引导冥想

引导冥想

在你们开始放松之际，我会在冥想前再分享几个类比，好让这些理念能慢慢渗入你们心中。但在此之前，先做三次深呼吸，感受身体的每一部分都在放松。感觉你们的忧虑渐渐消散。要是你们的意识不愿放下这些忧虑，那就告诉它：“好吧，几分钟后你可以把它们拿回来，但现在，先放下。” 只管放松，配合一下。我们现在就是在做这件事，重新学习如何 “玩耍”。玩耍是最具创造性的行为之一。

收音机类比
在你们继续呼吸、持续放松的时候，听听下面这些类比。当我们谈到不同维度的现实都同时存在于此时此地的观点时，或许以下方式是对此最好的解释。

你们每个人都了解你们星球上被称作收音机的设备。你们知道收音机上有个调谐旋钮，能用来收听任何你们想听的特定节目。现在，仅仅因为你们把旋钮调到了一个节目，你们不会就此认为其他所有节目都不复存在、消失了。你们知道其他所有节目仍然在那里，只是你们收不到，因为你们没有调到那些频率上。

电影胶片类比
你们的现实可以类比成一卷电影胶片，上面有许多不同的画面。每一个画面都代表着整体动作的一小部分。现在，每个画面中的角色只存在于那单个画面里，不会体验到下一个画面。为了让胶片中的角色有移动的感觉，胶片必须转动。然而，对于电影放映员来说，整部电影此刻就完整存在着——开头、中间和结尾。当你俯瞰胶片条时，你能一下子看到所有画面，尽管胶片上的角色必须一次一个画面地体验他们的现实。物质现实就类似于这卷胶片条。你们更高层次的、非物质的有洞察力的自我，就像能一下子看到所有画面的放映员。

所有情况皆为中性
现在要记住的观点还有，所有情况本质上都是中性的。你可以看着胶片上的任何一个特定画面，却不一定能理解画面里在说什么或发生了什么。只有从胶片的连续播放、流动过程中，你才能理解其背景。但生活中的每一种情况都像是电影胶片中的一个画面——它表面上并没有任何明显的意义。你选择赋予它的意义，完全决定了你从那个画面中创造出什么样的故事。

舞台类比
要以如下方式看待生活中的每一种情况：想象你正坐在礼堂里，看着一场戏剧的开场。幕布刚刚拉开。所有演员都静静地站在舞台上。所有道具都已就位。但是，假设你没有看节目单。假设你对这场戏剧一无所知，所以你不知道这些角色是谁，他们会做什么或说什么。你对他们完全没有先入为主的期待。

现在，舞台上的一个角色可能正站在角落里，眉头紧锁。由于你们所接受的一些观念，你们中的一些人可能会自动假定：“哦，那肯定是个坏人。” 然而，你们中的另一些人可能会认为：“嗯，也许他皱眉是因为他对坏人感到生气，他才是好人。” 表面现象说明不了什么。整个情况是中性的。包括演员在内的所有事物，目前都只是道具，没有内在的固有意义。

整合与实践
现在，我们把这个原则应用到你们自己的生活中。但首先，再做三次深呼吸；并且要明白，当你们做这些呼吸时，你们正在将自己带入更深层次的放松状态。一个更深层次的自我接纳和自爱的状态。一个对探索你是谁、你是什么有更深层次智慧和好奇心的状态。以及一个更深层次的信念，即你生活中的所有经历都能被用于……

原文段落：

A Guided Meditation

While you are beginning to relax, I will share several more analogies before the meditation to allow these principles to begin to sink into you softly. But before that, take three deep breaths and feel every portion of you relaxing. Feel your cares melting away. If your conscious mind doesn’t want to let go of them, then just tell it, “All right, you can get them back in a few minutes, but for now, let them go.” Just relax and play along. That is what we are doing, learning how to play again. Playing is one of the most creative acts.

The Radio Analogy
As you continue to breathe and continue to relax, listen to the following analogies. When we talk about the idea of different dimensional realities all being Here and Now, the best way to explain this is perhaps in the following ways.

Each and every one of you understands the device that you have upon your planet that you call a radio. You know that you have a dial on your radio that you can use to tune in to any particular program you desire. Now, just because your dial is tuned to one program, you do not start thinking that all the other programs cease to exist and go away. You know that all the other programs are still there but you do not get them because you are not tuned into those frequencies.

Film Strip Analogy
Your reality can be analogized to a roll of film, with its many different frames. Each and every frame represents a small portion of an overall action. Now, the characters within each frame only exist within that single frame and do not experience the next frame. For the characters in the film to experience any sense of movement, the film must move. However, to the film projectionist the entire film exists right now – the beginning, the middle and the end. You can see all the frames at once when looking down on the strip of film, even though the characters on the film must experience their reality one frame at a time. Physical reality is analogous to the strip of film. Your higher, non-physical visionary selves are like the projectionist that can see all the frames at once.

All Situations Are Neutral
The idea now will be to also remember the neutrality of all situations. You could look at any one particular frame on that film and not necessarily understand what is being said or what is going on. Only from the creation of continuity, from the flow of the film, do you pick up the context. But each and every situation in life is like one of those frames of film – it does not have any meaning that is apparent on the surface. The meaning you choose to give it completely determines what kind of a story you create from that picture.

The Stage Analogy
The idea is to look at every single situation in your life in the following way: imagine that you are sitting in an auditorium looking at the beginning of a play. The curtain has just gone up. All the actors are standing still on the stage. All the props are there, ready to go. But, let’s assume you did not read the program. Let us assume you have heard nothing about the play, so you do not know who these characters are, or what they will do or say. You have no automatic expectations about them at all.

Now, one of the characters on the stage might be standing off in a corner with a very strong frown on their face. Because of what some of you have been taught you might choose to automatically assume, “Oh, well that must be the bad fellow.” However, some of you might assume, “Well, maybe he is frowning because he is upset at the bad character and he is the good character.” The surface appearance tells you nothing. The whole situation is neutral. Everything, including the actors, for now are simply props and have no built-in meaning.

Integration and Practice
Now, we apply this principle to your own lives. But first, three more deep breaths; and understand, as you take these breaths, you are taking yourself to a deeper level of relaxation. A deeper level of self-acceptance and self-love. A deeper level of wisdom and curiosity about exploring who and what you are. And a deeper level of conviction that all experiences in your life can be used in a…