विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 51 –
Dhāraṇā 28(Lakshmanjoo) / 28(Jaideva Singh) / 27(Paul Reps) / VBT 6(Osho)
यथा तथा यत्र तत्र द्वादशान्ते मनः क्षिपेत् ।
प्रतिक्षणं क्षीणवृत्ते-र्वैलक्षण्यं दिनैर्भवेत् ।।५१।।
yathā tathā yatra tatra dvādaśānte manaḥ kṣipet /
pratikṣaṇaṁ kṣīṇavṛtter-vailakṣaṇyaṁ dinairbhavet [Lakshmanjoo]
If one fixes one’s mind at dvādaśānta again and again (pratikṣaṇaṃ) howsoever and wheresoever, the fluctuation of his mind will diminish and in a few days, he will acquire an extraordinary status. [Jaideva Singh]
WHEN IN WORLDLY ACTIVITY, KEEP ATTENTION BETWEEN TWO BREATHS, AND SO PRACTICING, IN A FEW DAYS BE BORN ANEW. (Lakshmanjoo says this is his favorite.) [Paul Reps · Osho]
原文裡的dvādaśānte, 雖然在Verse24至27即VBT1至4關於呼吸的技巧並沒有出現, Lakshmanjoo解說時有談到這是呼吸在外部的轉換點(bāhya dvādaśānta, 內部則是hṛdaya). 不知Paul Reps是否因此將其譯為"between two breaths". 在解說中Lakshmanjoo是將dvādaśānte定義為身體裡的中心, 而且任何中心皆有可能:「此dvādaśānta狀態並非僅只在兩眉之間, 也不是只在喉部凹陷處, 亦非僅在心.」
不過他也提及找到此中心的方式為「吸氣進來, 吐氣出去, 於是熟悉這個中心.」Jaideva Singh的解釋是應從身體將意識定著在任何dvādaśānta, 無論它是外部的或是內部的(āntata dvādaśānta). 奧修先是延續他對VBT1的解說, 即觀照點為呼吸內外的兩個空隙, 隨後亦論及到中心處. Silburn則認為應專注在上方頭部的中心.
Yathā tathā yatra tatra, Lakshmanjoo的解釋主要為日常例行的行為舉止, 也就是Paul Reps的"worldly activity". Jaideva Singh的"howsoever and wheresoever"以及Silburn的"anyway and wherever you are"含有時地行為加上狀態之意. 奧修在這點上更有發揮, 談到了人生戲劇, 命定的角色. 於是原本此技巧可能容易被解讀為在日常行為中分開注意力, 傾向於保存能量與意識, 奧修的詮釋則進一步探入本體層面的顯現, 也因此與其他涉及內心情緒狀態的VBT技巧有所聯結.
यथा तथा यत्र तत्र
द्वादशान्ते मनः क्षिपेत् ।
र्वैलक्षण्यं दिनैर्भवेत् ।।५१।।
yathā tathā yatra tatra
dvādaśānte manaḥ kṣipet /
vailakṣaṇyaṁ dinairbhavet // 51 //
Or, in each and every action, focus your mind in dvādaśānta. Yathā tathā yatra tatra dvādaśānte manaḥ kṣipet, when you are walking or talking, or doing some household work, or doing any other nonsense act, just concentrate your mind on [any] dvādaśānta. Your mind must hold the state of dvādaśānta in each and every act of your daily routine of life. But this must be held in continuity (pratikṣaṇa). Then, one is born anew. One is born anew in days, not in months. Vailakṣaṇyaṁ dinair bhavet, some days will take place and he will be born anew, he will become new, all-round new.
This is āṇavopāya towards śāmbhavopāya.
JOHN: Both fifty and fifty-one are āṇavopāya?
SWAMIJI: Fifty is śāktopāya. Fifty-one is āṇavopāya to śāmbhavopāya.
DEVOTEE: How is the area of dvādaśānta found?
SWAMIJI: For instance, I have put the [spectacles] in my case and I am taking it [out]. Just do all these [mundane] actions in that, in that awareness of dvādaśānta. That state must be held in each and every act, in continuity. If [yeur awareness] remains in continuity, then you will be born anew in days, not in months. Some days will be…..
SWAMIJI: Um, yes.
For this śloka, “kṣanair bhavet" is another reading. Vailakṣaṇ-yaṁ, vailakṣaṇātha, something new will happen to hìm,not in days, [but] in moments—vailakṣaṇyaṁ kṣanair bhavet.
JOHN: And the other reading is, “after some time"
SWAMIJI: In days, in days, not in months. It won’t take a month. In a few days, you will get that bliss.
JAGDISH: “Kṣīṇa vṛtter" is the sādhaka?
SWAMIJI: Kṣīṇa vṛtter sādhakasya, the sādhaka who is kṣīṇa vṛtter, whose mind is just one-pointed, who has become one pointed, [this happens] to him, not to that sadhaka whose mind is not one-pointed.
GEORGE: Is dvādaśānta a state or dvādaśānta is the heart?
SWAMIJI: No, dvādaśānta is the center, any center. Wherever you go, if you are talking, put your mind in the center. If you are laughing, put there also your mind in the center. That is to be done. It is not to just only laugh. While laughing, you have to put your mind in the center While making jokes, put your mind in the center without a break. Because the center, once you have realized [it]—you just breathe in and breathe out and be acquainted with the center—and that center you have to visualize in each and every movement of your livelihood. It must come into your vision. That is…..
JOHN: State of dvādaśānta.
Yathā tathā yatra tatra, it is not only in the pūjā room, the meditation room. While walking, while doing any absurd things, dvādaśānte manaḥ kṣipet, the mind must be centered in dvādaśānta. Any movement, in any movement, not once, not twice, not thrice, [but] pratikṣaṇa, in continuity you have to put that mund in dvādaśānta. Then kṣīṇa vṛtter, his mind will cease to function. His mind will cease to function altogether and he will become a new man in some moments, or in a few days, not months. Then nothing is to be done afterwards. Then his everything is there.
The state of dvādaśānta is not only between the two eyebrows, [or] only [in the throat pit], [or] only in the heart.
GEORGE: That center, any center.
SWAMIJI: Any center!
SWAMIJI: Bas, you must visualize it. You must keep it in vision and then put your mind breaklessly [there], without a break, then you will become new within days, or within moments.
यथा तथा यत्र तत्र द्वादशान्ते मनः क्षिपेत् ।
प्रतिक्षणं क्षीणवृत्तेर्वैलक्षण्यं दिनैर्भवेत् ।।५१।।
Yathā tathā yatra tatra dvādaśānte manaḥ kṣipet /
Pratikṣaṇaṃ kṣīṇavṛtter vailakṣaṇyam dinair bhavet // 51
If one fixes one’s mind at dvādaśānta1 again and again (pratikṣaṇaṃ) howsoever and wheresoever, the fluctuation of his mind will diminish and in a few days, he will acquire an extraordinary status.2
1. The mind has to be fixed at any dvādaśānta from the body whether it is the superior or ūrdhva dvādaśānta or Brahmarandhra or bāhya dvādaśānta i.e. in exterior space at a distance of 12 fingers from the nose, or āntata dvādaśānta i.e. the interior dvādaśānta in the centre of the body, etc.
2. Śivopādhyāya explains this as asāmānyaparabhairavarūpatā i.e. the incomparable and ineffable state of Bhairava.
This is Āṇavopāya.
Qu’on fixe sa pensée dans le centre supérieur, dvādaśānte, de toutes manières et où qu’on se trouve. L’agitation s’étant peu à peu abolie, en quelques jours l’indescriptible se produira.
Let us fix our thoughts in the upper center, dvādaśānte, anyway and wherever you are. The agitation having gradually abolished, in a few days the indescribable will occur.
Ce verset, que eite le commentateur du Tantrāloka, sert à illustrer le troisième moyen de pénétrer dans son propre Cœur. On doit se concentrer sur le centre supérieur du cerveau au cours de toutes les activités, en quelque lieu qu’on réside et en utilisant n’importe quel moyen, à son gré. Les moindres gestes et impulsions doivent être remplis de la finalité qui s’attache à la jonction du Centre (madhya) et nous avons vu que la tension du sujet et de l’objet se résout spontanément dès qu’on est parvenu au Centre. Le souffle s’apaise, la pensée ne fonctionne plus et l’agitation qui les accompagne en temps normal prend fin. C’est alors que se dévoile ce qui est dépourvu de signe caractéristique (vailakṣaṇya), l’existence incomparable et ineffable de Bhairava.
This verse, which the commentator of the Tantrāloka reads, serves to illustrate the third way of penetrating into his own Heart. One must focus on the upper center of the brain during all activities, wherever one resides, and using whatever means one chooses. The smallest gestures and impulses must be filled with the finality which attaches to the junction of the Center (madhya) and we have seen that the tension of the subject and of the object resolves spontaneously as soon as one has reached the Center. The breath subsides, the thought no longer works and the agitation that normally accompanies them ends. It is then that what is devoid of a characteristic sign (vailakṣaṇya) is revealed, the incomparable and ineffable existence of Bhairava.
Le premier vers de cette stance signifie d’après Kṣemarāja qu’il faut préparer assidûment l’éveil (unmeṣa) ou prise de conscience de soi. Il s’agit ici du saisissement émerveillé (camalkāra) de la découverte de soi-même, alors que s’effondre soudain tout support objectif chez un homme toujours adonné à une seule pensée, en l’occurrence, une absorption constante dans le dvādaśānte.
The first line of this stanza means according to Kṣemarāja that it is necessary to prepare assiduously for awakening (unmeṣa) or self-awareness. It is a question here of the amazed grasp (camalkāra) of the discovery of oneself, while all objective support suddenly collapses in a man always given to a single thought, in this case, a constant absorption in the dvādaśānte.
Cette concentration relève de la voie de l’individu.
This concentration comes from the path of the individual.
Fix your mind in your heart when engaged in worldly activity, thus agitation will disappear and in a few days the indescribable will happen.
yathā tathā yatra tatra dvādaśānte manaḥ kṣipet |
prati kṣaṇaṃ kṣīṇa vṛtter vailakṣaṇyam dinair bhavet || 51 ||
yathaa-tathaa yatra-tatra dvaada-shaante manah kshipet
prati-kshanam ksheena-vritteh vai-lakshanyam dinaih bhavet
Select one of the delight-filled centers in the body and learn to be “centered" there as you live your life. This yukti is a continuation of the previous one, 27.
First you may want to explore your chosen center only during meditation (or lovemaking or dancing or music). After a while, you may begin to feel at home in yourself and realize, “Oh, this is my residence—one of my many residences—and it’s good to be here." After you stabilize in this perception, begin to explore being poised in that area as you move through your day. Practice being in yourself and “centered" while doing chores, working, talking, and loving people.
Yukti means “skillful," and if you do this yukti skillfully, you will function better and have more attention for the outer world, even though you are also attending to your inner delight. Ksip is almost a physical skill and can be approached playfully—throwing your attention, again and again, into your body, the way you would throw a baseball or football to a partner. Through practice you develop elegance, grace, and effortlessness.
When you are in a sweet relationship with your chakras, you can turn to your essence in a moment then come back to the outer world without losing track of anything. You have more presence because you are continually refreshed in the stream of prana flowing through you.
WHEN IN WORLDLY ACTIVITY, KEEP ATTENTIVE BETWEEN THE TWO BREATHS ….Forget breaths—keep attentive in between. One breath has come: before it returns, before it is exhaled out, there is the gap, the interval. One breath has gone out; before it is taken in again, the gap. IN WORLDLY ACTIVITY KEEP ATTENTIVE BETWEEN THE TWO BREATHS, AND SO PRACTICING, IN A FEW DAYS, BE BORN ANEW. But this has to be done continuously. This sixth technique has to be done continuously. That is why this is mentioned: WHEN IN WORLDLY ACTIVITY…..Whatsoever you are doing, keep your attention in the gap between the two breaths. But it must be practiced while in activity.
We have discussed one technique that is just similar. Now there is only this difference, that this has to be practiced while in worldly activity. Do not practice it in isolation. This practice is to be done while you are doing something else. You are eating – go on eating and be attentive of the gap. You are walking—go on walking and be attentive of the gap. You are going to sleep —lie down, let sleep come, but you go on being attentive of the gap. Why in activity? Because activity distracts the mind, activity calls for your attention again and again. Do not be distracted, be fixed at the gap. And do not stop activity, let the activity continue. You will have two layers of existence – doing and being.
We have two layers of existence: the world of doing and the world of being; the circumference and the center. Go on working on the periphery, on the circumference; do not stop it. But go on working attentively on the center also. What will happen? Your activity will become an acting, as if you are playing a part.
You are playing a part—for example, in a drama. You have become Ram or you have become Christ. You go on acting as Christ or as Ram, and still you remain yourself. In the center, you know who you are; on the periphery you go on acting as Ram, Christ or anyone. You know you are not Ram—you are acting. You know who you are. Your attention is centered in you; your activity continues on the circumference.
If this method is practiced, your whole life will become a long drama. You will be an actor playing roles, but constantly centered in the gap. If you forget the gap then you are not playing roles, you have become the role. Then it is not a drama; you have mistaken it as life. That is what we have done. Everyone thinks he is living life. It is not life, it is just a role – a part which has been given to you by the society, by the circumstances, by the culture, by the tradition, the country, the situation. You have been given a role and you are playing it; you have become identified with it. To break that identification there is this technique.
Krishna has many names. Krishna is one of the greatest actors. He is constantly centered in himself and playing—playing many roles, many games, but absolutely non serious. Seriousness comes from identification. If you really become Ram in the drama then there are bound to be problems. Those problems will come out of your seriousness. When Sita is stolen you may get a heart attack, and the whole play will have to be stopped. If you really become Ram a heart attack is certain…..even heart failure.
But you are just an actor. Sita is stolen, but nothing is stolen. You will go back to your home and you will sleep peacefully. Not even in a dream will you feel that Sita is stolen. When really Sita was stolen, Ram himself was weeping, crying and asking the trees, ”Where has my Sita gone? Who has taken her?” But this is the point to understand. If Ram is really weeping and asking the trees, he has become identified. He is no more Ram; he is no more a divine person.
This is the point to remember, that for Ram his real life also was just a part. You have seen other actors playing Ram, but Ram himself was just playing a part – on a greater stage, of course.
India has a very beautiful story about it. I think that the story is unique; nowhere else in any part of the world does such a thing exist. It is said that Valmiki wrote the RAMAYANA before Ram was born, and then Ram had to follow. So really, the first act of Ram was also just a drama. The story was written before Ram was born and then Ram had to follow, so what can he do? When a man like Valmiki writes the story, Ram has to follow. So everything was fixed in a way. Sita was to be stolen and the war had to be fought.
If you can understand this, then you can understand the theory of destiny, BHAGYA – fate. It has a very deep meaning. And the meaning is, if you take it that everything is fixed for you, your life becomes a drama. If you are playing the role of Ram in the drama you cannot change it, everything mis fixed, even your dialogue. If you say something to Sita it is just repeating something that is fixed. You cannot change it if life is taken as fixed.
For example, you are going to die on a particular day – it is fixed. When you will be dying you will be weeping, but it is fixed. And such and such persons will be around you – it is fixed. If everything is fixed, everything becomes a drama. If everything is fixed, it means you are just to enact it. You are not asked to live it, you are just asked to enact it.
This technique, the sixth technique, is just to make yourself a psychodrama – just a play. You are focused in the gap between two breaths and life moves on, on the periphery. If your attention is at the center, then your attention is not really on the periphery – that is just ”sub-attention”; it just happens somewhere near your attention. You can feel it, you can know it, but it is not significant. It is as if it is not happening to you. I will repeat this: if you practice this sixth technique, your whole life will be as if it is not happening to you, as if it is happening to someone else.