विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 51 –
Dhāraṇā 28(Lakshmanjoo) / 105(Jaideva Singh) / 27(Paul Reps) / VBT 6(Osho)
‘dwadashanta’(Satyasangananda) ‘madhya’(Silburn)


यथा तथा यत्र तत्र द्वादशान्ते मनः क्षिपेत्
प्रतिक्षणं क्षीणवृत्ते-र्वैलक्षण्यं दिनैर्भवेत्
yathā tathā yatra tatra dvādaśānte manaḥ kṣipet
pratikṣaṇaṁ kṣīṇavṛtter vailakṣaṇyaṁ dinairbhavet [Lakshmanjoo]

If one fixes one’s mind at dvādaśanta1 again and again (pratikṣaṇa) howsoever and wheresoever, the fluctuation of his mind will diminish and in a few days, he will acquire an extraordinary status.2 [Jaideva Singh]

By bringing the mind forcibly to dwadashanta again and again, however and wherever possible, the fluctuations of the mind diminish day by day, so that each moment becomes an extraordinary state. [Satyasangananda Saraswati]

That we fix his thinking in the upper center, dvādaśānta, in any way and wherever we are. The agitation having gradually abolished, in a few days the indescribable will occur.
[Lilian Silburn] *Google英譯

If one were to continually cast manas into dvādaśānta, however and in whatever circumstances, then, from the waning of the evoked cognitive dynamic, contrast [between the background of sivatattva and foreground of sensory impressions] would increase daily. [Dmitri Semenov]

WHEN IN WORLDLY ACTIVITY, KEEP ATTENTION BETWEEN TWO BREATHS, AND SO PRACTICING, IN A FEW DAYS BE BORN ANEW. [Paul Reps · Osho]

在從事世間的工作時不息凝注於兩息之間，如此練習，不數日即可新生。 [徐進夫]

當處於世俗的活動之中，將注意力放在兩個呼吸之間，以這樣的方式來練習，在幾天之內就會重新誕生。 [謙達那]

處在世間活動時，始終凝神於兩氣息之間，如此練習，不需幾日即獲新生。 [桑雅]


[譯解比對]
     這節經文的關鍵字即dvādaśānta──它的位置，它的定義。為此需將比對範圍延伸至Verse24、25、26、27、64等其他呼吸相關的dhāraṇā，才能得到較清楚的認識。
     Lakshmanjoo與Jaideva Singh在上述幾個技巧的解說裡，將經文提到的prāna和apāna(可譯為出入息)同於呼氣和吸氣，而dvādaśānta特指為向外呼氣變成向內吸氣之際的外轉折點，往內吸氣到往外呼氣的內轉折點以centre of the body表示。至於本經節Verse 51，Lakshmanjoo將dvādaśānta擴充為可在兩眉、喉、心或任何位置的中心點。Jaideva Singh則對dvādaśānta進一步細分為身外的ürdhva dvādaśänta以及身內中心處的āntara dvādaśānta。
     然而Satyasangananda有其獨立的見解。她認為prāna和apāna應在多數時刻與呼氣吸氣分開看待，後兩者是與外部互通的呼吸過程，前兩者則是僅在內部運轉的能量脈流(或可類比為道家的後天氣與先天氣)。而且，Vers24到27的原文事實上並無dvādaśānta。Verse24的dvitayasthāne，Satyasangananda釋義為"at the two places”，並在解說中指出那兩個地方為bindu和manipura，即先天prāna和apāna在身內的上下轉折處。到Verse 64時Satyasangananda才將兩個vayu(亦可視為prāna和apāna)轉折點類似Lakshmanjoo與Jaideva Singh的看法稱為鼻外和心內的dvādaśānta，本經節的dvādaśānta她則專指位於心腔之內，如同甚而大於心輪的hridaya chakra，可譯作靈性之心。這論點與她對上一節經文Verse 50的譯解自成完整脈絡。
     Daniel Odier的譯文簡明地將心思凝神的位置表示為heart。Silburn也在解說開頭點出本經句要點為進入自己的心，並在後面以madhya(中央)來形容該位置為“junction of the center”，但她同時認為應聚焦之處為上層腦部中心。Dmitri Semenov獨特地提出頭頂上方12個拇指寬，這也不是沒有可能，dvādaśānta字面意思即“12個的末端”，各家普遍解釋為12個指節的距離。Paul Reps是俳句詩人，學得Vijñānabhairava的來源與Jaideva Singh一樣皆是Lakshmanjoo，於是可合理推測他是很自然地將本經文的dvādaśānta轉譯成“between two breaths”。奧修的部分，個人在整個“Vigyan Bhairavam Tantra”系列演說裡尚未發現他有跳出Paul Reps譯本，重循學術註解的意圖。就像佛陀之於吠陀婆羅門，耶穌之於塔納赫拉比，奧修亦是這般不落舊俗地詮釋各宗教傳統，因此我們才能見到他將本經文中的vailakṣaṇyaṁ即非比尋常的狀態描述得那麼豐富生動。
     此處必須聲明，筆者並無在各家中獨尊奧修的念頭。僅奧修解說附有中譯，這只是因為筆者的能力時間都很有限，同時畢竟有著奧修門徒的身分。若能談論個人在此Verse 51的實際體驗，Satyasangananda的譯解其實對我最受用，當那心之覺知再結合一些觀照呼吸的話則更是殊勝。不過如果生活背景處於心思極度向外，已至手忙腳亂的情況，那麼dvādaśānta的最適位置確實可能是其他中心，這時Lorin Roche所說的“探索並選出屬於你的中心，如同回到家的感覺”就很有意義了。修法過程亦需符合科學原理。若無師長點撥就想自行參透靜心層面的公式函數，往往是無益甚至有害的。然而靜心者若不親身篤行且反覆驗證，也很難期望任何實質成就。
     無論保守傳統或是前衛當代，盡可能涵蓋最大的意識範圍，然後將其所得盡力維護與散播，筆者將此視同生而為人的理想境界，亦是對這世界所能擔起的最高責任與良知。正是在此初衷下從數年前開始將Vijñānabhairava各節經文的不同譯解彙整成篇，希望有緣的讀者從中取得適合自己的資糧。有幸的話，說不定還能遇到有人願意加入這項挖掘意識寶藏的工程，共同為人類在此浩瀚宇宙——更具祕意價值的稱謂是創造射線——延續那既回溯原初遠古，又直抵萬世未來之神聖法脈。


[各家原文與譯解]
Lakshmanjoo
यथा तथा यत्र तत्र
द्वादशान्ते मनः क्षिपेत् ।
प्रतिक्षणं क्षीणवृत्ते-
र्वैलक्षण्यं दिनैर्भवेत् ॥ ५१ ॥
yathā tathā yatra tatra
dvādaśānte manaḥ kṣipet /
pratikṣaṇaṁ kṣīṇavṛtter-
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 sāktopāya. Fifty-one is aṇavopāya 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 [your awareness] remains in continuity, then you will be born anew in days, not in months. Some days will be…..
     DEVOTEE:…..enough.
     SWAMIJI: Um, yes.
     For this śloka, “kṣanair bhavet" is another reading. Vailakṣaṇ-yaṁ, vailakṣaṇātha, something new will happen to him, not in days, [but] in moments — vailakṣanyaṁ 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 sadhaka?
     SWAMIJI: Kṣīṇa vṛtter sādhakasya, the sādhaka who is kṣīņa vṛtter, whose mind is just one-pointed, who has become one-pointed, [this happens] to him, not to that sādhaka whose mind is not one-pointed.
     GEORGE: Is dvādaśānta a state or dvadaśānta 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.
     SWAMIJI:…..dvādaśānta.
     Yāthā 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 mind 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!¹⁷⁸
     GEORGE: Yes.
     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.
〔178: “One dvādaśānta [at a time], not every dvādaśänta [together]." Vijñāna Bhairava, additional audio (USF archives).〕

Jaideva Singh
यथा तथा यत्र तत्र द्वादशान्ते मनः क्षिपेत् ।
प्रतिक्षणं क्षीणवृत्तेर्वैलक्षण्यं दिनैर्भवेत् ॥ ५१ ॥
Yathā tathā yatra tatra dvādaśānte manaḥ kṣipet /
Pratikṣaṇaṃ kṣīṇavṛtter vailakṣaṇyam dinair bhavet // 51

     1. The mind has to be fixed at any dvādaśānta from the body whether it is the superior or ürdhva dvādaśänta or Brahmarandhra or bähya dvädaśānta i.e. in exterior space at a distance of 12 fingers from the nose, or āntara dvādaśānta i. e. the interior dvādaśānta in the centre of the body, etc.
     2. Śivopādhyāya explains this as asāmānyaparabhairava-rūpatā i.e. the incomparable and ineffable state of Bhairava.
     This is Āṇavopāya.

Satyasangananda
यथा तथा यत्र तत्र द्वादशान्ते मनः क्षिपेत् ।
प्रतिक्षणं क्षीणवृत्तेर्वैलक्षण्यं दिनैर्भवेत् ॥ 51 ॥
Yathaa tathaa yatra tatra dvaadashaante manah kshipet;
Pratikshanam ksheenavritter vailakshanyam dinair bhavet. (51)

Yathaa tathaa: however; Yatra tatra: wherever; Dvaadashaante: in dwadashanta; Manah: mind; Kshipet: bring forcibly; Pratikshanam: each moment; Ksheena vritteh: when the fluctuations of the mind diminish; Vailakshanyam: extraordinary state; Dinaih: day by day; Bhavet: becomes.

     Here the process of dharana on the dwadashanata of hridaya chakra is further elaborated. Generally speaking, it is not easy to focus the awareness on one point due to the dissipated and fragmented condition of the mind. However, this sloka says that the mind can be forcibly focused on dwadashanta. If one were to force the mind to focus on itself or on any of its mental tendencies or patterns, this same advice could lead to mental disturbance. But the dwadashanta of the heart cavity is a powerful point of luminosity, which attracts and holds the mind without further effort, once it has been brought there.
     Moreover, at that stage the mind has developed from moodha (dull) and kshipta (scattered) to spells of vikshipta (oscillation) and moments of ekagrata (one-pointedness). Thus it is possible to direct the awareness forcibly to the dwadashanta in the hridaya chakra, again and again. In this way, the fluctuation of awareness gradually diminishes day by day, and one experiences each moment as extraordinary. This is the very same state of expanded mind mentioned in the introduction, which is inherent in the word tantra itself.
     The word tantra is made up of two roots: tanoti, expansion and trayati, liberation. It is an expanded mind, which has broken away from the fetters or clutches of matter and entered the realm of the spirit, that experiences every moment as extraordinary. This also leads the sadhaka to the realization of the illusory and transient nature of the world and his role within it.
     The sloka advises that this dharana should be done again and again, however and wherever it may be possible. This implies that the awareness may be focused on dwadashanta at any time during the day or night, in any place, whether at home or away, in seclusion or amongst people, and also in any condition, whether old or young, weak or strong, happy or sad.

Lilian Silburn
     Qu’on fixe sa pensée dans le centre supérieur, dvādaśānta, de toutes manières et où qu’on se trouve. L’agitation s’étant peu à peu abolie, en quelques jours l’indescriptible se produira.
     That we fix his thinking in the upper center, dvādaśānta, in any way and wherever we 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 Tantraloka quotes, serves to illustrate the third means of entering his own heart. We have to focus on the upper brain center during all activities, in whatever place we live and using any means, at will. The slightest gestures and impulses must be filled with the purpose which attaches to the junction of the center (madhya) and we have seen that the tension of the subject and the object is spontaneously resolved as soon as we have reached the center. The breath calms down, the thought no longer works and the agitation that accompanies them in normal times ends. It is then that what is devoid of a characteristic sign (vailakṣaṇya), the incomparable and ineffable existence of Bhairava is revealed.
     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 (camatkāra) 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 dvādaśānta.
     The first line of this stance means according to Kṣemaraja that must be assiduously preparing the awakening (unmeṣa) or self-awareness. This is the amazed seizure (camatkāra) of the discovery of oneself, while suddenly collapses any objective medium in a man always devoted to a single thought, in this case, a constant absorption in dvādaśānta.
     Cette concentration relève de la voie de l’individu.
     This concentration is the way of the individual. *Google英譯

Daniel Odier
     Fix your mind in your heart when engaged in worldly activity, thus agitation will disappear and in a few days the indescribable will happen.

Dmitri Semenov
     Here dvādaśānta means “the spot twelve thumb-widths above the top of the skull." In this technique, the spot from where the attention originates is consciously moved into dvāḍaśānta continually, throughout the day. As a result, the mind’s eye will be observing the body from outside and above the head.

Lorin Roche
yathā tathā yatra tatra dvādaśānte manaḥ kṣipet |
prati kṣaṇaṁ kṣīṇa vṛtter vailakṣaṇyaṁ 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.

Osho
     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 is 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.

*奧修段落的中譯請至奧祕之書：奧修解說摘譯