按你的方式发展，同时又被如何实现它的问题所折磨。
    • For example, say you are a guy trying to make an impression of an individual of the opposite sex, so that she’ll agree to go on a date with you;
    • 例如，假设你是一个试图给异性留下深刻印象的男人，这样她就会同意和你约会;
    • you implement what in your opinion is nothing short of the impressive mating dance of a jaybird, but she gives you the hard shoulder nonetheless.
    • 在你看来，你完成了一场令人印象深刻的鸟的求偶舞蹈，但她还是对你不理不睬。
    • Why?
    • 为什么?
    • Having the capacity for self -awareness, you ask the question ‘how?
    • 有了自我意识的能力，你会问“怎么做?”
    • ’ and design a whole seduction strategy based on your own perceptions.
    • 然后根据自己的感觉设计出一整套的引诱策略。
    • Yes, in the moment that you ask yourself ‘how,’ your self -awareness is awakened, but it gets in your way because you’re not thinking about the goal but your own silly ideas of how to manifest it.
    • 是的，在你问自己“如何”的那一刻，你的自我意识被唤醒了，但它阻碍了你，因为你没有考虑目标，而是你自己关于如何实现它的愚蠢想法。
    • Your imagined script contradicts the real one, but you insist on having your own way and spoil everything as a result.
    • 你想象的剧本与真实的剧本相矛盾，但你坚持自己的方式，结果破坏了一切。
  • Unlike you, the jay bird acts without self -awareness instinctively giving itself to the script. The jay has more chances of getting what it wants than you do because it has only the goal in mind and none of its own fabrications on the theme of ‘how?’. You have never tried behaving that like, right? Well, try it. Just go up to the object of your passion without thinking about it, and say and do, whatever comes into your mind. If you keep only the goal in your thoughts, the script will lead you to it.
    • Unlike you, the jay bird acts without self -awareness instinctively giving itself to the script.
    • 不像你，松鸦的表演没有自我意识，本能地把自己交给剧本。
    • The jay has more chances of getting what it wants than you do because it has only the goal in mind and none of its own fabrications on the theme of ‘how?’.
    • 松鸦比你有更多的机会得到它想要的东西，因为它脑子里只有目标，没有自己编造的“怎么做?”的主题。
    • You have never tried behaving that like, right?
    • 你从来没试过那样做，对吧?
    • Well, try it.
    • 好吧，试试吧。
    • Just go up to the object of your passion without thinking about it, and say and do, whatever comes into your mind.
    • 只要不加思索地走到你热情的目标面前，然后说，做，想到什么就做什么。
    • If you keep only the goal in your thoughts, the script will lead you to it.
    • 如果你只在你的思想中保持目标，脚本将引导你实现它。
  • The only difference between the jay’s behavior and your own should be that you are consciously observing yourself. You need to observe yourself, observe what you are giving your attention to, so that rather than sinking back into constructing your own plan, you follow the barely perceptible nudges from the script as if they were dictates of Power.
    • The only difference between the jay’s behavior and your own should be that you are consciously observing yourself.
    • 松鸦的行为和你自己的行为之间的唯一区别应该是你有意识地观察自己。
    • You need to observe yourself, observe what you are giving your attention to, so that rather than sinking back into constructing your own plan, you follow the barely perceptible nudges from the script as if they were dictates of Power.
    • 你需要观察你自己，观察你正在关注的东西，这样你就不会陷入构建自己的计划中，而是按照剧本中几乎察觉不到的提示去做，就好像它们是权力的命令一样。
  • It is complex and simple at the same time--complex because it is unusual and unfamiliar to you to put aside your own motives and surrender to an external Power; it’s simple because you can sense these dictates of Power if you allow them to lead you, consciously and intentionally.
    • It is complex and simple at the same time--complex because it is unusual and unfamiliar to you to put aside your own motives and surrender to an external Power;
    • 它既复杂又简单——复杂是因为抛开自己的动机，臣服于一种外在的力量，这对你来说是不寻常的、不熟悉的;
    • it’s simple because you can sense these dictates of Power if you allow them to lead you, consciously and intentionally.
    • 这很简单，因为你可以感觉到这些权力的指令，如果你允许他们引导你，有意识地和有意地。
  • Now, do you understand what I am talking about? It’s still the same thing, the principles of strolling live through a motion-picture. The principles are paradoxical because they go against your ideas and habits. In a non-aware state you go against the script, and when you wake up, you are even more impatient to act wilfully.
    • Now, do you understand what I am talking about?
    • 现在，你明白我在说什么了吗?
    • It’s still the same thing, the principles of strolling live through a motion-picture.
    • 还是一样的，在电影中漫步的原则。
    • The principles are paradoxical because they go against your ideas and habits.
    • 这些原则是自相矛盾的，因为它们违背了你的想法和习惯。
    • In a non-aware state you go against the script, and when you wake up, you are even more impatient to act wilfully.
    • 在无意识的状态下，你违背了剧本，当你醒来时，你甚至更不耐烦地随心所欲。
  • You have to think and act in the opposite way. Do not resist automatically with knee-jerk reactions; surrender, purposefully and consciously. Imagine that you are a mannequin with a wax face, an unseeing gaze and you move as if you were an inanimate, wind-up doll. Then, suddenly, you enter a state of awareness; your eyes light up and ... and that is the only thing that differentiates you.
    • You have to think and act in the opposite way.
    • 你必须以相反的方式思考和行动。
    • Do not resist automatically with knee-jerk reactions;
    • 不要下意识地抵制;
    • surrender, purposefully and consciously.
    • 有目的地、有意识地投降。
    • Imagine that you are a mannequin with a wax face, an unseeing gaze and you move as if you were an inanimate, wind-up doll.
    • 想象一下，你是一个蜡像脸的人体模型，有一种看不见的目光，你的行动就好像你是一个没有生命的、上了发条的玩偶。
    • Then, suddenly, you enter a state of awareness;
    • 然后，突然间，你进入一种觉知的状态;
    • your eyes light up and ...
    • 你的眼睛亮了起来……
    • and that is the only thing that differentiates you.
    • 这是唯一区别你们的地方。
  • Of course, you will shine with a special inner light, evoking unconscious warmth from those who are still sleeping. But you shouldn’t stand out in any other way; just follow the flow of the film roll, like everyone else. Once you have awakened, you continue moving mechanically in the crowd of other mannequins, and doing the same as everyone else, without giving away your presence. Pretend that you are still sleeping and secretly change the film roll.
    • Of course, you will shine with a special inner light, evoking unconscious warmth from those who are still sleeping.
    • 当然，你会发出一种特殊的内在光芒，从那些还在睡觉的人身上唤起无意识的温暖。
    • But you shouldn’t stand out in any other way;
    • 但你不应该以任何其他方式脱颖而出;
    • just follow the flow of the film roll, like everyone else.
    • 就像其他人一样，跟着胶卷的节奏走。
    • Once you have awakened, you continue moving mechanically in the crowd of other mannequins, and doing the same as everyone else, without giving away your presence.
    • 一旦你醒来，你继续在其他人体模型的人群中机械地移动，和其他人一样做着同样的事情，而不会暴露你的存在。
    • Pretend that you are still sleeping and secretly change the film roll.
    • 假装你还在睡觉，偷偷地换胶卷。
  • Do you remember what this is called? It’s imitating motion. By consciously allowing the script to lead you, you are in fact leading yourself, using the Power and Wisdom of the script. And then everything goes smoothly. By not allowing, you spoil everything. Then for you, “nothing is going as I want it to,” partly because you are not allowing it to.
    • Do you remember what this is called?
    • 你还记得这叫什么吗?
    • It’s imitating motion.
    • 这是在模仿动作。
    • By consciously allowing the script to lead you, you are in fact leading yourself, using the Power and Wisdom of the script.
    • 通过有意识地让剧本引导你，你实际上是在引导你自己，使用剧本的力量和智慧。
    • And then everything goes smoothly.
    • 然后一切都很顺利。
    • By not allowing, you spoil everything.
    • 不允许，你就毁了一切。
    • Then for you, “nothing is going as I want it to,” partly because you are not allowing it to.
    • 然后对你来说，“没有什么事情按照我的意愿发展”，部分原因是你不允许它这样发展。
  • Some may protest: why should I rely on the Power and Wisdom of a script that is leading me, who knows where, and may or may not actually have any true Power or Wisdom. And how do I know it’s invested in anything being how I want it to be? Of course, the script is not invested as such. But there is a sense in which the script will listen to you if you are listening in return. Why it will listen to you and why you should rely on it, we will come to later. For now, let’s start by answering a simple question: is it possible to resist the script in principle and is it worth doing so?
    • Some may protest: why should I rely on the Power and Wisdom of a script that is leading me, who knows where, and may or may not actually have any true Power or Wisdom.
    • 有些人可能会抗议:我为什么要依赖剧本的力量和智慧，谁知道它会引导我去哪里，它可能有也可能没有真正的力量和智慧。
    • And how do I know it’s invested in anything being how I want it to be?
    • 我怎么知道它投入的是我想要的东西呢?
    • Of course, the script is not invested as such.
    • 当然，剧本并不是这样投资的。
    • But there is a sense in which the script will listen to you if you are listening in return.
    • 但在某种意义上，剧本会倾听你，如果你也在倾听的话。
    • Why it will listen to you and why you should rely on it, we will come to later.
    • 为什么它会听你的，为什么你应该依赖它，我们稍后会讲到。
    • For now, let’s start by answering a simple question: is it possible to resist the script in principle and is it worth doing so?
    • 现在，让我们从回答一个简单的问题开始:原则上是否有可能抵制脚本，这样做是否值得?
  • For example, let’s say the object of your passion has agreed to go on a date with you. What do you usually do when you’re preparing for a date? You construct your own plan and expectations. You want events to go according to your plan, and you want the object of your passions to behave in the way you’d like her do.
    • For example, let’s say the object of your passion has agreed to go on a date with you.
    • 例如，假设你喜欢的对象同意和你约会。
    • What do you usually do when you’re preparing for a date?
    • 当你准备约会时，你通常会做什么?
    • You construct your own plan and expectations.
    • 你制定自己的计划和期望。
    • You want events to go according to your plan, and you want the object of your passions to behave in the way you’d like her do.
    • 你希望事情按照你的计划进行，你希望你的激情对象按照你所希望的方式行事。
  • In reality, everything turns out differently, which evokes your discontent as well as negative reactions and consequences. Think for yourselves; why should events unfold as you imagined them to, and why should people behave as you expect them to? It’s not unlike watching a film or television series and expecting the plot to develop in accordance with your own script, and the characters in the film to act according to your expectations. Would that happen? No. Absolutely everything is the same way in the film which you consider to be your life.
    • In reality, everything turns out differently, which evokes your discontent as well as negative reactions and consequences.
    • 在现实中，一切都是不同的，这引起了你的不满以及消极的反应和后果。
    • Think for yourselves;
    • 独立思考;
    • why should events unfold as you imagined them to, and why should people behave as you expect them to?
    • 为什么事情会像你想象的那样发展，为什么人们会像你期望的那样行动?
    • It’s not unlike watching a film or television series and expecting the plot to develop in accordance with your own script, and the characters in the film to act according to your expectations.
    • 这就像看电影或电视剧，期待情节按照你自己的剧本发展，电影中的人物按照你的期望行事。
    • Would that happen?
    • 这种情况会发生吗?
    • No.
    • 不。
    • Absolutely everything is the same way in the film which you consider to be your life.
    • 电影中的一切都是一样的，你认为这是你的生活。

Tufti the Priestess 21--25

• 21. Following
  • Hey, hey, and away! You have already learned a lot, my dears, but far from enough to walk freely through a motion-picture. We will go over it all again and again!
    • 嘿，嘿，走开!亲爱的，你们已经学到了很多，但还远远不够电影中自由漫步。我们会一遍又一遍地复习!
  • • The question ‘how?’ takes you away from your goal and your goal frame composition .
    • •“怎么做?”’会让你偏离你的目标和你的目标框架构成。
  • • Wanting ‘everything to go my way’ spoils everything and takes you away from the goal.
    • •想要“一切都按我的方式进行”会破坏一切，让你远离目标。
  • • Resisting the script brings you nothing but trouble.
    • •抗拒剧本只会给你带来麻烦。
  • • If all your thoughts are focused on the goal, the script will lead you to it.
    • •如果你所有的想法都集中在目标上，剧本会引导你实现目标。
  • • Do not resist. Observe yourself and follow the flow of the film roll.
    • •不要抗拒。观察你自己，跟随胶卷的流动。
  • • Learn to feel the decrees of Power and to follow the decrees of Power.
    • •学会感受力量的命令，并遵循力量的命令。
  • If controlling the events and people in the current film roll is impossible, what Should you do? Let go of both and allow the film roll to turn just as it is already turning and allow people to live their lives just as they are already living them. Why would you worry about the current film roll if you are free to change it? And when did you decide that you have the right to influence other people? Let them all go, and they will let you go, and what’s more, run to you and do what you want them to, but more on that later.
    • If controlling the events and people in the current film roll is impossible, what Should you do?
    • 如果控制当前胶卷中的事件和人物是不可能的，你该怎么办?
    • Let go of both and allow the film roll to turn just as it is already turning and allow people to live their lives just as they are already living them.
    • 放开这两者，让胶卷继续转动，就像它已经在转动的那样，让人们继续过自己的生活，就像他们已经在生活的那样。
    • Why would you worry about the current film roll if you are free to change it?
    • 如果你可以自由更换胶卷，为什么还要担心现在的胶卷呢?
    • And when did you decide that you have the right to influence other people?
    • 你什么时候决定你有权影响别人的?
    • Let them all go, and they will let you go, and what’s more, run to you and do what you want them to, but more on that later.
    • 把他们都放开，他们也会放开你，更重要的是，他们会跑向你，做你想让他们做的事。
  • I remind you: your mind should be focused on the end result, the goal slide, not the course of events or the behavior (actions) of other people. You can’t resist the script; that’s impossible, even when you are being fully present. All the changes that take place in your reality that is in accordance with your will are the result of you switching to a different film roll. You can’t do anything about the script in the current film roll.
    • I remind you: your mind should be focused on the end result, the goal slide, not the course of events or the behavior (actions) of other people.
    • 我提醒你:你的思想应该集中在最终结果，目标幻灯片上，而不是事件的过程或其他人的行为(行动)。
    • You can’t resist the script;
    • 你无法抗拒剧本;
    • that’s impossible, even when you are being fully present.
    • 这是不可能的，即使你完全活在当下。
    • All the changes that take place in your reality that is in accordance with your will are the result of you switching to a different film roll.
    • 在你的现实中发生的一切与你的意志相一致的变化，都是你换到不同胶卷的结果。
    • You can’t do anything about the script in the current film roll.
    • 在当前的胶卷中，你不能对剧本做任何事情。
  • Some may protest that they have woken up and decide to escape the script, consciously and intentionally. Let’s say, you decide to do something earth-shattering, for example, to beat someone’s horns for no good reason. ‘Maybe I’ll get the same in return, but still, I have broken from the script whilst being fully present!’
    • Some may protest that they have woken up and decide to escape the script, consciously and intentionally.
    • 有些人可能会抗议说，他们已经觉醒，决定有意识地、有意地逃离剧本。
    • Let’s say, you decide to do something earth-shattering, for example, to beat someone’s horns for no good reason.
    • 比方说，你决定做一件惊天动地的事，例如，无缘无故地痛打某人。
    • ‘Maybe I’ll get the same in return, but still, I have broken from the script whilst being fully present!
    • “也许我也会得到同样的回报，但是，我已经完全脱离了剧本!”
  • Firstly, you cannot confirm that this--your curve ball--was not in the script.
    • 首先，你不能确认这个——你的曲线球——不在剧本里。
  • And secondly, so go ahead and make all the curve balls you like. What’s the point in that? We’re talking about solving your problems and achieving your most sought- after goals, and about, why your dreams aren’t coming true. Playing curve ball with reality can never lead to anything good. Reality is not to be trifled with; reality must be handled competently. That’s what this is all about.
    • And secondly, so go ahead and make all the curve balls you like.
    • 其次，继续做你喜欢的曲线球吧。
    • What’s the point in that?
    • 这有什么意义?
    • We’re talking about solving your problems and achieving your most sought- after goals, and about, why your dreams aren’t coming true.
    • 我们谈论的是如何解决你的问题，实现你最追求的目标，以及为什么你的梦想没有实现。
    • Playing curve ball with reality can never lead to anything good.
    • 面对现实玩曲线球永远不会有什么好结果。
    • Reality is not to be trifled with;
    • 现实是不容轻视的;
    • reality must be handled competently.
    • 现实必须妥善处理。
    • That’s what this is all about.
    • 这就是问题所在。
  • All the rest is trivia, and the same goes for the minor exceptions from the rule, which, undoubtedly, you will come across in the course of your experiments. All these little things are unworthy of your attention. It is better to focus on the main thing that is of fundamental importance. So let’s move on to the specifics.
    • All the rest is trivia, and the same goes for the minor exceptions from the rule, which, undoubtedly, you will come across in the course of your experiments.
    • 其余的都是鸡毛蒜皮的事，规则之外的小例外也是如此，毫无疑问，你会在实验过程中遇到这些例外。
    • All these little things are unworthy of your attention.
    • 所有这些小事都不值得你注意。
    • It is better to focus on the main thing that is of fundamental importance.
    • 最好把注意力集中在最重要的事情上。
    • So let’s move on to the specifics.
    • 让我们来看看细节。
  • Once you have woken up, the meaning and principle of strolling live through a motion-picture are not to start creating your own tyranny, but to consciously obey.
    • Once you have woken up, the meaning and principle of strolling live through a motion-picture are not to start creating your own tyranny, but to consciously obey.
    • 一旦你醒来，在电影中漫步的意义和原则不是开始创造你自己的暴政，而是有意识地服从。
  • Composing reality and switching the film roll: here in lies your free will. In everything else, the essential thing is to wake up, observe, and follow.
    • Composing reality and switching the film roll: here in lies your free will.
    • 构造现实和切换胶卷:这里是你的自由意志。
    • In everything else, the essential thing is to wake up, observe, and follow.
    • 在其他任何事情上，最重要的是清醒、观察和跟随。
  • Wake up in order to do three things consciously:
    • 1. Reject the script’s control.
      • 1. 拒绝对脚本的控制。
    • 2. Start to follow the script.
      • 2. 开始按照脚本操作。
    • 3. Compose your goal frame.
      • 3.构建你的目标框架。
  • Observe in order to...
    • 1. Track your attention.
      • 1. 追踪你的注意力。
    • 2. Track the advantage and benefit from it.
      • 2. 跟踪优势并从中受益。
    • 3. Track and illuminate the upcoming slide.
      • 3.跟踪并照亮即将到来的幻灯片。
  • Track in order to make use of the Power and Wisdom of the script. The script is like a river, always moving along the optimal path. Your first task is to show it the destination--the goal. You will not be able to calculate how to achieve the goal. There are too many variants, subtle details, people, circumstances andevents involved and all of them are equally unknown to you. The script can solve the task with ease, and so your second task is to follow it.
    • Track in order to make use of the Power and Wisdom of the script.
    • 跟踪，以便利用脚本的力量和智慧。
    • The script is like a river, always moving along the optimal path.
    • 剧本就像一条河流，总是沿着最优路径移动。
    • Your first task is to show it the destination--the goal.
    • 你的第一个任务是向它展示目的地——目标。
    • You will not be able to calculate how to achieve the goal.
    • 你将无法计算出如何达到目标。
    • There are too many variants, subtle details, people, circumstances and events involved and all of them are equally unknown to you.
    • 有太多的变化，微妙的细节，涉及的人，环境和事件，所有这些都是你不知道的。
    • The script can solve the task with ease, and so your second task is to follow it.
    • 该脚本可以轻松地解决这个任务，因此您的第二个任务就是遵循它。
  • Following in this case is not quite the same thing as what we were talking about when discussing the principles of Advantage and Allowing. Following is the ability to sense the decrees of Power and obey them. However, you don’t always have to feel them. Often it is enough to consciously observe the pattern of how events are unfolding, and then to simply accept them, act in accordance with them and show no resistance.
    • Following in this case is not quite the same thing as what we were talking about when discussing the principles of Advantage and Allowing.
    • 在这种情况下，遵循与我们在讨论优势和允许原则时所讨论的并不完全相同。
    • Following is the ability to sense the decrees of Power and obey them.
    • 跟随是感知力量的命令并服从它们的能力。
    • However, you don’t always have to feel them.
    • 然而，你并不总是需要感觉到它们。
    • Often it is enough to consciously observe the pattern of how events are unfolding, and then to simply accept them, act in accordance with them and show no resistance.
    • 通常，有意识地观察事件如何展开的模式，然后简单地接受它们，按照它们行事，不表现出抵抗，就足够了。
  • To sense the direction in which the script is pushing you, it is enough to become fully present, to be in a state in which you can see yourself and see reality. If reality does not give you a clear answer, where you should follow, it means, you must listen more carefully to yourself and your feelings. When you are fully present, you will be able to do this very easily. The harder task is to track yourself at the right time so that you wake up.
    • To sense the direction in which the script is pushing you, it is enough to become fully present, to be in a state in which you can see yourself and see reality.
    • 感受剧本推动你前进的方向，全身心地处于当下，处于一种你能看到自己、看到现实的状态就够了。
    • If reality does not give you a clear answer, where you should follow, it means, you must listen more carefully to yourself and your feelings.
    • 如果现实没有给你一个明确的答案，那就意味着，你必须更仔细地倾听自己和自己的感受。
    • When you are fully present, you will be able to do this very easily.
    • 当你全身心处在当下，你就能很容易地做到这一点。
    • The harder task is to track yourself at the right time so that you wake up.
    • 更难的任务是在正确的时间跟踪自己，以便醒来。
  • Here the various triggers that we leveraged in the methods for tracking attention, frame illumination, and advantage will help you. You must use the triggers, all of them, continually so that it becomes a habit. That’s the only way of learning to wake up at the right time. Unless this becomes a habit, nothing will work. The ability to wake up at the right time is the most important thing.
    • Here the various triggers that we leveraged in the methods for tracking attention, frame illumination, and advantage will help you.
    • 在这里，我们在跟踪注意力、框架照明和优势的方法中利用的各种触发因素将对您有所帮助。
    • You must use the triggers, all of them, continually so that it becomes a habit.
    • 你必须不断地使用所有的触发点，使之成为一种习惯。
    • That’s the only way of learning to wake up at the right time.
    • 这是学会在正确的时间醒来的唯一方法。
    • Unless this becomes a habit, nothing will work.
    • 除非这成为一种习惯，否则什么都行不通。
    • The ability to wake up at the right time is the most important thing.
    • 能够在正确的时间醒来是最重要的。
  • In addition to the above, I give you the control triggers. Your most destructive habit is your desire to control everything: the script, events, and people.
    • In addition to the above, I give you the control triggers.
    • 除了上面提到的，我还给你控制触发器。
    • Your most destructive habit is your desire to control everything: the script, events, and people.
    • 你最具破坏性的习惯是你想控制一切:剧本、事件和人。
  • 1. I want something from people and events.
    • 1. 我想从人和事中得到一些东西。
  • 2. I want everything to go according to my plan.
    • 2. 我希望一切都能按计划进行。
  • 3. Something isn’t going the way I would like.
    • 3.有些事不像我想的那样。
  • It is essential that you replace the habit of controlling with a new habit: letting go and following. And now, the following method:
    • 你必须用一个新的习惯来取代控制的习惯:放手和跟随。现在，下面的方法:
  • 1. Catch the control trigger.
    • 1. 抓住控制触发器。
  • 2. Wake up: I see myself and I see reality.
    • 2. 醒醒:我看到了我自己，我看到了现实。
  • 3. Ask yourself, feel, what is the first command saying?
    • 3.问问你自己，感觉一下，第一条命令说的是什么?
  • 4. if you receive an answer to this question, follow the command.
    • 4. 如果您收到这个问题的答案，请执行该命令。
  • 5. if you don’t receive an answer, compose the goal slide and try following again.
    • 5. 如果你没有得到答案，构想一张目标幻灯片，然后再试一次。
• 22. Outer Power
  • So how are you, my sweet little lambs? have you understood that a live stroll isn’t just a stroll along the lines of “I’ll do whatever I want”? On the contrary, on the walk I am humility itself: “I behave quietly, without giving away my presence; I watch and follow”. You will also have realized, that in reality, all this is total pretence and imitation. So let’s repeat the principles.
    • So how are you, my sweet little lambs?
    • 你们还好吗，我可爱的小羊羔?
    • have you understood that a live stroll isn’t just a stroll along the lines of “I’ll do whatever I want”?
    • 你是否明白，现场散步并不仅仅是沿着“我想做什么就做什么”的路线散步?
    • On the contrary, on the walk I am humility itself: “I behave quietly, without giving away my presence; I watch and follow”.
    • 相反，在走路的时候，我是谦卑的:“我举止安静，不暴露我的存在; 我关注并跟随。”
    • You will also have realized, that in reality, all this is total pretence and imitation.
    • 你也会意识到，在现实中，这一切完全是伪装和模仿。
    • So let’s repeat the principles.
    • 让我们重复一下原则。
  • • Wake up, observe, follow.
    • •醒来，观察，跟随。
  • • Compose the goal frame and follow the script.
    • •构建目标框架并遵循脚本。
  • • Following makes use of the Power and Wisdom of the script.
    • •跟随使用脚本的力量和智慧。
  • • Constantly respond to the triggers so that they become a habit.
    • •不断对触发器做出回应，让它们成为一种习惯。
  • • Replace the habit of ‘controlling’ with the habit of letting go and following.
    • •用放下和跟随的习惯取代“控制”的习惯。
  • • To follow is to have the ability to feel and heed the decrees of Power.
    • •跟随就是有能力去感受和听从权力的命令。
  • (Only you mustn’t confuse the decrees of Power with the desire to indulge in your own weaknesses and stupid inclinations, my sweetie pies!)
    • (只是你不能把权力的命令与沉迷于自己的弱点和愚蠢的倾向的欲望混为一谈，我的甜心!)
  • By following the first impulse, the decree, or as it is also referred to, your intuition or presentiment, you are taking the first step. It is a mistake to ignore the decrees. Disobedience is not the same thing as freedom. if you go at odds with the script and make a mistake, it will bring you back into the fold, only this time, in a worse program, on account of your error.
    • By following the first impulse, the decree, or as it is also referred to, your intuition or presentiment, you are taking the first step.
    • 跟随第一个冲动、命令，或者也被称为你的直觉或预感，你就迈出了第一步。
    • It is a mistake to ignore the decrees.
    • 无视命令是错误的。
    • Disobedience is not the same thing as freedom.
    • 不服从和自由不是一回事。
    • if you go at odds with the script and make a mistake, it will bring you back into the fold, only this time, in a worse program, on account of your error.
    • 如果您与脚本不一致并犯了一个错误，它将把您重新拉回原处，只是这一次，由于您的错误，在一个更糟糕的程序中。
  • The reason for your disobedience, in this case, is your self-awareness or, more precisely, yourself-importance. The reason it causes you harm is that you aren’t using it for the purpose it was intended; it leads to inappropriate action as opposed to right action. Your conceit doesn’t realize the nature of your situation. I have told you in some detail, that you are in a film, in the position of one of the characters, and I have also explained how you must act in order to free yourself from this position.
    • The reason for your disobedience, in this case, is your self-awareness or, more precisely, yourself-importance.
    • 在这种情况下，你不服从的原因是你的自我意识，或者更准确地说，是你的自我重要性。
    • The reason it causes you harm is that you aren’t using it for the purpose it was intended;
    • 它对你造成伤害的原因是你没有按照预期的目的使用它;
    • it leads to inappropriate action as opposed to right action.
    • 它会导致不恰当的行为，而不是正确的行为。
    • Your conceit doesn’t realize the nature of your situation.
    • 你的自负没有认识到你处境的本质。
    • I have told you in some detail, that you are in a film, in the position of one of the characters, and I have also explained how you must act in order to free yourself from this position.
    • 我已经详细地告诉过你，你是在一部电影中，处于其中一个角色的位置，我也解释过你必须如何行动才能从这个位置中解脱出来。
  • In the previous lessons, we have talked about how the script is a program that shapes your behavior and all your actions on the current film roll. But is that the be-all and end-all of the script? There are in fact two exceptions to this: one constructive, the other destructive. I have already described the destructive exception which is when you fail to heed the script.
    • In the previous lessons, we have talked about how the script is a program that shapes your behavior and all your actions on the current film roll.
    • 在前面的课程中，我们已经讨论了剧本是如何塑造你的行为和你在当前胶卷上的所有动作的程序。
    • But is that the be-all and end-all of the script?
    • 但这就是剧本的全部和最终目的吗?
    • There are in fact two exceptions to this: one constructive, the other destructive.
    • 事实上，有两种例外:一种是建设性的，另一种是破坏性的。
    • I have already described the destructive exception which is when you fail to heed the script.
    • 我已经描述了破坏性异常，即当您没有注意到脚本时。
  • The constructive exception lies in the moment that you wake up and consciously compose your own reality. This is the only thing that isn’t included in the script. The script doesn’t foresee the exception that you are capable of switching the film roll and coming into possession of a different script.
    • The constructive exception lies in the moment that you wake up and consciously compose your own reality.
    • 建设性的例外存在于你醒来并有意识地构建你自己的现实的那一刻。
    • This is the only thing that isn’t included in the script.
    • 这是脚本中唯一没有包含的内容。
    • The script doesn’t foresee the exception that you are capable of switching the film roll and coming into possession of a different script.
    • 剧本没有预见到例外情况，即你能够切换胶卷并拥有不同的剧本。
  • You see how curiously the world is constructed? The script isn’t aware of your ability to change the film roll. This is a privilege granted to you by the Creator. No- one, not a single living being can do this except you! You are the exception to the general rule. And yet you don’t use it!
    • You see how curiously the world is constructed?
    • 你看到这个世界是多么奇妙的构造了吗?
    • The script isn’t aware of your ability to change the film roll.
    • 剧本没有意识到你改变胶卷的能力。
    • This is a privilege granted to you by the Creator.
    • 这是造物主赐予你的特权。
    • No- one, not a single living being can do this except you!
    • 除了你，没有人，没有一个人能做到这一点!
    • You are the exception to the general rule.
    • 你是一般规则的例外。
    • And yet you don’t use it!
    • 但你却不用它!
  • As I have already explained, the script can even be obedient to you. In what sense? When you compose your own reality, the current script releases you and gives way to another, that of the film roll into which you shift the moment you illuminate the goal frame.
    • As I have already explained, the script can even be obedient to you.
    • 正如我已经解释过的，脚本甚至可以服从你。
    • In what sense?
    • 在什么意义上?
    • When you compose your own reality, the current script releases you and gives way to another, that of the film roll into which you shift the moment you illuminate the goal frame.
    • 当你构建自己的现实时，当前的剧本释放了你，让位于另一个剧本，当你照亮目标框架的那一刻，你就进入了电影卷。
  • As you know, you have two intention centers: inner and outer. The inner center is located in the forehead, the outer, at the tip of the plait. Inner intention accounts for your basic performance in the current frame. So far we have only mentioned outer intention in passing when we talked about the principle of ‘it having nothing to do with you’.
    • As you know, you have two intention centers: inner and outer.
    • 如你所知，你有两个意图中心:内在的和外在的。
    • The inner center is located in the forehead, the outer, at the tip of the plait.
    • 内侧的中心在前额，外侧在辫子的尖端。
    • Inner intention accounts for your basic performance in the current frame.
    • 内在意图决定了你在当前框架下的基本表现。
    • So far we have only mentioned outer intention in passing when we talked about the principle of ‘it having nothing to do with you’.
    • 到目前为止，当我们谈到“它与你无关”的原则时，我们只是顺便提到了外在意图。
  • I’ll remind you again: you are taking a live stroll through a film when you are present with your attention, and propel yourself with your intention. Propel the frame, but not with your petty intention, propel it with outer intention. The outer intention is referred to as such, because it is not yours; it does not belong to you or take instruction from you. How does it move then and what on earth is it?
    • I’ll remind you again: you are taking a live stroll through a film when you are present with your attention, and propel yourself with your intention.
    • 我再提醒你一次:当你集中注意力，用你的意图推动自己的时候，你就在电影中漫步。
    • Propel the frame, but not with your petty intention, propel it with outer intention.
    • 推动框架，但不要用你狭隘的意图，用外在的意图推动它。
    • The outer intention is referred to as such, because it is not yours;
    • 外在的意图被这样提及，因为它不是你的;
    • it does not belong to you or take instruction from you.
    • 它不属于你，也不受你的训诲。
    • How does it move then and what on earth is it?
    • 它是如何移动的，它到底是什么?
  • You might suppose that the script is the outer intention, but it isn’t. There is something else beyond the script. The outer intention is a kind of Power, a driver that powers reality. Its active component turns the film roll in the way it is destined to turn. Who predetermines the storyline and for what purpose--this is a weighty, complex question, and not the one we shall attempt to answer here. It is more important to us to understand what we can do with the phenomenon of ‘predetermination’.
    • You might suppose that the script is the outer intention, but it isn’t.
    • 您可能会认为脚本是外部意图，但事实并非如此。
    • There is something else beyond the script.
    • 剧本之外还有别的东西。
    • The outer intention is a kind of Power, a driver that powers reality.
    • 外在的意图是一种力量，一种驱动现实的力量。
    • Its active component turns the film roll in the way it is destined to turn.
    • 它的主动元件使胶卷按预定的方式转动。
    • Who predetermines the storyline and for what purpose--this is a weighty, complex question, and not the one we shall attempt to answer here.
    • 谁预先决定了故事情节，为了什么目的——这是一个重要而复杂的问题，而不是我们在这里试图回答的问题。
    • It is more important to us to understand what we can do with the phenomenon of ‘predetermination’.
    • 对我们来说，更重要的是了解我们可以用“预先决定”现象做些什么。
  • You can’t influence or directly impact Power, but you can use it indirectly. You have an access point to this power, which is your outer center--the plait. When you are asleep, Power takes you by the plait and leads you through the script like a puppet. But when you are awake, fully present and take the plait ‘into your own hands’, meta- power, Power’s reactive component is activated. This is what enables you to launch a different film roll, one that corresponds to the frame you are composing.
    • You can’t influence or directly impact Power, but you can use it indirectly.
    • 你不能影响或直接影响权力，但你可以间接地使用它。
    • You have an access point to this power, which is your outer center--the plait.
    • 你有一个通往这种力量的入口，那就是你的外中心——辫子。
    • When you are asleep, Power takes you by the plait and leads you through the script like a puppet.
    • 当你睡着的时候，权力会拉着你的辫子，像木偶一样带着你通过剧本。
    • But when you are awake, fully present and take the plait ‘into your own hands’, meta- power, Power’s reactive component is activated.
    • 但当你醒着，完全活在当下，把辫子“掌握在自己手中”时，超能力，能量的反应成分就被激活了。
    • This is what enables you to launch a different film roll, one that corresponds to the frame you are composing.
    • 这使您能够启动不同的胶卷，对应于您正在构图的帧。
  • We have already looked at the method for working with the plait. But we’ll repeat it here once more, just for good measure.
    • We have already looked at the method for working with the plait.
    • 我们已经看了使用辫子工作的方法。
    • But we’ll repeat it here once more, just for good measure.
    • 但为了更好地衡量，我们在这里再重复一遍。
  • 1. Wake up and enter the awareness point (being present).
    • 1. 醒来，进入觉知点(临在)。
  • 2. Activate the plait (focus your attention on it, feel it).
    • 2. 激活你的辫子(把你的注意力集中在它上面，感受它)。
  • 3. Without removing your attention from the plait, compose your goal frame.
    • 3.不要把注意力从辫子上移开，构建你的目标框架。
  • As soon as you became fully present, your attention came into your possession. As soon as you have activated the plait, the puppet strings also ended up in your hands. Now, without letting go of the strings, direct your attention to the inner screen and draw the picture of your future, compose your goal frame.
    • As soon as you became fully present, your attention came into your possession.
    • 一旦你完全活在当下，你的注意力就被占据了。
    • As soon as you have activated the plait, the puppet strings also ended up in your hands.
    • 一旦你激活了编线，木偶的线也在你的手中结束了。
    • Now, without letting go of the strings, direct your attention to the inner screen and draw the picture of your future, compose your goal frame.
    • 现在，不要放开绳子，把你的注意力集中在内在的屏幕上，画出你未来的画面，组成你的目标框架。
  • Your attention is simultaneously focused on the internal screen and the plait.
    • 你的注意力同时集中在内部屏幕和辫子上。
  • Attention feels the plait and draws (visually, or/and in words, thoughts) on the screen. It draws not from the inner center but from the outer center, which is at the same time both yours and not yours. You are applying not a visible, tangible power, but a virtual, intangible meta-power, which acts somewhere behind you and beyond you.
    • Attention feels the plait and draws (visually, or/and in words, thoughts) on the screen.
    • 注意力感受着屏幕上的辫子和图画(视觉上的，或/或文字上的，思想上的)。
    • It draws not from the inner center but from the outer center, which is at the same time both yours and not yours.
    • 它不是从内在的中心吸取，而是从外在的中心绘制，外在的中心同时既是你的，又不是你的。
    • You are applying not a visible, tangible power, but a virtual, intangible meta-power, which acts somewhere behind you and beyond you.
    • 你不是在运用一种可见的、有形的力量，而是一种虚拟的、无形的超能力，它在你身后的某个地方起作用。
  • It is nothing to do with you; you aren’t doing anything directly; you are simply facilitating indirectly and observing what is happening. Do not force, allow, so that it can move of its own accord. Note and remember the feeling that arises behind you and beyond you. This is your contact with Power. if you can learn to own this feeling, Power will be with you.
    • It is nothing to do with you;
    • 这与你无关;
    • you aren’t doing anything directly;
    • 你没有直接做任何事情;
    • you are simply facilitating indirectly and observing what is happening.
    • 你只是间接地促进和观察正在发生的事情。
    • Do not force, allow, so that it can move of its own accord.
    • 不要强求，要允许，这样它才能自行移动。
    • Note and remember the feeling that arises behind you and beyond you.
    • 注意并记住在你身后和你身外升起的感觉。
    • This is your contact with Power.
    • 这是你和力量的联系。
    • if you can learn to own this feeling, Power will be with you.
    • 如果你能学会拥有这种感觉，力量就会与你同在。
• 23. Paper person
  • 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 practice--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.
    • 我们还在继续研究什么?你睡着了吗?你还记得吗?现场漫步技术。别担心，我的孩子们，没那么难。它只需要练习——有规律的、系统的练习。如果你还没有尝试过，只是读过相关的文章，或者听过，或者睁大眼睛看着我，那就试试吧。你会很容易做到的。
  • • The outer, not inner intention propels the frame.
    • •推动框架的是外在意图，而不是内在意图。
  • • The outer intention is a kind of Power, a driver of reality.
    • •外在意图是一种力量，是现实的驱动力。
  • • Meta-power is the reactive component of Power.
    • •超能力是能量的反应部分。
  • • The plait is your outer center, your access point to Power.
    • •辫子是你的外部中心，你通往力量的入口。
  • • Power is used indirectly, like meta-power, through the medium of the plait.
    • •力量是间接使用的，就像超级力量一样，是通过辫子这个媒介使用的。
  • • Meta-power sets in when you activate the plait and compose your reality.
    • •当你激活辫子并构想你的实相时，超能力就会出现。
  • 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.
    • 所以，当你完全沉浸在当下，带着意图的力量移动时，你就像在电影中漫步一样。如果做不到这一点，你就不是真正的活着，你根本走不了路;你只是在履行一个规定的角色。
  • 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.
    • 我还能怎么冒犯你?当你的意识缺失时，你就不是完全的你自己;你根本不在那儿。你只是一个虚构的人物，就像书中的插图。你可以在纸上剪出一个图形，然后把它插在书页之间。这就是你。
  • 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.
    • 一个纸人能做什么，更不用说一只纸蜗牛了?就像书里的囚犯一样坐着，仅此而已。你和一个纯粹虚构的人物的唯一区别，就是当你惊呼:为什么一切都不是我想要的样子?这就是不同之处。
  • 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.
    • 每件事都不是你想要的那样，因为你总是带着你的小心眼往前走。你想要被爱，被尊重，被帮助，被给予，所以你用孩子气的方式要求:爱我，尊重我，帮助我，给予我。
  • 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.
    • 从外面看，这个场景是这样的:你站在镜子前，伸出双手喊道:“把它给我!”，试图把倒影拉近。反射也会做出同样的反应。它不是给予，而是拿走。在现实中，就像在镜子里一样，你总是能得到你所有心理态度和行为的反映。作为信息和回应，你发出的就是你得到的。
  • 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.
    • 你可能不记得了(因为你不记得了，对吗?)，但正如我已经说过的，即使在一种分心和无觉知的状态下，你仍然在某种程度上构成你自己的现实，不像你有觉知和意图时那样有效，用辫子，但你仍然在构成它，特别是当你全心全意地反对某事时。通常，现实会给出镜子般的回应。你付出什么，就会得到什么。
  • 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.
    • 然而，现实并不像一面普通的镜子，它是一面矛盾的镜子。它的矛盾之处在于，当你审视它的时候，你并没有客观地看到真实的自己。这是因为反射是你周围的一组物理环境——当前的框架。你的注意力完全沉浸在那个映像中。这意味着，你的自我就像一个虚构的人物或书中的插图一样被粘贴到电影中。
  • 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.
    • 作为电影中的一个角色，你不能以任何方式改变或移动反射。你也不能推动自己前进;你的“我”溶入框架，不再存在。当你把注意力从电影或镜子上移开时，你就获得了推动自己前进和超越自己的能力，这其实是一样的。
  • 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.
    • 你的身体仍然在镜子里，在镜子里，但你的注意力集中在这里，在镜子外面，在被反射的图像的这一边。然后，你看到自己站在镜子前，你看到现实是你所有思想和行为的反映。只有当你看到自己站在这里，面对镜子时，你才能推动自己前进，以这样一种方式，“一切都是我想要的”。
  • 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.
    • 你可能没有猜到(因为你没有猜到，对吧?)我们再一次谈论你的存在。你就是你的注意力。你要么是一个活生生的个体，你存在，要么你是一个纸上的人，你不存在。只有当你的注意力集中在观众席上时，你才会出现在电影中，在那里你可以看到自己和现实。实际上，无论屏幕在哪里，你都能找到镜子。
  • 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.
    • 普通的屏幕或镜子与现实的屏幕或镜子的区别在于，在现实中，图像和它的反射是叠加的。你观察的是你周围的一个图像，而不是一个被表面分成两个的图像。但这并不能改变事情的本质。你的日常生活是由你的思想和行动创造的。如果，当你站在镜子或屏幕前时，你有意识地推动自己，那么反射出来的东西看起来也是一样的。当你这样做的时候，你实际上是在拍摄你自己的电影，你自己的现实。
  • 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 colors 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.
    • 为了拍摄自己的电影，你必须做的第一件事就是清醒过来，全身心地投入到当下。想象你在一部电影中获得了生命。你不像平时那样看电影;你生活在其中。感觉它。睁开你的眼睛，重新审视你周围的一切。刷新您的视图。你会注意到颜色更丰富了。现在，想象一下，如果你不是电影中的一个角色，而是一个客观的局外人，你会有什么感觉。但你是以局内人的身份进入这部电影的。除了你没人知道。在身体上，你在电影里，但在意识上，你在电影外面。感受你的个性，你的存在。
  • 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?
    • 第二。在你开始渴望、期待和向他人和现实提出要求之前，你必须想象自己正站在一面镜子前，问自己这个问题:我该怎么做才能让镜子中的自己在一半的地方与我相遇?
  • 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 realize 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.
    • 显然，你得主动。而不是你通常的方式，要求自己的大部分蛋糕，并喋喋不休地“给，给，给……，你醒来，意识到现实的镜子只是在重复你的动作。如果你想要得到什么，你必须先给予类似的东西。那是什么并不重要。简单地说，把你的“给我”换成相反的“给，拿”。然后，就像变魔术一样，在倒影中，你会得到你想要的东西。你付出什么，就会得到什么。
• 24. Composing the image
  • As always, my dears, we dutifully repeat what we’ve covered so far.
    • 像往常一样，亲爱的，我们会忠实地重复到目前为止所讲的内容。
  • • Reality, like a mirror, reflects all your thoughts and actions.
    • •现实就像一面镜子，反映出你所有的想法和行为。
  • • Your thoughts and actions are usually: love me, help me, give me.
    • •你的思想和行为通常是:爱我、帮助我、给予我。
  • • In the reflection, you get literally the same thing: give, give, give.
    • •在反射的影像中，你得到的其实是同样的东西:给予、给予、再给予。
  • • Acting with petty intent, you do not see yourself objectively.
    • •带着狭隘的意图行事，你不能客观地看待自己。
  • • To see yourself objectively, become fully present.
    • •客观地看待自己，完全活在当下。
  • • Refresh your view; feel your individuality within the motion-picture.
    • •刷新你的视野;在电影中感受你的个性。
  • • Categorically replace all your ‘give me’ s’ with ‘here, take’.
    • •明确地把你所有的“give me”都换成“here, take”。
  • From what has been said, it follows that all your actions must be squared with the mirror-like quality of reality. Before you demand something from others, make sure you are fully present and ask yourself: what do I need to do for the reflection to meet me halfway? Obviously, the answer is ‘take the first step’. What would the first step be in your case?
    • 从上面所说的可以得出，你所有的行动都必须符合现实的镜子性质。在你向别人提出要求之前，确保你完全在场，问问自己:我需要做些什么才能让别人向我妥协?显然，答案是“迈出第一步”。你的第一步是什么?
  • Silly snails only consider their actions when they are standing in front of a normal mirror looking at their own reflection. But you, my golden ones, are now so clever, so cunning, that you are sure to understand: your thoughts and actions should take the mirror into account even if it is one that you cannot see.
    • 愚蠢的蜗牛只有在站在镜子前看着自己的反射影像时才会考虑自己的行为。但是你们，我的金子们，你们现在是那么聪明，那么狡猾，你们一定会明白的:你们的思想和行动应该考虑到这面镜子，即使它是一面你们看不见的镜子。
  • For example, let’s say you need love and kindness. Imagine yourself standing in front of a mirror. Move in such a way that you see these things in the reflection. How should you move? Don’t seek love, radiate love. Don’t look for kindness, radiate charm and be kind.
    • 例如，假设你需要爱和善良。想象自己站在镜子前。以这样一种方式移动，你可以在反射中看到这些东西。你应该如何移动?不要寻求爱，要散发爱。不要寻找善良，散发魅力，做一个善良的人。
  • Try the principle out for yourself. Whom do you find more attractive, the person who loves you, or the person who is needy of your love; the person who gives to you selflessly, or the one who begs you for something; the person who is genuinely interested in you, or the one who seeks your attention?
    • 你自己试试这个原则吧。你觉得谁更有吸引力，是爱你的人，还是需要你爱的人;无私给予你的人，或者向你求东西的人;是真正对你感兴趣的人，还是寻求你注意的人?
  • Use the following table to compose the image you want:
  • Simply line up all your thoughts and actions with a plus sign beside each one. All your ‘give me’s’ have a minus sign after them and either don’t work, or create the opposite effect. Similarly, all your negative thoughts and actions come back to you like a boomerang.
    • 简单地把你所有的想法和行动在每一个旁边加上一个加号。你所有的“给我”后面都有一个负号，要么不起作用，要么产生相反的效果。同样地，你所有消极的想法和行为都会像回旋镖一样回到你身上。
  • You don’t want a hailstorm of boomerangs to drop on your head from nowhere? So, don’t throw them into the mirror! The mirror does not always return everything as an exact copy. The cause-effect relationships of all kinds of misfortune can’t always be clearly traced. The only thing that is inevitable, is that the Boomerang will return, sooner or later, in one form or another. have you hurt someone? Dig yourself out, in all kinds of different ways. have you done something nice for someone? You will be rewarded.
    • 你不想让飞来飞去的冰雹从天而降砸在你头上吗?所以，不要把它们扔到镜子里!镜像并不总是返回所有内容的精确副本。各种不幸的因果关系并不总是能被清楚地追踪到。唯一不可避免的是，回旋镖迟早会以这样或那样的形式回来。你伤害过别人吗?用各种不同的方式把自己挖出来。你为别人做过什么好事吗?你会得到回报的。
  • And now, the specific image method. As soon as you find yourself wanting something from someone, wake up and stand in front of the mirror. What do you need to do for the reflection to meet you halfway? Give to others the very thing that you would like to receive.
    • 现在，具体的图像方法。当你发现自己想从某人身上得到什么时，马上站到镜子前。你需要做些什么才能让反射影像向你妥协呢?把你想要得到的东西给别人。
  • 1. Catch yourself thinking: I want other people to give me something.
    • 1. 抓住自己的想法:我希望别人给我一些东西。
  • 2. Be fully present: wanting is futile, you have to give.
    • 2. 完全活在当下:想要是徒劳的，你必须付出。
  • 3. Ask yourself: what can I give that is the same?
    • 3.问问你自己:我能给予什么是相同的?
  • 4. if you find something similar, give it now and give upfront.
    • 4. 如果你发现了类似的东西，现在就给，提前给。
  • 5. if you don’t find something similar, then just give anyway.
    • 5. 如果你找不到类似的东西，那就给吧。
  • It is not always possible or appropriate to give to another the very thing you would like to receive, or even something close to it. You can give anything you see that a person needs or that will make them feel good from a compliment to a gift. It is not difficult to work out what a person needs. All it takes is to show genuine interest.
    • 给别人你想要的东西，甚至是接近你想要的东西，并不总是可能的，也不总是合适的。从赞美到礼物，你可以给别人任何你认为他们需要的东西，或者让他们感觉良好的东西。要弄清楚一个人需要什么并不困难。你只需要表现出真正的兴趣。
  • From then on, it’s easy, just make sure everything has a plus sign beside it.
    • 从那时起，很简单，只要确保每样东西旁边都有一个加号。
  • There is a general principle for image composition : rather than complaining to the world, love it. In reality, all you need is love. You know this, it’s just that you don’t always take these words in the right context. You want people to love you. You think that first people will love you and then you will love the world, but it should be the other way round: you love, you radiate love, without demanding anything in return, and only then does love come to you.
    • 图片构图有一个普遍的原则:与其抱怨世界，不如爱它。在现实中，你所需要的只是爱。你知道的，只是你不总是把这些词放在正确的上下文中。你希望人们爱你。你认为首先人们会爱你，然后你会爱这个世界，但事实应该是相反的:你爱，你散发爱，不要求任何回报，只有这样，爱才会降临到你身上。
  • There is a certain type of person, who will willingly use your love without giving anything on their part. Stay away from people like that. You don’t need them in your life. Now, come closer, closer, my darlings! I am Tufti, your priestess!
    • 有一种人，他们愿意用你的爱而不付出任何东西。离那样的人远点。你的生活中不需要他们。现在，靠近点，靠近点，亲爱的!我是塔夫提，你的女祭司!
• 25. Communicating with the mirror
  • And so, here we are, my pretties! Now you know how to propel yourself from within, not to wait, request or demand, but to move through life in your own way so that you get what you desire as if you were standing in front of a mirror.
    • 所以，我们在这里，我的美女们!现在你知道如何从内心推动自己，不是等待、请求或要求，而是以自己的方式生活，这样你就能得到你想要的，就像你站在镜子前面一样。
  • • Your actions must be squared with the mirror-like quality of reality.
    • •你的行动必须与镜子般的现实相符。
  • • What do you need to do for the reflection to meet you halfway?
    • •你需要做些什么才能让自己的反射影像向你妥协?
  • • Give to others, the very thing you would like to receive.
    • •把你想要得到的东西给别人。
  • • All your ‘give me’s’ have a minus sign. These create the opposite--you don’t receive.
    • •你所有的“给我”都有一个负号。这些产生了相反的效果——你没有收到。
  • • Negative thoughts and actions come back to you like a boomerang.
    • •消极的想法和行为会像回旋镖一样回到你身边。
  • • Line up all your thoughts and actions with a plus sign beside them.
    • •在你所有的想法和行为旁边加上一个加号。
  • So, what else can you do in the current frame, aside from composing your own forthcoming reality? Move, and propel yourself from within. If you focus on self-development, and, on top of that, you know the image composition technique, you will have no equal among snails.
    • 那么，在当前的框架中，除了构思你自己即将到来的现实之外，你还能做什么呢?行动起来，从内心推动自己。如果你专注于自我发展，最重要的是，你知道图像构思技术，你将是蜗牛中无与伦比的。
  • Pitiful efforts to change the current frame, i.e. to directly influence the current course of events will either lead to nothing or have the opposite effect. Trying to influence other people is also pointless. They are characters who are being led by a script, just like you. Judge for yourself: would you really allow yourself to be influenced? There’s no persuading you; if you don’t want to go in a certain direction, no-one will be able to influence you otherwise. Is that not true, my resolute?
    • 改变当前框架的可怜的努力，即直接影响当前事件进程的努力，要么一无所获，要么适得其反。试图影响他人也是毫无意义的。他们是被剧本引导的角色，就像你一样。自己判断:你真的会让自己受到影响吗?没人能说服你;如果你不想往某个方向走，没有人能影响你。这不是真的吗，我的坚决?
  • You can change the course of events in a movie by changing the film roll but never from within the film itself. The only way of influencing people indirectly (we aren’t considering methods of compulsion here, obviously), is to enter into a relationship with them in accordance with the mirror principle. This is the only way of making people do willingly, the thing that you would like them to do.
    • 你可以通过改变胶卷来改变电影中的事件进程，但不能从电影本身改变。间接影响他人的唯一方法(显然，我们这里没有考虑强迫的方法)是根据镜像原则与他们建立关系。这是让人们心甘情愿去做你想让他们做的事的唯一方法。
  • Why should people want to do the things or give the things you would like them to?
    • 为什么人们会想要做你想让他们做的事情或给予你想要他们做的事情?
  • The nature of reality is such that it’s not just a film, it’s a mirror as well. Composing the image has a similar effect to composing reality, only the mechanism in this case is different, more mirror-like. You can’t shape the behavior of others, like you do in reality.
    • 现实的本质是，它不仅是一部电影，也是一面镜子。构思图像与构想现实的效果相似，只是在这种情况下的机制不同，更像镜子。你不能像在现实生活中那样塑造别人的行为。
  • If, when composing the goal frame, you try and forcibly make a certain individual dance to your tune, it probably won’t work, or it will produce the opposite effect because you’re breaking the rules two fold--you’re intruding on someone else’s script.
    • 如果在构建目标框架时，你试图强迫某个人按照你的曲调跳舞，这可能不会奏效，或者会产生相反的效果，因为你违反了两方面的规则——你是在干扰别人的剧本。
  • Only your personal reality is yours to play with so you should be the central figure in the goal frame, figured as you imagine yourself to be in your dreams: you are the star on the stage; you are in the director’s chair; you are sailing your own yacht… All the other figures in the frame should be in the background, as part of the set design.
    • 只有你的个人现实才是你的游戏，所以你应该成为目标框架的中心人物，就像你想象自己在梦里的样子:你是舞台上的明星;你坐在导演的椅子上;你正在驾驶你自己的游艇……框架中的所有其他人物都应该在背景中，作为布景设计的一部分。
  • Remember this: you can create your own reality; you can’t create other people’s reality. All you can do is have a mirrorlike relationship with them. If you want something specific from a certain person, go and see them and communicate with them within the current film, taking account of the fact, that the film is mirror-like in nature.
    • 记住:你可以创造你自己的现实;你不能创造别人的现实。你所能做的就是和他们建立镜像关系。如果你想从某个人那里得到一些具体的东西，就去看他们，在当前的电影中与他们交流，考虑到电影本质上是镜子一样的事实。
  • On no account, for example, should you try and manipulate a certain person into walking down the aisle with you, but you can imagine in your goal frame walking down the aisle with an abstract (imaginary) individual, your ideal partner, or living happily in your future home with your future family. Then, your film strip will be replaced by another, in which you meet the person, with whom such a set design can be manifest into physical reality. if you have a specific individual in mind, don’t bother working hard to ‘shoot a film with her’ as it won’t work. Go and talk to her, as if with a mirror, composing your image.
    • 例如，你绝对不应该试图操纵某个人和你一起走上红毯，但你可以想象在你的目标框架中和一个抽象的(想象的)个体，你的理想伴侣，或者和你未来的家人幸福地生活在你未来的家里。然后，你的电影将被另一个取代，在其中你遇到的人，这样的设定设计可以体现为物理现实。如果你心中有一个特定的人，不要费心去“和她一起拍电影”，因为这是行不通的。去和她说话，就像拿着一面镜子，构成你的形象。
  • The most important thing (I’ll say it again and again my forgetful ones, over and over!) is to remember where you are. You are in a film, surrounded by fictional characters being directed by the script. On the one hand, you can switch the film roll. On the other hand, it has a mirror reality, which is deceptive in the sense that it does not have a visible surface separating the image from the reflection.
    • 最重要的是(我要一遍又一遍地说，我的健忘的朋友们!)记住你在哪里。你在一部电影中，周围都是由剧本指导的虚构人物。一方面，您可以切换胶卷。另一方面，它有一个镜像现实，这是欺骗性的，因为它没有一个可见的表面将图像与反射分开。
  • You have the opportunity to wake up in the movie, look around, and start strolling live as conscious individuals, influencing reality at your own discretion. if you don’t, you will be just the same as all the other characters, my pitiful ones, being directed by the script, acting as if you were in a fog as if you were in a dream, and then you can have very little influence on anything at all.
    • 你有机会在电影中醒来，环顾四周，开始作为有意识的个体漫步生活，根据自己的判断影响现实。如果你不这样做，你就会和其他所有的角色一样，我可怜的那些角色，被剧本指挥，就像在雾中一样，就像在梦里一样，然后你对任何事情都没有什么影响。
  • One more thing you need to know and remember is that unlike the characters in dreams, who are completely subordinate to the script, and unlike animals, which are ruled by instinct and, again, the script, you are endowed with the capacity for self- awareness. It may rarely be awakened, in occasional glimpses only, but you have the capacity nonetheless. And so, you are led not only by an external engine, the script, but also by an internal, driving force.
    • 还有一件事你需要知道和记住，不像梦中的人物，他们完全服从剧本，也不像动物，受本能和剧本的支配，你被赋予了自我意识的能力。它可能很少被唤醒，只是偶尔瞥见，但你仍然有这种能力。所以，引导你的不仅是外部的引擎，剧本，还有内在的驱动力。
  • What force is this exactly? It is very simple. It is the need for a feeling of self- worth and the pursuit of self-realization. Imagine that you’ve just been born into the world. What will you do? First and foremost, prove to yourself and everyone else that you’re not a waste of space and that you weren’t born in vain. This is basically what you have been doing all your life. The form and method this takes are different for everyone, but the root of the behavior is the same.
    • 这到底是什么力?这很简单。它是对自我价值感的需要和对自我实现的追求。想象一下你刚刚来到这个世界。你会怎么做?首先，向你自己和其他人证明你不是一个浪费空间的人，你不是白白地出生的。这基本上是你一生都在做的事情。每个人的形式和方法都不一样，但行为的根源是一样的。
  • From here, there emerges another very effective mirror principle. if you want to win someone’s favor or receive something from them, set yourself the goal of emphasizing their importance and help them in the process of their own self- realization. Obviously, you will have to forget about your own importance for a while and focus on the importance of others.
    • 从这里，出现了另一个非常有效的镜像原则。如果你想赢得某人的好感或从他们那里得到什么，给自己设定一个强调他们重要性的目标，并在他们实现自我的过程中帮助他们。显然，你必须暂时忘记自己的重要性，而把注意力集中在别人的重要性上。
  • It is a paradox, because here, it’s all the same mirror. You benefit when you think about the benefit of others rather than your own benefit. if you do not want to make enemies, be beware of the danger of bruising someone else’s feeling of self-worth.
    • 这是一个悖论，因为在这里，它们都是同一面镜子。当你考虑别人的利益而不是你自己的利益时，你就会受益。如果你不想树敌，就要提防伤害别人自我价值感的危险。
  • As I said before, helping others gain the advantage should be part of your personal life philosophy. If you do this, you will have no difficulty with your own self- realization. Moreover, your own realization will be successful only when it benefits others. Conversely, if what you do is of no benefit to others, it won’t really help you either.
    • 正如我之前所说，帮助他人获得优势应该是你个人生活哲学的一部分。如果你这样做，你就不会有自我实现的困难。此外，你自己的实现只有在对他人有益的时候才是成功的。相反，如果你所做的对别人没有好处，它也不会真正帮助你。

Tufti the Priestess 26--30

• 26. Manipulation
  • That’s how it is my beauties! Once again, it all has very little to do with you! We don’t try to influence people and events directly; hands behind your back and move forward from within! 这就是我的美!再说一遍，这一切都与你无关!我们不会试图直接影响人和事;双手放在背后，由内而外!
    • • You can manipulate reality; you can’t manipulate people.
      • •你可以操纵现实;你不能操纵别人。
    • • With others, all you can do is to communicate, bearing the mirror principles in mind.
      • •与他人交流时，你所能做的就是沟通，记住镜像原则。
    • • When you compose your picture of reality, see abstract people and set designs.
      • •当你构思现实画面时，看看抽象的人物和场景设计。
    • • Be very careful of bruising anyone else’s feeling of self-worth.
      • •小心不要伤害别人的自我价值感。
    • • Strive to emphazise the importance of others and help them achieve self- realization.
      • •努力强调他人的重要性并帮助他们实现自我实现。
    • • Your own realization is only successful if it benefits others.
      • •你自己的实现只有在对他人有益时才是成功的。
  • Don’t forget to be present and remember the mirror. Just remember that both the positive and the negative will come back to you like a boomerang. When you are being fully present, to those who are still asleep, you appear as fireflies, all cute and inviting. And if, at the same time, you communicate with them, as if with a mirror, you will be an all-round favorite.
    • 别忘了活在当下，别忘了镜子。只要记住，积极的和消极的都会像回旋镖一样回到你身上。当你全神贯注的时候，对那些还在睡觉的人来说，你就像萤火虫一样，可爱而诱人。与此同时，如果你像对着一面镜子一样与他们交流，你就会成为他们全方位的宠儿。
  • You have already learned many of reality’s secrets, but it’s too soon for you to switch off yet. There may be other advanced snails, who will try to manipulate your consciousness, especially those who are endowed with power and access to the mass media by the script. Therefore, keep your horns pricked up; do not let yourself be controlled and do not fall asleep.
    • 你已经了解了许多现实的秘密，但现在对你来说还为时过早。可能会有其他高级蜗牛，他们会试图操纵你的意识，特别是那些被赋予力量并通过剧本进入大众媒体的人。所以你们要挺起你们的角;不要让自己被控制，不要睡着。
  • It is possible to manipulate a character’s consciousness from within the current frame. As you are already aware, you are led both by the external script and an inner driving force, although by the latter to a far lesser degree. This driving force mainly determines the direction in which you move, but it is still the script that sets you in motion. However, there are very greedy snails who may try to alter the direction your life course is taking to suit their own interests either because of their intentions or because of their script.
    • 在当前框架内操纵角色的意识是可能的。正如你已经意识到的那样，你同时受到外部脚本和内在驱动力的引导，尽管后者的程度要小得多。这种驱动力主要决定了你前进的方向，但让你行动起来的仍然是剧本。然而，有一些非常贪婪的蜗牛，他们可能会试图改变你生命历程的方向，以适应他们自己的利益，要么是因为他们的意图，要么是因为他们的剧本。
  • This is manipulation, the attempt to control someone else’s path within the film.
    • 这是操纵，试图在电影中控制别人的路径。
  • Manipulation can take the form of deception, creating false values and goals, or playing on the weaknesses and needs of others. Unlike the mirror principles that assist your course rather than disturbing it, manipulators will divert you from your true course and try to use you. Whenever you feel that something is being imposed upon you, ask yourself: who does this benefit and how?
    • 操纵可以采取欺骗的形式，创造错误的价值观和目标，或者利用他人的弱点和需求。不像镜子原则，帮助你的路线，而不是干扰它，操纵者将你从真实路线转移，并试图利用你。每当你感到某件事强加在你身上时，问问自己:这件事对谁有利，如何有利?
  • Don’t get involved in manipulating others; it’s a shameful business, not to be indulged in. Manipulating reality, however, is another matter entirely. You could even say that it’s legitimate. Reality is constantly fooling you with its illusions. Why shouldn’t you settle the score, my secret maniacs and furtive super-freaks? You are sure to enjoy it. Now, let’s look at how.
    • 不要参与操纵他人;这是一件可耻的事，不能沉溺其中。然而，操纵现实则完全是另一回事。你甚至可以说这是合法的。现实总是用它的幻觉愚弄你。你们为什么不算账呢，我的秘密疯子和鬼鬼祟祟的超级怪胎?你一定会喜欢的。现在，让我们看看是如何做到的。
  • Reality is dual in nature. On the one hand, it is a film, and on the other hand, a three-dimensional mirror. Both are bound to confuse. The main illusion is that the true nature of reality is hidden. You can’t see the space of a film strip, and the mirror framework itself isn’t visible, but if you know this and you remember that reality is dual in nature, then the illusion will lose its power over you.
    • 现实在本质上是双重的。一方面是电影胶片，另一方面是立体的镜子。两者必然会混淆。主要的错觉是，现实的真实本质是隐藏的。你看不见底片的空间，镜子的框架本身也看不见，但如果你知道这一点，并记住现实在本质上是双重的，那么幻觉就会失去对你的影响。
  • So, when you stand in front of an ordinary, flat mirror, you observe simultaneously the image (the subject) and its reflection, and so the correlation between the two is obvious. However, the correlation has not always been obvious. You don’t remember your facial impressions, as they were when you looked in a mirror for the very first time. But I tell you this: back then, you did not understand anything. To you it was just a fantastic illusion, because you did not understand the principle of how it worked.
    • 所以，当你站在一面普通的平面镜前时，你同时观察到图像(主体)和它的反射，因此两者之间的相关性是显而易见的。然而，这种相关性并不总是那么明显。你不记得你第一次照镜子时的面部印象。我告诉你们，那时你们什么也不明白。对你来说，这只是一种奇妙的幻觉，因为你不了解它的工作原理。
  • The illusion of a normal mirror remains incomprehensible even to this day if you look at a mirror from a different perspective. The illusion of the reality mirror is much more complex still. The space is not split in half, and there is no visible boundary between what is real and what is imaginary. You are, at the same time, both inside and outside of the mirror.
    • 即使到今天，如果你从另一个角度看镜子，你仍然无法理解正常镜子的错觉。现实镜子的幻觉要复杂得多。空间并没有被分成两半，在真实和想象之间没有明显的界限。同时，你既在镜子里面又在镜子外面。
  • The mirror works with a delay factor and it does not provide an identical correlation between image and reflection. None of the messages you put out to the world will work instantly, and cause-and-effect relationships can’t always be traced. Imagine what an ingenious illusion this is! The ultimate cunning lies in the fact that reality is pretending not to be a mirror.
    • 镜子的工作具有延迟因素，它不提供一个相同的图像和反射之间的相关性。你向世界发出的任何信息都不会立即起作用，因果关系也不可能总是被追踪到。想象一下这是一个多么巧妙的错觉!终极的狡诈在于现实在假装不是一面镜子。
  • Still, you can get the better of this illusion. Now you know the principle of how a three-dimensional mirror works, and you know that the subject and the reflection in the mirror are concurrent. So what does that give us? It means that the image you create can become a reflection, and the reflection can flow back into the image. In other words, you can turn a reflection into an image by pretending you have something you don’t, or that you are already the kind of person, you have not yet become.
    • 不过，你还是可以克服这种错觉的。现在你知道三维镜子的原理了，你也知道物体和镜子里的反射是同时发生的。我们得到了什么?这意味着你创造的图像可以成为反射，反射可以回流到图像中。换句话说，你可以通过假装你有你没有的东西，或者假装你已经是那种你还没有成为的人，把一个反射变成一个形象。
  • For example, you want to have your own home. You wander round the shops looking at furniture and items to decorate the interior as if you already had a home. Or you might want to be wealthy--look at expensive things, cars, yachts, spa resorts. Allow wealth into your life. You might want to become a star; behave as if you were already a star; live that life, for now at least in your imagination.
    • 例如，你想拥有自己的家。你在商店里闲逛，看家具和物品来装饰室内，好像你已经有了一个家。或者你可能想要变得富有——看看昂贵的东西，汽车，游艇，水疗胜地。让财富进入你的生活。你可能想成为明星;表现得好像你已经是一个明星;过那种生活，至少现在在你的想象中。
  • Don’t worry if it feels like a game or self-deception. If you are serious in your approach to the game, reality will be forced to take you seriously. It is a mirror after all! Or had you forgotten? Your task is to feel now how you would feel if you already had what you want, or already were the person you’d like to be. You have to fake it and live out the game. It’s make-believe, but it is not a joke. It’s no joke, you see?
    • 如果感觉像是游戏或自欺欺人，不要担心。如果你对待游戏的态度是认真的，现实就会强迫你认真对待。这毕竟是一面镜子!还是你忘了?你的任务是现在感受一下，如果你已经拥有了你想要的东西，或者已经成为你想成为的人，你会有什么感觉。你必须装出来，在比赛中活出来。这是假装，但不是开玩笑。这不是开玩笑，明白吗?
  • So what happens next?
  • Gradually, the picture of reality will attune itself to your make-believe. Reality loves to create illusions, but can’t stand being fed them. It will find a way of turning the illusion you have created into reality.
    • 逐渐地，现实的画面将会与你的幻想相协调。现实喜欢创造幻想，但又受不了被灌输幻想。它会找到一种方法，把你创造的幻觉变成现实。
• 27. Composing the reflection
  • So, my conniving hypocrites and conspiring pretenders, you understand that strolling live through a motion picture is not just a matter of make-believe, it is also a masquerade?
    • 所以，我的伪君子们，我的伪装者们，你们明白在电影中漫步不仅仅是假装的问题，也是一种伪装吗?
  • • Manipulating a person’s consciousness is paramount to controlling their course in life.
    • •操纵一个人的意识对于控制他们的生活是至关重要的。
  • • Ask yourself: whom does this benefit and how?
    • •问问自己:这对谁有利，如何有利?
  • • The nature of reality is two-fold and furtive: it is a movie and a three-dimensional mirror.
    • •现实的本质是双重的和隐蔽的:它是一部电影和一面三维的镜子。
  • • In reality, you are simultaneously inside and outside the mirror.
    • •实际上，你同时在镜子的里面和外面。
  • • Feel it and fake it as if you already had what you desire.
    • •感受它，假装你已经拥有了你想要的东西。
  • • Reality will gradually bring itself into alignment with your make-believe.
    • •现实将逐渐与你的幻想保持一致。
  • Yes, it’s playing a game with reality, but the game is real and quite serious. And yes, it’s a masquerade. Reality has many different faces and you too have your own masks for reality: imitation and being present, allowing and tracking, observing and composing, the subject’s image and its reflection. All this is on the one hand make- believe, and on the other hand, very real.
    • 是的，这是在玩一个现实的游戏，但这个游戏是真实的，相当严肃的。是的，这是一个化装舞会。现实有许多不同的面孔，你也有自己的现实面具:模仿和在场，允许和跟踪，观察和组合，主体的形象和它的反射。这一切一方面是虚构的，另一方面又是非常真实的。
  • Now we’ll discuss in more detail the meaning of what we talked about in our previous lesson: you can turn a reflection into an image (the subject), by pretending that you have something you don’t yet have or that you are someone, who you have not yet become.
    • 现在我们将更详细地讨论我们在上一课中所讨论的内容的含义:你可以通过假装你拥有你还没有的东西，或者假装你是某人，你还没有成为谁，把一个反射变成一个形象(主体)。
  • This means that you are capable of generating an image, as well as a reflection. In the first case, the image appears as a reflection, whereas in the second, the opposite is true, the reflection appears as the image.
    • 这意味着您能够生成图像以及反射。在第一种情况下，映象表现为映象，而在第二种情况下，正好相反，映象表现为映象。
  • Why does one appear as the other and why is this process two-way? It is because in the mirror, the image and its reflection are concurrent. The image in the context of your ability to shape reality, is your thoughts and actions. The reflection is also you and your entire environment, i.e. your physical reality.
    • 为什么一个会以另一个的形式出现，为什么这个过程是双向的?这是因为在镜子里，映象和反射映象是同时存在的。在你塑造现实的能力背景下的形象，就是你的思想和行动。反射也是你和你的整个环境，也就是你的物质现实。
  • First (direct) process: what you put out is what you get back; what you give is what you receive; and who you really are is what you have.
    • 第一个(直接)过程:你付出的就是你得到的;你付出什么就会得到什么;你所拥有的才是真正的你。
  • Second (opposite) process: as the game, so the reality; what you imitate is what you get; who you pretend to be is who you will become.
    • 第二(相反)过程:因为游戏，所以现实;你模仿的就是你得到的;你假装成为什么样的人，你就会成为什么样的人。
  • Directly: the image appears as the reflection. Composing the image is your way of putting a message out to reality. What you put out is what you have.
    • 直接:图像以反射的形式出现。构图是你将信息传达给现实的方式。你付出的就是你拥有的。
  • Reversed: the reflection appears as the image. Make-believe and imitation is your way of composing the reflection. Who you have pretended to be, is in reality, the person you have become.
    • 倒过来:反射物显示为图像。假装和模仿是你创作反思的方式。你假装成为的那个人，实际上就是你已经成为的那个人。
  • All these exercises with the mirror are what is being referred to when we say, ‘moving from within’.
    • 当我们说“从内在移动”时，所有这些都是指的与镜子的练习。
  • What is the difference between shaping an image or a reflection and shaping reality? When you compose an image or a reflection, You are working with the mirror. When you shape reality, you illuminate the upcoming frame. In each case, you are using a different aspect of the nature of reality. In the first case--the mirror, in the second--the film. The technique is different in each case, but the result is the same--what you desire becomes manifested in physical reality.
    • 塑造形象或映像与塑造现实有什么区别?当你塑造形象或映像时，你是在与镜子打交道。当你塑造现实时，你照亮了即将到来的框架。在每种情况下，你都在使用现实本质的不同方面。第一种情况是镜子，第二种情况是电影。在每种情况下，技巧是不同的，但结果是一样的——你的愿望在物质现实中显现出来。
  • You may question whether faking it is really enough to somehow miraculously turn something into reality. Don’t worry, my timid little ones, reality is quite pliable. It will find its ways and hows, for this is a film in many variations, and the illusory mirror, is also an illusion, which can be shaped and controlled; all you have to do is remember, and use the right approach.
    • 你可能会质疑假装是否真的足以奇迹般地将某件事变成现实。别担心，我胆小的小家伙们，现实是很容易改变的。它会找到自己的方式和方法，因为这是一部有许多变化的电影，而虚幻的镜子，也是一种幻觉，它可以被塑造和控制;你所要做的就是记住，并使用正确的方法。
  • The first essential condition: it’s a very serious game. When a good actor plays a role, they become transformed into their character; they literally live it, because playing a role is a serious game. Your task is to perform the reverse path. From the character that you currently are, which you aren’t satisfied with, you should become the actor, playing the role of an imaginary character. You must live your role to such a degree, that you genuinely are transformed into that being. This is the reverse process, in which the reflection is transformed into the image of the subject.
    • 第一个必要条件是:这是一款非常严肃的游戏。当一个好演员扮演一个角色时，他们就会被这个角色所转化;他们真的活在其中，因为扮演一个角色是一场严肃的游戏。你的任务是执行相反的路径。从你现在不满意的角色，你应该变成一个演员，扮演一个想象中的角色。你必须把你的角色活到这样的程度，这样你才能真正转化为那个存在。这是一个相反的过程，在这个过程中，反射被转化为主体的形象。
  • The second essential condition: the game needs to be consistent. The mirror of reality does not respond instantly. It has a time delay factor, so in order to create change, you have to act purposefully, methodically and regularly. Once you have begun playing with reality, you must be patient. At first you have to act blindly, without relying on instant results. Results will most assuredly appear, but only if reality, observing your game, is the first to lose patience.
    • 第二个必要条件:游戏必须具有一致性。现实的镜子不会立即做出反应。它有一个时间延迟因素，所以为了创造变化，你必须有目的、有系统、有规律地行动。一旦你开始与现实打交道，你必须要有耐心。一开始你必须盲目行动，不要依赖立竿见影的效果。结果肯定会出现，但前提是观察你的游戏的现实首先让你失去耐心。
  • Composing a reflection means creating your own illusion for reality. If there is something you want, pretend that you already have it. if there is someone you want to become, behave as if you already were that person. Be in the role, take it seriously and live it like a professional actor. Live it in your thoughts, in virtual space, and where possible, in your actions, in reality, until you totally believe in the illusion you have created. As soon as you believe it, reality will believe it too. Then a miracle will happen.
    • 创作反射意味着为现实创造你自己的幻觉。如果有你想要的东西，假装你已经拥有它。如果你想成为某个人，就假装你已经是那个人了。进入角色，认真对待，像专业演员一样生活。在你的思想中，在虚拟的空间中，在可能的情况下，在你的行动中，在现实中生活，直到你完全相信你创造的幻觉。只要你相信，现实也会相信。然后奇迹就会发生。
  • And now the reflection method, again and again, over and over, my boring ones!
    • 而现在的反射法，一遍又一遍，一遍又一遍，我的无聊!
  • 1. Catch yourself thinking: I want something or I want to be a certain type of person.
    • 1. 抓住自己的想法:我想要一些东西，或者我想成为某种类型的人。
  • 2. Become fully present: wanting is futile, you have to start composing.
    • 2. 完全活在当下:想要是徒劳的，你必须开始作曲。
  • 3. Fake it and be have as if you had already achieved what you desire.
    • 3.假装你已经得到了你想要的。
  • It doesn’t matter how exactly you fake it, that’s for you to decide. But be inventive! That’s something you don’t need my advice on. The more creative you are, the more effective you will be.
    • 你怎么伪装并不重要，那是你自己的决定。但是要有创意!这件事你不需要我的建议。你越有创造力，你就会越有效率。
  • The technique of image composition is mostly used in relation to people; the technique of composing the reflection, mostly in relation to reality. It is better not to pretend with other people but to be sincere and to be yourself. But you can pretend as much as you like in front of the reality mirror, within limits Of course and, without losing a sense of reality.
    • 图像构图技术多用于与人的关系;构图反射的技巧，主要与现实有关。与其在别人面前装模作样，不如真诚地做自己。但你可以在现实的镜子前尽情地假装，当然，在一定的范围内，而且不会失去真实感。
  • Remember that playing with the mirror and the upcoming frame alone is not enough. You also need do everything that is required of you to realize the goal in the current frame, that is, to take concrete action, and not just lie around on the sofa dreaming.
    • 记住，光玩镜子和即将到来的框架是不够的。你还需要做你需要做的一切来实现当前框架下的目标，也就是说，采取具体行动，而不仅仅是躺在沙发上做梦。
• 28. Fatal dilemma
  • In the last lesson, I, divine and wonderful as I am, told you, insignificant and hateful as you are, that reality itself is an illusion. That does not mean that it is fake. To itself, reality is real. It is only to you that reality is illusory and uncontrollable, because you aren’t aware of the properties of reality or how to use them.
    • 在上一课中，我，尽管神圣而美妙，告诉过你，尽管你渺小而可恨，现实本身就是一种幻觉。这并不意味着它是假的。对它自己来说，现实是真实的。只有对你来说，现实才是虚幻和无法控制的，因为你不知道现实的属性，也不知道如何使用它们。
  • It is like not knowing that you can ride a horse. if you don’t ride the horse, it will gallop away with you, and won’t be yours to control. Reality isn’t yours to control either; it has nothing to do with you. But if you are aware of its properties and use them, the illusion will become subject to your will; it will be yours.
    • 这就像不知道自己会骑马一样。如果你不骑马，它就会随你飞奔而去，你就无法控制它了。现实也不是你能控制的;这跟你一点关系都没有。但如果你意识到它的特性并加以利用，幻觉就会屈从于你的意志;它将是你的。
  • • The image is the subject of your thoughts and actions; this is always primary.
    • •形象是你思想和行动的主体;这总是主要的。
  • • The reflection is you, your environment, your physical life.
    • •映像就是你，你的环境，你的物质生活。
  • • The image is the message you send out: what you give out is what you get back.
    • •形象是你发出的信息:你付出的就是你得到的。
  • • Make-believe and imitation is your way of composing the reflection.
    • •假装和模仿是你构成映像的方式。
  • • What you imitate is what you get; who you pretend to be is who you will become.
    • •你模仿的就是你得到的;你假装成为什么样的人，你就会成为什么样的人。
  • • Prerequisites: it’s a game, but a systematic game taken with absolute seriousness.
    • •前提条件:这是一款游戏，但却是一款带有绝对严肃性的系统性游戏。
  • • The image and the reflection become each other.
    • •图像和反射相互转化。
  • They flow into each other in the sense that the image of your thoughts and actions has an effect on your entire life, and life, in turn, affects your behavior and thinking. If you let this process take its own course, you and your life will gradually deteriorate, as is usually the case. This is because when you observe such a life, your thoughts become more dismal; and the more dismal your thoughts, the worse life becomes, and so on, via the feedback loop.
    • 从某种意义上说，你的思想和行为会影响你的整个生活，而生活反过来又会影响你的行为和思想。如果你让这个过程顺其自然，你和你的生活就会逐渐恶化，这是通常的情况。这是因为当你观察这样的生活时，你的思想变得更加忧郁;你的想法越悲观，生活就越糟糕，如此循环往复。
  • This is the fatal dilemma: do you want to be happy and beautiful or do you want to be devoured by a hippo? If you don’t want the hippo, then, quick, quick, stop suffering, stop suffering, and get composing,--get composing!
    • 这是一个致命的困境:你是想快乐美丽，还是想被河马吃掉?如果你不想要河马，那么，快，快，停止痛苦，停止痛苦，开始作曲，开始作曲!
  • You can compose an image, a reflection and reality separately, depending on the circumstances, or you can integrate these techniques. For example, to achieve a certain goal, you can systematically compose the goal frame, at the same time pretending that you have already achieved your goal; and at the same time, making sure that all your thoughts and actions are marked with a plus sign beside them.
    • 您可以根据具体情况分别构思图像、映像和现实，也可以将这些技术集成在一起。例如，为了实现某个目标，你可以系统地构建目标框架，同时假装你已经实现了你的目标;与此同时，确保你所有的想法和行动都标有加号。
  • The knack of using all the techniques together will come with practice. To build up experience, you should regularly and repeatedly practice strolling live through a film. You should constantly track yourself, wake up and carry out the method.
    • 通过练习，你会发现将所有这些技巧结合在一起的诀窍。为了积累经验，你应该定期反复地练习在电影中现场散步。你应该不断地跟踪自己，醒来并执行这个方法。
  • You may wonder whether so many different methods are really necessary. They are and the reason for this is that the methods help you develop new habits. Because you are ruled by your habits, without them, you are not capable of controlling yourself, or, consequently, reality. You live according to the habits you have developed. So you have to create the kind of habits that will work for you.
    • 你可能会怀疑这么多不同的方法是否真的有必要。确实如此，原因是这些方法可以帮助你养成新的习惯。因为你被你的习惯所支配，没有它们，你就无法控制自己，也就无法控制现实。你按照自己养成的习惯生活。所以你必须培养对你有用的习惯。
  • You cannot stay being fully present all the time. You do everything by habits when you are in a non-conscious state. This means that if you are not sufficiently present and self-aware, you need to be able to carry out the right actions automatically. And for this to happen, at the very least, you must...
    • 你不可能一直活在当下。当你处于无意识状态时，你会习惯性地做每件事。这意味着，如果你没有足够的在场和自我意识，你需要能够自动执行正确的行动。要做到这一点，至少，你必须……
  • replace the habit of wanting with the habit of giving.
    • 用给予的习惯取代索取的习惯。
  • replace the habit of rejecting with the habit of accepting.
    • 用接受的习惯取代拒绝的习惯。
  • replace the habit of dropping off with the habit of waking up.
    • 用醒来的习惯代替睡觉的习惯。
  • These methods release you from the script, animate you in the movie, and at the same time, make beneficial practices second nature. The proverb affirms: “better good habits than good manners”. The most beneficial habit is this: don’t want things of reality; visualize and compose reality. This is the main thing, and it has equally important derivatives:
    • 这些方法将你从剧本中释放出来，使你在电影中充满活力，同时使有益的练习成为第二天性。谚语说:“好习惯胜于好礼貌”。最有益的习惯是:不要想要现实的东西;想象和组合现实。这是最主要的，它有同样重要的衍生物:
  • Don’t be afraid, compose instead.
  • Don’t wait, compose instead.
  • Don’t hope, compose instead.
  • Don’t lament, compose instead.
  • As soon as you catch yourself waiting for something, hoping for something, being anxious or burdened by something, wake up and be aware: you are being led by the external script, not your own script and that is what is really burdening you. You feel subconsciously that you are not free, that you are dependent on reality, that you are limited by circumstances like a character is limited by a plot. You may sense it, but you cannot do anything about it. Because you are not fully aware you can do nothing except wait and hope.
    • 一旦你发现自己在等待某事，希望某事，焦虑或被某事负担时，醒来并意识到:你是被外部剧本所引导，而不是你自己的剧本，这才是真正负担你的东西。你下意识地觉得你不自由，你依赖现实，你受到环境的限制，就像一个角色受到情节的限制一样。你可能感觉到了，但你对此无能为力。因为你没有完全意识到，除了等待和希望，你什么也做不了。
  • Now that you know that you can release yourself from the script and jump to another film roll, the habit of waiting and hoping makes no sense at all. Instead, you should wake up and compose a picture of the reality you want. In the same way, it is futile to waste time lamenting your sorry lot. You have to wake up and derive benefit from the situation. Divination is also futile. You have to wake up and follow the dictates of Power. For every situation, there is a corresponding trigger and method that can be applied.
    • 既然你知道你可以把自己从剧本中解放出来，跳到另一部电影，那么等待和希望的习惯就毫无意义了。相反，你应该清醒过来，描绘出你想要的现实。同样，浪费时间哀叹自己的不幸也是徒劳的。你必须清醒过来，从现状中获益。占卜也是徒劳的。你必须醒过来，听从权力的命令。对于每种情况，都有相应的触发器和方法可以应用。
  • You have to get to the point where you truly know that holding out for something to happen or not happen, to work out or not to work out, is foolish and pointless. It is within the power of your will to compose an image, a reflection, or reality, or all of these things at the same time. Compose whatever it is that you want. Do it yourself, do it! Compose, and compose some more! And don’t forget to admire me! You are my favorites, captivating and entrancing, and I am your Tufti, magnificent and stunning!
    • 你必须真正明白，坚持某事发生或不发生，成功或不成功，是愚蠢和毫无意义的。在你的意志的力量范围内，你可以同时创作出一幅图像、一幅倒影、一幅现实，或者所有这些东西。你想写什么就写什么。自己动手吧，动手吧!作曲，再作曲!别忘了欣赏我!你是我的最爱，迷人迷人，而我是你的塔夫蒂，华丽迷人!
• 29. You are amazing
  • In one of our previous lessons, I stood here, magnificent and resplendent as I am, before you lot, useless and unattractive as you are, and uttered the brilliant phrase that reality pretends not to be a mirror. Similarly, reality pretends not to be a motion picture. This comes easily to reality.
    • 在我们之前的一节课上，我站在这里，像我一样辉煌灿烂，站在你们面前，像你们一样无用和不吸引人，说了一句精彩的话:现实假装不是一面镜子。同样，现实也假装不是电影。这很容易成为现实。
  • Try telling your neighbours, sleeping snails, that their life is a film. Or in a dream, some time, try telling the dream mannequins that you are sleeping and that you are seeing them in a dream. Neither the former nor the latter will understand or believe you. There is no point in trying to persuade them. Convince yourself properly first!
    • 试着告诉你的邻居，那些沉睡的蜗牛，他们的生活就是一部电影。或者在梦中，试着告诉假人你在睡觉，你在梦里看到了他们。无论是前者还是后者都不会理解或相信你。试图说服他们是没有意义的。首先要说服自己!
  • You need reprogramming!
    • 你需要重新编程!
  • • You sense, that you are being led by an external script,--this is what burdens you.
    • •你感觉到自己被一个外部脚本所引导——这就是你的负担。
  • • The different types of composition can be applied individually or together.
    • •不同类型的构思可以单独或一起应用。
  • • Strolling live has to be practiced constantly and consistently.
    • •现场漫步必须不断地、持续地练习。
  • • The methods instill new habits that work for you.
    • •这些方法会逐渐培养对你有用的新习惯。
  • • Holding out for something that may or may not happen, is foolish and futile.
    • •坚持等待可能发生也可能不会发生的事情是愚蠢和徒劳的。
  • • Don’t want, wait or hope; compose your own reality instead.
    • •不要想要、等待或希望;相反，构建你自己的现实。
  • Last time we racked our brains over a highly complex dilemma. Which is better: to live with misfortune or to happily be eaten alive? No, that wasn’t it. Which is better: a charming hippopotamus or a despotic priestess? No, that wasn’t it. A hippo, studious and gentle, or a maleficent and all ways round malevolent Priestess? But you know me, I am not really evil; I am super kind, I could eat you all up myself. I am merciful and good!
    • 上次我们为一个非常复杂的难题绞尽脑汁。哪一个更好:是不幸地活着，还是幸福地被活活吃掉?不，不是这样的。迷人的河马和专横的女祭司哪个更好?不，不是这样的。是一头好学而温柔的河马，还是一位处处恶毒的女祭司?但是你知道我，我并不是真的邪恶;我是个超级善良的人，我可以把你们都吃掉。我是仁慈善良的!
  • It is your lot that are miserable and unfortunate. And why? Because it isn’t your movie that is playing in your life. It’s not just me that doesn’t like you; you don’t like yourselves and that’s another reason for your ills.
    • 不幸的是你的命运。,为什么?因为在你生活中播放的不是你的电影。不喜欢你的不只是我;你们不喜欢自己，这是你们生病的另一个原因。
  • Why isn’t your movie playing in your life? Because you don’t understand that life is a film in the first place. You might know this in principle, but you are not fully aware of it. So, I remind you again and again of where you are, my tiresome little ones, until you really get it.
    • 为什么你的生活中没有播放你的电影?因为你一开始就不明白生活是一部电影。你可能在原则上知道这一点，但你没有完全意识到这一点。所以，我一遍又一遍地提醒你们，我讨厌的小家伙们，直到你们真正明白为止。
  • In normal life, you are used to watching a film on a screen. Now, imagine that you are inside the movie. Feel it. Here you are at the mercy of the script, but you have a degree of freedom, nonetheless. When you are being fully present, you are capable of carrying out actions that are not foreseen by the current script. You receive a degree of freedom in the moment you wake up. In this moment, you are capable of giving yourself a shakeup and setting up a different film roll. Later, you’ll be back in the hands of the script again, but, if the moment is not lost, your film will start playing in the meantime.
    • 在日常生活中，你习惯于在屏幕上看电影。现在，想象你在电影里。感觉它。在这里，您受脚本的支配，但仍然有一定程度的自由。当你完全处于当下时，你就有能力执行当前脚本无法预见的动作。在你醒来的那一刻，你获得了一定程度的自由。在这一刻，你可以给自己一个震动，设置一个不同的胶卷。稍后，你将再次回到剧本的手中，但是，如果这一刻没有失去，你的电影将在此期间开始播放。
  • The reason you don’t you like yourself is that all the screens and printed covers illustrate the ideals of beauty, success, and happiness. And you, my faithful ones, are taken in by these illusions, obediently trying to become something else that isn’t really you, every time finding that you don’t fit the norm. In actual fact, beauty, success, and happiness can never be standardized; they are things with a very individual cut. Still, you prefer to believe in the illusion and try to keep up with it.
    • 你不喜欢自己的原因是，所有的屏幕和印刷的封面都描绘了美丽、成功和幸福的理想。而你们，我忠实的信徒们，被这些幻觉所迷惑，顺从地试图成为另一个不是真正的你的东西，每次都发现你不符合标准。事实上，美丽、成功和幸福永远无法被标准化;它们都有非常独特的剪裁。然而，你更愿意相信幻觉，并努力跟上它。
  • have you ever wondered why it is so difficult for you to remake or improve yourself ? have you ever asked yourself why, on so many occasions, you’ve planned to turn over a new leaf on Monday and never actually managed it? It is because you are lazy? No. It’s because you are being led by a script. Why should the script change, simply because you have decided to turn over a new leaf? Your desires are your course, but that course is not written into the script and so has no effect on it whatsoever.
    • 你有没有想过为什么你很难重塑或提高自己?你有没有问过自己，为什么在很多情况下，你都计划在周一翻开新的一页，却从来没有真正做到?是因为你懒惰吗?不。那是因为你被剧本牵着走。为什么剧本要改变，仅仅因为你已经决定翻开新的一页?你的欲望是你的路线，但这条路线并没有写进剧本，因此对剧本没有任何影响。
  • have you ever wondered why, when you leave the cinema all inspired, you think:
    • 你有没有想过，为什么当你离开电影院的时候，你会觉得:
  • I can do that too! You think, I will become like him or like her! Sometimes you even try to emulate them, but you don’t become like them in the end. The reason for this is that although you wanted to be like that person, you didn’t know about the emulation technique, which we have called imitation, and that the technique does actually work, at least it works when it is carried out correctly.
    • 我也能做到!你以为，我会变得像他一样或者像她一样!有时你甚至试图模仿他们，但最终你并没有变得像他们一样。这样做的原因是，尽管你想成为那个人，但你不知道模拟技术，我们称之为模仿，这种技术实际上是有效的，至少在正确实施的情况下是有效的。
  • First of all, you have to totally believe that imitation is possible in principle. It is possible to compose not only reality but yourself, your own new mannequin. And at the same time, the mannequin will change. By shifting the film roll and the reflection in turn, you will change and become the way you dreamed of seeing yourself.
    • 首先，你必须完全相信模仿在原则上是可能的。你不仅可以塑造现实，还可以塑造你自己，你自己的新人体模型。与此同时，人体模型也会发生变化。通过轮流变换胶卷和底片，你就会变成你梦想中的样子。
  • Do you find this hard to believe, my wary ones? This is because you have already tried something similar and it didn’t work; you have always tried and failed because you were working in passive mode. In your dreams, you draw yourself in rays of glory, but this is ineffective, as you now know; you have to use the plait. You tried emulating your idols, but you weren’t serious about your approach because you thought you could compose the reflection directly. You were not consistent because when you did not see instant results, you decided to give up.
    • 你们觉得这很难相信吗，我谨慎的朋友们?这是因为你已经尝试过类似的东西，但没有成功;你总是尝试和失败，因为你是在被动模式下工作。在你的梦中，你把自己画在荣耀的光芒中，但这是无效的，正如你现在所知道的;你必须用辫子。你试着模仿你的偶像，但你并不认真对待你的方法，因为你认为你可以直接构思映像。你之所以不坚持，是因为当你没有看到立竿见影的效果时，你决定放弃。
  • It is totally realistic to improve and remake yourself, only, in order to do so, you must listen to your priestess! When you propel yourself from within, you can be amazing. Moving from within, you can become great. And when you move in this way simultaneously moving your own film, you can transform your entire life turn into splendor. Um...I envy you! And why am I telling you all this?
    • 这是完全现实的提高和重塑自己，只是，为了做到这一点，你必须听你的女祭司!当你从内心推动自己时，你会变得惊人。从内心开始，你可以变得伟大。当你以这种方式移动时，同时移动你自己的电影，你可以把你的整个生活变成辉煌。嗯…我真羡慕你!我为什么要告诉你这些?
  • And now, the integrated propelling--strolling method
    • 现在，综合推进-漫步法
  • 1. Compose a new reality and yourself within it.
    • 1. 创造一个新的现实，让自己置身其中。
  • 2. Pretend that you already live in this reality and have already embodied that new self.
    • 2. 假装你已经生活在这个现实中，并且已经体现了那个新的自我。
  • 3. And, Of course, act, create, fan the Creator’s Spark within.
    • 3.当然，行动，创造，激发造物主的火花。
  • This is what we talked about earlier; it is what you are capable of doing inside the film: propel the forthcoming frame, propel yourself, propel yourself from within.
    • 这是我们之前讨论过的;这是你在电影里所能做的:推动即将到来的画面，推动你自己，从内在推动你自己。
  • Take it all seriously, practice consistently and for a relatively long period of time —always. Then, from film roll to film roll, from reflection to reflection, your mannequin and your life will begin to change. You will see change; of that there is no doubt.
    • 认真对待，坚持练习，并持续一段相对较长的时间。然后，从一卷胶卷到另一卷胶卷，从一个反射到另一个反射，你的人体模型和你的生活将开始改变。你会看到变化;这是毫无疑问的。
• 30. You are perfect
  • I hope you have understood at least some of this, my dear snails. if You are unhappy and unfortunate, if nobody likes you and nobody needs you, if your situation is desperate and you can see no way out, know, that there is a way out.
    • 我希望你至少理解了其中的一部分，我亲爱的蜗牛们。如果你高兴不幸运，如果没有人喜欢你，没有人需要你，如果你处境绝望，看不到出路，要知道，出路是有的。
  • Don’t be envious of what you see in others; and don’t be discouraged by what you see in yourself ; be like fireflies and propel yourself from within. Don’t look at your reality as something that is beyond your control; instead, compose a new one. Shift your forthcoming reality by using the plait, and shift your current reality by propelling yourself forward using the image you visualize, and the reflection technique.
    • 不要嫉妒你在别人身上看到的东西;不要因为你在自己身上看到的东西而气馁;像萤火虫一样，从内心推动自己。不要把现实看成是你无法控制的东西;相反，写一个新的。通过使用辫子来改变你即将到来的现实，并通过使用你想象的图像和映像技术来推动你前进，从而改变你当前的现实。
  • • You don’t like yourselves, because you compare yourself to other people’s “norms”.
    • •你不喜欢自己，因为你总是拿自己和别人的“标准”作比较。
  • • beauty, success, and happiness are unique to every individual.
    • •美丽、成功和幸福对每个人来说都是独一无二的。
  • • It’s hard for you to remake yourself, because you are being led by the script.
    • •你很难重塑自己，因为你被剧本牵着走。
  • • Your desires are not written into the script and have no effect upon it.
    • •你的欲望没有被写进剧本，对剧本没有任何影响。
  • • By composing your own reflection, you can change yourself, your mannequin.
    • •通过构思你自己的映像，你可以改变你自己，你的模特。
  • • Propel and stroll: an integrated technique taken seriously, consistently for always.
    • •推进和漫步:一个综合的技术认真对待，始终如一。
  • In the last lesson, we looked at the following idea: not only can you compose your own reality, you can compose yourself as well, your new mannequin. if you weren’t asleep, you would see that this is possible. So, what do I mean by this?
    • 在上节课中，我们学习了以下概念:你不仅可以构建你自己的现实，你也可以构建你自己，你的新人体模型。如果你没有睡着，你会发现这是可能的。那么，这是什么意思呢?
  • Let me remind you. You have your own mannequins in the films rolls, which are stored in the Eternity archive. When you see one of these film rolls in a dream, your consciousness finds your corresponding mannequin, and then it comes to life and starts to move. For as long as you dream this dream, you occupy the body of the dream mannequin, as one of your many potential variants.
    • 让我提醒你。你在胶卷上有自己的人体模型，它们被保存在永恒档案馆里。当你在梦中看到这些胶卷中的一个滚动时，你的意识就会找到相应的人体模型，然后它就会活过来，开始移动。只要你做了这个梦，你就占据了梦中的人体模型的身体，作为你众多潜在变体之一。
  • The same thing happens in physical reality--in the film rolls, according to which your everyday life is moving. On each new film roll, your consciousness enters the next version of the mannequin, which then comes to life and becomes you in the current frame.
    • 同样的事情也发生在物理现实中——在胶卷中，你的日常生活是根据胶卷移动的。在每一个新的胶卷上，你的意识进入下一个版本的人体模型，然后它就会活过来，成为当前画面中的你。
  • Do you remember I once said that if you look in a mirror whilst you are dreaming, you might not recognize yourself? You do not just have one mannequin that is characteristic of your being, but a whole bunch of them i.e. one particular or very specific mannequin for each film roll. In all the films stored nearby, you are pretty much the same, and are recognizable as you. In films that are stored far away from the current film roll, you are completely different.
    • 你还记得我曾经说过，如果你在做梦的时候照镜子，你可能认不出自己了?你不只是有一个人体模型来代表你的存在，而是一大堆，也就是说，每个胶卷上都有一个特定的或非常特定的人体模型。在附近存放的所有电影中，你几乎都是一样的，而且被认出来就是你。在远离当前胶卷存储的胶卷中，你是完全不同的。
  • It’s not about the fact that once you were young, and then you aged, or once you were slim, and then you put on weight. The mannequin can change right now in a very short period of time. You are capable of changing very quickly, to the point of spectacularly changing your outer appearance. You can also change qualities and skills such as self-confidence, charm, ability to communicate, courage, intelligence, and professionalism.
    • 不是说你曾经年轻，然后变老，或者你曾经苗条，然后又长胖了。人体模型现在可以在很短的时间内改变。你有能力改变得非常快，甚至可以惊人地改变你的外表。你也可以改变品质和技能，比如自信、魅力、沟通能力、勇气、智慧和专业精神。
  • But before I explain how to do this, I want to explain something. Changing yourself doesn’t mean judging and rejecting yourself or chucking out the old you. We are talking about self-development, especially If you are one of those rare exceptions who like themselves just the way they are and doesn’t particularly feel the need to change.
    • 但在我解释如何做到这一点之前，我想解释一些事情。改变自己并不意味着评判和拒绝自己，也不意味着抛弃过去的自己。我们谈论的是自我发展，尤其是如果你是那些罕见的例外之一，喜欢自己本来的样子，不特别觉得有必要改变。
  • Even if that is the case, you have to keep developing, otherwise you’ll go down the slippery slope of deterioration.
    • 即使是这样，你也必须不断发展，否则你就会走下坡路。
  • You have to change yourself, without changing your core identity, your principles, beliefs, and philosophy of life. Making yourself a better person doesn’t mean compromising your identity. You can work on self-development at the same time as retaining your true self. It’s not so much a matter of remaking yourself, as kindling the Creator’s Spark. Don’t force yourself to conform to the norms of others; create your own ‘norms’, so that other snails look to you with envy. You can create your own norms if you accept your own uniqueness. Uniqueness may be all you have, but it is more than enough.
    • 你必须改变自己，但不要改变你的核心身份、原则、信仰和人生哲学。让自己成为一个更好的人并不意味着要牺牲你的身份。你可以在自我发展的同时保持真实的自我。与其说是重塑你自己，不如说是点燃造物主的火花。不要强迫自己遵守别人的规范;创造你自己的“标准”，这样其他蜗牛就会羡慕地看着你。如果你接受自己的独特性，你可以创造自己的规范。独一无二也许是你所拥有的一切，但这已经足够了。
  • Uniqueness is perfect unto itself because there is nothing of its kind anywhere else.
    • 独一无二本身就是完美的，因为在其他任何地方都没有这样的东西。
  • How can something which cannot be found anywhere else or in anyone else not be very valuable? It is an advantage, which you can either use or chuck to the back of a dusty, old cupboard. It is all a matter of choice.
    • 在其他任何地方或任何人身上都找不到的东西怎么会不很有价值呢?这是一个优势，你可以利用它，也可以把它扔到满是灰尘的旧橱柜后面。这完全是一个选择的问题。
  • However, it is not easy to accept that you are unique, self-sufficient and perfect, just as You are, just as becoming aware that you are inside a motion picture is not easy.
    • 然而，要接受你是独一无二的、自给自足的、完美的，这并不容易，就像要意识到你是在电影里一样不容易。
  • You will notice that when there is something about yourself that you categorically dislike, it is almost impossible to convince you that this very thing could become to your advantage.
    • 你会注意到，当你对自己有一些绝对不喜欢的地方时，几乎不可能说服你这件事会成为你的优势。
  • For example, from the point of view of accepted norms, something in your appearance, your personality or manner might be considered a shortcoming. But all shortcomings have one paradoxical aspect. if you accept a shortcoming, it becomes a valuable, individual quality. if you don’t accept a shortcoming and battle against it, the shortcoming becomes a flaw. This is exactly how others will perceive it: either as a valuable quality, or as a flaw.
    • 例如，从公认的标准来看，你的外表、个性或举止可能会被认为是缺点。但所有的缺点都有一个矛盾的方面。如果你接受缺点，它就会变成一种有价值的个人品质。如果你不接受缺点并与之抗争，缺点就会变成缺点。这正是别人对它的看法:要么是有价值的品质，要么是缺点。
  • You are perfect, just as Nature and the Creator intended you to be. Perfection is when an individual is embodying their uniqueness in harmony with their true self.
    • 你是完美的，就像大自然和造物主希望你成为的那样。完美是一个人在与真实自我和谐相处中体现自己的独特性。
  • Where there is acceptance, harmony will appear. And the opposite is true; any negation gives rise to disharmony, which everyone notices.
    • 哪里有接纳，哪里就会出现和谐。反之亦然;任何否定都会引起不和谐，这是每个人都注意到的。
  • So, take a good look at your shortcomings, before you hurry to get rid of them.
    • 所以，在你急于摆脱它们之前，好好审视一下你的缺点。
  • Perhaps, if you accept them, they will transform into your unique qualities and become an advantage? Look attentively, without paying any attention to what other people consider normal! Try to relax at least for a few days and just accept being you. You’ll see for yourself what happens. Perhaps, you will end up liking you, just the way you are.
    • 也许，如果你接受它们，它们会转化为你独特的品质，成为你的优势?注意看，不要在意别人认为什么是正常的!试着放松至少几天，接受做你自己。你会亲眼看到发生了什么。也许，你最终会喜欢你自己，就像你自己一样。
  • Of course, you still need to be able to distinguish shortcomings from vices. An obvious vice or weak point, that directly harms you, your health and reputation, for example, or that harms others, should be rooted out. Some things are obvious, and there’s no need to go into them here.
    • 当然，你仍然需要能够区分缺点和缺点。一个明显的缺点或弱点，直接伤害你，你的健康和声誉，例如，或伤害他人，应该根除。有些事情是显而易见的，这里就不赘述了。
  • In everything else, it is better to develop your positive qualities than to battle you’re your shortcomings. Focusing your attention on your shortcomings, including physical ones, that cannot be eliminated, only makes them worse. If, however, you can root out a shortcoming via self-development, then you should work on self-improvement.
    • 在其他任何事情上，与其与你的缺点作斗争，不如培养你积极的品质。把注意力集中在你的缺点上，包括身体上的缺点，这些缺点无法消除，只会让它们变得更糟。然而，如果你可以通过自我发展来根除一个缺点，那么你应该努力自我完善。
  • But only on the condition that you actually have the desire to do so. If you don’t desire to change it, then don’t trouble yourself and concentrate on your finer qualities.
    • 但前提是你真的有这样做的愿望。如果你不想改变它，那就不要麻烦自己，专注于你更好的品质。
  • Otherwise, your life will become a constant battle.
    • 否则，你的生活将变成一场持续不断的战斗。
  • Developing existing qualities is much more effective than rooting out your shortcomings, and doing something with them. Developing your finer qualities will, most likely, eclipse your shortcomings or remove them automatically. And then the issue of your shortcomings will fall away of its own accord.
    • 发展现有的品质比根除你的缺点，并采取行动要有效得多。培养你的优秀品质很可能会掩盖你的缺点，或者自动消除它们。然后你的缺点就会自动消失。

Tufti the Priestess 31--35

• 31. The three achievements way
  • You, my little harebrained twits, have no doubt already imagined yourselves as being magnificent? No! I am the magnificent one here! But you can be too if you are audacious enough to let yourself be so! You decide for yourself, the kind of person you want to be. You are more than capable of doing so. And I will teach you how. You will be the happiest and most beautiful of them all. I am Tufti, your priestess! That is the reason I came.
    • 你们，我的小傻瓜，毫无疑问已经把自己想象得很了不起了吧?不!我是这里最了不起的人!但如果你足够大胆，你也可以做到!你自己决定，你想成为什么样的人。你完全有能力做这件事。我会教你怎么做。你将是他们当中最幸福、最美丽的一个。我是塔夫提，你的女祭司!这就是我来的原因。
  • • You occupy the body of a mannequin, as one of your many variations.
    • •你占据了一个人体模型的身体，作为你众多变体之一。
  • • You have to develop, whilst retaining your true self; change, without betraying Self.
    • •你必须在发展的同时保持真实的自我;改变，而不背叛自我。
  • • Uniqueness is all you have, and this is enough.
    • •独一无二是你所拥有的一切，这就足够了。
  • • A shortcoming should either be rooted out or accepted.
    • 缺点要么被根除，要么被接受。
  • • When you accept a personal shortcoming, it can turn into a positive quality.
    • •当你接受一个个人缺点时，它就会变成一个积极的品质。
  • • Don’t battle with your shortcomings, develop your finer qualities.
    • •不要与你的缺点作斗争，要培养你的优秀品质。
  • Before we get into how to compose your own mannequin, I’ll explain why this is worth doing because it’s a matter of some importance. Patience, my dears, you will learn all this in good time.
    • 在我们进入如何组成自己的人体模型之前，我将解释为什么这是值得做的，因为这是一个重要的问题。耐心点，亲爱的，你迟早会学会这一切的。
  • There is one universal formula that is 100% reliable: life will work out If you accept that you are a unique miracle, with all your shortcomings, just as you are, and then decide to enjoy yourself and the life you have. if you can simply enjoy life, then you, your life and everything in it will improve automatically.
    • 有一个通用的公式是百分之百可靠的:生活总会成功的。如果你接受自己是一个独特的奇迹，尽管你有所有的缺点，但你就是这样，然后决定享受自己和你所拥有的生活。如果你能简单地享受生活，那么你，你的生活和生活中的一切都会自动改善。
  • However, it is quite hard to achieve this. Too great a burden of various molds and standards, conventional norms and limitations have been placed on you since birth.
    • 然而，要做到这一点是相当困难的。从你出生起，各种各样的模式化和标准、常规规范和限制就给你带来了太多的负担。
  • There are three concrete actions you must take in order to free yourself from this burden. One thing is certain, you won’t remove this burden with the mind.
    • 为了让自己摆脱这种负担，你必须采取三个具体的行动。有一件事是肯定的，你无法用意念除去这个负担。
  • First. Don’t focus on your shortcomings. Don’t allow yourself to dwell on feeling deprived in some way; this is a destructive state. The shortcomings will only become worse and this will lead to greater deterioration. You have to shift into a different, more constructive state. This will help with the second action.
    • 第一。不要老是想着自己的缺点。不要让自己沉浸在某些方面被剥夺的感觉中;这是一种破坏性的状态。缺点只会变得更糟，这将导致更大的恶化。你必须转变成一种不同的、更有建设性的状态。这将有助于第二个动作。
  • Second. You should have a goal in life, something inspiring, that fills you with enthusiasm, and benefits you and others. If you feel apathetic about life in general, then, you don’t have a goal. Or, if you look at it from a different perspective, when you have no goal, you feel apathetic about life. When you have no goal, there is nothing to desire. if you experience no sense of striving, there will be no movement in your life. No movement, no energy; no energy, no life. So you must find your true goal, your life purpose, and begin moving towards it. Without a life purpose, there is no ‘you’; you are simply an empty space. If you haven’t yet found a life purpose, the third action will help you to do so.
    • 第二。你应该在生活中有一个目标，一些鼓舞人心的，让你充满热情，并使你和他人受益。如果你对生活漠不关心，那么你就没有目标。或者，如果你从另一个角度来看，当你没有目标时，你会对生活感到冷漠。当你没有目标时，就没有什么可渴望的了。如果你体验不到奋斗的感觉，你的生活就不会有运动。没有运动，就没有能量;没有能量，就没有生命。所以你必须找到你真正的目标，你的人生目标，并开始朝着它前进。没有人生目标，就没有“你”;你只是一片空白。如果你还没有找到人生目标，第三个行动将帮助你找到目标。
  • Third. Whether you know what your life purpose is or not, you should concentrate on personal development, on remaking yourself. Focus on yourself constantly. Kindle in yourself the Creator’s Spark; work on self-development and self-improvement. This method delivers three achievements instantly :first, you shake of fany feelings of being deprived; second, you find your life purpose; third, you realize life purpose.
    • 第三。不管你是否知道你的人生目标是什么，你都应该专注于个人发展，专注于重塑自己。不断关注自己。点燃你心中造物主的火花;致力于自我发展和自我完善。这种方法可以立竿见影地达到三个效果:第一，你摆脱了任何被剥夺的感觉;第二，你找到了你的人生目标;第三，你实现了人生目标。
  • Well, what else did you expect? There is no magic wand. There is the plait though, but you have to work with it. It won’t happen whilst you’re lying about on the sofa.
    • 那你还想要什么?没有魔棒。虽然有一个辫子，但你必须处理它。当你躺在沙发上时，这种事是不会发生的。
  • As you now know, goals are achieved through triple action: propel reality, propel yourself, propel yourself from within. Self-development is always a worthy goal and path. Your life purpose on this path will find itself and once you have found it, there should be no stopping you. Remember: there is either development or deterioration.
    • 正如你现在所知道的，目标是通过三重行动来实现的:推动现实，推动自己，从内心推动自己。自我发展永远是值得追求的目标和道路。你在这条路上的人生目标会自己找到，一旦你找到了，就没有什么能阻止你。记住:要么发展，要么退化。
  • You mustn’t think of self-development as an onerous duty or heavy chore. Quite the opposite; it’s much harder to experience stagnation, inactivity, and laziness. Working on yourself is no chore but pleasant preparation for something even more pleasurable.
    • 你不能把自我发展看作是一项繁重的任务或繁重的苦差事。恰恰相反;要经历停滞、不活动和懒惰要困难得多。为自己工作不是苦差事，而是为更愉快的事情做愉快的准备。
  • You get ready when you are going to a party, don’t you, smartening yourself up?
    • 当你要去参加一个聚会时，你会准备好，是不是，把自己打扮得漂漂亮亮?
  • Well, today is the party. A one-time preparation won’t be enough for what will come tomorrow, in a month’s time or in a year from now.
    • 嗯，今天是派对。对于明天、一个月后或一年后的事情，一次性的准备是不够的。
  • To summarize what has been said: To become magnificent and turn your life into pure magnificence, you have to shift yourself out of a state of stagnation and degradation. The way out is to find your life purpose, your true goal, and then take steps towards it. Your life purpose is your route to self-realization. Without a life purpose, life is nothing more than mindless existence. Even if you do not yet know what your life purpose is, the Creator’s Spark that smolders inside you knows. But the Spark has to be kindled. By kindling the Creator’s Spark and working on yourself, you achieve these three things: you leave stagnation behind; you find your life purpose and you realize your life purpose.
    • 总结一下刚才所说的:要想变得辉煌，把你的生活变成纯粹的辉煌，你必须把自己从停滞和堕落的状态中解脱出来。出路是找到你的人生目标，你真正的目标，然后朝着它迈出一步。你的人生目标是你实现自我的途径。没有人生目标，人生只不过是漫无目的的存在。即使你还不知道你的人生目标是什么，你心里燃烧的造物主的火花已经知道了。但火花必须被点燃。通过点燃造物主的火花，为自己努力，你可以实现这三件事:你将停滞不前抛在脑后;你找到了你的人生目标，并实现了你的人生目标。
  • This is why you need to compose a mannequin as well as your reality. Remember the integrated propel-stroll method, and what we said about it? Follow this method, and everything in your life will right itself.
    • 这就是为什么你需要组成一个人体模型以及你的现实。还记得我们所说的推进-漫步综合方法吗?遵循这个方法，你生活中的一切都会变好。
  • Aside from the issue of your life purpose, there is another good reason to follow this method. Self-development creates movement. I repeat, without movement, there is no energy and without energy, there can be no life, just a fading of life. To trigger meta-power you need to have sufficient amounts of personal power--energy. When you move, because you are developing yourself, you can receive this energy.
    • 除了你的生活目标问题，还有另一个很好的理由来遵循这个方法。自我发展创造运动。我再说一遍，没有运动就没有能量，没有能量就没有生命，只是生命的消逝。要激活超能力你需要有足够的个人力量，能量。当你移动时，因为你在发展自己，你可以接收到这种能量。
  • No one can know better than you, the direction in which you should develop. If you don’t have a clear idea yet of what direction you should choose, ask yourself the question and set yourself the goal of developing yourself, and it will come to you.
    • 没有人能比你更清楚，你应该朝哪个方向发展。如果你还不清楚自己应该选择什么方向，那就问自己这个问题，给自己设定一个发展自己的目标，它就会出现在你面前。
  • As far as one’s life purpose is concerned, there are other details to be taken into account.
    • 就一个人的人生目标而言，还有其他细节需要考虑。
  • 1. Follow the call of the heart. Find the things that are meant for you and the things that could have been made specifically for you, things that are right out of the box.
    • 1. 听从内心的召唤。找到那些适合你的东西，那些本可以专门为你做的东西，那些现成的东西。
  • 2. Follow your own path, not the footsteps of others. Don’t copy the experience of others. Indulge in the luxury of being unique in everything.
    • 2. 走自己的路，不要跟随别人的脚步。不要照搬别人的经验。享受一切都独一无二的奢侈吧。
  • I could write a whole book on this theme. Yes! You will have to read other books aside from this one. Don’t be lazy, don’t be lazy, my dear ones, but study diligently!
    • 关于这个主题我可以写一整本书。是的!除了这本书，你还得读别的书。不要懒惰，不要懒惰，亲爱的，要努力学习!
  • You don’t want to stay snails forever, do you?
    • 你不想永远做蜗牛吧?
• 32. You are brilliant
  • Did I say that I didn’t like you? I was only joking. You are my favorites, my pets.
    • 我说过我不喜欢你吗?我只是开个玩笑。你是我的最爱，我的宠物。
  • Don’t disappoint me and I won’t disappoint you.
    • 不要让我失望，我也不会让你失望。
  • • Don’t dwell on feeling deprived in some way.
    • •不要老是想着被剥夺的感觉。
  • • You must find your true goal, your life purpose and begin moving towards it.
    • •你必须找到你真正的目标，你的人生目标，并开始朝着它前进。
  • • Your life purpose is what inspires you and benefits others as well as yourself.
    • •你的人生目标是激励你并使他人和自己都受益的东西。
  • • You may not know what your life purpose is, but the Creator’s Spark knows; kindle it.
    • •你可能不知道你的人生目的是什么，但造物主的火花知道;点燃它。
  • • Self-development helps to shake off stagnation, find your purpose, realize your purpose.
    • •自我发展有助于摆脱停滞，找到你的目标，实现你的目标。
  • • Without movement and development, you will not have the energy to trigger meta-power.
    • •没有运动和发展，你就没有能量去触发超能力。
  • Do you want to be a better person, improve your physical fitness and appearance, develop skills and talents? Or are you too lazy? What do you mean, you don’t want to? Look at yourselves, and the state you are in with your crooked legs, silly horns, round tummies and hungry mouths.
    • 你想成为一个更好的人，提高你的身体素质和外表，发展技能和才能吗?还是你太懒了?你说你不想是什么意思?看看你们自己，看看你们现在的样子，你们的腿歪歪扭扭，长着愚蠢的角，圆肚子，饿着嘴。
  • And yet despite all that, you are perfect because the Creator’s Spark is present within you. You have to realize your perfection and kindle the Spark. In what manner your perfection will manifest all depends on your personality. Whether it will be revealed at all depends on your intentions.
    • 然而，尽管如此，你是完美的，因为造物主的火花就在你的内心。你必须意识到你的完美，点燃你的火花。你的完美将以何种方式显现，完全取决于你的个性。它是否会被揭露完全取决于你的意图。
  • Let’s say you want to have a beautiful body, transform yourself into a charming personality, pleasant in all respects, or become a high-paid professional in a particular field. Essentially, this means occupying your perfected mannequin on a fundamentally different film roll. have no doubt that this film roll and the corresponding mannequin exists. All you have to do is get there. This goal is achieved via triple-action: propel reality, propel yourself, propel yourself from within. Let’s look at all three components individually.
    • 比方说，你想拥有一个美丽的身体，把自己变成一个迷人的个性，在各个方面都令人愉快，或者成为一个在特定领域的高薪专业人士。从本质上讲，这意味着把你完美的人体模型放在一个完全不同的胶卷上。毫无疑问，这种胶卷和相应的人体模型是存在的。你所要做的就是到达那里。这个目标是通过三重行动来实现的:推动现实，推动自己，从内心推动自己。让我们分别来看看这三个组成部分。
  • 1. Propel reality With the help of the plait, compose a reality, in which you already have what you want and already embody the person you want to become. Compose a new you in a new reality. Literally, do this several times during the day or more.
    • 1. 在辫子的帮助下，构想一个现实，在这个现实中，你已经拥有了你想要的东西，并且已经体现了你想成为的人。在新的现实中塑造一个全新的你。从字面上讲，一天中这样做几次或更长时间。
  • Become fully present, activate the plait, and without losing a sense of the plait, picture the scene you desire (the end result, the target frame) with your thoughts and words; visualize it as best you can. Do the exercise in a relaxed manner for no more than a minute at a time. Remember that it is concentration and meta-power that makes this technique work, not effort and force.
    • 全身心投入，激活辫子，在不失去对辫子感觉的前提下，用你的思想和语言描绘出你想要的场景(最终结果，目标框架);尽你所能想象它。以放松的方式做这个练习，每次不要超过一分钟。记住，让这个技巧起作用的是专注力和超能力，而不是努力和力量。
  • Don’t hold back when you set your goal. Go for it! Think big and set your sights high from the outset. Set yourself a goal that will awaken the genius in you; become a genius in a specific field or in your general attitude towards life. Then, regardless of your specific abilities, you will start being brilliant.
    • 当你设定目标时不要退缩。去吧!从一开始就要高瞻远瞩。给自己设定一个目标，它会唤醒你内在的天才;成为某个特定领域的天才，或者改变你对生活的总体态度。然后，不管你有什么特殊的能力，你都会开始变得聪明。
  • That said, if you have no aptitude at all for something that attracts you, it might be worth considering whether this is, in fact, your true path. But If you are following your heart’s desire and if your goal is basically achievable, then there is no reason why it should not be realized; beyond that, it all comes down to perseverance and composing a new you in a new reality consistently and coherently. Remember you have the Spark of the Creator within, which you can kindle into a flame and turn into a masterpiece.
    • 也就是说，如果你对吸引你的东西一点天分都没有，那么也许值得考虑一下，这是否是你真正的道路。但如果你跟随自己内心的渴望，如果你的目标基本上是可以实现的，那么就没有理由不去实现它;除此之外，这一切都归结于坚持不懈，在一个新的现实中始终如一地、连贯地塑造一个新的你。记住你有内在创造者的火花，你可以点燃它成为火焰，变成一个杰作。
  • After some time, you will see that you are beginning to do things you couldn’t do before and that you probably were not even capable of doing. This will surprise you and yet there is nothing superhuman about it. It is no miracle, just a technique. By setting a reality, in which you are brilliant, you move onto film rolls, in which you do brilliant things; I repeat, the reason for this is not that you have the necessary abilities per se, but because that is the nature of the script.
    • 一段时间后，你会发现你开始做一些你以前不能做的事情，甚至可能你根本没有能力做这些事情。这会让你感到惊讶，但这并没有什么超人的地方。这不是奇迹，只是一种技巧。通过设定一个现实，在这个现实中，你是杰出的，你进入胶卷，在这个现实中，你做了杰出的事情;我重复一遍，这样做的原因不是因为您本身具有必要的能力，而是因为这是脚本的本质。
  • It simply comes down to the fact that on other film rolls, you will have things that you don’t have currently and haven’t even considered. There, in a new mannequin, new abilities will manifest themselves and new means of realizing your ideas can be found. You will spot them, as long as you aren’t sleeping.
    • 简单地说，在其他胶卷上，你会有一些你现在没有的东西，甚至没有考虑过。在那里，在一个新的模型中，新的能力将会显现出来，并且可以找到实现你的想法的新方法。只要你不睡觉，你就会发现它们。
  • 2. Propel yourself I remind you that to propel yourself in relation to other people means to compose an image. To propel yourself in relation to the reality of your everyday life means to compose a reflection. In a general sense, the act of propelling involves being consciously aware of your motives and actions.
    • 2. 我提醒你，在与他人的关系中推动自己意味着构成一个形象。要推动自己与日常生活的现实相联系，就意味着要构思映像。在一般意义上，推进的行为包括有意识地意识到你的动机和行为。
  • When you aren’t consciously aware, and are just drifting in accordance with the script, all the messages you put out to the mirror that concern other people will be reduced to “give me-give me-give me”, and those that concern reality will come down to, ‘I want, I want, I want’. And yet, there comes a point in time, when you are able to release yourself from the script. Then you can become fully present and recall the image composition method and the reflection composition method.
    • 当你没有意识到，只是按照剧本随大流时，你对着镜子发出的所有关于别人的信息都会被简化为“给我——给我——给我”，而那些关于现实的信息会被简化为“我想要，我想要，我想要”。然而，总有一天，你会从剧本中解脱出来。然后你就可以全身心地投入其中，回忆图像合成方法和反射合成方法。
  • In relation to other people, replace all your ‘give me’s’ with ‘here, take!’. After persistent practice, this manner will become a habit and start to create an impression.
    • 在与他人的关系中，把你所有的“给我的”都换成“给，拿!”经过持续的练习，这种态度会成为一种习惯，并开始给人留下印象。
  • You’ll naturally become a very charming personality without having to fake it because your habits make up part of your mannequin. Together with your own transformation, you’ll see that the problems that troubled you so much have either solved themselves or simply fallen away. Take a good look at the ‘Setting An Image’ chapter and there you’ll see all the ‘give me’s’ and the corresponding ‘here, take’ alternatives.
    • 你会自然而然地成为一个非常有魅力的人，而不必伪装，因为你的习惯构成了你的模特的一部分。随着你自己的转变，你会发现困扰你的问题要么自己解决了，要么就消失了。好好看看“设置一个图像”一章，在那里你会看到所有的“给我”和相应的“这里，拿走”选项。
  • The same thing goes for reality: whatever happens, you have the method for composing a goal frame, the principles of use, as well as the allowing and following methods. Remember also that all negative thoughts and messages will return to haunt you like a boomerang. Try and turn all the negative signs into plus signs for your own benefit, and then this too will become a habit that makes up part of your new mannequin.
    • 现实也是如此:无论发生什么，你都有构建目标框架的方法、使用原则，以及允许和遵循的方法。也要记住，所有消极的想法和信息都会像回旋镖一样缠着你。为了你自己的利益，试着把所有的负号变成正号，然后这也会成为一种习惯，构成你新模特的一部分。
  • What should you do if, right now, you can’t think of anything that you can give or any message you want to put out to the universe? This is where the imitation technique comes in handy. You can transform the reflection into an image or subject by pretending that you already have something you do not currently have, or that you already are the person you would like to be but have not yet become. As the game, so the reality; what you imitate is what you get; who you fake is who you will become.
    • 如果现在，你想不出任何你能给宇宙的东西或你想要向宇宙传递的信息，你该怎么办?这就是模仿技术派上用场的地方。你可以通过假装你已经拥有了你现在没有的东西，或者假装你已经成为了你想成为但还没有成为的人，把这个反射转化为一个图像或主题。因为游戏，所以现实;你模仿的就是你得到的;你伪装成什么样的人，你就会成为什么样的人。
  • The reflection flows into an image. We will go into this in more detail in the next chapter.
    • 映像流入图像。我们将在下一章更详细地讨论这一点。
• 33. The imitation technique
  • You are probably beginning to think, dear ones, that with all these methods, you could end up being a clock work mannequin? Don’t worry, my little fidgets; it is better to be a wind-up mannequin with good habits than a puppet of no sound mind.
    • 亲爱的，你可能开始想，用所有这些方法，你最终可能会成为一个钟表工作的人体模型?别担心，我的小烦躁;与其做一个头脑不健全的木偶，不如做一个有良好习惯的上紧发条的假人。
  • • New mannequins are created via triple action: propel reality, propel yourself, propel from within.
    • •新的人体模型是通过三重作用创造出来的:推动现实，推动自己，从内部推动。
  • • Use the plait to compose a new you in a new reality.
    • •用辫子在新的现实中塑造一个全新的你。
  • • Think big, but make sure your goals are realistic.
    • •胸怀大志，但要确保你的目标是现实的。
  • • Soon, you’ll be doing things that you didn’t previously think yourself capable of doing.
    • 很快,你就会做一些你以前没有想到自己能做的事情。
  • • New abilities appear and develop on new film rolls.
    • •新的能力在新的胶卷上出现和发展。
  • • The ways and means of realizing your idea will automatically present themselves.
    • •实现你的想法的方法和手段会自动出现。
  • • It can be helpful to repeat the chapters that explain what it means to ‘propel yourself ’.
    • •重复解释“推动自己”含义的章节会有所帮助。
  • At the end of our last lesson, we said that the imitation technique will enable you to acquire qualities that you don’t yet have. Let’s recall the objectives we set: acquire a beautiful body, transform yourself into a charming personality, pleasant in all regards, and become a highly paid professional. Even though you might not yet have all this right now, you can fake having it right now. Then, as you already know, reality will find a way of manifesting the illusion you have created on the physical plane.
    • 在上节课结束时，我们说过模仿技巧可以使你获得你还没有的品质。让我们回忆一下我们设定的目标:获得美丽的身体，将自己变成迷人的个性，各方面都令人愉快，成为高薪的专业人士。即使你现在可能还没有拥有这一切，你现在可以假装拥有它。然后，正如你们已经知道的那样，现实会找到一种方式来显化你们在物质层面上创造的幻觉。
  • You should literally imagine that you already have all these positive things despite the fact that, so far at least, you’re faking it and it is just a game. Observe other people, who have these things. Initially, copy how they hold themselves, especially if you don’t have your own image of what this might look like. For your draft version, the experience of others will do. Later, your individuality will begin to show itself more strongly.
    • 你应该想象你已经拥有了所有这些积极的东西，尽管事实上，至少到目前为止，你只是在假装，这只是一场游戏。观察那些拥有这些特质的人。最初，模仿他们的表现，特别是如果你没有自己的形象。对于你的草稿，别人的经验也可以。之后，你的个性将开始更强烈地表现出来。
  • Take note of what you admire in other people. Irrespective of whether they work in the same field as you. You can always learn from brilliance. I do such and such just as brilliantly as so and so does. Is there something you admire? I want to be able to do the same, and can create the same wonderful life for myself. Soak up the finesse that you find so attractive and adapt it to your life, as a projection. Declare this intention using the plait. You only need to capture a projection of brilliance rather than trying to copy it in every detail. What is essential is the projection, not the specific form it takes.
    • 记下你欣赏别人的地方。不管他们是否和你在同一领域工作。你总是可以从辉煌中学习。我做这做那，就像某某做得一样出色。有什么是你欣赏的吗?我希望自己也能做到这一点，能够为自己创造同样精彩的生活。吸收你觉得很有吸引力的技巧，把它作为一种投射，应用到你的生活中。使用辫子声明此意图。你只需要捕捉辉煌的投射，而不是试图复制它的每一个细节。重要的是投射，而不是具体的形式。
  • I want to emphasize, that you don’t need to copy an entire example, just the person’s state, their sense of self and general air. Adopt a state that makes you feel good about yourself: you have a beautiful body; you have a charming personality; You are a highly paid professional. How would you feel if this were the case? What you would feel is the required state you must capture for this exercise. What you have determined the emotional state, behave as if you already had what you are striving for.
    • 我想强调的是，你不需要复制整个例子，只需要复制这个人的状态，他们的自我意识和总体氛围。采用一种让你自我感觉良好的状态:你有一个美丽的身体;你有迷人的个性;你是高薪的专业人士。如果是这样，你会怎么想?你所感受到的是你必须为这个练习捕捉到的必要状态。你所决定的情绪状态，表现得好像你已经拥有了你所追求的东西。
  • Create a virtual reality with your thoughts. Illuminate that visualization with the plait from time to time. Recall your vision more frequently; run it in the background, be consistent. Even if your physical body and everything else about you is far from being perfect, you can still live the feeling; fake it; become accustomed to it.
    • 用你的思想创造一个虚拟现实。不时地用辫子照亮那个可视化的现实。更频繁地回忆你的愿景;在后台运行，保持一致。即使你的身体和你的其他一切都远非完美，你仍然可以生活在这种感觉中;装出这种感觉;要习惯它。
  • Is this copying? Yes, it is out and out copying, but if your approach is serious and consistent, reality will take it very seriously indeed. Reality will not tolerate an illusion that is not of its own making so the illusions that you create will either be manifest in the physical plane or destroyed. Don’t worry, my darlings, the latter is highly unlikely, as long as you don’t go looking for trouble or push things too far.
    • 这是抄袭吗?是的，这是彻头彻尾的抄袭，但如果你的方法是认真和一致的，现实会非常认真地对待它。实相不会容忍一个不是它自己制造的幻象，所以你所创造的幻象要么在物质层面显化，要么被摧毁。别担心，亲爱的，后者是极不可能的，只要你不去找麻烦或把事情搞得太过火。
  • Even children know that a game is a game and keep within the limits of what is real.
    • 即使是孩子也知道游戏就是游戏，并保持在真实的范围内。
  • You will easily sense the limits of reality in your own game. Playing the role of a charming personality is totally with in your capacity especially When you are equipped with the image composition method. You naturally won’t be able to take the stage at a ballet or walk out onto a hockey pitch and behave like a professional if you’ve never done it before, because you have not yet reached the necessary film roll. However, your imitation game will be no less effective because of it. All in good time. This is what the third action is for.
    • 在自己的游戏中，你很容易感觉到现实的局限性。扮演一个有魅力的角色完全是你的能力，尤其是当你配备了图像构图方法。如果你从来没有这样做过，你自然不可能走上芭蕾舞剧的舞台，或者走进曲棍球场，表现得像个专业人士，因为你还没有达到必要的胶卷。然而，你的模仿游戏不会因此而失去效果。一切都会好的。这就是第三个动作的作用。
  • 3. Propel yourself It is important to be realistic and understand that sofa metaphysics alone are not enough. We live in a dual world, so you have to take action equivalent to the material plane. Do everything you can to achieve your goal within the current frame, and shape your new self. You need to improve yourself not only with the help of the plait, but also physically, by means of concrete exercises, study, steps to improve your diet and lifestyle. There is nothing you can do to change this requirement.
    • 3.重要的是要现实一点，要明白光靠沙发上的形而上学是不够的。我们生活在一个双重世界中，所以你必须采取等同于物质层面的行动。在当前的框架下，尽你所能实现你的目标，塑造一个新的自我。你不仅需要借助发辫的帮助来提高自己，还需要通过具体的锻炼、学习、改善饮食和生活方式的步骤来提高身体素质。您无法更改此需求。
  • Once you embark on the path of self-improvement, you will know what to do and how. The information will find its way to you. It is also particularly important to be aware that on the path of self-development, your life purpose will be revealed to you. You can puzzle over questions such as, what your life purpose is, what it will involve, and how to find it as much as you like, but once you set the goal to propel yourself rather than be directed entirely by the script, the answers to all these questions will appear organically.
    • 一旦你走上了自我提升的道路，你就会知道该做什么和怎么做。这消息会传到你手里的。同样重要的是要意识到，在自我发展的道路上，你的人生目标会向你揭示。你可以对诸如你的人生目标是什么，它会涉及到什么，以及如何尽可能多地找到它这样的问题感到困惑，但是一旦你设定了目标来推动自己，而不是完全被剧本所引导，所有这些问题的答案就会自然而然地出现。
  • There is no need to worry about the ways and means of realizing your life purpose either. You can’t imagine what the ways and means will be because they lie on other film rolls that you still need to reach. There is no doubt that you will reach them if you initiate all three types of action. You have a huge advantage because your competitors usually only use one type of action, the third. Many put a huge amount of effort into this but to no great effect.
    • 也没有必要担心实现人生目标的方法和手段。你无法想象这些方法和手段会是什么，因为它们还在你需要到达的其他胶卷上。毫无疑问，如果你采取这三种行动，你就会达到目标。你有一个巨大的优势，因为你的竞争对手通常只使用一种类型的行动，第三。许多人为此付出了巨大的努力，但收效甚微。
  • Which works most effectively, the first, second or third action? It all depends. On average, they are all roughly equally effective, but If you integrate all three rather than practicing them individually, the results are one hundred percent guaranteed. In any case, the triple action rights the course your reality is taking and things sort themselves out in all areas of your life.
    • 第一个、第二个还是第三个行动，哪个最有效?这要看情况。平均而言，它们的效果都差不多，但如果你把这三种方法结合起来，而不是单独练习，结果是百分之百保证的。在任何情况下，三重行动权利的过程，你的现实正在采取和事情整理自己在你生活的各个领域。
  • How much time will it take? The answer is forever because, as you know, in life there is always either development or deterioration.
    • 要花多少时间?答案是永远，因为，如你所知，生活中总是有发展或退化。
• 34. Thought forms
  • You, my boring ones, probably don’t quite understand what the difference is between composing a new reality and composing a new self. For in both cases, you compose new film rolls and new mannequins. You will understand soon though.
    • 你们，我无聊的朋友们，可能不太明白创作一个新的现实和创作一个新的自我之间的区别。因为在这两种情况下，你都要合成新的胶卷和新的人体模型。不过你很快就会明白的。
  • • Take note of what you admire in other people.
    • •记下你欣赏别人的地方。
  • • Adopt their general state and sense of self as a projection.
    • •将他们的总体状态和自我意识作为一种投射。
  • • In this state, behave as you would as if you already had what you strive for.
    • •在这种状态下，表现得好像你已经拥有了你所追求的东西。
  • • Live in this state, live the feeling, grow accustomed to it.
    • •生活在这种状态中，生活在这种感觉中，并逐渐习惯它。
  • • Along with the metaphysical work, create yourself on the physical plane too.
    • •与形而上的工作一起，也在物质层面上创造你自己。
  • • Do whatever is required to achieve your goal in the current frame.
    • •在当前框架下，做任何实现目标需要的事情。
  • • Once on the path of self-development, the answers to all your questions will come to you.
    • •一旦走上自我发展的道路，你所有问题的答案就会来到你面前。
  • By composing an image of a new reality, you illuminate the forthcoming frame.
    • 通过构成一个新现实的图像，你照亮了即将到来的框架。
  • Here reality works like a film roll. By imitating an example of your new mannequin, you compose a reflection, which then flows into an image of the subject. In this case, reality works like a mirror. Both the image composition and the imitation process should be carried out using the plait.
    • 在这里，现实就像胶卷一样。通过模仿你的新人体模型的一个例子，你组成一个反射，然后流入主体的图像。在这种情况下，现实就像一面镜子。图像的合成和模拟过程都应使用该褶进行。
  • Only reality should be composed purposefully, by setting aside special time, several times a day, although without letting it become a burden. In imitation, you live it. Fake it, play with it, feel your way into your new role at the same time as taking a serious approach and being consistent. It does not matter too much if you forget sometimes about the plait; the most important thing is that you live the role, just as actors do prior to a film shoot.
    • 只有现实应该有目的地组成，通过留出专门的时间，一天几次，尽管不要让它成为一种负担。在模仿中，你活在模仿中。假装它，玩它，感受你进入新角色的方式，同时采取严肃的方法并保持一致。如果你有时忘了自己的辫子，也没什么大不了的;最重要的是你要活在这个角色中，就像演员在拍摄电影之前所做的那样。
  • When you’re doing this, be open to allow in information concerning your new mannequin and new reality and try yourself out in this new role, as far as circumstances will allow, as well as in your thoughts and visualizations. You may find certain types of mental construct supportive, i.e. thought forms, which you should repeat to yourself as often as possible. For example, I am a high ranking specialist unique in my field. My services are in great demand. I derive much pleasure from my work. My contribution is highly valued. I do everything brilliantly.
    • 当你这样做的时候，敞开心扉，接受关于你的新模型和新现实的信息，在环境允许的情况下，在你的思想和想象中，试着在这个新角色中尝试自己。你可能会发现某些类型的心理结构支持，即思想形式，你应该尽可能多地对自己重复。例如，我是我所在领域中独一无二的高级专家。我的服务需求量很大。我从工作中得到很多乐趣。我的贡献受到高度重视。我做每件事都很出色。
  • I don’t go out to work. I focus on the home, the family, and the children. As a wife and mother, I am one in a million. My husband is in love with me. The children adore me. I also love them all and take care of them. The atmosphere in our home is cozy and joyful. I cheer everyone up.
    • 我不出去工作。我关注的是家庭、家庭和孩子。作为一个妻子和母亲，我是万里挑一的。我丈夫爱上了我。孩子们崇拜我。我也爱他们，照顾他们。我们家的气氛是舒适和快乐的。我让每个人都高兴起来。
  • I am in perfect health. I have a strong, toned, sexy body. It doesn’t matter how old I am. I have the body of a twenty year old and I always will have. I will always be twenty because that is what I have decided. I feel amazing. I have high levels of vitality and a powerful energy field.
    • 我身体很好。我有强壮、健美、性感的身体。我有多大并不重要。我有一个20岁的身体，我永远都是。我永远是二十岁，因为这是我的决定。我感觉棒极了。我有很高的活力和强大的能量场。
  • I am a very charming individual. There is a certain metaphysical glow about me. People sense it and are drawn to me. I have my own individual charm. I am generally a very attractive (charismatic) person. Everyone enjoys my company. I bring with me a feeling of joy and celebration. People are drawn to me. Everyone likes me.
    • 我是一个很有魅力的人。我身上有一种玄学的光辉。人们感觉到了，都被我吸引了。我有自己的个人魅力。总的来说，我是一个很有魅力的人。每个人都喜欢和我在一起。我带来了一种喜悦和庆祝的感觉。人们被我吸引了。每个人都喜欢我。
  • You can write thought forms like this to suit your taste and mood. Activate the plait and say them aloud or to yourself, it doesn’t matter which. At the same time, try to behave in a way that correlates to the affirmations, even though you are still aware that it is a game, albeit a serious one. At the same time, work on yourself, and achieve conformity with your vision on the physical plane. Total success is achieved via triple action.
    • 你可以这样写思想形式来适应你的口味和心情。激活编辫，大声念出来或者对着自己念，哪一种都没关系。与此同时，试着以一种与肯定相关的方式，即使你仍然意识到这是一个游戏，尽管是一个严肃的游戏。与此同时，在你自己身上努力，在物质层面上实现与你的愿景一致。完全的成功是通过三重行动来实现的。
  • Qualities like charm, wit, intelligence, confidence, and genius, are relatively easy to manifest with just the first two types of action. When it comes to physical attributes, things are a little more complicated. Here you have to focus on the third type of action.
    • 魅力、机智、智慧、自信和天才等品质相对容易通过前两种行为表现出来。当涉及到物理属性时，事情就有点复杂了。在这里，你必须关注第三种类型的行动。
  • It is worth remembering that physical attractiveness largely depends on the inner qualities, which you consider shortcomings that gnaw away at you. Inferiority complexes leave a very noticeable imprint on a person’s face and figure. With the acquisition of certain virtues, the complex will fall way and you will change so much that people will stop recognizing you.
    • 值得记住的是，外表的吸引力很大程度上取决于内在品质，而你认为内在品质的缺点会蚕食你。自卑情结会在一个人的脸上和身材上留下非常明显的印记。随着某些美德的获得，这种情结就会消失，你会发生很大的变化，以至于人们不再认识你。
  • Even in the case of physical limitations, the body of your mannequin can be significantly improved. Or rather, it will become a different mannequin, which you need to occupy. Everything is possible with due perseverance, including reversing the ageing process.
    • 即使在身体受限的情况下，你的人体模型的身体也可以得到显著改善。或者更确切地说，它会变成一个不同的人体模型，你需要占据它。只要有足够的毅力，一切皆有可能，包括逆转衰老过程。
  • Certain physical qualities are built into your DNA but far from everything. DNA cannot hold so much information that it defines all the subtle details of your portrait. Your DNA only determines your main characteristics, those that determine whether you are a human being or a snail, as well as the basic qualities that distinguish you from others like you. It would be more accurate to say that, the information contained within your DNA is barely enough to describe your embryo.
    • 某些身体素质是内置在你的DNA中，但远非一切。DNA不能包含太多的信息，它不能定义你肖像的所有细微细节。你的DNA只决定了你的主要特征，这些特征决定了你是人类还是蜗牛，以及将你与其他类似你的人区分开来的基本品质。更准确的说法是，你的DNA中包含的信息几乎不足以描述你的胚胎。
  • So where is all the rest? For official science, the rest remains a mystery as mainstream science does not want to accept the existence of the information space, which we call the Eternity archive. There is much that science cannot embrace because it has taken upon itself the heavy responsibility of explaining everything from a ‘scientific’ point of view. And what science is incapable of explaining it either negates or ignores. However, things unexplained do not cease to exist.
    • 那么剩下的都去哪了?对于官方科学来说，其余的仍然是一个谜，因为主流科学不愿意接受信息空间的存在，我们称之为永恒档案。有很多东西是科学所不能接受的，因为它承担了从“科学”的角度解释一切的沉重责任。而科学无法解释的，要么否定，要么忽略。然而，无法解释的事情并不会停止存在。
  • So, a significant portion of the information for your “design” is contained in that very information space. And you can correct the design in question. You will learn how to do this, my dears.
    • 因此，您的“设计”信息的很大一部分都包含在该信息空间中。你可以修正有问题的设计。你会学会怎么做的，亲爱的。
• 35. Thought markers
  • Admit it, you envy me for being so marvellous and incomparable, while you are absurd and awkward! You may envy me, but I won’t allow you to envy others. Work on yourself !
    • 承认吧，你羡慕我的了不起和无与伦比，而你却荒唐和笨拙!你可以羡慕我，但我不允许你羡慕别人。努力锻炼自己!
  • • By setting yourself a new reality, you use an aspect of the film roll.
    • •通过为自己设定一个新的现实，你使用了胶卷的一个方面。
  • • Imitating a new mannequin, you use an aspect of the mirror.
    • •模仿一个新的人体模型，你使用镜子的一个侧面。
  • • In both cases, activate the plait and declare your thought forms.
    • •在这两种情况下，激活辫子并宣布你的思想形态。
  • • Let new information in and start living your new role.
    • •接受新信息，开始新的生活。
  • • At the same time, work on yourself, and conform to your vision on the physical plane.
    • •与此同时，在你自己身上工作，并在物质层面上符合你的愿景。
  • • Physical attributes can be significantly improved via triple action.
    • •物理属性可以通过三重动作显著提高。
  • Before explaining how to correct the design according to which you developed after undergoing the embryonic stage, we will digress slightly. As far as I remember, I called you to invent your own thought forms, according to your own taste and mood.
    • 在解释如何纠正你在经历了胚胎阶段之后所制定的设计之前，我们将稍微离题。就我所记得的，我叫你根据你自己的品味和心情，发明你自己的思想形态。
  • In truth, your mind is not capable of inventing anything new, that is, literally construct something new totally independently. It can only read information, by managing its awareness. have you forgotten who you are? You are film characters!
    • 事实上，你的大脑没有能力创造任何新的东西，也就是说，完全独立地构建新的东西。它只能通过管理自己的意识来读取信息。你忘了你是谁吗?你们是电影人物!
  • The brain has three main functions: The first two involve perceiving your environment and interpreting it. The third is less well known and involves the settings, settings for the memory, one’s thinking and condition. The brain does not generate thoughts or store memories. It works similarly to a radio or a TV set. When you remember something, the brain attunes to an information block situated in the Eternity archive. When you think about something, it also attunes, scans the information and in this way creates from it a flow, which manifests as a train of thought. Thoughts and memories are not stored inside the brain, they are stored outside of the brain, where you would expect information to be, in the information space.
    • 大脑有三个主要功能:前两个涉及感知环境并解释它。第三个不太为人所知，涉及到记忆的背景，一个人的思维和状态。大脑不产生思想也不储存记忆。它的工作原理类似于收音机或电视机。当你记起某件事时，大脑会调谐到位于永恒档案中的信息块。当你思考某件事的时候，大脑也会协调、扫描信息，并以这种方式从中产生一种思维流，这种思维流表现为一连串的思维。思想和记忆不是储存在大脑中，而是储存在大脑之外，你所期望的信息所在的地方，信息空间中。
  • Condition is something slightly more interesting still. This is the feeling you have of yourself, as you were when you were created by Nature, or rather, in accordance with the design. If you reconcile yourself to the fact and accept whatever has been given you by Nature, then this is how you will remain. Alternatively, you can change, for the better or for worse. Here, both the course of your strivings and society have an impact.
    • Condition是更有趣的东西。这是你对自己的感觉，就像你被自然创造时一样，或者更确切地说，按照设计。如果你与事实和解，接受大自然给予你的一切，那么这就是你将如何保持。或者，你也可以改变，不管是变好还是变坏。在这里，你的奋斗历程和社会都有影响。
  • Depending on personal characteristics and life circumstances, you may either consider yourself to be a good-looking, fortunate soul or an ugly loser. This is what is meant by your condition. Whenever your sense of self is aligned with one feeling or the other, your condition synchronizes with the design. And if there is a mismatch, the design corrects itself, one way or the other. So, regardless of the initial parameters of the design, you can turn from a darling of lady luck into a very unsympathetic brat, or, the opposite, transform from an ugly duckling into an all-round favorite.
    • 根据个人特点和生活环境的不同，你可能认为自己是一个漂亮、幸运的人，也可能认为自己是一个丑陋的失败者。这就是你的病情。每当你的自我意识与一种或另一种感觉一致时，你的状况就与设计同步。如果存在不匹配，设计就会以这样或那样的方式自我纠正。所以，不管最初的设计参数是什么，你都可以从幸运女神的宠儿变成一个非常无情的顽崽子，或者相反，从一只丑小鸭变成一个全方位的宠儿。
  • Now here’s a question: Is it possible to control the synchronization process? You probably already know the answer to that. The characters who lack awareness drift along with the script, relying on a random ‘it’ll either work out or it won’t’, ‘I’ll be lucky or I won’t’, helplessly floundering in the current frame. In this case, synchronization occurs automatically, unprompted by the character. And then, the lucky one becomes a star, and the one whom things didn’t work out for slips down a slippery slope into a hole.
  • You, my favorites, not only create your own, new reality, you create yourself anew, remake yourself, attuning to the new you, which means that you intentionally acquire a new condition.
  • But this is not the same thing as synchronization. In the moment you declare your thought form you compose a new reality, which has not yet become manifest. Even practising the imitation technique, you still don’t fully enter into the necessary condition. So what happens next? Next, you shift onto new film rolls, occupy new mannequins and see real progress with your own eyes. You will undoubtedly see progress and then you will say to yourself, ‘this does actually work!’ And then, you will genuinely acquire a new state of being.
  • When you achieve this new state of being, your thought forms will be transformed into thought markers.
  • # It turns out that I compose my own reality. #
  • # My intention really works. #
  • # I really am occupying a new mannequin. #
  • Thought markers state that such and such a thing is actually happening. The statement of it confirms the thing as fact. Unlike thoughtforms, thought markers serve as bookmarks--descriptions of something that has already happened and no longer requires proof.
  • Thoughtforms, on the other hand, are affirmations that strive to prove their validity.
  • The desire to prove something to yourself or others is always unconvincing. Whether you wish to convince yourself or reality, both attempts are ineffective. You can pretend, but you won’t ever be able to convince yourself of something that has not yet happened in physical reality. Positive affirmations will never carry you into a pure condition that exists beyond a shred of doubt. The only thing that is totally effective is confirmation. Thought markers refer to things that are already confirmed.
  • Of course, thought forms as affirmations also have an impact on the design, but a weaker impact, because synchronization only occurs in the moment that you come face to face with the reality of a situation as fact. Thought forms are effective at the initial stage, when a new reality is being launched. Then, when you start to see the first results and your progress, pay special attention to them and again, use the plait and state that your efforts really are working.
  • In this moment, you come into contact with outer intention and, in this moment, synchronization occurs with the design. Thought forms compose reality; thought markers adjust the design. So, carry out all three types of action, observe the shifts and then consolidate them with thought markers:
  • # Every day, I get closer to achieving my goal. #
  • # I really do manage everything brilliantly. My level of professionalism is growing.#
  • # I really am getting physically fitter. #
  • # I really am becoming a more charming and attractive person. #

Tufti the Priestess 36--40

• 36. Greedy catchers
  • The theme of the previous lesson was quite complicated. Would you like to consolidate what we covered? What do you mean, you don’t want to?! Come on, crawl out of your houses! Everyone, horns up! Or you will be punished.
    • 上一课的主题相当复杂。你想巩固一下我们已经讲过的内容吗?你说你不想是什么意思!快点，从你们的房子里爬出来!大家竖起号角!否则你会受到惩罚。
  • • The mind does not invent anything; it reads information from the Eternity archive.
    • •头脑不会发明任何东西;它从永恒档案中读取信息。
  • • There are three main functions of the brain: perception, interpretation, setting.
    • •大脑有三个主要功能:感知、解释、设定。
  • • The brain works as a receiver, attuning to memory, thought and condition.
    • •大脑是一个接收器，与记忆、思想和状态相协调。
  • • Condition refers to your sense of self, as you really are, in all your subtle details.
    • •状态指的是你对自我的感觉，在你所有微妙的细节中，你是真实的。
  • • Condition does not refer to changing moods; it refers to your sense of self.
    • Condition不是指情绪的变化;它指的是你的自我意识。
  • • The design, similarly to your condition, can change for the better or the worse.
    • 设计就像你的身体状况一样，可以变好也可以变坏。
  • • In moments of awareness, your condition synchronizes with the design.
    • •在清醒的时刻，你的状态与设计同步。
  • • Regardless of the initial design, you can take of fand fly or slide down a slippery slope.
    • •无论最初的设计如何，您都可以乘坐飞机飞行或滑下滑坡。
  • • Carrying out the triple action, you shift yourself into a new condition.
    • •执行三重动作，你将自己转移到一个新的状态。
  • • Imitation becomes genuine when you observe results.
    • •当你观察结果时，模仿就会变得真实。
  • • Thought markers confirm that improvements are taking place.
    • •思想标记确认改进正在发生。
  • • Thought forms trigger a new reality; thought markers adjust the design.
    • •思想形态触发一个新的实相;思想标记调整设计。
  • Do you remember I mentioned previously that, when you practice the imitation technique, you create an illusion for reality? I’ll repeat this point now. If there is something you want, pretend that you already have it. if there is someone you want to become, behave as if you were already that person. Be in the role, take it seriously and live it like a professional actor. Live it in your thoughts, in virtual space, and where possible, in your actions, in your everyday reality, until you totally believe in the illusion you have created. As soon as you believe in it, reality will believe in it too.
    • 你还记得我之前提到的，当你练习模仿技巧时，你创造了一个现实的幻觉吗?我现在重复一下这一点。如果有你想要的东西，假装你已经拥有它。如果你想成为某个人，就像你已经是那个人一样。进入角色，认真对待，像专业演员一样生活。在你的思想中，在虚拟的空间中，在可能的情况下，在你的行动中，在你每天的现实中生活，直到你完全相信你创造的幻觉。只要你相信它，现实也会相信它。
  • When will you believe it? When you see a tangible proof that the technique really works. This is why I so strongly recommend that you always pay special attention to any shifts you notice taking place. As soon as you spot a change, immediately activate the plait and savor your achievements, taking pleasure in all the details.
    • 你什么时候才会相信?当你看到一个切实的证据证明该技术确实有效时。这就是为什么我强烈建议你总是特别关注你注意到的任何变化。一旦你发现了变化，立即激活你的辫子，享受你的成就，享受所有的细节。
  • And then, how does the miracle happen? Your design is adjusted! You become a little (or perhaps very) different. It is the same as if you were occupying a new body in a new outfit. if you regularly perform all three actions, you will gradually shift to ever higher levels.
    • 然后，奇迹是如何发生的?你的设计被调整了!你会变得有点(或者可能非常)不同。这就好像你穿上了一件新衣服，占据了一个新的身体。如果你有规律地完成这三个动作，你就会逐渐达到更高的水平。
  • And now for the method, my little boring ones; Again and again! The synchronization method.
    • 现在是方法，我的小无聊的;一次又一次!同步方法。
  • 1. Carry out all three actions, either separately or simultaneously, whichever you prefer.
    • 1. 分别或同时执行这三个操作，任您选择。
  • 2. Observe carefully and avidly grasp any confirmation of your success.
    • 2. 仔细观察并热切地抓住任何证明你成功的证据。
  • 3. As soon as you see a sign of success, activate the plait and consolidate the shift with a thought marker.
    • 3.一旦你看到成功的迹象，激活这个辫子，用思想标记巩固这个转变。
  • Positive shifts will occur both in the context of the manifestation of your vision, as well as in relation to the means by which it is being realized. Reality will throw your potential means of realizing your vision and encourage you to use them.
    • 积极的转变将会发生在你们的愿景显现的背景下，同时也会发生在它被实现的方式上。现实会给你潜在的实现愿景的方法，并鼓励你去使用它们。
  • There will also be moments of ‘defeat’. These are unavoidable. What matters is how you respond to them. When you suffer defeat, your condition changes and you feel a failure. And what happens to the design in this moment? I hate to think. On no account must you let this type of synchronization occur! So, how do you avoid it?
    • 也会有“失败”的时刻。这些都是不可避免的。重要的是你如何回应他们。当你遭遇失败时，你的状态会改变，你会感到失败。在这一刻，设计会发生什么变化?我讨厌去想。您绝对不能让这种类型的同步发生!那么，如何避免呢?
  • It is very simple. Surely you haven’t forgotten the wonderful principle you have at your disposal? Advantage! You probably haven’t yet eradicated your stupid habit of insisting on your own script. Well, hang on in there, otherwise I’ll eradicate you myself ! Or better still, I’ll immortalize you in jars of formaldehyde and show you off to my other students, not for self-edification you understand, but for inspiration! They will become instantly more clever and obedient.
    • 这很简单。你肯定没有忘记你可以支配的绝妙原则吧?优势!你可能还没有改掉坚持写自己剧本的愚蠢习惯。坚持住，不然我就亲手铲除你!或者更好的是，我会把你放进甲醛罐子里，让你永垂不朽，然后向我的其他学生炫耀，不是为了自我熏陶，你懂的，而是为了激发灵感!他们会立刻变得更加聪明和听话。
  • And on the other hand, if you have been lucky enough to secure a victory, nurture and savor your condition carefully, not forgetting the plait. have no doubt, your design will adjust itself and things will develop in a more positive manner. You must be very attentive and responsible when it comes to your condition; manage it.
    • 另一方面，如果你很幸运地赢得了一场胜利，那就小心地培养和享受你的条件，不要忘记你的辫子。毫无疑问，你的设计会自我调整，事情会朝着更积极的方向发展。当涉及到你的情况时，你必须非常关注和负责;管理它。
  • And also, I remember saying, that if you set the right goal, the script might even shock you. You might feel that your life is falling apart at the seams, whereas in actual fact, old ‘stuff’ is being cleared from your reality so that the empty space can be filled with beautiful new things.
    • 而且，我记得我说过，如果你设定了正确的目标，剧本甚至会让你震惊。你可能会觉得你的生活在接缝处分崩离析，而事实上，旧的“东西”正在从你的现实中被清除，这样空白的空间就可以被美丽的新事物填满。
  • And anyway, how can you know by what means your goal should best be realize d? It might seem to you as if nothing is going right, whereas in fact, everything is going perfectly, just not in the way you planned it. And anyway, who ever promised that your path would be strewn with roses?
    • 无论如何，你怎么知道你的目标应该通过什么方式最好地实现呢?在你看来，似乎一切都不顺利，而事实上，一切都很顺利，只是不像你计划的那样。无论如何，谁曾承诺你的道路会铺满玫瑰?
  • And you mustn’t let the fact that you aren’t seeing instant results worry you either. Take into account the fact that reality responds with a delay factor. Be patient, be persistent and consistent. If nothing is working out at all and you feel as if you are knocking at a door that will never open, then you should ask yourself whether this really is your true path and the path of your heart’s desire. The only path, that will never let you down is the path of self-development. Not any path, Of course, (such as studying ancient Greek), but the path that will inspire you and bear real fruit.
    • 你也不能让你没有看到立竿见影效果的事实困扰你。考虑到现实的反应有一个延迟因素。要有耐心，坚持不懈，始终如一。如果一切都不顺利，你觉得自己在敲一扇永远不会打开的门，那么你应该问问自己，这是否真的是你真正的道路，是你内心渴望的道路。唯一不会让你失望的道路是自我发展的道路。当然，不是任何一条路(比如学习古希腊语)，而是一条能激励你并结出真正果实的路。
  • And one more thing: You can only compose your new self by using the reality mirror and the plait. Don’t try and compose your new mannequin while looking in a normal mirror. I forbid you to try it! It either won’t work, or it will have the opposite effect. When you stand in front of a flat mirror, you can only note positive developments while ignoring your shortcomings. You mustn’t focus your attention on the shortcomings you’d like to be shot of. Shortcomings should be either eradicated through self-improvement or accepted as an aspect of your individuality. if you can’t do anything about them, then, let them be.
    • 还有一件事:你只能通过使用现实镜和辫子来组成新的自己。不要在照镜子的时候试着组装你的新人体模型。我禁止你尝试!它要么不起作用，要么会产生相反的效果。当你站在一面扁平的镜子前，你只能注意到积极的发展，而忽略你的缺点。你不应该把注意力集中在你希望摆脱的缺点上。缺点应该通过自我提升来消除，或者作为你个性的一个方面来接受。如果你对此无能为力，那就随它去吧。
• 37. Sweet harmony
  • Yes, yes, I know, I know, when it comes to laudatory, captivating speeches addressed to my highest self, you lot are churlish, indeed most churlish misers, and of my success, you are greedy, indeed most greedy scrooges. And so you are! But not to worry, I shan’t be in your debt; I will store a bitter grudge against you and, when I have saved up enough, I shall settle the score.
  • • Pay special attention to positive shifts.
  • • The design is adjusted in the moment you consolidate the shift with a thought marker.
  • • Greedily catch hold of any confirmation of your success, savor them, enjoy them.
  • • Confirmation of results will carry you into a pure condition.
  • • Regular, systematic practice of the three actions will perfect your design.
  • • You mustn’t look at failure and see failure, or look at defeat and see defeat.
  • • The path of self-development is the only path that will never let you down.
  • • Either you manage your condition, or your condition manages you.
  • This final point is extremely important. I hope you understand the significance of the meaning. You must be very attentive and responsible when it comes to your condition; manage it because, firstly, it is the key to your design, and secondly, there is something else, of which we shall speak now.
  • Just because you have woken up in a film doesn’t make you invulnerable. Because you are in a film, anything that happens in the film can also happen to you. You awakening does not change the film. Your task is to create a film in which everything works out favorably for you. If, however, something unfavorable does happen, you still have one failsafe fallback principle--Advantage.
  • In addition to applying the advantage method to situations that have already taken place, you can also create advantage from events that have not yet occurred. I will not bore you now with yet another method; the principle here is simple: if it works out then great, and if it doesn’t, even better. This applies to events that are so important to you that the very importance you attribute to them hinders their smooth, successful implementation, such that even the plait cannot rescue you. And since this is the case, declare beforehand that whatever outcome the event may have, it will be advantageous to you and therefore successful. This reduces the intensity of the importance you attribute to the event and it will also lift your mood. Anyway, you don’t really know, do you, exactly what turn of events in the script will work in your favor. We have already discussed this before.
  • Although constantly composing a film roll, in which everything turns out favorably for you, is a beneficial habit, sometimes it can feel tiring and a bit full-on.
  • So, what does this mean? You can’t ever relax now? You can, you can!
  • Along with all of the principles we have covered thus far, there is another aspect of Reality worth considering: ‘the weather at home’, or, in other words, the atmosphere of the current filmstrip. We are not talking about the weather as such, rather the general condition of reality, which may be aggressive, or harmonious, and which is personal to you because everyone else is living in relatively different conditions. Everyone has their own ‘weather’. For example, in one and the same geographical area, you may have a blue lagoon, while someone else has an icy desert.
  • So, the weather in your current reality is determined by your condition. By condition here, we mean not only the type of condition we talked about very recently but your state of mind and mood as well as your attitude to everything around you.
  • Both your condition in particular and the condition of your reality can be expressed in one general term: sweet harmony. The sweetness in this term is nothing to do with marmalade. Obviously this word in particular has many meanings. Above all the term refers to harmony, in the sense that all shall be well. It also refers to pleasure and delight--the sweet life. To get along sweetly means to live in peace and harmony.
  • Sweet harmony is when the world is at peace, there is order and prosperity in your life, and all is well. ‘Sweet’ can also mean ‘my sweet’ or ‘my love’. if you love life, life will overflow with sweet harmony. if you love yourself, life will be filled with delight.
  • And if you don’t love yourself, create harmony and you will begin to love yourself. Do you remember the law? if you allow yourself to be guided by the principle of Advantage, there will be fewer and fewer events in your life that are in some way harmful. There will be harmony, but life is even better If you can create sweet harmony intentionally, i.e. attune yourself to a corresponding state.
  • There was a reason why I advised you to copy the general air and sense of self of the people you look to as role models. This is not only the key to your perfect design, but also the things that create attraction. What is it about your role models that attracts you? No doubt a very positive manner that life is good, success, style, beauty, charm, and pleasure. Pleasure is the first thing that people seek. People are drawn to those who radiate happiness and, by and large, they are all drawn to sweet harmony!
  • And what else is drawn to sweet harmony? Reality! Reality loves sweet harmony too and becomes harmonious around people and for people who radiate the same. Dissatisfaction, irritation, hostility and similar attitudes do the exact opposite: they repel others and they make reality frown.
  • What should we conclude from this? Try and maintain a condition of sweet harmony. Look for pleasure in small things and there, you will find it. Use any excuse to create a special occasion and life will be one continual celebration. Create a light, sunny atmosphere both within yourself and around you. Merely expressing a benevolent attitude towards others is enough to evoke their good will towards you.
  • And a benevolent attitude towards your reality, whatever the circumstances, will evoke the good will of reality itself. Deliberately create a positive atmosphere. Make this a habit. This is probably the most beneficial habit of all those we have covered.
  • Radiating happiness, love, comfort, and joy, more specifically, sweet harmony, you attract people and a successful reality also. For everyone wants the same thing.
  • People are drawn to those with good fortune, those who know how to create the sweet life. You look at the screens and the magazine covers and you see people who are super successful, comfortable, beautiful and happy--it’s enough to make you sick— and you think when you compare yourself to them, that your life has not worked out as it should. But believe me, all that showy beauty and happiness is, for the large part, all down to props and bluffs. What’s more, now you know how to create real, genuine sweet harmony. And, most importantly, you are capable of doing so. All right? Am I right? Of course, I’m right. For I am Tufti, your priestess!
• 38. Plait with threads
  • So, my gracious ones, I hope you have understood that sweet harmony is when all is well, and as it should be. Sweet harmony occurs not only when everything is truly well and as it should be but when you deliberately adopt a state of sweet harmony whatever is going on, and then, all is well indeed. Itis like having the ability to change the weather.
  • • Set the advantage in advance: if it works out, great, if it doesn’t, even better.
  • • The weather in your current reality depends directly on your condition.
  • • Sweet harmony means fun, comfort, love, friendliness, and celebration.
  • • People are drawn to fortunate others, who know how to radiate sweet harmony.
  • • Reality becomes supportive to those who radiate sweet harmony.
  • • Stay in control of your own state of mind; do not just let it free-run.
  • Letting your state of mind free-run is paramount to hanging like a cloth puppet in someone else’s hands and dangling about to the will of chance or the will of an other. Create your own personal Sweet harmony. Bring light into any company. Create your own oasis in the frame, the oasis of a happy, celebratory mood. My oasis comes with me: wherever I am, my oasis is there with me. Begin the day with the words ‘Sweet harmony’. Always make a point of getting into this state, whatever the circumstances.
  • Just Sweet harmony, that’s all.
  • If you are feeling annoyed or overcome with fear or anger, don’t fight the emotions, just begin observing. Anything amiss that is happening should nudge you to observe what is going on in your life and your reality. When you look at fear under a magnifying glass, paradoxically, it gets smaller. When you observe reality, it loses its power. Reality doesn’t like being watched. It becomes elusive and, at the same time, ceases to have so much control over you. Don’t stare at reality, just take a sideways glance, so that it does not get annoyed at you.
  • Finally, I want to give you a bit more detail about the plait. Firstly, don’t be too perplexed if you can’t feel the plait or only get a very vague sense of it. All these sensations are very personal--that’s quite normal. For example, my friend Matilda does not sense a plait but rather a slight feeling of oppression from behind, a kind of presence of something non-corporeal and phantom-like.
  • This sense of presence can manifest itself in different ways. It might be something you can actually feel, but if you have to imagine it, that’s fine too. Imagine that someone has attached a hard, straight plait to the back of your head. You shake your head, feel that the plait is there, and then remove it. Although the plait is no longer there, the sense that it was there a moment ago remains with you. This is what is described as a phantom sensation.
  • if the phantom feeling doesn’t work for you, it’s not a problem; try the following technique instead. Imagine that an arrow or compass needle is hanging down from the nape of your neck to the middle of your back. Then, take an in-breath, and when you exhale, imagine that the arrow has turned so that it is now at an angle to your back. If you experience the phantom sensation, you can use this technique to activate the plait.
  • It doesn’t matter what angle the arrow is exactly or how much distance there is between the arrow and your spine. Your energy body will tell you how far the arrow should be from your back for it to become active. Even If you activate the plait without the arrow, simply focus your attention on a certain spot at roughly an elbow’s distance or less from the middle of your shoulders, and that should be enough. With time, after a certain amount of practice, you will learn to feel the plait quite tangibly. The plait also needs training: it has atrophied from lack of use.
  • And now for another technique for advanced snails, that makes the plait even more effective. Imagine that a flow of energy is rising up along the central axis of your body. Take an in-breath and observe a certain sensation rising from your feet up to your head. Next, imagine the reverse flow, from the top down. Exhale and track the downward sensation. Practice this several times. On the in-breath the flow rises upwards; on the out-breath the flow moves downwards. The sensations may be phantom-like, but the energy flow is absolutely real, it’s just that until you really practice you may not be aware of it.
  • Now imagine, that two arrows protrude from your chest in opposite directions: from the chest (or from the stomach) outwards and from between the shoulders (or lower) and backwards. Take an in-breath and then on the out-breath, imagine that the arrow in front is turning into an upward vertical position and the arrow behind you is turning in a vertical position pointing downwards. Try to sense both energy currents as they flow simultaneously. The rising current, triggered by the frontal arrow, moves along the whole body just a little forward of the central axis, while the descending current triggered by the arrow behind the back also flows along the length of the whole body slightly beyond the axis. Or simply imagine that they both move simultaneously, one upwards and the other downwards, without any specific ‘positioning’, depending on which is easiest for you to feel.
  • Repeat this exercise several times, so that you really start to feel the energy flow in the body. Then, on an out-breath try and trigger both energy flows at the same time, without picturing the arrows. Then activate the plait, like you did using arrow from the nape of the neck, breathe a little, and then on the out-breath, move it sharply downwards into a vertical position, at the same time triggering both energy currents.
  • You should get the hang of it after just a little practice.
  • Again, just as you work with the plait without tension, do the same with the currents.
  • You just trigger the energy flow, but it moves of its own accord. Simply get the energy going and then let the flow continue moving through the body of its own accord.
  • And now, the plait and flow method.
  • 1. Take an in-breath, and on the out-breath imagine the arrow moving at an angle away from your back. Now the plait is activated.
  • 2. Without letting go of the sensation of the plait, compose a picture of your reality. At the same time, make sure that you are breathing freely.
  • 3. Without losing the sense of the plait (the arrow), take an in-breath and on the out-breath sharply send the arrow into a vertical downward position, triggering both energy flows.
  • 4. Staying aware of the movement of the rising and descending energy flows, say the following thought form quietly to yourself or aloud: My intention is being realize d.
  • 5. Then let go of all the sensations you have been working with.
  • What is happening when you do this? You are not only composing your own reality with the help of the plait, you are putting out (sending) your intention as a ‘message’ to the universe. In this way, the energy flow strengthens the work of the plait. If this technique works for you and you enjoy it, you can use this variation of the exercise all the time. But if not, then the basic method will be sufficient.
  • Another effective way of using the plait is to work with it whilst you are in the bath or any other source of water. For example, make the most of the time that you are in the bath. Activate the plait (the walls of the bath hinder the exercise) without the energy currents, and compose a picture of your own reality and/or yourself — your new mannequin. You don’t have to try too hard. It is enough to concentrate for two or three minutes in total and then drop the plait and then just relax in the bath for another ten minutes.
  • What is the point of this? In this case, the plait is working as well as the water, which, as we know, is readily charged with the information content of your thought forms (as well as thought markers, obviously). The water does not send your intention out into the universe. In this case, its function is different. First, the water absorbs the information You are giving it, then it literally ‘imprints’ your subtle(energy) body with the same information. Water is highly effective in fulfilling this function. When you are immersed in water, you can be totally charged, (imprinted) with your intention, and then you walk around like a living radio station, broadcasting it throughout the atmosphere.
  • If you don’t have a bath, there is another option you can use —the contrast shower.
  • At first, spend a couple of minutes warming up in hot (not too hot) water, and turn on the cold water for no more than five minutes. Repeat the same three or four times. The greater the contrast in temperatures the better, but more important than that, you shouldn’t experience extreme discomfort and damage your health.
  • Postpone working with the plait when doing this procedure because it will be harder to concentrate than when you are in the bath. A contrast shower, however, dramatically increases your energy flow, so for this reason, when you turn off the water, be calm, focus and then practice the plait and flow method. This is also a very effective technique.
  • That’s it. It’s all very simple. The plait isn’t a gadget that you can or can’t afford to purchase —you already have it, and you always will. And, Of course, no super-gadget can give you what the plait will. Nonetheless, use it intentionally and purposefully; don’t ‘chat’ with it unnecessarily.
• 39. The power of past incarnations
  • So, then, my darlings! We won’t consolidate what we have covered any more. For you, from now on, repetition will take the form of re-reading this book, perhaps, more than once because even having carried out the recommended practices, you couldn’t have understood or remembered everything first time round, and all the more so if you didn’t actually try out the techniques while you were reading the book. I have been there. I know.
  • With each new reading you will surprise yourself as you discover something new, as if you were reading the book for the first time. Try to reread this material at least once and discover this for yourself.
  • The last thing I want to tell you is something of which you won’t suspect, like for example, you were not aware of the existence of the plait--your birthright. As you now know, you have the right to compose your forthcoming reality and even a new mannequin, but there is something more. You have the right to personal power, accumulated over the course of your past life incarnations.
  • What is the meaning of life in principle? Life itself. Only this and aside from this, there is no other ‘deep’ philosophical meaning. What is the meaning of the existence of the planet or a single grain of sand? There is none. They simply are – that’s all.
  • There is no fundamental difference between the meaning of the existence of the living and the non-living. The meaning lies simply in that all these things are, and glory be to the Creator.
  • So what is the meaning of successive incarnations? The answer is also nothing, well, almost nothing. Every subsequent life, from the birth and death of a butterfly, to the birth anddeath of the universe, is the dream of the Creator, whose Sparkis present in all things. In the same way, every one of your lives is nothing more than the dream of the Creator, tantamount to your own dream Of course.
  • Why all this should be, can only be known to the Creator. So what can be known to us? We ought to know what we are capable of and what we are entitled to. This knowledge, however, is not given to all, only to those who seek it. If you have no desire to know anything about these things, then live however you see fit. The meaning of life is in life itself, and life is enough.
  • The value just as the meaning of all things in existence is equal. Your life is no more valuable than the life of a snail which you might squash underfoot without even noticing.
  • Of course, I was exaggerating when I called you snails and freaks but not without good reason. The question is, whether what you know and what you have been given is enough for you. If itis enough, then that is all well and good. Everyone has the right to live their life without questioning things. None could blame a snail for living as a normal, non-conscious being because a snail is non-conscious by its very nature. But is it blameless (and can it really be laudable) to live like a non-conscious character when one is endowed with the capacity for self-awareness? That is the question.
  • Of course, none of that refers to you, my dear ones. Since you are already reading this book, you are one of those people who are not satisfied with what is commonly known and what has been given to you. You cannot imagine what prominent, and perhaps, even great people you once were, in your previous incarnations. Undoubtedly you were great, otherwise you would not have earned this life.
  • But, regardless of any former greatness, all that now has been wasted and lost. You do not remember your former incarnations. Do you not think that strange? Again, one might ask the question: what is the point of these past lives? There were failures and defeats, victories and achievements. You have paid for much and accomplished much. Has all that really been for nothing, simply in vain?
  • You cannot bring back the experience of forgotten lives, just as you cannot take with you something you possessed in a forgotten dream. Still, I repeat, you have a right to the personal power accumulated over the course of numerous incarnations. No-one has told you this before, but I am telling you now.
  • Personal power and strength of soul should not be wasted. A new life should never begin entirely from scratch. That would be a mistake, a glitch in creation. Whether you accept it and live with the mistake is a matter of will. Only what good are you to anyone as a defective being? You are no good even to me. It is within your power to claim what is rightfully yours, but how?
  • It is very simple. Anyone who declares their right is given it. You literally need to say: I declare my right. I return my power. I acquire the power of all my previous incarnations.
  • Words, however, are not enough. Words are so often empty talk. There is one subtle detail here. For your words to be heard, you have to use that archaic rudiment of which you are already aware: the plait.
  • Make your declaration using the plait just as you did when you were composing your own reality and Power will hear you. Do this, whenever you feel it is necessary.
  • You will soon gradually come to sense an increase in your personal power, self- confidence, and strength of spirit. You will definitely feel it and every time you do feel confirmation that it is working, do not forget to consolidate your renewed design with thought markers such as: # I can see that my personal power really is increasing. #
  • There is nothing more to add here. You will see for yourself how amazing it is.
• 40. Infinity in infinity
  • And now, we will talk about something which many an inquisitive mind will sceptically await: proof, proof that everything we have talked about here is real.
  • Surely we don’t really live in a film? And surely we can’t jump from one film roll to another?
  • Well, first of all, the main proof should lie in your own empirical experience. The methods and techniques described here really work; check it out for yourself. And secondly, much indirect proof, particularly indirect proof, can be found in the form of anomalous and unexplained phenomena. You won’t find direct proof that these techniques work because, for some reason, reality is not prone to revealing its secrets.
  • How is it, you may be wondering, that I know all about these methods? There is much I do not know. What I do know is that this stuff works and that’s a fact.
  • Why and how exactly is another question. Film rolls and the mirror are just models and interpretations of something more complex. We may not understand how exactly reality works, but we can and should use the qualities of reality for our own practical purposes. And so for this reason, I put forward these models and interpretations that are accessible to our understanding. There is one thing I can confidently confirm: if the model works then it must be very close to the original.
  • Therefore, we will stick to the accepted model. Reality is live, not virtual. Don’t confuse it with a computer game. But it is constructed similarly to a film, or more precisely, numerous film rolls that are all intertwined. Some of these film rolls are moving, while others are still in the archive.
  • Parallel material worlds don’t exist. There is only one material universe (in any case, the one that is ours), but there are countless virtual variations of the world —the archive film rolls. It sometimes happens that a piece of one archival filmstrip is randomly illuminated in the current (material) frame. In this case, a person from the past, the future, or another civilization entirely, could end up here in the present.
  • When a person ends up here, in our world, from the archive, their last life will seem very real to them because their memory is so tied to the film roll from whence they came. The brain does not store information. It stores the information’s address.
  • When moving from one film roll to another, addresses can become detached from the former film roll and become attached to the new one, although this is not always the case. This accounts for the déjà vu effect.
  • The déjà vu effect is when you are certain that something has already happened in your life, but everyone around you insists that it has not. Or the opposite, people tell you that something happened, but you can’t for the life of you remember it, not because you are having a memory glitch, but because there is confusion between the addresses and the film rolls. Reality does sometimes make mistakes like these.
  • Although reality does try very carefully to sift out similar absurdities, it does not always manage it. The so-called Mandela Effect is an even greater blunder than a déjà vu and can’t be put down to the memory glitch of a single individual.
  • This is when a very large group of people, literally millions, collectively misremembers something in the current reality, for which there is no factual confirmation. For example, many remember with all clarity that a certain phrase was spoken in such and such a film. And yet, now, that phrase has disappeared somewhere or been replaced and there is no record of it on any medium, even in the very earliest sources. There are numerous examples like this one, and not only in connection with films.
  • What can account for this? Mass confusion? Why does this happen? The answer is simply that our general reality has shifted to a different film roll in which there is a different version of that particular phrase. Reality accepts an unacceptable mistake: the past has changed without the address in the collective memory being corrected.
  • The collective distinctly remembers what was on the previous film, because their addresses are still connected to it.
  • Here we should qualify this by saying that until now we have been talking about individual film rolls. Whereas in fact, the general film of reality is constructed in a much more complex manner. The individual film rolls of individual people turn separately, but they lie on a collective roll common to all humanity. The end of the world will affect us all, right? This has been predicted so many times and yet it still has not happened. As seers perceive it, this version of reality must exist somewhere in the archive, but for now, the collective human reality jumps onto another more fortuitous roll before the event can actually take place.
  • It can also be the case that the present enters the past. For example, the following is a well-documented fact. On 14th July, 1911 a passenger train departed from Rome on its way to Lombardy, and when on the way it entered a mountain tunnel, it disappeared without trace. At that time (more precisely, an even earlier time) the Mexican newspapers of 1840 paid witness to an unusual occurrence. One hundred and four Italians equipped with passports and attributes fitting to the period arrived in Mexico insisting that they had come from Rome by train. Of course, nobody believed them and they could think of nothing better than to hide them away on a psychiatric ward.
  • What happened to the reality of the missing Italians? Well, as we have already said, reality is something that never was, never will be and only is, once and now. And so it is. This case does not change anything because reality is always the current frame.
  • But if this kind of anomaly occurs and different film rolls intersect somehow (and they can do completely at random), then a frame from the future may end up in a film roll from the past. Then, people and objects from that film roll appear in the past.
  • But how can this be?! The frame is moving consistently, one frame after the other!
  • How can people who are born in the present die in the past which also moves in a specific sequence. Initially, the first frame ran in which the people disappeared. Then the second frame ran, in which they reappeared. Whereas in fact, the latter frame came first and the former frame ran second. It is just that the film rolls of the future and the past were mixed up causing the kind of aberration of perception that we are unaccustomed to and which remains incomprehensible despite all our attempts at an explanation.
  • However, there are also documented facts, concerning people from the past, who have turned up in the present with all their belongings right down to the contents of their pockets. There have also been cases in which archaeologists have found artefacts in their excavations that were produced recently or perhaps in an as yet unknown future. Here, again the film rolls have got mixed up and are intersecting. Sometimes, the film rolls do not so much intersect as just touch alongside each other. That is when you get a chrono mirage.
  • Neither people nor objects time travel literally as material objects in space. They might not exist in reality at all, either the present or the past. But they can materialize anywhere and at any time if their film roll falls into the current frame of this place and time. Material reality is the illuminated frame. Reality itself is a multitude of film rolls. This is what needs to be understood.
  • These anomalies do not prove anything, but they do serve as indirect confirmation that reality is an infinite space made up of variations of different film rolls. Moreover, it follows that not only the quanta of the microcosm are discrete but all of reality, because the film rolls consist of frames separated at intervals from one another. If science would accept that the macrocosm as well as the microcosm was quantum, all sorts of new discoveries would be made. For example, instantaneous movement through time and space, as well as other anomalies occur in the spaces between frames.
  • All the practices we have covered confirm that all reality is discrete rather than continuous. Freeing yourself from the frame frequency of the current film roll, you acquire the ability to create the impossible. Literally, all these procedures with attention and the plait take you out of the frequency and phases of reality. And in this sense, you acquire the ability to stroll freely through a film.
  • One may suppose that the Eternity archive, did not appear instantly either but rather evolved over time. Everything that was or that could have been was not always recorded. (although hone could also maintain, that the archive has always existed. Only then one has to delve into philosophy and determine the semantics of the word ‘always’. What does ‘always’ mean? Does anyone know?)
  • Evolution is, in a certain sense, a process of producing information. Both living and non-living nature evolves, develops and simultaneously produces information about itself concerning the variants of its existence. The evolution of the Web is a good analogy--visitors type in their information and the data accumulates.
  • The film archive is not a comprehensive, totally infinite information field, which has always existed in relation to everything, but rather, let’s say, a part of infinity, which moves and grows like a huge construct, which is also infinite. It moves and grows within infinity. It’s infinity as a part of infinity. Can you imagine such a thing?
  • No? And there’s no need to. There is no point over analyzing things that are beyond the mind. (Who knows, someone may argue that infinity does not exist and the Universe is finite. But who can say for certain?)
  • Don’t overthink things, instead, act and enjoy the feeling of delight simply from knowing that you are capable of recreating yourself and your own reality. This discovery of light at the end of the tunnel gives you strength, hope, and purpose, which also means, the energy for the intention to create such something that from the point of view of the average man in the street, ‘is impossible’.

Tufti the Priestess 36--40

• 41. Conclusion
  • So, my good ones, we have come to the end of the first volume of our narrative.
  • This is just the first volume and we will, Of course, meet again.
  • If you have not yet transformed into fireflies, then, You are at least close to it and are currently somewhere in the transitionary phase of a lizard, an elusive, curious lizard!
  • You will bask in the rays of my glory, narrow your eyes, wag your tails, open your mouths wide, and make zoological sounds hissing: “Tufti-Tufti-i-i! Priestess-Priestess-ah,ah!” and then, gather in a flock and whisper to each other, whilst glancing back at me: “How can we use her in our own interests?!”
  • The most important thing is that you use the knowledge you have received. Most people (almost all) live without ever waking up. They go through life as if not of sound mind, without looking up or looking about them. They never try to create their own reality and just drift through the existing motion picture like a fish drifts around an aquarium.
  • Do you understand now how strikingly you differ? Don’t forget though, that this does not give you the right to look down on others, or worse, be have towards them with contempt. Don’t be sleeping characters. It is a worthless task. Let other people live as they want to and as they are able. Those who are capable of awakening will find me, just like you did. Remember me and don’t forget yourself.
  • The knowledge described here is given in a very concentrated form and, what is more, it is the kind of knowledge that may appear too vague and elusive. You could let it wash over you without understanding it at all. The reason it is elusive is that it concerns an illusion, in which you are constantly immersed--the illusion of action which consists, if I may remind you, in that you think you live an independent life and are in complete control of your actions.
  • At the same time, nothing works out the way you want it to. Herein lie the contradiction and the paradox. If you act according to your will, why is it that everything turns out differently to how you would like it to? You think the reason things aren’t working out is simply that they aren’t working out, and that’s it. In fact, the reason things aren’t working out is that you are not in fact acting according to your will--you are being led by the script.
  • When you are taken over by anxiety, fear, dislike and other emotions, you are plunged into a dream, into a trance and are not yourself. You might think that it is these emotions that have taken control over you, but that is not the case. Emotions immerse you in sleep and then the script owns you.
  • The other reason that things are not working out is that you don’t know how to act so that they do. Instead of composing your future reality, you fight with your current reality. The aim of this book is to drag you out of the illusion. There is not an awful lot that needs to be said on the matter; it is better that you first understand, become aware and see wherein your illusion lies. This of itself will not be enough to radically change your life, but in the forthcoming books, you will be able to learn much more about it.
  • Every day there is something that bothers you, that makes you feel disheartened or oppressed. You have to catch yourself when these moments occur and redirect the vector of change instead of giving in to them: ‘I can create reality, and it is up to me to decide what the reality will look like’. Remember that you are composing an end result, the goal frame, and not a specific course of events. Develop this habit.
  • Remember I said that power is a reality driver? This is what turns the film roll. If yous tart to compose reality, power will notice you. Power always focuses its attention on those who help turn the film roll. Power lifts them up and begins to help them.
  • Power is not interested in empty dream mannequins, who play roles in films Un-awakened. Adopt the following motto: ‘I look for power, I find power, and do Everything with power’. That is, I do everything powerfully, brilliantly and with soul.
  • Do this, and then power will walk with you.
  • Be careful not to fall in to a state of childish glee as you delight in your own miracles. Rejoice to yourself quietly, or reality might be tempted to take revenge (reality can be like that sometimes, a tad malicious), and even more importantly, avoid bragging about it to your friends.
  • Don’t talk to your friends in conversation about the methods for creating your own reality and mannequins. They may not understand and then you will be laughed at.
  • These techniques should not be looked at out of context. It is better to recommend that your friends read the book for themselves if they are curious about what you say.
  • Do not lend your own copy as a book like this is a kind of talisman. This book is more than a collection of texts; it is a thing that has power. Hold it in your hands, feel its weight, and the overall sense of it. It is yours.
  • And I am Tufti! Farewell snails! Until we meet again in the following volumes!
• 42. Methods
  • Why is it so important to carry out the methods described here? Because methods release you from the script, bring you to life in the film, and instil helpful automatic responses.
  • Awakening Method
    • 1. You wake up, the moment something happens.
    • 2. Before doing anything, you wake up.
    • Focus your attention on your awareness center, on the point between the inner and outer screens. From here you can simultaneously observe your thoughts and what is happening around you. You can see your surrounding reality and yourself within that reality. Nothing prevents you from watching both screens at the same time. You can do this.
    • Examples of external triggers: you met with someone, someone asked you something, something happened close by; it doesn’t matter what, any sound or movement--anything at all that would have attracted and involved you previously. As soon as something happens, focus your attention on it immediately, but do not lose control of your focus, hold it at the center.
    • Examples of inner triggers: you are planning to go somewhere, do something or talk to someone. Before you act, bring your attention to the awareness center. It is important to do this beforehand because after you have taken action, it will be too late. You will simply discover that first you fell asleep, then woke up and realize d that you were sleeping.
  • Frame Illumination Method
    • 1. Catch yourself being affected by one of the triggers.
    • 2. Wake up: I see myself and I see reality.
    • 3. Activate the plait, without releasing the sensation of it, compose the reality you desire.
    • 4. Drop the sensation of the plait.
    • 5. if the event is significant, repeat the illumination several times.
    • In the same way that you tracked your attention, now keep track of the impending frame. Here there are three triggers:
    • Expectation--something is likely to happen, you are waiting, hoping for something.
    • Intention--you intend to go somewhere or do something.
    • Problem--something has happened that needs dealing with.
    • Whenever you are expecting something, don’t wait or hope--compose your own reality. Whenever you intend doing something, do not hurry to start; first compose the reality you wish to see. Every time a problem arises, once again, don’t wait, don’t hope, don’t fuss, compose the reality you wish to experience.
    • The frame illumination method is an exercise in developing meta-power and, at the same time, a means of composing the reality you want. Follow the illumination method calmly and naturally. Use thoughts, words, visualization--whatever works best for you. The most effective type of illumination is visualization.
  • Plait With Flow Method
    • 1. Take an in-breath, and on the out-breath, imagine the arrow moving at an angle away from your back. Now the plait is activated.
    • 2. Without letting go of the sensation of the plait, compose a picture of your reality. At the same time, make sure that you are breathing freely.
    • 3. Without losing the sense of the plait (the arrow), take an in-breath and on the out-breath sharply send the arrow into a vertical downward position, triggering both energy flows.
    • 4. Staying aware of the movement of the rising and descending energy flows, say the following thought form quietly to yourself or aloud: My intention is being realized.
    • 5. Then let go of all the sensations you have been working with.
    • What is happening when you do this? You are not only composing your own reality with the help of the plait, you are putting out (sending) your intention as a ‘message’ to the universe. In this way, the energy flow strengthens the work of the plait. If this technique works for you and you enjoy it, you can use this variation of the exercise all the time. But if not, then the basic method will be sufficient.
  • Advantage Method
    • 1. Catch yourself at the non-acceptance trigger.
    • 2. Wake up: I see myself and I see reality.
    • 3. Ask yourself: what is the advantage in this?
    • 4. Ifan answer comes to you, accept it and take the advantage.
    • 5. If no answer comes to you, try to accept the idea of advantage anyway.
    • Every event or situation, whatever its nature, has a positive side and a negative side. The script is not trying to cause you harm at all because inflicting harm takes energy. The script always takes the path of least resistance. But you give a knee- jerk, non-accepting reaction either due to your nasty character, your propensity for negativity, your habit of self-protection, your high opinion of yourself, or even just because ‘nothing is going your way’! As a result, as usual, you spoil your own life and the life of those around you.
    • More than this, the script works to achieve your goal if you set a goal. When you compose your own reality, the script aligns itself according to your composition even if it does not appear to you that this is the case. But you always insist that everything should go exactly according to your plan, and thereby obstruct the implementation of the plan.
    • Adopt and integrate one simple principle: seek out the advantage in everything. Literally, seek and draw out the advantage in any annoying situation, and in any event that causes you to respond even a little bit negatively. Set yourself this goal: draw out the advantage.
    • But in order for this to work, you need to wake up and shift your attention to the center. The triggers in this case are mostly external: someone says something to you, does something, or around you something is going on--anything that causes your non-acceptance, from slight dissatisfaction to absolute fury. Trigger emotions may also include irritation, depression, anxiety, aggression, and fear.
    • To make the right choice, you only need to stop and think for a moment: what might the advantage be in this? And then, do not resist the script, try and follow it. Literally, follow advice given to you, heed opinions expressed, agree, go to something, and accept things you would have previously rejected or caused you to enter into a possible confrontation. As a result, you are transported to an alternative film roll, where, in contrast, everything works to your advantage, because you stopped at the right moment and chose to benefit from the advantage of the situation. It is all very simple: what you choose is what you receive.
    • In reality there is one immutable law. The law is this: the more you allow yourself to be guided by the principle of advantage, the fewer events life will throw at you that are harmful.
  • The Following Method
    • 1. Catch the moment of the control trigger.
    • 2. Wake up: I see myself and I see reality.
    • 3. Ask yourself, sense, what is the first dictate telling you?
    • 4. If an answer comes to you, follow the dictate.
    • 5. If no answer comes to you, compose the goal frame and try following again.
    • Being endowed with self-awareness, You are constantly asking the question ‘how?’ and then you conjure up a whole strategy for achieving what you desire. Yes, in the moments that you ask yourself this question, your self-awareness awakens, but it hinders you because in your mind, rather than holding sight of the goal, you focus on your own silly ideas of how to achieve it. You spoil everything by insisting on having things your own way.
    • What you must keep in mind is not a specific course of events or people’s behavior (actions) but the end result--the goal frame. You should observe yourself, and where you place your attention, to prevent it from fabricating its own plan and, instead, follow the subtle nudges of the script taking them to be the dictates of Power.
    • By consciously allowing the script to lead you, you are in fact leading yourself, using the Power and Wisdom of the script. And then everything goes smoothly and well. It’s when you don’t allow it to lead you that you end up spoiling everything. It turns out that ‘nothing is going my way’ in part because you are not allowing it to.
    • Here you can use all the triggers which we included in the attention tracking method, frame illumination and advantage methods. You should make regular use of all the triggers until it becomes habit. This is the only way to learn to wake up at the right moment. if you don’t adopt this habit, nothing will happen. The ability to wake up at the right moment is essential.
    • In addition to the above, I’ll mention the control triggers. Your most harmful habit is your desire to control everything: the script, events, other people.
      • 1. I want something from people and events.
      • 2. I want everything to go according to my plan.
      • 3. Something is not turning out the way I wanted it to.
      • The habit of ‘controlling’ must be replaced with a new habit of letting go and following.
  • The Image Method
    • As soon as you find yourself wanting something from someone, wake up and stand in front of the mirror. What do you need to do for the reflection to meet you halfway?
    • Take the first step. Give to others, what you would like to receive.
    • 1. Catch yourself thinking: I want other people to give me something.
    • 2. Be fully present: wanting is futile, you have to give.
    • 3. Ask yourself: what can I give that is the same?
    • 4. if you find something similar, give it now and give upfront.
    • 5. if you don’t find something similar, then just give anyway.
    • Use the following table to compose the image you want:
    • Simply line up all your thoughts and actions with a plus sign after them. All your ‘give me’s’ have a minus sign after them and either don’t work or create the opposite effect. Similarly, all your negative thoughts and actions come back to you like a boomerang.
    • There is a general principle for composing the image: rather than complaining to the world, love it. In reality, all you need is love. It’s just that you don’t always understand these words in the right context. You want people to love you. You think that first people will love you and then you will love the world. But it should be the other way round: you love, you radiate love, without demanding anything in return, and only then can love come to you.
  • The Reflection Method
    • In a three-dimensional mirror, the subject and the reflection are connected. So what does that give us? It means that the image you create can become a reflection, and the reflection can flow into the subject. In other words, you can turn a reflection into a subject pretending you have something you don’t, or that you are someone, you have not yet become.
    • For example, you want to have your own home. You wander round the shops looking at furniture and items to decorate the interior as if you already had a home. Or you might want to be wealthy. You look at expensive things, cars, yachts, spa resorts. Allow wealth into your life. Or you want to become a star in some area or another. Behave as if you were already a star; live that life, for now at least, in your imagination.
    • Don’t worry that it might feel like a game or self-deception. if you are serious in your approach to the game, reality will be forced to take you seriously. It is a mirror after all! Your task is to be present and feel now how you would feel if you already had what you want, or already were the person you’d like to be. Fake it and live out the faking of it. It’s make-believe, but it’s no joke. No joke, you see?
    • Gradually, the picture of reality will attune itself to your make-believe. Reality loves to create illusions, but it can’t stand being fed them. It will find a way of turning the illusion you have created into reality.
    • 1. Catch yourself thinking: I want something or to be someone.
    • 2. Become fully present: wanting is futile, you have to start composing.
    • 3. Fake it and be have as if you had already achieved what you desire.
    • What you imitate is what you get; who you pretend to be is who you will become.
    • Live it in your thoughts, in virtual space, and where possible, in your actions, in reality, until you totally believe in the illusion you have created. As soon as you believe in it, reality will believe in it too.
    • There are just two necessary conditions: the first is to take the game seriously; the second is to play the game consistently.
  • Design Synchronization Method
    • You are created according to your DNA pattern and the design, which, being located in the information space, you can adjust. The design can change for the better or the worse, depending on your condition. Condition refers to your sense of self, who you really are, warts and all. Your condition is more than a passing mood, it’s your sense of self.
    • So, regardless of the initial parameters of the design, you can turn from a darling of fate into a very unattractive brat, or, the opposite, transform from an ugly duckling into everyone’s favorite. If you drift, weak-willed, along with the script, like the incompetent characters of a film, you will fly, if you are fortunate and you will fall, if something goes wrong.
    • The fact is, that you either control your condition, or it is controlled for you. You should intentionally choose your condition. You shift into a new condition by carrying out the three types of movement (propel reality, propel yourself, propel yourself from within).
    • But for now, this new condition is nothing more than imitation. You will shift into a genuine (rather than an imitated) condition when you start to see confirmation that the technique really works. This is why I so strongly recommend that you always pay special attention to any shifts you notice taking place. As soon as you spot a change, immediately activate the plait and savor your achievements, taking pleasure in all the details. In this moment, your condition synchronizes with design and the design is adjusted. This means, that you are occupying a new mannequin.
  • In a genuine condition, your thought forms are transformed into thought markers:
    • # Every day, I get closer to achieving my goal. #
    • # Really, I do everything brilliantly. My professionalism is growing. #
    • # I really am getting physically fitter. #
    • # I really am become a more charming and attractive person. #
  • Thought markers are confirmation of the fact that shifts can take place.
    • 1. Carry out all three actions, separately or simultaneously.
    • 2. Observe carefully and avidly grasp any confirmation of your success.
    • 3. As soon as you see a sign of success, activate the plait and consolidate the shift with a thought marker.
    • Thought forms trigger a new reality; thought markers adjust the design.
  • Integrated Action-stroll Method
  • 1. Composing a new reality and yourself within it.
  • 2. Pretend that you already live in that reality and that you are already that new self.
  • 3. And, Of course, act, create that new self, fan the Creator’s Spark.
  • This is what we talked about earlier; it is what you are capable of doing inside the film: propel the forthcoming frame, propel yourself, propel yourself from within. Take it all seriously, practice consistently and for a relatively long period of time--always. Then, one film roll at a time, one reflection at a time, your mannequin and your life will begin to change. You will see change, of that there is no doubt.
• 43. Review of basic principles
  • The dream space
    • The dream space is not a product of your imagination. It is real and exists in the form of a film archive, where everything that was, is and ever might be is stored. When you are seeing a dream, you are viewing one of these film rolls.
  • Physical reality
    • Physical reality is not that which never was, nor that which never will be, but rather that which happens, once and now. Physical reality exists for a single moment, like a frame in a film roll, which moves from the past into the future.
  • Reality
    • Reality is multi-layered, like an onion. Only two layers are familiar to you: physical reality, in which you live, and the dream space, which you dream about every night. Sleeping and waking are roughly the same thing, only they take place in different dimensions. Drifting off and waking up, you shift from one dimension into the other. Sleep and the awakening that follows sleep are similar in context to things like life and death. Life is sleeping, death is awakening and not the other way around.
  • You life or your soul
    • Your life, more precisely, your essence--your soul--also moves from one incarnation to another. You do not remember your previous incarnations. This is because every incarnation a separate life of your soul, or a separate dream if you like. The presence of the body is not essential to the life of the soul. The soul in the body is just one of the forms in which the soul can exist. The body is a kind of bio-suit.
    • Movement and transformation are the fundamental qualities or reality and life.
    • The frame moves along the film roll. The caterpillar transforms into a butterfly. The butterfly lays its larvae, which in turn are transformed into caterpillars to become butterflies again.
  • Inner screen
    • Inner screen. When you are lost in thought, your attention is wholly immersed in the inner screen. You may be oblivious to what is going on around you and do things on auto-pilot.
  • Out screen
    • Outer screen. When your attention is busy with something external, you forget yourself and you do things automatically without having to think about it.
  • Attention
    • Attention. Your attention is always focused either within or outside of yourself but very rarely in between. And so, you are constantly sleeping. Your attention is used to being glued to one screen or the other, without pausing in the middle. The result of this is that you have stopped taking any control of your attention; it does not obey you, but drifts randomly about, you are constantly dropping into a non-conscious state.
  • Sleep
    • Sleep. Sleep is a subconscious state in which your attention is immersed either in the outer or the inner screen. In this state, you are helpless and have no control over yourself or indeed anything that is happening around you. Sleep is your anabiotic state.
  • Dreaming
    • Dreaming is what you see either in the dream space or in the space of physical reality. Reality and dreaming are essentially the same thing. For You are also dreaming reality. Reality is a dream, and dreaming is reality.
  • Awakening
    • Awakening. In order to wake up either in a dream or in waking life, you must pull your attention away from the external or internal screen and shift it to your awareness center. See the ‘Awakening method’.
  • The awareness center
    • The awareness center is an observation point from which you can see where your attention is directed in any given moment and what it is focusing on. At the same time, you see what you are doing and what is going on around you.
  • Awareness
    • Awareness. Wake up and ask yourself: where am I, what am I doing, what is my attention immersed in? In the moment you ask yourself the question, you awaken and arrive at the awareness point. This is me, and this is my reality. I am aware. I see myself and I see my reality.
  • A stroll through a dream (asleep or in waking life)
    • A stroll through a dream (asleep or in waking life) Enter the awareness point, having said to yourself: I see myself and I see reality. Tell yourself: today I will take a stroll through a waking dream. And then go for a stroll anywhere, to work or to school, in this state of clarity. When you are immersed in either one of the screens, you aren’t there; you aren’t in control of yourself or the situation. In a condition of clarity, you are free, and from this moment your dream, whether it be whilst sleeping or in waking life, becomes lucid. You are in control of yourself, and most importantly, acquire the capacity to control the situation.
  • Film characters
    • Film characters--that’s you. As asleep, as in waking life, you are in a film and you are carried by the flow of the script. Your mind is not your own, because your attention is not your own. On your stroll, you ought to have noticed that your own attention was constantly drifting away either to the outer or the inner screen. When you are aware, unlike the other characters around you who are asleep, you see yourself, you see reality, and can consciously control your will, which you couldn’t previously. This is your first step towards a new level of self-control and control of your own reality.
  • Script
    • Script You are led by a certain outer script, which weaves you into a film, in which you are one of the characters.
  • Dream characters
    • Dream characters How are dream characters different to living people (film characters)? They have no self-awareness--they are not aware of themselves as individual personalities. They have no willpower--they are not free in their actions; they are controlled by the script. They have no soul. They are simply templates, mannequins. They cannot say ‘I am me’. They have no self.
    • You, or rather, your Self, is the same thing as your attention. Your attention cannot stay in the awareness center for very long. You have to develop the new habit of bringing your attention back to the center. Use your attention to track your attention, yourself that is.
  • Dream
    • Dreams (both whilst sleeping and in waking life) can be either lucid or non-lucid.
    • In a non-lucid dream, you are dotty and helpless, like a rabbit. But all you have to do is start controlling the focus of your attention and you come to life in a movie, gaining the ability to be have at will, exactly as you see fit.
  • Triggers
    • Triggers You do not have to try and hold your attention in the awareness center continuously. Meaning and value are to be found in something else, namely your ability to respond to what is going on around you. You need to acquire the opposite habit--not to fall into a dream but to wake up when something happens around you. Any event, even a slight waft of air in your space, should make you alert--this is an awakening signal.
    • Likewise, any action you take should be a reminder to check where your attention is focused. Example triggers:
      • Outer--as soon as something happens, you wake up.
      • Inner--before you do anything, wake up.
  • Eternity archive
    • Eternity archive Same thing goes for the dreaming space, which exists in the form of a film roll archive, where everything is stored that ever was, will be and could be. Only the illuminated frame, a momentary impression of physical reality, is truly real. Everything else is virtual, including the past and the future. And all this is stored in the Eternity archive.
  • Compose reality
    • Compose reality To compose reality means to determine the direction in which the frame will move and the film roll that will be played. You have the opportunity to do this, but you don’t make the most of it, just as you don’t use your attention control function. You have to compose your desired reality in advance, rather than battling with your current circumstances. Instead, you try and change the given reality of the current frame. Reality is only ‘reality’ by virtue of the fact that it has already happened. You cannot change anything that has already happened. But this is exactly what you try to do, in as much as everything that surrounds you consists of that which has already happened.
  • Propel the frame.
    • Propel the frame. As you know, changing the past is impossible. You may as well forget about the present too as that also has already happened and it isn’t what you would choose. What you do have is the chance to create your own future and choose a film roll, along which the next frame will move.
  • Intention.
    • Intention. Intention accounts for your actions. In order to-start anything, you have to first intend it. When you are doing something, intention is implemented via action.
    • Similarly to attention, which has two screens, intention has two centers, an inner and an outer center.
    • The inner center accounts for all your everyday functioning and is located in the frontal part of the skull--this is your petty intention. When you concentrate, you frown. When you intend to do something, you tense your muscles. Your muscles enable you to take basic forms of action in the current frame.
    • You hardly use the outer center at all. Yet this is what moves the future frame. You can see where the outer center is located in an instant, right now.
    • The intention plait This is an energy chakra, and similarly to a normal plait — you cannot see it, but you can feel it like you would a phantom limb, which is no longer there, but you still feel as if it was. Rather than hanging down, it sticks out at an angle from the spine.
    • The outer intention center is at the end of the plait. This place it between the shoulders, only not right against the spine but a little away from it. You should be able to find the spot intuitively. The exact distance away from the spine is not important.
    • Just focus your attention on this area and you will feel it.
    • The principle of the outer intention center works is really very simple. You shift your attention to the end of the plait and visualize a picture of any event that you would like to attract into your life. Doing this you illuminate this future frame, and it becomes manifest in physical reality.
    • See chapter ‘Plait with flow’.
  • How to work with the plait
    • How to work with the plait First: wake up and shift to the awareness point. As usual, say to yourself: I see myself and I see reality.
    • Second: activate the plait. Feel it. There it is; as soon as you focus your attention on it, the plait lifts away from the spine and is activated.
    • Third: still focusing your attention on the plait, imagine a picture of the future you want. Compose the picture of your reality in thoughts, words, and on the screen — as best as you can.
    • This is how you illuminate the future frame and it manifests into physical reality.
  • The illusion of action
    • The illusion of action It only appears to you, that you are in control of your actions.
    • It is a very plausible thought but still an illusion. What is illusory is not only what you think you see, but also, what you think you do. You cannot tell that this is an illusion because you are constantly immersed in it.
    • What do you think, do the fictional characters of films and computer games understand that they are in a film and that you are watching them? No. Are the mannequins in your dreams aware, that you are dreaming them? No. And so now I ask you: do you know who you are?
    • You can not ask film characters this question. You can ask a mannequin, but there’s no point. You differ from the former and the latter in that you are at least capable of vaguely grasping the meaning of the question. And in that, you are capable of having self-awareness. But when are you self-aware? Only in the moment that you ask yourself this question. The rest of the time, where are you and who are you?
    • Well, you are characters in a film strip of the life that is happening to you. Rather than living your life, life is happening to you. Neither the mannequin in your dream, nor the hero in a film are capable of perceiving the illusion of their actions, or rather, the illusion of action. So why should you assume that you are capable of doing so? How are you different to a dream mannequin if you live as if you were sleeping in waking life?
  • Habit
    • You are made snails (more precisely, characters) through the habit of not creating your own reality but waiting and hoping for something instead. Will it happen or not? Will it work out or not? This is a passive position. From this position, all you are capable of is probing reality and at the slightest thing, withdrawing your horns.
  • The mold
    • The mold You have to switch into proactive mode. Rather than waiting and hoping, create the reality you want. The mold is an obstacle to this, because according to the mold, creating your own reality is impossible. The mold is your little house. New habits and perceptions are developed just as the old ones took root — through ongoing repetition. Only from now on, instead of staring at reality and following it, you will actively manage the movement of the frame--not the one in which you currently find yourself, but the one that is about to come up. See. ‘Frame illumination method’.
  • Reprogramming
    • Reprogramming It is your snail horns and house (habit and the mold) that keep you trapped in the current frame. In order to escape the trap, you must switch to proactive mode, not waiting and hoping, and compose the reality you want. This requires constant practice of how to manage the impending frame. Method: as soon as you find yourself waiting or expecting something, use intention; as soon as a problem arises, use instant plait activation and frame illumination. You need to compose not only the events, of which the outcome is unknown, but also events of which the outcome is already probable.
    • Why do we need endless repetition? To embed a new programme into your snail mold. You will not believe that reality can submit to your will, until you experience it for yourself, moreover, repeatedly. Controlling frame movement in simple events is the most effective type of training, as a result of which you will...
    • – Learn to wake up and control your attention.
    • – Develop the plait, visualization and intention.
    • –Switch to proactive mode, and in the end, acquire the ability to free yourself from the predominant script and compose your own reality.
    • Forthcoming reality although written in the Eternity archive, is always multi- variant and while it has not been ultimately claimed or composed by anyone, it does not belong to anyone. If someone comes along and composes it, then it will submit to their composition . And if that someone is you, then it will be yours. But before reality can truly become yours, you have to reprogram yourself, i.e., develop new habits and perceptions via a process of multiple repetition.
  • Transformation
    • Transformation The Creator conceived you to be luminescent creatures, your gaze directed forward. And so you once were, before you became mired in the illusion of action. When you practice composing your own reality, you become gradually transformed from snails into fireflies. When you illuminate the frame, you emit an inner light, and the events you desire fly towards you, like moths to a flame. Others around you, who are still snails, will put their horns out towards you and crawl closer out of curiosity.
  • Concentration
    • Concentration Try without making an effort. To illuminate a frame successfully, concentration is important, not force. Can you concentrate, at least for a couple of minutes? Just a minute, then? That is all it requires of you. Follow the illumination method calmly and naturally. The reason for this is that by applying effort, you trigger the inner intention center. Reality is managed from the outer center.
    • Note that if whilst you are illuminating the frame, your muscles are tense, this means your petty intention is working. You have to work exclusively with outer intention--with the plait. This is not something that should be strained or wielded. Meta-power This is the flip side of force, its antipode. Normal force (willpower and physical strength) works from this side of the mirror reality, the material plane, while meta-power operates from the other side, the subtle plane.
    • The reflection in the mirror reality is on this side, the material plane, while the subject is on the other side, the subtle plane.
    • Physical reality is a reflection of the subject, the image, which is somewhere there, on the other side. And there, in the film archive, there are many variants of the future. So, now, judge for yourself: if the future is located on the other side of the reality mirror, is it possible to somehow have an impact on it using standard force, which only operates here on the side the mirror is facing? No.
    • If your attention is focused on what is in front of the mirror, i.e. in the frame of manifestation, then you are completely captured by the script. If it is focused on the other side of the mirror, in the image frame, then you are free to move, both yourself, and future reality.
    • You will gradually come to understand what meta-power is, as you come to feel it. I would not be able to explain to you what power was if you had never tasted it. The same goes for meta-power. You have to feel it and develop it. The plait is your meta- power tool. The frame illumination method is an exercise in developing meta-power and, at the same time, a means of composing the reality you want.
  • Propel yourself
    • Propel yourself to propel yourself means to be self-aware and deliberately control Your motives and your actions. Within the frame, you will move normally, using your arms, legs, and physical strength. But you propel reality completely differently, with your attention, intention, and meta-power.
  • Imitating action
    • Imitating action The point of imitation lies in the fact that you do not have the right to disrupt the established order of things. The established order has it that you participate in the action whilst submitting to the lines of the script. There is not a single character that can bail out of the film roll or do whatever they like within the film.
    • The script is not the product of someone’s subjective will. It is an objective reality and there’s no avoiding the fact.
    • Objective reality is such that you are doomed to exist within it, like characters in a film. You cannot avoid the action. But you can imitate it. You can fool reality.
    • You continue to play your role as before, as it is written into the script; you carry out your daily tasks. But unlike the other characters, being in a state of awareness, you get something more--the opportunity to replace the current film roll.
    • You stroll through the film as a character that has come to life but is pretending to be lifeless, and change the film roll as you see fit. No-one suspects anything — neither the script, nor the other characters.
  • Presence in the film
    • Presence in the film Your presence in the film is above all, the presence of your awareness, your ‘Self ’. Your presence as a living, self-aware, conscious individual in full possession of your faculties in an immutable film. Although the film turns dynamically, it is predetermined, like the behavior of all its characters.
    • Your presence in the film singles you out as one awakened among those who are asleep. You are conscious of your separateness and are aware of what is happening. Your behavior within the film is also predetermined by the script. However, your presence gives you the opportunity to change the film roll--to skip from one to another.
    • In order to become present, you must come alive, give yourself a good shake and work out where your attention is placed: in the central awareness point or one of the two screens.
  • You are not in control of the script
    • You are not in control of the script Composing reality is not about controlling the script but choosing the film roll. Your task is to hold your attention on the frame that is coming next. The script is none of your business. if you try to compose it or resist it, the script will pull you into its trap. Trying to influence the course of events, you make the mistake of taking the reality of the current frame in a deadly grip. The harder you grip, the tighter it grabs you by the tail, that is, by the plait.
    • It is not for you to know, what script will bring you to your goal. But the point is that you don’t need to know. You are working in a film projector mode. When the goal frame is illuminated by your projector, the course of events itself turns to where you need it to be. The script works for your goal if you set it.
  • Advantage
    • Advantage You always insist on everything going according to your plan, and in so doing, you obstruct the implementation of the plan. By expressing dislike, you involuntarily and unconsciously compose a worse reality for yourself.
    • To avoid mangling your reality, and instead, turning it into a wonderful world in all regards, you need to implement one simple principle: seek the advantage in everything. Literally, seek and draw out the advantage in any annoying situation, and in any event that causes you to respond even a little bit negatively. Set yourself the goal of seeking out the advantage in life.
    • The Law has it: if you allow yourself to be guided by the principle of advantage, life will throw fewer and fewer events your way that are damaging. See ‘Advantage method’.
    • Allowing The paradoxical principle: compose not the script but the goal frame.
    • Your job is to know the ‘result’ you want to achieve and compose the corresponding picture of that reality, in thoughts, words, and images using the plait. Then the script will lead you and show you the ‘how’.
    • Tracking the advantage is one trigger for awakening. Any event you experience should be something that causes you to be alert serving as a wake-up call, rather than sending you off to sleep. Your task is to wake up, see reality and compose reality.
    • Previously, as soon as anything challenging happened, you’d ‘A-a-a!’, wave your arms about, and stamp your feet!
    • Now: as soon as something challenging happens, you exclaim (quietly to yourself, or aloud) ‘Advantage!’
    • Beyond that, you allow the universe to do something nice for you, to help you, or to bring you a step closer to your goal.
  • The script directs you
    • The script directs you Why are you constantly forgetting about your attention? Is it down to absent-mindedness? No. It is because you are being directed by the script.
    • You think you are acting independently and that you know what’s what, but this is an illusion. The illusion of action, let me remind you, consists in the fact, that reality takes hold of you to the extent that you do not notice the illusion and don’t realize that you are bound characters in some kind of game.
    • The paradox is that unlike the heroes in the film, you are endowed with the quality of self-awareness. However, you become self-aware, only in the moment that you ask yourself this question. The rest of the time, your consciousness sleeps and relinquishes itself to the external script.
  • Propel yourself
    • Propel yourself Imagine that you are a character in a film. The film roll is turning And you cannot change the plot, but nothing is to stop you from changing yourself. Do Not listen to people who tell you that you must never change. To a certain degree, they are right, you must never lose a sense of your core, your originality, your uniqueness.
    • You have to change, without changing your Self. Working on self-improvement doesn’t mean compromising your true self. Nature originally created you perfect, warts and all, like everyone else. But lack of development leads to degradation. It is a natural law. You should be aware, that you need to work on yourself, develop yourself physically and spiritually unless you want to turn into shrivelled slugs.
  • The Creator’s Spark
    • The Creator’s Spark Much depends on your self-improvement. In each and every one of you there lies a tiny part of the Creator—the Creator’s Spark—so kindle it! It is the Spark, not of the Lord but of the Creator. To lord it over others is another kind of temptation. Which you must never give in to. Create your reality and yourself perfect. The Supreme Creator does not contradict this rule; he does not rule over you (what would be the point, you wouldn’t listen anyway), he creates, and you are capable of doing the same.
  • The dictates of Power
    • The dictates of Power Having the capacity for self-awareness, you ask the question ‘how?’ and design a whole strategy for achieving your goal based on your own ideas. Yes, in the moment that you ask yourself ‘how,’ your self-awareness is awakened, but it gets in your way because you’re not thinking about the goal but your own silly ideas of how to manifest it. Your imagined script contradicts the real one, but you insist on having your own way and spoil everything as a result. The scenario you have invented conflicts with the real one, but you spoil everything by insisting on having things your own way.
    • You need to observe yourself, observe your attention so that rather than sinking back into thoughts of your own plan, you follow the barely perceptible nudges from the script as if they were dictates of Power. You can sense these dictates of Power if you allow them to lead you, consciously and intentionally. If your thoughts are focused solely on the goal, the script will lead you to the goal itself.
  • Following Your mind
    • Following Your mind should be focused on the end result, the goal frame, not the course of events or the behavior (actions) of other people. You can’t resist the script even when you are fully present. All the changes that take place in your reality that occur according to your will, are the result of you switching to a different film roll.
    • You can’t do anything about the script in the current film roll. Don’t resist the script, observe yourself and follow the flow of the film roll. Learn to feel the dictates of Power and to follow the dictates of Power. Follow in order to make the most of the Power and Wisdom of the script. See ‘The following method’.
  • Outer Power
    • You are strolling live through a film when you are present with your attention, and move with intention. Move the frame, but not with your petty intention, move it with outer intention. Outer intention is referred to as such because it is not yours; it does not belong to you or submit to your will. Outer intention is a kind of Power, the engine that is powering reality. Its active component turns the film roll in the way it is destined to turn.
    • You have an access point to this power which is your outer center, the plait. When you are asleep, Power takes you by the plait and leads you through the script as if you were a puppet. But when you are awake, fully present and take the plait ‘into your own hands’, meta-power, Power’s reactive component, is activated. This is what enables you to launch a different film roll, one that corresponds to the frame you are composing.
  • The reality mirror
    • The reality mirror You always go at things head on, acting from a place of petty intention. When you want people to love, respect, and help you, to give you something, you tend to demand it directly like a child: ‘love me’, ‘respect me’, ‘help me’, ‘give me’.
    • 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. Particularly, when you are expressing a negative response with all your heart. As a rule, reality gives a mirrorlike response. What you give out, is what you get back.
  • Composing the image
  • Composing the image
    • 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 in a motion picture. Instead of watching the film, you are living in it. Feel it. Open your eyes and look around you as if for the first time. Look at everything afresh. You will notice that the colors are richer. Now, imagine yourself to be an objective outsider rather than a film character. You entered the film as an insider. Nobody else knows but you. Your body is inside the film, but your attention is outside it. Feel your separateness, your presence.
    • Second. Before you start wanting, 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 must take the first step. 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 realize 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 matter what exactly. Simply, replace your ‘give me’ with the opposite, ‘here, take’.
    • And 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. This also propelling yourself from within.
    • See ‘The image method’.
    • You can control reality, but you can’t control people If, when composing the goal frame, you try and forcibly make a certain individual dance to your tune, it probably won’t work or it will produce the opposite effect, because you’re breaking the rules two fold--you’re intruding into someone else’s script.
    • Only your personal reality is yours to play with. Therefore, only you should be the central figure in the goal frame as you imagine yourself in your dreams: you are the star on the stage, you are in the Director’s chair, you are sailing your own yacht. All the other figures in the frame should be in the background, as part of the set design. Trying to carry out these techniques involving specific people is not right. All you can do is have a mirror-like relationship with them. if you want something specific from a certain person, go and see them and communicate with them within the current film, taking account of the fact that the film is mirror-like in nature.
  • Inner motivator
    • Inner motivator You are led not only by an outer driver, i.e. the script, but also by a certain inner motivator which is the need for a sense of self-worth and the pursuit of self-realization. if you want people to be well-disposed towards you, or you want something from them, set yourself the goal of underlining their importance and help them realize their own goals.
    • If you want to avoid making enemies, be very careful not to injure anyone else’s sense of worth. Creating advantage for others should become part of your philosophy of life . If you do this, you will have no difficulty with your own self-realization. Moreover, your own realization will be successful only when it starts to benefit others. Conversely, if what you do is of no benefit to others, it won’t really help you much either.
  • Manipulating others
    • Manipulating others It is possible to manipulate the consciousness of another character in the current frame. As you are already aware, you are led both by the external script and an inner driving force. The latter, however, to a far lesser degree. This driving force mainly determines the direction in which you move, but you are still set in motion by the script. However, the most greedy snails, either in accordance with their intentions or their script may try to alter the direction your course is taking to suit their own interests.
    • This is manipulation--trying to control someone else’s course in the film. This may be, for example, by deception, creating false values and goals, or by playing on the weaknesses and needs of others. Unlike the mirror principles that do not disturb your course, but rather assist it, manipulators will divert you from your course and use you. Whenever you feel that something is being imposed on you, ask yourself: who does this benefit and how?
  • Manipulating reality Reality
    • Manipulating reality Reality has a dual nature. On the one hand, it is a film, and on the other hand, a three-dimensional mirror. Both are bound to confuse. The main illusion is that the true nature of reality is hidden. You can’t see the space of a film strip, and the mirror framework itself isn’t visible. But if you know this and you remember it, then the illusion will no longer have any power over you.
    • The illusion of the reality mirror is much more complex than a standard mirror. The space is not split in half, and there is no visible boundary between what is real and what is imaginary. You are, at the same time, both inside and outside of the mirror. The image and the mirror reflection are connected. So what does that give us? It means that the image you create can become a reflection, and the reflection can flow into the subject. In other words, you can turn a reflection into a subject pretending you have something you don’t, or that you are someone, you have not yet become.
    • For example, you want to have your own home. You wander round the shops looking at furniture and items to decorate the interior as if you already had a home. Or you might want to be wealthy. You look at expensive things, cars, yachts, spa resorts. Allow wealth into your life. Or you want to become a star in some area or another. Be have as if you were already a star; live that life, for now at least, in your imagination.
    • Gradually, the picture of reality will attune itself to your make-believe. Reality loves to create illusions, but can’t stand being fed them. It will find a way of turning the illusion you have created into reality.
  • Composing a reflection
  • Composing a reflection You are capable of composing both an image and a reflection. In the first case, the image appears as a reflection, whereas in the second, the opposite is true, the reflection appears as the image.
  • First (direct) process: what you put out is what you get back; what you give is what you receive, and who you really are is what you have.
  • Second (reverse) process: as the game, so the reality; what you imitate is what you get; who you pretend to be is who you will become.
  • Directly: the image appears as the reflection. Composing the image is your way of putting a message out to reality. What you put out is what you have.
  • Reversed: the reflection appears as the image. Your make-believe and imitation is your way of composing the reflection. Who you have pretended to be is, in reality, the person you have become.
  • All these manipulations with the mirror are what is being referred to when we talk about ‘propelling yourself from within’.
  • The first essential condition is that the game is taken very seriously.
  • The second essential condition is that the game should be consistent.
  • See chapter ‘The Reflection Method’.
  • The reason you do not like yourself the reason you don’t like yourself is that all the screens and printed covers illustrate the ideals of beauty, success, and happiness.
  • You fall for these illusions obediently trying to fit yourself into someone else’s image, each time coming to the conclusion that you fall short of these standards. In actual fact, beauty, success, and happiness cannot be standardized; these things have a very individual cut. Yet, still, you prefer to believe in the illusion and try to keep up with it.
  • Don’t be jealous when you look at others; and don’t be discouraged when you look at yourself ; become like fireflies: propel yourself and propel yourself from within.
  • Don’t look at the reality in which you find yourself living as something that is beyond your control; instead, compose a new one yourself. Shift your forthcoming reality by using the plait, and shift your current reality by moving yourself with the image you visualize and the reflection.
  • This is what is getting you down As soon as you have caught yourself waiting for something, hoping for something, being anxious about something, or burdened by something, wake up and be self-aware: you are being led by the external script, not your own script; this is what is getting you down. You feel subconsciously that you are not free, that you are dependent on reality, that you are limited by circumstances like a character is limited by a plot. You may sense it, but you cannot do anything about it because you are not fully aware.
  • You have to get to the point where you truly know that holding out for something to happen or not happen, to work out or not work out, is foolish and pointless. It is within the power of your will to compose a subject image, or a reflection, or reality, or all of these things at the same time. You should:
  • Replace the habit of wanting with the habit of giving.
  • Replace the habit of rejecting with the habit of accepting.
  • Replace the habit of dropping off with the habit of waking up.
  • The most beneficial habit is this: don’t want things of reality; compose reality.
  • That’s the main thing but with equally important derivatives:
  • Don’t be afraid, compose instead.
  • Don’t wait, compose instead.
  • Don’t hope, compose instead.
  • Don’t lament, compose instead.
  • Imitation technique
  • Imitation technique It is possible to compose not only reality but yourself, your mannequin. And at the same time, the mannequin will change. By shifting in turn the film roll and the reflection, you will become different, the way you dreamed of seeing yourself. See ‘The integrated movement-strolling method’, and chapter ‘The Imitation Technique’.
  • Compose your own mannequin
    • Compose your own mannequin You have your own mannequins in the films, which are stored in the Eternity archive. When you see one of these film rolls in a dream, your consciousness finds your own mannequin, and then it comes to life and starts to move. For as long as you dream the dream, you occupy the body of the dream mannequin, as one of many of your potential variants.
    • The same thing happens in physical reality, in the film rolls, according to which your life is moving along. On each new film roll your consciousness enters the next version of the mannequin, which then comes to life and becomes you in the current frame.
    • The mannequin can change right now, in a short period of time. You are capable of changing very quickly, to the point of spectacularly changing your outer appearance. You can also change qualities and skills such as: self-confidence, charm, ability to communicate, courage, intelligence, and professionalism.
    • Changing yourself doesn’t mean rejection of self or completely getting rid of the old you. We are talking about development. Especially if you are a rare exception of someone who likes themselves the way they are and doesn’t particularly feel the need to change themselves. But even if that is the case, you have to keep developing, otherwise you’ll go down the route of deterioration. You need to change yourself, without changing yourself, your core identity, your fundamental principles, convictions and philosophy of life .
  • Uniqueness
    • Uniqueness is all you have, but to a great extent, this is more than enough. Uniqueness is perfect unto itself because there is no thing of its kind any where else. Is it valuable, that which cannot be found anywhere else in anyone else? Undoubtedly. It is an advantage, which you can either use or chuck to the back of a dusty cupboard. And it is all a matter of choice.
    • But all shortcomings have one paradoxical aspect. if you accept a shortcoming, it becomes a valuable, individual quality. if you don’t accept a shortcoming and battle against it, the shortcoming becomes a flaw. This is exactly how others will perceive it: either as a valuable quality, or as a flaw. if you accept a personal shortcoming, it can transform into an advantage.
    • You are perfect, just as Nature and the Creator intended you to be. Perfection is when an individual is embodying their uniqueness and in harmony with the self. Where there is acceptance, harmony appears. And the opposite is true; any negation gives rise to disharmony, which everyone notices.
    • An obvious vice or weak point that directly harms you, your health, and reputation for example, or that harms others, should be rooted out. In everything else though, it is better to develop your positive qualities than to battle with your shortcomings.
  • The three achievements method
    • First, don’t focus on your shortcomings. Don’t dwell on feeling deprived in some way; this is a destructive state. Your shortcomings will only worsen and this will lead to greater deterioration. You have to shift into a different, more constructive state. This will help with the second action.
    • Second. You have to have a goal in life--something inspiring that fills you with enthusiasm, that benefits you and others. if you feel apathetic about life in general, then, you don’t have a goal. Or, if you look at it from the other way around--when you have no goal, you feel apathetic about life. if you have no goal, you won’t have anythingto desire. if you experience no sense of striving—there will be no movement in your life. No movement, no energy; no energy, no life. So, you must find your true goal, your life purpose, and begin moving towards it. Without a life purpose, whatever that might be, there is no ‘you’; you are an empty space. if you haven’t yet found a life purpose, the third action will help you.
    • Third. Whether you have found your life purpose or not, you should concentrate on personal development, on re-making yourself. Focus on yourself constantly, always. Kindle in yourself the Creator’s Spark, work on self-development and self- improvement. This method delivers three achievements instantly: shake off a state of feeling deprived, find your life purpose, realize your life purpose.
  • Triple action
    • Goals are achieved via triple action: propel reality, propel yourself, propel yourself from within. Self-development is a worthy goal and path. Your life purpose on this path will find itself. Once you have found it, there should be no stopping you. Remember: there is either development or deterioration.
    • You mustn’t think of self-development as an onerous duty or heavy chore. Quite the opposite, it’s much harder to experience stagnation, inactivity, and laziness. Working on yourself is no labor but pleasant preparation for something more pleasant. For you to get ready when you are going to a party, don’t you smarten yourself up? The party is today. A one-time preparation won’t be enough for what will come tomorrow, in a month’s time or in a year from now.
  • Your life purpose
    • Your life purpose is what inspires you and benefits yourself and others. To become magnificent and turn your life into magnificence, you have to shift out of a state of stagnation and degradation. The way out is to find your life purpose, your true goal, and then take steps towards it. Your life purpose is your course of self- realization. Without a life purpose, life turns into a mindless existence. You may not be aware of what your life purpose is. The Creator’s Spark that smolders inside you knows. But it has to be kindled. By kindling inside the Creator’s Spark, working on yourself, you achieve these three things: you leave stagnation behind, you find your life purpose, you realize your life purpose.
  • Occupying a new mannequin
    • Let’s say you want to have a beautiful body, transform yourself into a charming personality, pleasant in all respects, or become a high-paid professional in a particular field. Essentially, this means to occupy your perfected mannequin on a fundamentally different film roll. have no doubt that this film roll and such a mannequin exists. All you have to do is get there. This goal is achieved via triple action: propel reality, propel yourself, propel yourself from within.
    • See chapter ‘You are brilliant’, ‘The Imitation Technique’ etc.
  • * * *
    • This overview gives the basics. To assimilate all the subtle details of this material, you will need to read the whole book very carefully. if there is something that you do not understand, read the book about Transurfing. Transurfing is essentially primary school. By comparison, Tufti’s techniques are high school and aerobatics. Other books you may find helpful include: Transurfing Reality--the basics explained--how reality works and what to do with it. Separate Reality Projector--A detailed description and tool for creating and equipping your personal world. Hacking The Technogenic System--How not to become a cog in the matrix. ‘kLIBE’--The End of the Illusion of the Herd Mentality--How to survive in a technogenic environment and achieve set goals. ‘clean Eating’--How to get back to a healthy, fit body.