巴夏Bashar：愿望式思考和【内观】练习
2012-12-30 13:35阅读：
Wishful Thinking
July 5, 2009 in Mental-Tools
愿望式思考
2009年7月5日 思维工具箱
Very often wishful thinking is considered as
negative, as an escape from “rock-bed-reality”, as an illusion
which will never realize and if it does, it is the blind hazard,
the exception from the rule. However – this world works on the
basis of intentions and desires, generated by an individual and if
these intentions and desires are strong enough and fit with the
active convictions and more – are in alignement with the emotional
vibrations – they become real. So the act of wishful thinking has
to be expanded a little bit to work. Instead of thinking use
imagination and feed these images with your most beautiful
emotions. Then – nothing can stop the fulfillment!
自作多情，一
厢情愿，也就是【愿望式思考】，常常都是被看做是负面的，消极的，看做是在逃避“岩床现实”（岩床现实：濒临失败，岌岌可危，左右为难，进退维谷的一种状态），被看做是一个虚妄的永远不会实现的幻想，并且如果那么去做，除非违反规则，那就是一个盲目冒险。尽管如此---这个世界是按照【目标意图】，【意向动机】以及【愿望渴望】来运作的，通过一个“个体”产生的目标意图，意向动机，愿望渴望，如果这些是足够的强烈，并且与积极的热情坚定的信念装配在一起，添加更多的积极自信---与强烈情感振动更多的对齐成直线---它们就会成为“真”的现实实相。所以要让【愿望式思考】起作用，必须再延伸膨胀一点来产生效果。
使用想象力来取代思考，并且给这些想像出的内心场景影像，投入你的最大最美好的情感。
那么---任何东西也无法阻止它圆满实现。
Imagination is more important than knowledge.
For knowledge is limited to all we now know and understand, while
imagination embraces the entire world, and all there ever will be
to know and understand.
---------Albert Einstein
You have been taught that imagination is not
real. It is what you term ‘pretend.’ This is incorrect, for in your
consciousness, that part of which you are not aware, all of your
reality originates in imagination. What you perceive consciously as
imagination or pretending is a mirror image of your essence and its
thoughts, this being the most creative part of your essence.
Imagination is incorporated in all physical developmental focuses.
It is incorporated in all dimensions and is incorporated in all
non-physical focuses. It is a wonderfully glorious tool! All of
your plans, all of your desires, all of your motivation comes from
imagination. --------Elias
想象力比知识更重要的多。因为知识是局限于我们现在全部已知的，能理解的范围内，当想象力拥抱这一体的整体宇宙时，所有一切都将会被知晓和理解。---爱伯特.爱因斯坦
你们已经被教导成，认为想象不是真实的。它就是你们所称的“妄想”。这是不符合事实的，因为在你们的【意识】里，它的一部分，你们是觉察不到的，你们的表层意识并不知道，你们的所有现实实相都起源于想象力。你们所理解的所感知到的作为有意识自觉的想象力或者妄想，对于你们是不可缺少的一个镜像反映，并且它产生的思想想法，是作为你们本质上不可缺少的最有创造力的部分。想象力是融入所有全部物质进化和成长的聚焦里，是使物质发展进化得以具体显化的重要部分。它是合并融入在所有一切维度里并且是并入所有一切非物质聚焦的聚焦重点。它是一个精彩绝妙，美轮美奂的非常愉悦的工具！你们所有的计划打算，你们所有的愿望渴望，你们所有的动机和动力都来自于想象力。
---伊莱亚斯（经查是另一通灵渠道）
About imagination: The Inner Landscape
Exercise
关于想象力：内心景象的内观练习
Refined by Elias in Session 1784
伊莱亚斯#1784谈话的精选并做了提升优化
You wish to look futurely; you wish to see
into your future. You may, by examining your inner
landscape:
You hold an emotion. You may create a physical
landscape from this emotion. You may create an entire scene
stemming merely from one emotion. Allow yourself to move into the
area of the emotion, examining it, and from this allowing yourself
to visualize, springing initially, colors that you may identify
with this emotion. Create these colors into a landscape. It may be
a forest; it may be a lake; it may be a beach; it may be a field.
It may be any landscape that you choose; and as you visualize this
landscape and you move into examining this, knowing that this
landscape is created by one emotion or one thought or one physical
feeling, you may allow yourselves to interpret the elements of the
landscape, which may also inform you of the direction that you are
moving into, which shall be offering you information of what you
are creating futurely.
It may be more beneficial and more
consistently clearly expressed if you develop a landscape which is
not necessarily an actual landscape that you are familiar with, one
that allows for the incorporation of more imaginative creations,
one that may be real in your terms but not necessarily one that you
are actually familiar with. As an example, you may develop
an inner landscape that is incorporating an ocean theme, and in
that ocean theme, perhaps you engage the imagery of icebergs and
walruses. Now; walruses may not necessarily be a creature
that you are entirely familiar with, and therefore, it allows you
to incorporate more imaginative imagery and allows you to generate
more creativity, which is more stimulating. In landscapes
that are more familiar to you, they may more easily fade, for they
are not as stimulating for you limit your creativity with them.
In a manner of speaking, you are not stimulating yourself.
Therefore, the landscape becomes somewhat boring, for it is
perceived to be limiting in what you can insert in it.
Therefore, if you choose an unfamiliar
landscape with some familiar imagery that is somewhat familiar,
merely in form, but not entirely familiar in environment, it allows
you to express much more creativity and insert different images
into your landscape and alter the images at times. Your
glacier may be different shapes, your icebergs may be in different
positions, your fish or your plants may be different, the
atmosphere may be different, it may be sunny at times, or you may
be visualizing under the water, or you may be visualizing storms.
In this, you allow yourself much more of a broader
experience with the imagery that you create. Or you may choose
other types of imagery. My suggestion to you would be to
focus first upon a chosen creature, and in choosing a creature,
allow yourself to choose one that you perceive to be playful or
gentle or powerful, which the optimum would be to choose a creature
that incorporates all of those elements. A creature that is not
familiar within your environment. Therefore, that allows you
more creativity to engage designing different types of landscapes
that accommodate that creature.
你们希望去看看未来的样子；你们想去了解你们的未来。通过持续的观察审视你们的内心景象，你们可以做到：
你们死死抓住一个情感不放。你们就会从这个情感里创造出一个物质现实的景象。你们纯粹是由一个情感而导致你们创造出一个整体的场面和景象。允许你自己进入那个情感地带，检视它，并且由于这个你对自我的承认和容许，产生思维图像，首先会显现，你与这个情感，可能共鸣出的一些颜色。把这些颜色想象创作到一个景象里。它也许可以创作成一个森林；它可以被创作成一个湖泊；它可以是一个海滩；它可以是一片田野。它可以是你选定的任何风景景象；并且使用你所形成的这个风景景象的思维图像，于是你走入并检视这个景象，非常确信的知道这个景象是被一个情感或者一个想法念头或者一个物质身体感受所创造的，你可以允许你自己去诠释这个景象里的所有元素，这也许会指引你正在移入的方向，告知你移动的方向，这可以为你正在引发的未来的前景提供信息指引。
如果你展开一个景象，而这景象不必是一个你非常熟悉的实际风景，它也许更加清晰明确的总会展现表达出一些东西，并且对你更有利，一个为更多富有想象力留出创作空间，能够包含编入更多想象的创作，一个以你们的话说也许是真实的画面，但不必是一个---你在实际现实里非常熟悉的场景。举个例子，你可以展开一个内心景象，它包含一个海洋主题，并且在这个海洋主题画面里，也许你吸收并引入了冰山和海象的形象塑造。现在；海象可以不必作为一个你完全熟悉的动物，并因此，这允许你去混合编入更多富有想象力形象化描述，并允许你去产生和引发更多创作能力，而这会让你非常兴奋和刺激。在这些景象里，如果是你非常熟悉的东西，它们会更容易褪色，因为它们对你来说已经不新鲜刺激，让你兴奋不起来，从而限制了你对它们的创造力。在某种程度上不妨说，你根本没让你自己兴奋起来。于是因此这些景象就变得有点令人乏味，这可以被认为是限制了你，去插入你的创造力。
所以，如果你选择用一些熟悉的形象来塑造一个不熟悉的景象，那仅仅是在形式上少量的熟悉，但不要彻底在环境平台上完全的熟悉，这会赋予你去展现表达更多的创造力，并且会把各种各样不同的意向和想象，嵌入到你的景象里，并且有时可以变换这些想象。你的冰河可以有不同的外观塑造，你的冰山可以被放置在不同的位置，你的鱼群或者你的动物们可以是各种各样不同的样子和种类，而整个气氛都可以是不同的，有时它可以是阳光明媚的，或者你可以想象，你在水底去观察，或者你可以想象出具体的风暴。这样，你赋予你自己更多更多，由一个使用你所创造的形象化思维，形象化的描述来获得一个更扩展更广泛的体验。
或者你可以选择其他类型的【形象化思维】想象塑造。我给你们的建议，首先是集中调焦在一个选定的生物上，并且在一个生物的选择拣选过程中，允许你自己去选定的---你理解成更顽皮的或者更温顺的，或者更强有力的一个，这个你认为最满意的最佳效果，会让你去选定一个生物以及它所包含的所有那些元素。一个生物在你的内心景象环境里，是不熟悉的---因此，这就会赋予你更多创造力，去吸引和保证，在你的想象景象中设计各种不同类型的内心景象，以容纳那个生物。
Question: How do we manipulate the
creature, the landscape? The area of internal landscapes
that I’m interested in is repairing health problems.
The point of the inner landscape is to focus
your attention in a manner in which you are generating a creative
action, and therefore expressing a creative energy within yourself.
The point is to be affecting of physical manifestations and
altering them through the action of the inner landscape without
concentrating upon the effected element of the physical body
consciousness. This is what generates the success of this
type of action, for if an individual generates some type of
physical manifestation within the physical body consciousness that
the individual perceives to be damaging or uncomfortable or
debilitating in some manner, the automatic response to physical
manifestations is to concentrate your attention upon it, which
merely perpetuates it. Therefore, the significance of the
inner landscape is that you are moving your attention to different
imagery, allowing yourself to trust your physical body
consciousness that it knows how to interpret your inner landscape
and what the communication is.
In a manner of speaking, it is an intentional
action of moving your attention in another direction and trusting
yourself and your manipulation of your physical body consciousness.
You do not generally incorporate an objective awareness of,
or attention to, how certain organs within your physical body
function, but you trust that they function properly.
For in your trust of yourself to be generating
adequate functioning of certain elements of your body
consciousness, it does not require your attention. You are
not continuously, throughout your day, in every moment, objectively
expressing to yourself to breathe in and out to sustain what you
term to be life. Correct? Therefore,
what you are doing is you are trusting that you are communicating
to your physical body subjectively to instruct it to breath in
every moment, and it does. In moving your attention to the
inner landscape, you are not focusing your attention upon the area
of your physical body that you have generated a manifestation
within that you dislike; therefore, you are not concentrating upon
it. You are moving your attention to an interaction of a
landscape that appears to be entirely unrelated to your physical
body consciousness, but this is an intentional objective manner in
which you are expressing a communication to your physical body
consciousness, which your subjective awareness translates with the
intention that you want.
问题：我们如何去巧妙的操作和控制这些创造物，这些景象？
内心景象，内观的这个范畴里，让我感兴趣的是修复健康方面的问题。
内心的景象，重点是去在一定程度上调焦你们的注意力，在这个调焦过程里，你在引发一个有创造性的功能，一个有创造力的行为活动，并且因此表达展现着一个，在你们自我内在里的，有创造力的能量。重点是在于它对物质生理的显现是有影响的，它没聚焦专注在---物质身体生理意识的影响因素上面，然而却通过这个内在的内心景象的功能和活动，改变着物质生理。
这就是这个类型的功能活动，能够成功的引发物质生理反应的原因，因为如果一个个体产生了基于内在的物质身体生理意识的某类型的物质生理表现，那么这个个体会有---有害感，或者不舒服，或者某些方面的衰弱感---对这个物质生理表现的自动反射，无意识反应---就是（因为）你把你的注意力，专注在它上面（导致的），而这个专注聚焦，只会让这个“有害感，不适感”
持续下去。因此，内观“内心景象”的意义就是在于，你正在转移你的注意力，聚焦到与之不同的（内心风景）形象塑造上，允许你自己去【信任】你的物质身体生理意识，那么它完全懂得---如何去解释你的内心景象，以及这些内心景象传达的信息是什么。（通过想象力营造的内心景象，来和自己的物质身体生理意识，和自己的身体器官细胞交流--译者注）从某种意义上不妨直说，这是一个有意设计的行为，去将你的专注，转移到另一个方向上，并且信赖着你自己，信任着你的物质身体生理意识的操控。你不用刻意营造一个具体的觉察目标，或者专注在---你物质身体里的某些脏器如何运作，你只是信赖它们运作的非常完美（就足够了）。由于你对你自身的信任信赖，会让你的身体生理意识的某些元素产生足够的功能，恰当的作用，它根本不需要你的专注。你根本不需要时刻不断的，在你的一天里自始至终，在每个瞬间，对你自己下指令去呼气和吸气，以维持你们所称的“活”着，对吧？
所以说，你所在做的是---你正信赖着，你正在把你的信任信赖，时刻传送给你的物质身体，在每个时刻都传送着你主观上的信任，委托它去呼吸，而它做到了。而转移你的专注到你的内心的景象里，你就没把你的专注，聚焦在---你的物质身体生理领域内产生的，一个你厌恶的不喜欢的----迹象和表现上；因此，你没专注在它上面。你正在转移你的专注，进入一个相互合作相互互动的内心景象里，而这个内心的景象是彻底和你的物质身体生理意识无关的，但这是一个有意设计的目标样式，在这个景象里你正在展现一个和你的物质身体生理意识的互动交流通讯，在这个信息交流里，你的主观意识翻译着你想要的目标意图，你想要的治愈。
Remember, the objective and the subjective
move in harmony and neither follows the other. They move in
harmony. Therefore, if the subjective is moving in one
direction, the objective is also; if the objective is moving in one
direction, the subjective is also. If you are objectively
concentrating upon dis-ease, the subjective communicates to the
body consciousness and creates that. It instructs to create
that. If you are not concentrating objectively upon
dis-ease, the subjective reflects that also and instructs the
physical body consciousness to function in different manners, and
that alters the manifestation or the dis-ease.
That is the point of the inner landscape.
You are engaging the object of the inner landscape, the
animal, as your champion. The animal is you, it is your
gladiator, and within the animal’s environment is the manifestation
that you wish to alter. But you do not create the
manifestation in the landscape as some imagery that you shall
associate with in a negative manner. Therefore, the object
of the dis-ease, so to speak, becomes perhaps insects that the
animal finds delicious. Therefore, it is an element that is
pleasing to the animal. Or perhaps it is beautiful ripe
fruits that the animal revels in, and therefore, the animal
naturally consumes these beautiful fruits. The
animal is engaging a natural action and is generating an action
that you may view as playful and pleasing. The animal may
also be challenged by other creatures which are other elements of
the dis-ease, and in those challenges, the animal is expressing its
strength. It may also be presented in its environment with
an infant animal, and therefore, it is allowed to express a
gentleness and a nurturing.
All of the elements in the environment that
the animal interacts with are all different aspects of the
dis-ease. This allows you to create imagery that is
nurturing, is supportive, is trusting, is generating strength, and
is also expressing a playfulness; which, all of those actions are
contrary to the expressed energy of dis-ease. Therefore, all
of those energies dissipate dis-ease.
要记住，客观表现和主观意图是协调一致的运动的，并且两者都不是一方遵从另一方的关系，而是一体一致的协调。它们是和谐一致的一体变动。所以，如果主观意图正在转移到某个方向上，客体表现也会同步转移；如果客观表现正在转移到某一方向上，主观意图也正在同步转移。如果你专注着疾病不适的所谓客观事物表现，主观意图上就是在传送着意图，给身体生理意识并且创造着那疾病不安。它委托创造着这些。如果你不是专注在疾病不安这些所谓客观目标上，那么主观意图也同步反射同样的表达，并且通知物质身体生理意识以不同的方式模式去行使职能，从而改变那些身体表象或者说那些疾病不适。
这就是这个内在景象的关键所在。你们在这个内在景象里吸引着目标对象，肉体，你们一直拼死捍卫的。肉体是你的---它是你的角斗士，并且在这个肉体的内在环境里，是展现着你改变的渴望。但在内心景象里，你不要用一些形象和意向塑造，引发你联想到一个负面的方向上。所以，关于疾病不适的目标对象，可以说，也许可以变成一些小虫子，正好是肉体要找的美味。因此，它可能是让肉体愉快满意的一个元素。或者也许它是一个口感极好的水果，而这正是肉体酷爱的，于是乎，肉体自然而然，顺理成章的就会去吃光这些美味的水果了。
肉体是从事着一个有趣的，自然的功能活动，并且是通过物理化学方式，产生着的，一个功能活动；于是你可以兴致勃勃的惹人喜爱的来看待它。肉体也会被其他生物挑战，这些生物是疾病不适的其他基本部分，在这些挑战里，肉体正在展现它的力量。它也会因为在它的环境周围出现一个婴幼肉体，而因此，使它会表达一个温柔滋润和养育。在环境中的所有大自然的力量，风雷雨雪等等元素，肉体与之相互影响相互作用，而这些是与“疾病不适不安”，完全不同的方面。这些（大自然的元素）可以让你去形象化的塑造意向，那是在培育滋养肉体，是在帮助支持着肉体，是在信任着肉体，是在引发肉体产生着力量，也是表达着和肉体在一起嬉戏玩耍；这种和肉体的嬉戏玩耍的，所有这些活动，是与疾病不适的能量表现相反的。所以，所有这些嬉戏玩耍的活泼的，充满活力的能量会驱散疾病不适。
Question: For what period of time do we
do this? Do we do this for ten minutes, an hour or two
hours?
It is unnecessary to be engaging lengthy time
periods. You may incorporate several of your minutes,
whatever you are most comfortable with. Some individuals
enjoy playing within the inner landscape and may choose to be
engaging somewhat of a longer time framework, perhaps twenty or
thirty of your minutes, but that is not necessary. It is
merely a matter of preference. I also suggest
that individuals initially allow themselves to engage briefly their
inner landscape, perhaps two or three times within each day, and
subsequently generate less times of incorporating the inner
landscape within a particular day. But initially, it is
beneficial and reinforcing if you engage the action briefly several
times within one day. That allows you to become more
familiar with the action, more comfortable with the action, and it
also interrupts your concentration upon the actual dis-ease. The
more you interrupt the concentration upon the dis-ease, the less
you reinforce creating it.
问题：我们在什么时段来做这个练习呢？我们做这个练习，用10分钟，一个小时或者2个小时？
这练习时间不必搞的拖沓冗长。你可以按照你方便时间做若干次，但不管怎样要在你是处于最轻松舒适的状态，并且是最充裕的时段。一些个体们非常享受在内心景观里游玩，并且会选择一个更长点的时间，去沉浸在这个相当有趣好玩，令人愉快的框架里，也许20或30分钟，但那不是必须的。这纯粹是个喜好的问题。
我也要建议个体们，最初允许他们自己先培养兴趣，做一些简短的，在他们内心的景观练习，每天或许做2或者3次，并且随后结合成更少的次数，在每天的某一具体选定的时间里做内心景观练习。而且一开始，如果在一天里做几次短暂的练习，就会受益，并且会提高你的兴趣。这会让你对这个活动练习变得更加熟练，让你在这个练习里感到更轻松舒适，并且它也同样会截断你现在的，在“疾病不适，不安”上的高度关注。你更多的截断在疾病不适，不安上的集中专注，你就会更少产生疾病不安，减弱对它的支持和强化。
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版权所有：Bashar Channeled by Darryl Anka 巴夏
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原文出处：http://www.quantumunlimited.org
翻译整理：冷静投机（欢迎指正翻译错误）
