Wishful Thinking
July 5, 2009 in Mental-Tools
願望式思考
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，一廂情願，也就是【願望式思考】，常常都是被看做是負面的，消極的，看做是在逃避“岩床現實”（岩床現實：瀕臨失敗，岌岌可危，左右為難，進退維穀的一種狀態），被看做是一個虛妄的永遠不會實現的幻想，並且如果那麼去做，除非違反規則，那就是一個盲目冒險。儘管如此--- 這個世界是按照【目標意圖】，【意向動機】以及【願望渴望】來運作的，通過一個“個體”產生的目標意圖，意向動機，願望渴望，如果這些是足夠的強烈，並且與積極的熱情堅定的信念裝配在一起，添加更多的積極自信---與強烈情感振動更多的對齊成直線---它們就會成為“真”的現實實相。所以要讓【願望式思考】起作用，必須再延伸膨脹一點來產生效果。
使用想像力來取代思考，並且給這些想像出的內心場景影像，投入你的最大最美好的情感。
那麼---任何東西也無法阻止它圓滿實現。
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
想像力比知識更重要的多。因為知識是局限於我們現在全部已知的，能理解的範圍內，當想像力擁抱這一體的整體宇宙時，所有一切都將會被知曉和理解。---愛伯特.愛因斯坦
你們已經被教導成，認為想像不是真實的。它就是你們所稱的“妄想”。這是不符合事實的，因為在你們的【意識】裡，它的一部分，你們是覺察不到的，你們的表層意識並不知道，你們的所有現實實相都起源於想像力。你們所理解的所感知到的作為有意識自覺的想像力或者妄想，對於你們是不可缺少的一個鏡像反映，並且它產生的思想想法，是作為你們本質上不可缺少的最有創造力的部分。想像力是融入所有全部物質進化和成長的聚焦裡，是使物質發展進化得以具體顯化的重要部分。它是合併融入在所有一切維度裡並且是併入所有一切非物質聚焦的聚焦重點。它是一個精彩絕妙，美輪美奐的非常愉悅的工具！你們所有的計劃打算，你們所有的願望渴望，你們所有的動機和動力都來自於想像力。 ---伊萊亞斯（經查是另一通靈管道）
About imagination: The Inner Landscape
Exercise
關於想像力：內心景象的內觀練習
Refined by Elias in Session 1784
伊萊亞斯#1784談話的精選並做了提升優化
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.
你們希望去看看未來的樣子；你們想去瞭解你們的未來。通過持續的觀察審視你們的內心景象，你們可以做到：
你們死死抓住一個情感不放。你們就會從這個情感裡創造出一個物質現實的景象。你們純粹是由一個情感而導致你們創造出一個整體的場面和景象。允許你自己進入那個情感地帶，檢視它，並且由於這個你對自我的承認和容許，產生思維圖像，首先會顯現，你與這個情感，可能共鳴出的一些顏色。把這些顏色想像創作到一個景象裡。它也許可以創作成一個森林；它可以被創作成一個湖泊；它可以是一個海灘；它可以是一片田野。它可以是你選定的任何風景景象；並且使用你所形成的這個風景景象的思維圖像，於是你走入並檢視這個景象，非常確信的知道這個景像是被一個情感或者一個想法念頭或者一個物質身體感受所創造的，你可以允許你自己去詮釋這個景象裡的所有元素，這也許會指引你正在移入的方向，告知你移動的方向，這可以為你正在引發的未來的前景提供資訊指引。
如果你展開一個景象，而這景像不必是一個你非常熟悉的實際風景，它也許更加清晰明確的總會展現表達出一些東西，並且對你更有利，一個為更多富有想像力留出創作空間，能夠包含編入更多想像的創作，一個以你們的話說也許是真實的畫面，但不必是一個---你在實際現實裡非常熟悉的場景。舉個例子，你可以展開一個內心景象，它包含一個海洋主題，並且在這個海洋主題畫面裡，也許你吸收並引入了冰山和海象的形象塑造。現在；海象可以不必作為一個你完全熟悉的動物，並因此，這允許你去混合編入更多富有想像力形象化描述，並允許你去產生和引發更多創作能力，而這會讓你非常興奮和刺激。在這些景象裡，如果是你非常熟悉的東西，它們會更容易褪色，因為它們對你來說已經不新鮮刺激，讓你興奮不起來，從而限制了你對它們的創造力。在某種程度上不妨說，你根本沒讓你自己興奮起來。於是因此這些景象就變得有點令人乏味，這可以被認為是限制了你，去插入你的創造力。
所以，如果你選擇用一些熟悉的形象來塑造一個不熟悉的景象，那僅僅是在形式上少量的熟悉，但不要徹底在環境平臺上完全的熟悉，這會賦予你去展現表達更多的創造力，並且會把各種各樣不同的意向和想像，嵌入到你的景象裡，並且有時可以變換這些想像。你的冰河可以有不同的外觀塑造，你的冰山可以被放置在不同的位置，你的魚群或者你的動物們可以是各種各樣不同的樣子和種類，而整個氣氛都可以是不同的，有時它可以是陽光明媚的，或者你可以想像，你在水底去觀察，或者你可以想像出具體的風暴。這樣，你賦予你自己更多更多，由一個使用你所創造的形象化思維，形象化的描述來獲得一個更擴展更廣泛的體驗。
或者你可以選擇其他類型的【形象化思維】想像塑造。我給你們的建議，首先是集中調焦在一個選定的生物上，並且在一個生物的選擇揀選過程中，允許你自己去選定的---你理解成更頑皮的或者更溫順的，或者更強有力的一個，這個你認為最滿意的最佳效果，會讓你去選定一個生物以及它所包含的所有那些元素。一個生物在你的內心景象環境裡，是不熟悉的---因此，這就會賦予你更多創造力，去吸引和保證，在你的想像景像中設計各種不同類型的內心景象，以容納那個生物。
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.
問題：我們如何去巧妙的操作和控制這些創造物，這些景象？
內心景象，內觀的這個範疇裡，讓我感興趣的是修復健康方面的問題。
內心的景象，重點是去在一定程度上調焦你們的注意力，在這個調焦過程裡，你在引發一個有創造性的功能，一個有創造力的行為活動，並且因此表達展現著一個，在你們自我內在裡的，有創造力的能量。重點是在於它對物質生理的顯現是有影響的，它沒聚焦專注在---物質身體生理意識的影響因素上面，然而卻通過這個內在的內心景象的功能和活動，改變著物質生理。
這就是這個類型的功能活動，能夠成功的引發物質生理反應的原因，因為如果一個個體產生了基於內在的物質身體生理意識的某類型的物質生理表現，那麼這個個體會有---有害感，或者不舒服，或者某些方面的衰弱感---對這個物質生理表現的自動反射，無意識反應---就是（因為）你把你的注意力，專注在它上面（導致的），而這個專注聚焦，只會讓這個“有害感，不適感”持續下去。因此，內觀“內心景象”的意義就是在於，你正在轉移你的注意力，聚焦到與之不同的（內心風景）形象塑造上，允許你自己去【信任】你的物質身體生理意識，那麼它完全懂得---如何去解釋你的內心景象，以及這些內心景像傳達的資訊是什麼。（通過想像力營造的內心景象，來和自己的物質身體生理意識，和自己的身體器官細胞交流--譯者註）從某種意義上不妨直說，這是一個有意設計的行為，去將你的專注，轉移到另一個方向上，並且信賴著你自己，信任著你的物質身體生理意識的操控。你不用刻意營造一個具體的覺察目標，或者專注在---你物質身體裡的某些臟器如何運作，你只是信賴它們運作的非常完美（就足夠了）。由於你對你自身的信任信賴，會讓你的身體生理意識的某些元素產生足夠的功能，恰當的作用，它根本不需要你的專注。你根本不需要時刻不斷的，在你的一天裡自始至終，在每個瞬間，對你自己下指令去呼氣和吸氣，以維持你們所稱的“活”著，對吧？
所以說，你所在做的是---你正信賴著，你正在把你的信任信賴，時刻傳送給你的物質身體，在每個時刻都傳送著你主觀上的信任，委託它去呼吸，而它做到了。而轉移你的專注到你的內心的景象裡，你就沒把你的專注，聚焦在---你的物質身體生理領域內產生的，一個你厭惡的不喜歡的----跡象和表現上；因此，你沒專注在它上面。你正在轉移你的專注，進入一個相互合作相互互動的內心景象裡，而這個內心的景像是徹底和你的物質身體生理意識無關的，但這是一個有意設計的目標樣式，在這個景象裡你正在展現一個和你的物質身體生理意識的互動交流通訊，在這個資訊交流裡，你的主觀意識翻譯著你想要的目標意圖，你想要的治癒。
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.
要記住，客觀表現和主觀意圖是協調一致的運動的，並且兩者都不是一方遵從另一方的關係，而是一體一致的協調。它們是和諧一致的一體變動。所以，如果主觀意圖正在轉移到某個方向上，客體表現也會同步轉移；如果客觀表現正在轉移到某一方向上，主觀意圖也正在同步轉移。如果你專注著疾病不適的所謂客觀事物表現，主觀意圖上就是在傳送著意圖，給身體生理意識並且創造著那疾病不安。它委託創造著這些。如果你不是專注在疾病不安這些所謂客觀目標上，那麼主觀意圖也同步反射同樣的表達，並且通知物質身體生理意識以不同的方式模式去行使職能，從而改變那些身體表像或者說那些疾病不適。
這就是這個內在景象的關鍵所在。你們在這個內在景象裡吸引著目標對象，肉體，你們一直拼死捍衛的。肉體是你的---它是你的角鬥士，並且在這個肉體的內在環境裡，是展現著你改變的渴望。但在內心景象裡，你不要用一些形象和意向塑造，引發你聯想到一個負面的方向上。所以，關於疾病不適的目標對象，可以說，也許可以變成一些小蟲子，正好是肉體要找的美味。因此，它可能是讓肉體愉快滿意的一個元素。或者也許它是一個口感極好的水果，而這正是肉體酷愛的，於是乎，肉體自然而然，順理成章的就會去吃光這些美味的水果了。
肉體是從事著一個有趣的，自然的功能活動，並且是通過物理化學方式，產生著的，一個功能活動；於是你可以興致勃勃的惹人喜愛的來看待它。肉體也會被其他生物挑戰，這些生物是疾病不適的其他基本部分，在這些挑戰裡，肉體正在展現它的力量。它也會因為在它的環境周圍出現一個嬰幼肉體，而因此，使它會表達一個溫柔滋潤和養育。在環境中的所有大自然的力量，風雷雨雪等等元 素，肉體與之相互影響相互作用，而這些是與“疾病不適不安”，完全不同的方面。這些（大自然的元素）可以讓你去形象化的塑造意向，那是在培育滋養肉體，是在幫助支持著肉體，是在信任著肉體，是在引發肉體產生著力量，也是表達著和肉體在一起嬉戲玩耍；這種和肉體的嬉戲玩耍的，所有這些活動，是與疾病不適的能量表現相反的。所以，所有這些嬉戲玩耍的活潑的，充滿活力的能量會驅散疾病不適。
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.
問題：我們在什麼時段來做這個練習呢？我們做這個練習，用10分鐘，一個小時或者2個小時？
這練習時間不必搞的拖遝冗長。你可以按照你方便時間做若干次，但不管怎樣要在你是處於最輕鬆舒適的狀態，並且是最充裕的時段。一些個體們非常享受在內心景觀裡遊玩，並且會選擇一個更長點的時間，去沉浸在這個相當有趣好玩，令人愉快的框架裡，也許20或30分鐘，但那不是必須的。這純粹是個喜好的問題。
我也要建議個體們，最初允許他們自己先培養興趣，做一些簡短的，在他們內心的景觀練習，每天或許做2或者3次，並且隨後結合成更少的次數，在每天的某一具體選定的時間裡做內心景觀練習。而且一開始，如果在一天裡做幾次短暫的練習，就會受益，並且會提高你的興趣。這會讓你對這個活動練習變得更加熟練，讓你在這個練習裡感到更輕鬆舒適，並且它也同樣會截斷你現在的，在“疾病不適，不安”上的高度關注。你更多的截斷在疾病不適，不安上的集中專注，你就會更少產生疾病不安，減弱對它的支援和強化。
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版權所有：Bashar Channeled by Darryl Anka 巴夏經由達裏爾安卡傳送
原文出處：http://www.quantumunlimited.org
翻譯整理：冷靜投機（歡迎指正翻譯錯誤）
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