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

विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 130 –
Dhāraṇā 104(Lakshmanjoo) / 105(Jaideva Singh) / 105(Paul Reps) / VBT 47(Osho)

भिया सर्वं रवयति सर्वगो व्यापकोऽखिले
इति भैरवशब्दस्य संततोच्चारणाच्छिवः
bhiyā sarvaṁ ravayati sarvago vyāpako’khile
iti bhairavaśabdasya saṁtatoccāraṇācchivaḥ [Lakshmanjoo]

Bhairava is one who with His luminous consciousness makes every thing resound or who being of luminous consciousness joined with kriyāśakti comprehends the whole universe, who gives everything, who pervades the entire cosmos. Therefore by reciting the word Bhairava incessantly one becomes Śiva. [Jaideva Singh]

ENTER THE SOUND OF YOUR NAME AND, THROUGH THIS SOUND, ALL SOUNDS. [Paul Reps · Osho]

進入你底名字的音聲之中，並由此聲而入衆聲。 [徐進夫]

進入你名字的聲音，透過這個聲音，所有的聲音。 [謙達那]

進入你名字的聲音，透過此聲音，一切的聲音。 [桑雅]

[譯解比對]
     Paul Reps對Vijñānabhairava的英譯傾向於意譯乃至詩意化, 這在此句經文尤其明顯. 只有他將需進入的聲音譯解為“your name”──自己的名字. 其他各家皆按原句所示, 因此該聲音即“Bhairava”——Vijñānabhairava篇名所題之神. 也就是說, 需進入與呼喊的聲音為Bhairava此神的尊名.
     自Lakshmanjo開始, 幾位註釋者皆對Bhairava這個字的首尾結構作了釋義. Lakshmanjo的解析是Bha—威脅, 恐懼; Ra—尖叫, 喊叫; Va—遍滿, 臨在, 神性意識的臨在. 此技巧的修習者, 當他極其畏怖地高喊「喔, Bhairava, 神啊, 保護我, 我已到盡頭了……」, 正是在這麼強烈且不中斷的情感意志下Bhairava的含義完全彰顯, 修習者蛻變為Bhairava, 任何恐懼皆不復見.
     Jaideva Singh對Bhairava一詞有著不盡相同的分析. Bhā是指光, 意識之光; ai象徵活動力; rava有出現在經文裡的ravayati之義, 即領會, 含括. 於是Bhairava可解作「那意識之光結合了活動之力量者領會了全體宇宙即祂自身」. 他又援引了Abhinvavagupta對Bhairava的幾種解釋：宇宙的支持與保護者; 那經常振響偉大梵咒—“I”, 即我—之人; 祂將無畏給予那些對無常輪迴感到恐懼的人們.
     Lilian Silburn的註解近似Jaideva Singh, 進一步點明前述的梵咒“I”即梵語的AHAM, 以及Rava是等同於自性覺知的宇宙共振或意識脈動. 這兩位皆強調對Bhairava的呼喊不該變成機械性的頌念, 而要發自內心, 那包括內化的呼吸能量, suṣumna即中脈, 來到dvādaśānta即呼吸能量的含攝點或Brahmarandhra即頂輪, 而與Bhairava合一.
     Lorin Roche對Bhairava所含的畏怖之義別具想法.
     奧修依循Paul Reps的翻譯, 對於進入該聲音是從自己的名字開始談起, 於是此技巧增添了心理層面, 潛意識和自我意識的作用. 接著他提到傳統上會以神的名字來命名, 於是孩子的名字同時成為神對他與家人的揭示. 然後奧修以跋彌仙人, 印度Raga音樂, 乃至部隊行軍, 阿里巴巴寓言為例, 說明了梵咒頌念與聲音能量的精微原理.

[各家原文與譯解]
Lakshmanjoo
भिया सर्वं रवयति
सर्वगो व्यापकोऽखिले ।
इति भैरवशब्दस्य
संततोच्चारणाच्छिवः ।।१३०।।
bhiyā sarvaṁ ravayati
sarvago vyāpako’khile /
iti bhairavaśabdasya
saṁtatoccāraṇācchivaḥ // 130 //

     Just find out the meaning of “bhairava“. When you want to find out the meaning of “bhairava“, you have to explain these three letters of “bhairava“: “bha“, “ra“, and “va“. “Bha" means, threat, fear. “Ra" means, screaming, crying, “Va" means, all-pervading, present—-the presence of God consciousness. There you find the presence of God consciousness. When you scream [to God] in fear, God is there.
     BRUCE: Does it mean the intensity of that experience?
SWAMIJI: The intensity of that fear. The fear that [causes one to scream)], “O God, protect me! I am finished! I am ruined!"
     BRUCE: Why is it at that moment that God consciousness is more accessible?
     SWAMIJI: Because when you want It…..when you scream, you want It. It means you are screaming for wanting the support of God. You just scream and God is there.
     ERNIE: But then why wouldn’t it be also available to you if you didn’t cry, if you were afraid, but didn’t…..?
     SWAMIJI: But you don’t want to have It. There, you don’t want to have It. When you scream [for It], you want to have It. When you cry [for It], you want to have It. There is the urge for having That support. If you don’t scream [for God], there is no urge for having that God to support you.
     ERNIE: So really, this is just about fear.
     SWAMIJI: Fear, yes.
     ERNIE: This technique is just about fear.
     SWAMIJI: When you are afraid, He is your refuge.
     BRUCE: But you don’t…..it’s not a mental; you do not think that you want Him and then you scream. It’s automatic.
     SWAMIJI: No, it is just the explanation of “bhairava“, what is the state of Bhairava. “Bhairava" means, when you are afraid and scream [to Him], He is there. Vyāpakaḥ means, He is pervading, He is there.
     Iti bhairava śabdasya, when you find out and when you want to explain, discriminate, the state of Bhairava, this word “bhairava“, samtatoccāraṇāt, in continuity, you will become Bhairava. When you become yourself Bhairava, what fear is there?
     This is śāktopāya.
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विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 107 –
Dhāraṇā 81(Lakshmanjoo) / 83(Jaideva Singh) / 82(Paul Reps) / VBT 106(Osho)

स्ववदन्यशरीरेऽपि संवित्तिमनुभावयेत्
अपेक्षां स्वशरीरस्य त्यक्त्वा व्यापी दिनैर्भवेत्
svavadanyaśarīre’pi saṁvittimanubhāvayet
āpekṣāṁ svaśarīrasya tyaktvā vyāpī dinairbhavet [Lakshmanjoo]

One should, leaving aside the need of his own body (in other ases), contemplate that the (same) consciousness is present in other bodies as in his own. Thus he will become all-pervasive in a few days. [Jaideva Singh]

FEEL THE CONSCIOUSNESS OF EACH PERSON AS YOUR OWN CONSCIOUSNESS. SO, LEAVING ASIDE CONCERN FOR SELF, BECOME EACH BEING. [Paul Reps · Osho]

把每一個人的意識作爲你自己的意識加以體會，如此則放開自我的關注而成爲每一個人。[徐進夫]

將每一個人的意識感覺成你自己的意識，所以，不要顧慮到自己，變成每一個人。 [謙達那]

感覺每個人的意識有如你自己的意識。因此，拋開對自身的顧慮，成為每一個存在。 [桑雅]

[譯解比對]
     除了Jaideva Singh, 其他幾位都指出與他人情感或感受方面程度不一的連繫. Lakshmanjoo的說明是從近於同情心的連結開始, 再到己身的自我意識轉變成神性意識. Lorin Roche明確點出慈悲心, 然後與Lakshmanjoo一樣談到共同承受, 接著是他對經文裡的śarīra即身體如何靜心冥思的一些個人體會.
     Silburn強調了anubhū一詞—全然擁抱, 強烈體驗, 對等——的豐富含義以及在此經句裡的核心位置. 藉由這般強烈的共振, 對自身的顧慮消失了, 與他人的界線模糊了, 於是超越所有對立的遍在合一就能清楚顯現.
     另外, Silburn引“Kaumudi”(16或17世紀Vijñānabhairava註釋者Ānanda Bhaṭṭa的著作)提出第二種解釋, 即經文裡的他人, 他人身體其實是指Śiva的宇宙身體. Jaideva Singh或許就是依循此種理解, 所以對經文的譯解為意識應不受己身限制, 同於他人進而全體遍滿, 實現Bhairava的本性.
     奧修對此同一的意識是從感覺到對方談起, 而這意味著能將每個人感受為自由, 珍貴的生命與存在. 他也瞭解對現代人而言要在生活裡維持此狀態是困難的, 於是奧修具體建議每天一小時在樹木, 花朵, 天空, 河流等容易親近, 且是自己所愛的事物上面練習這樣的同理心. 然後再進展為對每一個經過身邊, 出現在四周的人都能如此同感, 甚至感覺到他人為中心點, 自己成了外圍. 最終來到與宇宙全體的密切交流, 而那才是祈禱最初的意義.

[各家原文與譯解]
Lakshmanjoo
स्ववदन्यशरीरेऽपि
संवित्तिमनुभावयेत् ।
अपेक्षां स्वशरीरस्य
त्यक्त्वा व्यापी दिनैर्भवेत् ।।१०७।।
svavadanyaśarīre’pi
saṁvittimanubhāvayet /
āpekṣāṁ svaśarīrasya
tyaktvā vyāpī dinairbhavet // 107 //

     Put your consciousness of feeling in other living beings also, in the same way [as for yourself]. As you would feel the prick of a needle in your body paining you, feel the prick of a needle in some other’s body. Feel that way also, that way, too.
     Don’t laugh at that prick [upon another], don’t weep at your own prick. If you get a prick on your body, you will weep. If you get a prick on some other’s body, you will laugh, you will just enjoy. It is not to be done. Put your consciousness in each and every being just like you have put [it] in your own body.
     Apekṣāṁ svaśarīrasya tyaktvā. What will be the fruit of this act? Do you know what will be the fruit of this act? The fruit of this act will be that you will lose, day by day, the I- consciousness of your body, and this universal consciousness, God consciousness, will get its rise day by day.
     This is śāktopāya.
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विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 96 –
Dhāraṇā 71(Lakshmanjoo) / 73(Jaideva Singh) / 71(Paul Reps) / VBT 26(Osho)

झगितीच्छां समुत्पन्ना-मवलोक्य शमं नयेत् ।
यत एव समुद्भूता ततस्तत्रैव लीयते ।।९६।।
jhagitīcchāṁ samutpannām-avalokya śamaṁ nayet /
yata eva samudbhūtā tatastatraiva līyate [Lakshmanjoo]

Having observed a desire that has sprung up, the aspirant should put an end to it immediately. It will be absorbed in that very place from which it arose. [Jaideva Singh]

WHEN SOME DESIRE COMES, CONSIDER IT. THEN, SUDDENLY, QUIT IT. [Paul Reps · Osho]

慾望來時，思之。而後猝然棄之。 [徐進夫]

當某一個慾望來臨，考慮它，然後，突然間，停止它。 [謙達那]

當某個慾望出現，正視它。於是，突然地，免除它。 [桑雅]

[譯解比對]
     如同出入息, 音聲, 目光等等, 在慾望和情緒波動時的「不動心」「平等心」亦為VBT112個技巧中的一大類別. 此技巧的重點為免除, 消去.
     奧修與Lakshmanjoo, Jaideva Singh, Silburn的不同之處在於, 他強調必須先能不去壓抑, 不受任何新舊觀念制約地正視和審視. 如果這確實成為優先條件, 那麼在面對該慾求時, 能做的很可能只有讓自己進入那慾望行為. 然而奧修認為, 就像他在解說裡所舉的生動例證, 正是在慾望散布全身, 翻攪全身時仍能正對著它, 仔細地看著它, 那才是擺脫它和去除它的正確時刻.
     其他三位談的則是需趁慾望初生未現之際立即結束它. 同時很重要的是, 覺知能夠轉向與進入慾望的源起地, 也就是在兩慾望之間潛伏的靈性實體(unmeṣa), 亦即神性意識.
     Lorin Roche的看法為靜心者可以去選擇這兩個方向, 本身的態度則較像是傾向奧修. 他在解說中提到desire的拉丁字源據說為de sidere, 意思是來自天上諸星.

[各家原文與譯解]
Lakshmanjoo
झगितीच्छां समुत्पन्ना-
मवलोक्य शमं नयेत् ।
यत एव समुद्भूता
ततस्तत्रैव लीयते ।।९६।।
jhagitīcchāṁ samutpannām-
avalokya śamaṁ nayet /
yata eva samudbhūtā
tatastatraiva līyate // 96 //

     When any desire comes in your mind, let it come, let it flow out. As soon as this desire flows out, put an end to it at once. Do not let it function at all. As soon as it begins to function, let this functioning be seized by your force of concentration, awareness. And then, wherefrom this desire had risen, it is dissolved in that point again, and then you enter into that desirelessness.
     DEVOTEE: Is that desire to be resisted, sir?
     SWAMIJI: not resisted—abolished, because it is that point of beginning. It must flow out. That energy, when it flows out, at the point when it flows out—it has not (yet) flown—it begins to flow and then stop it, at that very moment.
     This is śāmbhavopāya. This is not śāktopāya. This is śāmbhavopāya because, at that very first start of desire, you enter in the desire-less state, the thought-less state of God consciousness.
     DEVOTEE: This is why it is called “icchopāya“.
     SWAMIJI: Icchopāya, it is śāmbhavopāya.
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विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 47 –
Dhāraṇā 24(Lakshmanjoo) / 24(Jaideva Singh) / 23(Paul Reps) / VBT 94(Osho)

सर्वं देहगतं द्रव्यं वियद्व्याप्तं मृगेक्षणे
विभावयेत्ततस्तस्य भावना सा स्थिरा भवेत्
sarvaṁ dehagataṁ dravyaṁ viyadvyāptaṁ mṛgekṣaṇe
vibhāvayettatastasya bhāvanā sā sthirā bhavet [Lakshmanjoo]

O gazelle-eyed one, (if the aspirant is incapable of śūnyabhāva immediately), let him contemplate over the constituents of his body like bone, flesh, etc. as pervaded with mere vacuity. (After this practice), his bhāvanā (contemplation) of vacuity will become steady, (and at last he will experience the light of consciousness). [Jaideva Singh]

FEEL YOUR SUBSTANCE, BONES, FLESH, BLOOD, SATURATED WITH THE COSMIC ESSENCE. [Paul Reps · Osho]

感覺你的實體、骨頭、肌肉，以及血液都充滿字宙的精華。 [徐進夫]

感覺你的實質、骨頭、肉、和血液被宇宙的本質所充滿。 [謙達那]

感覺你的實體，骨，肉，血，浸透著宇宙精華。 [桑雅]

[譯解比對]
sarvaṁ dehagataṁ dravyaṁ字面上的意思依Lakshmanjoo所說是存在於身體裡的物質，因此從他自己到Paul Reps，Jaideva Singh，Lilian Silburn皆釋義為骨，血，肉等等。Silburn多加了一句「無論它外在形象為何」。
Paul Reps所譯的「浸透」，在Lorin Roche的解說可對應經文裡的bhavana，因其含有infusion之意。不過Lakshmanjoo和Jaideva Singh則將bhavana譯為覺知或沉思。
對於接在「身體裡的物質」也就是骨血肉後面的經文，Lakshmanjoo的解釋是想像它們內部什麼都沒有，是中空的；於是建立起空無，空性的覺知。Jaideva Singh所說的是求學者先建立空性再沉思身體裡的組織為其滲透(pervaded)。Silburn則有兩種解釋。讓身體物質灌注著(imbue)能夠振奮且和緩的氣體——這近似Paul Reps的「宇宙精華」。或者讓那身體稀釋，有如擴充並散布自身至天空或無盡的空無。後者根據Vijñānakaumudī，作者是16或17世紀的Ānanda Bhaṭṭa。
奧修的解說相當重視浸透，他認為要能瞭解身體是多孔洞的，可滲透的，內部流動著生命能量。而在觀想身體為宇宙精華所浸透或灌注之前，奧修建議一開始應從個人心情做起，而且是先嘗試負向再轉為正向，如此實踐才有效果。決心修行入道之人應慎重以對。

[各家原文與譯解]
Lakshmanjoo
सर्वं देहगतं द्रव्यं
वियद्व्याप्तं मृगेक्षणे ।
विभावयेत्ततस्तस्य
भावना सा स्थिरा भवेत् ।।४७।।
sarvaṁ dehagataṁ dravyaṁ
viyadvyāptaṁ mṛgekṣaṇe /
vibhāvayettatastasya
bhāvanā sā sthirā bhavet // 47 //

This is also śāktopāya.
Just imagine that dravyam, the material, deha gatam, that is existing in your body (flesh, bones, and marrow, those are existing in your body), just imagine there is nothing inside.
DENISE: It’s hollow?
SWAMIJI: It is hollow there. Then that awareness on the void becomes established. Tatas tasya bhāvana sā, sā bhāvanā sthirā bhavet, that awareness, that state of awareness on the void, becomes established (sthirā bhavet). It becomes firm and so enters in the nirvikalpa state of samadhi.
This is śāktopāya, pure śāktopāya.
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विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 122 –
Dhāraṇā 96(Lakshmanjoo) / 97(Jaideva Singh) / 97(Paul Reps) / VBT 23(Osho)

वस्त्वन्तरे वेद्यमाने शनैर्वस्तुषु शून्यता
तामेव मनसा ध्यात्वा विदितोऽपि प्रशाम्यति
vastvantare vedyamāne śanairvastuṣu śūnyatā
tāmeva manasā dhyātvā vidito’pi praśāmyati [Lakshmanjoo]

When one perceives a particular object, vacuity is established regarding all other objects. If one contemplates on this vacuity with mind freed of all thought, then even though the particular object be still known or perceived, the aspirant has full tranquillity. [Jaideva Singh]

FEEL AN OBJECT BEFORE YOU. FEEL THE ABSENCE OF ALL OTHER OBJECTS BUT THIS ONE. THEN, LEAVING ASIDE THE OBJECT-FEELING AND THE ABSENCE-FEELING, REALIZE. [Paul Reps · Osho]

觸摸你眼前的一件東西。感知所有其他的一切東西皆不在你的面前——除了這一件。而後，丟開那東西的感覺和不在的感覺，予以體會。 [徐進夫]

感覺放在你面前的客體，除了這個客體之外，感覺其他所有客體的不在，然後，將這個客體的感覺和那個不在的感覺擺在一旁，達成。 [謙達那]

感覺你面前的某個事物，感覺除此之外其他所有事物都不存在。這時，拋掉事物存在之感與不存在之感，體悟。 [桑雅]

[譯解比對]
Lakshmanjoo對Vastvantare的解釋是"在這之前", 也就是此刻之前所察覺到的. 於是此技巧的練習方式為在察覺(vedyamāne)當前的事物時, 立即想到先前所察覺的事物, 若先前事物浮現了, 就再往前推, 直到所有事物都溶化在空無之中(śanair vastuṣu śūnyata).
然而Jaideva Singh, Silburn, 以及奧修的解釋皆非如此. 前兩位認為那個空無是修學者的意識完全在一個事物上, 以致在它之外的所有事物都溶解所形成的. 此時他的意識或分別心再溶入這空無, 因此進入了神性意識——無論原本那一個事物是否還在.
奧修與這兩位又有些不同. 他說先是專注在面前這一個事物, 忘掉其他所有一切, 然後連此事物都忘掉. 這時仍留下來的就是純然的空無, 是所有客體都消失後所顯現的主體意識之光.
Lorin Roche的Radiances Sutras是從個人的體會出發, 並參照各版本的譯註和Monier-Williams等梵英辭典而著成. 對於Vastvantare的解釋他分為字首Vastu: 成為光, 成為黎明, 任何真實存在實體或本質的座落處; 以及字尾Antare: 在其之間, 位於其中.
奧修另外強調, 需先完成前半段即僅剩一個對象在意識裡, 然後才去作後半段的溶於空無之中.

[各家原文與譯解]
Lakshmanjoo
वस्त्वन्तरे वेद्यमाने
शनैर्वस्तुषु शून्यता ।
तामेव मनसा ध्यात्वा
विदितोऽपि प्रशाम्यति ।।१२२।।
vastvantare vedyamāne
śanairvastuṣu śūnyatā /
tāmeva manasā dhyātvā
vidito’pi praśāmyati // 122 //

Vastvantare vedyamāne śanair vastuṣu śūnyatā. When you perceive something (e.g., you perceive this stand), at the time of the perception of this stand, don’t think of this stand, think of what you have perceived before that (that is vastvantara; vastvantara is, another object which you have perceived already, before that). At the time of perceiving this present object, don’t perceive this present object, go to that previous object. Vastvantare vedyamāne śanair vastuṣu śūnyata, by doing this technique—what will happen?—you won’t find, you won’t perceive, anything in this world. You won’t perceive anything. Śanair vastuṣu śūnyata, all objects will melt in nothingness, by and by. Tāmeva manasā dhyātva, and, through your mind, focus on that nothingness, how all these objects are dissolved in nothingness in the end.
Because, when I perceive Stephanie, [and] then I perceive Ellen, at the time of perceiving Ellen, I must perceive Stephanie. At the time I am perceiving Ernie, I must perceive Ellen. So it works like this, that everything becomes dissolved in nothingness. You don’t perceive anything. When you perceive a pencil, you perceive this [previous object]; at the time of perceiving this, you perceive this; at the time of perceiving this, you perceive this. So you will neither perceive this, nor this, nor this. There will be only śūnya, nothingness. Nothingness will appear in you, in the cycle of the objective world—-śanair vastuṣu śūnyata tāmeva manasā dhyātvā.
[Then] vidito’pi, after going in the cycle of perception also, you will enter in the appeased position of God consciousness (praśāmyati; praśāmyati is the appeased state of God consciousness where there is nothing).
This is śāktopaya.
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विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 121 –
Dhāraṇā 95(Lakshmanjoo) / 96(Jaideva Singh) / 96(Paul Reps) / VBT 29(Osho)

भक्त्युद्रेकाद्विरक्तस्य यादृशी जायते मतिः ।
सा शक्तिः शाङ्करी नित्यं भावयेत्तां ततः शिवः ।।१२१।।
bhaktyudrekādviraktasya yādṛśī jāyate matiḥ /
sā śaktiḥ śāṅkarī nityaṁ bhāvayettām tataḥ śivaḥ // 121 // [Lakshmanjoo]

The sort of intuition (mati) that emerges through the intensity of devotion in one who is perfectly detached is known as śakti of śaṅkara. One should contemplate on it perpetually. Then he becomes Śiva Himself. [Jaideva Singh]

DEVOTION FREES. [Paul Reps · Osho]

誠敬可得自在。 [徐進夫]

奉獻使人解脱。 [謙達那]

奉獻而自由。 [桑雅]

[譯解比對]
Lakshmanjoo, Jaideva Singh, 和Silburn皆將bhakti, 奉獻的對象指明為神, 即經文中的Śiva (tataḥ Śivaḥ), 且需持以棄俗, 拋開世間種種執著的態度. 此條件滿足後三人都談到經文裡的mati, 動態式的直觀. Silburn的說明為此介於智性與成道之間的mati, 可再轉成citi即已不受激情束縛的純淨意識, 最後顯現出śakti—-Rudra(亦即Śiva)的仁善能量.
Lorin Roche和Osho則從愛談起. Roche認為在Bhakti yoga裡各種人間性質的情感都可以與神產生關聯, 包括激越情愛, 平等友誼, 甚至是將自己當作了父母, 神當作了孩子般的關照與呵護.
奧修則細述了感覺的心靈, 無須證明的信任, 以及自我隱沒並讓另一個人成為中心—-直到能為對方而活而死. 此與藏傳修心系統的自他交換頗為吻合. 文中舉出Meera及Ramakrishna, 可謂Bhakti虔信派, 宗教奉獻情感的極佳例證.

[各家原文與譯解]
Lakshmanjoo
भक्त्युद्रेकाद्विरक्तस्य
यादृशी जायते मतिः ।
सा शक्तिः शाङ्करी नित्यं
भावयेत्तां ततः शिवः ।।१२१।।
bhaktyudrekādviraktasya
yādṛśī jāyate matiḥ /
sā śaktiḥ śāṅkarī nityaṁ
bhāvayettām tataḥ śivaḥ // 121 //

There is another technique. That the intensity of love for God, the intensity [of devotion] ——bhakti udrekā.
When there is the intensity of love, you can’t understand anything else in this world. When there is the intensity of love for God, you won’t recognize Viresh, you won’t recognize John, you won’t recognize your body, you won’t recognize anything in this world. Viraktasya, vairāgya (detachment ) appears from all sides except for that intensity of love of God
Bhakti udrekā, by the intensity of love for the Lord, viraktasva, when detachment rises in your mind, yādṛśī jāyate matiḥ, and that position of your intellectual cycle at that time, the state of that intellectual cycle of yours, is [no longer] intellectual, is [no longer] the element of intellect in you, sā śaktiḥ śāṅkarī, that is the energy of God consciousness. That intellect is transformed in the energy of God consciousness, and you should perceive that this energy is the real energy. [By] detachment, being detached from all sides because of the intensity of love towards the Lord, bhāvayet you will find out that tataḥśivaḥ, you will become one with Śiva.
This is śāmbhavopäya, the technique of śāmbhavopāva.
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विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 38 –
Dhāraṇā 15(Lakshmanjoo) / 15(Jaideva Singh) / 14(Paul Reps) / VBT 38(Osho)

अनाहते पात्रकर्णे-ऽभग्नशब्दे सरिद्द्रुते
शब्दब्रह्मणि निष्णातः परं ब्रह्माधिगच्छति
anāhate pātrakarṇe-‘bhagnaśabde sariddrute
śabdabrahmaṇi niṣṇātaḥ param brahmādhigacchati [Lakshmanjoo]

One who is deeply versed and deeply bathed or steeped in Nāda which is Brahman in the form of sound (śabdabrahmaṇi niṣṇātaḥ), which is vibrating inside without any impact (anāhate), which can be heard only by the ear that becomes competent by yoga (pātrakarṇe), which goes on sounding like a river (sariddrute) attains to Brahman (brahmādhigacchati). [Jaideva Singh]

BATHE IN THE CENTER OF SOUND, AS IN THE CONTINUOUS SOUND OF A WATERFALL. OR, BY PUTTING THE FINGERS IN THE EARS, HEAR THE SOUND OF SOUNDS. [Paul Reps · Osho]

沐浴於音響中心，一似沐浴於瀑布底連續聲音之間，或以手指塞住耳孔，而後聽那泉聲之音。 [徐進夫]

沐浴在聲音當中，就好像在持續的瀑布聲裡，或者，用手指頭塞住耳朵，聽眾音的聲音。 [謙達那]

沐浴在聲音的中心，如同身在連綿的瀑布聲裡。或者，藉由手指堵住耳朵，聽見聲中之聲。 [桑雅]

[譯解比對]
原文裡聲中之聲, anāhate, 是首先提及的. 它的性質是pātrakarṇe, 亦即自行顯現, 不似一般聲音由物體摩擦和空氣振動所產生. 此等聲音(nāda)需足夠功力的瑜伽士才能聽見. 而沐浴(niṣṇātaḥ)在這如溪水連綿(bhagnaśabde sariddrute)的anāhate即最深的梵音(śabdabrahmaṇi)之中就是與梵天合一(brahmādhigacchati). 在Jaideva Singh和Silburn的解說裡引用了濕婆瑜伽, 早期奧義書, Nātha傳統, 以及Kabīra, Sainte Thérèse, 喀什米爾的Lallā等古經書宗派與聖人對此梵音作出印證.
不過Lakshmanjoo將bhagnaśabde sariddrute解釋為任何如瀑布溪水般連綿不絕的聲音, 並且明確指出修學者可直接冥思內在的梵音, 或者也可從外在的連綿之聲開始. 可能因為這樣, Paul Reps將"or"用在他的英譯裡. 手指堵住耳朵也是Lakshmanjoo解說中的建議作法.
奧修的解說按照Paul Reps的翻譯順序, 也如Lakshmanjoo區分為外在的連綿聲音與內在的聲中之聲. 然而他對兩種聲音都有更為詳盡, 結合科學與靈修經驗的精闢詮釋. 尤其他強調不該因為譯文中出現"或者", 練習時就只選一種去做. 他認為兩者應各以數月時間輪替進行, 如此在兩極之間移動才能證得生命的真義. 而這一向都是奧修對譚崔密宗, 對靜心, 對門徒運動所抱持的基本態度.

[各家原文與譯解]
Lakshmanjoo
अनाहते पात्रकर्णे-
ऽभग्नशब्दे सरिद्द्रुते ।
शब्दब्रह्मणि निष्णातः
परं ब्रह्माधिगच्छति ।।३८।।
anāhate pātrakarṇe-
‘bhagnaśabde sariddrute /
śabdabrahmaṇi niṣṇātaḥ
param brahmādhigacchati // 38 //

That sound which is un-struck is called anāhata.
[You must] pātra karṇe. Pātra karṇe means, [to meditate on the un-struck sound] which is heard in your own ears, the sound which does not come from outward sources, which is heard only in your ears—pātra karṇe. That is pātra karṇe (pātraṁ karṇau yasya).
Or, if you can’t meditate on the anāhata sound , [then] when any sound is produced without a break (abhagna śabde). Abhagna śabde means, that sound which has no breakage. The sound of a waterfall, it is without breakage—-that is abhagna śabde. To that [point], He explains, to make it clear. He says, sarit drute, just like the vega (the flow) of sarit (a stream), which is flowing in great speed, great velocity. That is sarit drute. Śabda brahmaṇi, that is śabda brahma, that is that sound which is one with Brahman.
And, in that śabda brahmani, whoever is niṣṇātaḥ, whoever has taken a bath, taken a dip (niṣṇātaḥ; niḥśeṣaṇa snāta, niṣṇātaḥ), paraṁ brahmādhi gacchati, he is sentenced to paraṁ brahma, he enters in the state of paraṁ brahma.
This is śāktopāya because there is no mantra. There is nothing of that sort to be done—-no mantra, no recitation, no breathing exercise. It is only just to concentrate on the continuity of that sound, waterfall, or anāhata śabda, [but] not both. Anāhata or a waterfall.
For instance, you put [your] fingers on [your] ears, you’ll find anāhata dhvani. Or, you put your hands just like a ball, cup shape [over your ears], you’ll feel that sound, the continuity of that sound. Just contemplate on that sound.
This is śāktopāya, pure śāktopāya.
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विज्ञानभैरवः ※ Vijñānabhairava ※ Vigyan Bhairav Tantra ※ 奧祕之書
Verse 24 –
Dhāraṇā 1(Lakshmanjoo) / 1(Jaideva Singh) / 1(Paul Reps) / VBT 1(Osho)

ऊर्ध्वे प्राणो ह्यधो अधो जीवो विसर्गात्मा परोच्चरेत्
उत्पत्तिद्वितयस्थाने, भरणाद्भरिता स्थितिः
ūrdhve prāṇo hyadho jīvo visargātmā paroccaret
utpattidvitayasthāne bharaṇādbharitā sthitiḥ [Lakshmanjoo]

Parā devī or Highest Śakti who is of the nature of visarga goes on (ceaselessly) expressing herself upward (ūrdhve) (from the centre of the body to dvādaśānta or a distance of twelve fingers) in the form of exhalation (prāṇa) and downward (adhaḥ) (from dvādaśānta to the centre of the body) In the form of inhalation (jiva or apāna). By steady fixation of the mind (bharaṇāt) at the two places of their origin (viz., centre of the body in the case of prāṇa and dvādaśānta in the case of apāna), there is the situation of plenitude (bharitāsthitiḥ which is the state of parāśakti or nature of Bhairava). [Jaideva Singh]

Radiant one, this experience may dawn between two breaths. After breath comes in (down) and just before turning up (out) — the beneficence. [Paul Reps · Osho]

光彩四溢的人呀，這個經驗可在一呼一吸之間明朗。 在吸氣完了(下)而呼氣將畢(上)之前——慈善。 [徐進夫]

發光的人，這個經驗可能會出現在兩個呼吸之間。在氣進入之後，以及就在它要出來之前——那個恩典。 [謙達那]

燦爛之人啊，這樣的體驗會在兩個氣息之間露出曙光。當氣進來(往下)後，正要轉上(往外)之前──慈恩。 [桑雅]

[譯解比對]
Lakshmanjoo解釋utpatti dvitaya sthāne為"這兩個起點", Paul Reps的英譯僅指出進來的氣與出去的氣之間. 奧修的解說補充了出去的氣與進來的氣之間, 不過從他援引佛陀的話語以及自己的闡釋可看出此技巧, 既然列於全篇112個同時是其中呼吸技巧的首位, 以前者即入息和出息在自身內部的轉換之處作為覺知重心是適當的.
奧修的解說則既提空隙的觀照也談呼吸的停止, 這已超前到Verse25至27也就是之後三個技巧的內容. 按照Jaideva Singh引Śivopādhyāya對Bharaṇāt所作的註釋, 應覺察的是在兩個轉換點呼吸暫歇之中, 依然留存並顯露出的神性脈動(spanda)與亮光. 隨後他提及此技巧的另一種詮釋, 即Lakshmanjoo認為的練習方法, 那就是在出去的氣—轉換點以及起來的氣—轉換點此過程中, 分別頌念sa—visarga, ha—’ṁ’-kara. Jaideva Singh歸納成公式’Haṃsaḥ’. Silburn亦提到有別處經句指出此公式.
兩個氣息於身內和身外的轉換點, 前者在Lakshmanjoo, Jaideva Singh, Silburn三人皆是指心(hṛdaya或hṛt), 後者則是從鼻尖算起12個指寬之處(dvādaśānta). Silburn另有談到, 當修行入微時dvādaśānta會移至頂輪.
經文裡有出現prāṇaḥ和jīvaḥ, 後者又稱apāna. 然而不同於普遍認知的吠陀與瑜伽觀念, 在這篇Vijñānabhairava裡prāṇaḥ是指出息, apāna是指入息. 另外, 一般會以prana來描述氣或生命能量, 奧修也是如此, 而Jaideva Singh的注釋則認為是apana即氣息的返回才能提供生命—-jiva. Lorin Roche的看法為prana是生命的氣息, jiva是有別於宇宙靈魂, 由生命氣息濃縮於自身而成的個體靈魂.
Visargātmā在Jaideva Singh的譯解裡直指無上的devī或最高的Śakti, Lakshmanjoo意譯為至上能量, Silburn則依據對它可能的解讀來判別此技巧所屬的路徑層次.

[各家原文與譯解]
Lakshmanjoo
श्रीभैरव उवाच
ऊर्ध्वे प्राणो ह्यधो अधो जीवो
विसर्गात्मा परोच्चरेत् ।
उत्पत्तिद्वितयस्थाने,
भरणाद्भरिता स्थितिः ।।२४।।
śrī bhairava uvāca
ūrdhve prāṇo hyadho jīvo
visargātmā paroccaret /
utpattidvitayasthāne
bharaṇādbharitā sthitiḥ // 24 //

Ūrdhve means “from upwards".
The movement from upwards (ie., from the heart to dvādaśānta) is prāṇaḥ (prāṇaḥ means, the outgoing breath). Adhaḥ, from dvādaśānta to hṛdaya (the heart) is jīvaḥ (jīvaḥ means, the in-going breath).
The outgoing breath is represented by ‘sa’ and the ingoing breath is represented by ‘ha’. So ‘sa’ and ‘ha’, visargātmā parā uccaret utpatti dvitaya sthāne; utpatti dvitaya sthāne, [these are] two starting points. From the heart, there is one starting point, and from bāhya dvādaśānta, there is another starting point (that is utpatti dvitaya, two starting points). There, visargātmā parā uccaret, this supreme energy, which is full of visarga, appears. And by this process, bharaṇāt bharitā sthitiḥ, bharitā sthiti, bhairavasya sthitiḥ syāt, one becomes one with Bhairava, bharaṇāt, because of its fullness.
This upāya, this means, is connected with āṇavopāya. It can’t be śāktopāya or śāmbhavopāya. It is āṇavopāya because it is functioning in the field of objective consciousness.
Ūrdhve, you have to take the breath [out] from the heart to dvādaśānta, and take it in from dvādaśānta to the heart again, and recite prāṇa and jīva. “Recite prāṇa" means, recite ‘sa’, the letter ‘sa’, and “recite jīva” [means, recite] the letter ‘ha’. And, in these utpatti dvitaya, in these two starting points, you have to recite visarga and ‘ṁ’-kara. The visarga of ‘sa’ will be recited in the outward dvādaśānta, and the ‘ṁ’-kara of ‘ha’ will be recited in the heart. When you take your breath inside, [the recitation of “ha"] will end in ‘ṁ’. When you take it out, [the recitation of ‘sa’ will end in visarga – ‘saḥ’. And, in these two starting points, if you concentrate, you will become one with Bhairava because of its fullness.
This is āṇavopāya.
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*譯自奧修書"The Book of Secrets"   *各摘譯編號同於經文譯解裡的各篇VBT

觀照兩個氣息間的空隙
1.燦爛之人啊，這樣的體驗會在兩個氣息之間露出曙光。當氣進來(往下)後，正要轉上(往外)之前——至善。

這就是技巧：
燦爛之人啊，這樣的體驗會在兩個氣息之間露出曙光。
在氣進來後──也就是，往下──並且正要轉出去前──也就是，往上走──至善。覺知這兩點之間，以及正在發生的。當你的氣進來了，覺察它。會有一個片刻，或者說千分之一個片刻，呼吸不見了──就在它轉向上，在它轉向外面之前。這一次氣進來了；然後到了某個點上呼吸會停止。接著呼吸往外走。當氣出去了，那時再次會有一個片刻，或者說一個片刻的一小部份，呼吸停止了。然後氣再進來。」
在氣轉進來或轉出去之前，會有個片刻你並沒有在呼吸。在那片刻中某種發生是可能的，因為當你不在呼吸時你就不在這個世界。瞭解這點：當你不在呼吸時你就是死了；你仍然在，卻是死的。然而這個片刻持續的時間如此短暫，因此你從來不曾注意過它。
對譚崔(Tantra)而言，每一個出去的氣就是一次死亡，而每一個新進來的氣就是一次重生；氣進來是重生；氣出去是死亡。出去的氣等同死亡；進來的氣等同生命。所以在每一次呼吸裡你都是死了然後又重生。這兩者之間的空隙僅持續非常短的時間，不過敏銳的，誠摯的觀察與關注會讓你能夠感覺到這個空隙。如果你可以感覺到這空隙，溼婆說，至善。那時所有其他一切都不需要了。你已得到神的賜福，你已經領悟；事情已經發生了。
你並不是要去訓練呼吸。讓它就是原本的樣子。為什麼是一個這麼簡單的技巧呢？它看起來真是容易。這麼簡單的一個技巧就能知道真理？知道真理意味著知道那既沒有出生也沒有死去，知道那永恆的，始終存在的元素。你可以知道氣在出去，你可以知道氣在進來，但你從來不知道在這兩者之間的那個空隙。
嘗試它。突然間你會掌握到要點──於是你就得到它了；它已經在那裡。不需要再加任何東西到你或你的結構上面，它早就在那裡了。所有事情都已經在那裡，除了某種覺知。所以該怎麼做呢？首先，開始覺知到氣在進來。觀照它。忘掉所有一切，只要觀照氣在進來──正是那個通道。
當氣碰觸到你的鼻孔，感覺它就在那裡。然後讓氣移動進來。全然地覺知地隨著氣息移動。當你在往下，往下，隨著呼吸往下走時，不要錯過那個氣息。不要走到前面也不要落在後面，就是與它一起前進。記住這點：不要走過頭，也不要像影子般跟在後面；要與它是同步的。
呼吸與意識應該合而為一。氣走進來──你也走了進來。只有在這時才有可能明白那在兩個氣息之間的事情。這不會是容易的。隨著氣息移動進來，然後隨著氣息移動出去：進來–出去，進來–出去。
佛陀特別嘗試過這個方法，因此這方法變成了佛教的方法。在佛教的詞彙裡它被稱為安那般那觀瑜珈。而佛陀的成道就是基於這個技巧──只有這個。
世上所有的宗教，世上所有的先知，都是透過這個或那個技巧而達成的，而所有那些技巧都會在這112個技巧裡面。這第一個技巧是佛教的技巧。它已被世人認為是佛教的技巧，因為佛陀正是透過這個技巧而成道的。
佛陀說：「覺知你的呼吸，當它正在進來，它正在出去——進來，出去。」他從未提過那個空隙，因為並不需要。佛陀考量過後覺得如果你開始顧慮起這個空隙，兩個氣息間的這個空隙，那樣的顧慮可能會干擾到你的覺知。所以他只是說：「要覺知。當氣在進來時與它一同移動，當氣在出去時與它一同移動。該做的就只是這些：進來，出去，與呼吸在一起。」他從來沒有談過任何關於這技巧後半段的事情。
原因在於佛陀是對很平常的人們講話，所以即便只是提到都可能讓人產生想要到達這間隙的欲望。那想到達間隙的欲望將會變成覺知的障礙，因為如果你很想到達間隙，你就會跑過頭。氣將進來了，然而你會超過它而跑到前面去，因為你感興趣的那個空隙是在之後才出現的。由於佛陀從來沒有提過這部分，所以佛陀的技巧只有一半。
然而另外那一半會自動地隨之而來。如果你不斷練習呼吸的意識，呼吸的覺知，突然，有一天，就在不知不覺中，你將來到那個間隙。因為當你的覺知變得敏銳，深入，具有強度，當你的覺知開始能框住——整個世界都被放到框框外頭；只有你在進來或出去的呼吸成為你全部的世界，你意識的全部舞台——突然間你一定會感受到那個空隙，而在其中呼吸並不存在。
當你分分秒秒都在隨著呼吸移動，那麼當呼吸不見了，你怎麼可能還會不知道呢？你會突然覺知到呼吸不存在了，於是將會出現那樣的片刻，你感覺呼吸既不是在出去也不是在進來。呼吸完全停止了。就在那停止之中，至善。
就這一個技巧對幾百萬人來說已經足夠了。許多世紀以來整個亞洲都在嘗試並活在這個技巧上面。西藏，中國，日本，緬甸，泰國，錫蘭——除了印度以外整個亞洲都在做這技巧。僅僅一個技巧就讓成千上萬的人透過它而成道。而這只是第一個技巧。
但不幸地，因為這技巧開始與佛陀的名字產生關聯，所以印度教徒們一直試著避開它。因為它變得越來被認為是佛教徒的技巧，於是印度教徒完全將它遺忘了。不僅如此，還有另個原因使他們會想迴避它。因為這個技巧是濕婆所提到的第一個技巧，許多佛教徒就宣稱這本書，維格亞那‧拜伊拉瓦‧怛特羅(VIGYANA BHAIRAVA TANTRA)，是佛教的經典，而不是印度教的經典。
它既不是印度教的也不是佛教的——技巧就是技巧。佛陀用過它，但它是原本就有因此可被使用。因為這個技巧佛陀成為一個佛，一位成道者。這技巧早在佛陀之前；這技巧本來就在那了。試試看。它是最簡單的技巧之一——簡單是相較於其他的技巧；我不是說它對你而言是簡單的。其他技巧會更加困難。那就是為什麼它是第一個提到的技巧。

將你的專注力聚焦於第三眼
5.專注在兩眉之間，讓心落在思緒之前，讓形體直到頭頂充滿呼吸的精髓，從那裡如光一般地灑落。

閉起你的眼睛，然後聚焦你的雙眼，就在兩眉中央。以閉著的雙眼，焦點就落在中間處，好像你仍然是藉由你的兩隻眼睛在看。給出全部的專注在那上面。
如果這樣的專注是存在的，你將首次體驗到一種奇特的現象。生平第一次你將看見思緒是在你面前快速經過；你將變成目擊者。就像是電影螢幕：思緒快速地移動，而你是目睹這一切之人。一旦你的專注力聚焦在第三眼中心了，你會立刻成為能夠覺察內心思緒之人。
藉由聚焦在第三眼，忽然地你就能觀察到呼吸最精髓的部分——不是呼吸，是呼吸的最精髓，普拉那(prana)。而如果你能觀察到呼吸的精髓，普拉那，你就是在那跳躍，那突破將會發生之處了。
當你開始感覺到呼吸的精髓，普拉那，只要想像你的頭部注滿了它——只是觀想著······現在想像這精髓正充滿你整個頭部，尤其是頭頂，薩哈斯拉(SAHASRAR)——最高的靈性中心。而且只要你一想像，它就會被充滿。從那裡——從頭部頂端——如光一般地灑落。這普拉那精髓正從你的頭頂灑落成光。它將要開始灑落······
當你已聚焦在第三眼時，只要觀想普拉那的精髓正從頭頂灑落，那就像你坐在一棵樹下然後花朵灑落，或者你就是在天空下，然後突然間一片雲朵開始灑落雨滴，或者你只是在清晨時分靜靜坐著，然後太陽升起，開始灑落陽光——這一陣光雨從你的頭頂落了下來。如此之灑落會再次創造出你，給予你一個新生。你重新誕生了。

在你日常活動中專注於那空隙
6.處在世間活動時，保持專注於兩個呼吸之間，如此練習，不需幾日就重獲新生。

處在世間活動時，保持專注於兩個呼吸之間······忘掉呼吸——專注在它們之間的位置。一個氣息進來了：在它轉回去前，在它呼出去前，會有個空隙，有個間隔。一個氣息吐出去了；在它再次被納進來前，也會出現空隙。處在世間活動時，保持專注於兩個呼吸之間，不需幾日，如此練習，即獲新生。不過必須沒有間斷。這第六個技巧必須持續不斷地進行。那就是為什麼會提到這點：處在世間活動時······無論你在做的事情是什麼，將你的注意力放在兩個氣息間的空隙。然而它必須在日常活動中練習。
我們討論過另個恰好類似的技巧。此處僅有這樣的差別，它必須在你平常的活動中練習。不要在隔絕的情境下練習它。這練習應該在你做著其他事情時進行。你在吃東西——繼續去吃同時專注於那空隙。你在走路——繼續去走同時專注於那空隙。你要睡覺了——躺下來，讓睡意到來，然而你一直專注著那個空隙。為什麼要在活動當中呢？因為活動讓人分心，活動會一再地帶走你的注意力。不要分心，定著於那個空隙。而且不要停止活動，讓那活動繼續下去。你將擁有兩個層面的存在——作為與本體。
我們具有兩個層面的存在：作為的世界與本體的世界；周圍與中心。在表面，在周圍繼續運轉；不要停下來。然而同時持續專注地運作那個中心。這樣會發生什麼呢？你的活動將變成一種演出，好像你在扮演某個角色一樣。
你扮演著某個角色——譬如說，在一齣舞台劇裡。你扮成了羅摩，或者你扮成了基督。你一直在扮演基督或是扮演羅摩，然而你仍舊是你自己。在中心處，你知道自己是誰；在表層你一直扮演著羅摩，基督，或是任何人。然而你知道自己並不是羅摩——你只是在演戲。你知道你是誰。你的專注力在你裡面歸於中心；你的行為則在外圍持續進行著。
如果這個方法被實踐了，你整個一生都會變成一齣漫長的戲劇。你會成為一位扮演著各種角色的演員，然而常態地在間隔處歸於中心。如果你忘掉了那個間隔，這時你就不是在扮演角色，你會變成那個角色。這麼一來那就不是戲劇了；你已將它誤認為自己的生命。那就是我們一直以來所做的事。每個人都認為他在過著自己的人生。那不是真的人生，那只是一個角色——由社會，環境，文化，傳統，國家，種種情況分派給你的角色。你被給予這個角色，而你總是在扮演它；你已變得認同於它。正是為了打破那認同而有這個技巧。
克里希那有許多名字。克里希那是最偉大的演員之一。他持續不斷地在他自己裡面歸於中心並且扮演——扮演著許多角色，許多演出，但絕對不會嚴肅。嚴肅來自認同。如果在演戲時你真的變成了羅摩，那麼一定會有各種問題。那些問題出自你的嚴肅。當悉多被劫走時你可能會心肌梗塞，於是整個演出都必須停下來。如果你真的變成了羅摩，那就必然心痛難耐·····連心跳都停止了。
然而你只是位演員。悉多被劫走了，但其實沒有任何東西被劫走。你會回到自己的家，然後安穩地熟睡。即便在夢裡你都不會感覺到悉多被劫走。當悉多是真的被劫走時，羅摩本人啜泣著，哭喊著，並且質問四周的樹木：「我的悉多去哪裡了？誰把她帶走了？」然而這裡必須認識清楚。如果羅摩真的在啜泣且質問著樹木，他就已經變得認同。他不再是羅摩了；他不再是那位神聖之人。
這點必須記住，那就是對羅摩來說他真實的人生也只是一個角色而已。你見過其他演員在扮演羅摩，然而羅摩自己也是在扮演某個角色——當然，是在更大的舞台上面。
對此印度有個很美的故事。我想這個故事是獨一無二的；這樣的事情不會存在於任何其他部分的世界。據說跋彌是在羅摩出生前就寫下《羅摩衍那》，於是羅摩必須照做。所以事實上，羅摩起先的舉動也只是一齣戲劇。這故事早在羅摩出生前就寫好了，羅摩只能這樣去做。某方面來說一切皆已注定。悉多必須被劫走，戰爭也必須被掀起。
如果你能瞭解這點，那麼你就能瞭解命定論，即巴格亞(BHAGYA)——宿命。它具有非常深的含義。那個含義是，如果你接受對你來說一切都已注定，你的人生就會變成一齣戲。如果你在一齣戲裡扮演羅摩這個角色，你不能更改它，每件事都已排定了，連你的對話也是如此。如果你對悉多說了什麼，那只是重複一些已排定的台詞而已。如果生命被視為是注定的，你就無法改變它。
舉例來說，你將會在某個特定的日期死去——已經排好了。在你將死之際你會啜泣，但這本就是排好的。這些和那些人們會圍在你身邊——那也是排好的。如果每件事都是排好的，那麼每件事都變成一齣戲。如果一切皆已注定，那意味著你只需執行它。你並沒有被要求活出它，你只是被要求執行它。
這個技巧，第六個技巧，正是讓你自身成為一齣心理劇——只是一場演出。你的焦點集中在兩個氣息間的空隙，而生活，在表層，照常進行著。如果你專注的是中心處，那麼你的注意力就不會真的去到表面——那裡只不過是“次注意力”；只是發生在靠近你注意力的某處。你會感覺到它，你會知道它，但它並不很重要。就好像它不是發生在你身上。我再重複這點：如果你實踐了這第六個技巧，你整個一生都會彷彿不是發生在自己身上，反而像是發生在別人身上一樣。

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* 梵文擷自"Manual for Self Realization: 112 Meditations of the Vijnana Bhairava Tantra"，英譯為Paul Reps之筆，取自"The Book of Secrets"，中譯由桑雅依此英譯而作。在比對解析裡可見到其他各家學者與靜心者的不同譯解。

विज्ञानभैरवः
Vigyan Bhairav Tantra

DEVI ASKS:
OH SHIVA, WHAT IS YOUR REALITY?
WHAT IS THIS WONDER-FILLED UNIVERSE?
WHAT CONSTITUTES SEED?
WHO CENTERS THE UNIVERSAL WHEEL?
WHAT IS THIS LIFE BEYOND FORM PERVADING FORMS?
HOW MAY WE ENTER IT FULLY, ABOVE SPACE AND TIME, NAMES AND DESCRIPTIONS?
LET MY DOUBTS BE CLEARED!
女神問起：
喔，濕婆！什麼是你的實體？
什麼是這充滿驚奇的宇宙？
是什麼構成了種子？
是誰立下宇宙的輪心？
什麼是這超出形式又遍布形式的生命？
我們該如何完全進入它，超乎時間與空間，名相與表述？
讓我的疑惑一掃而空吧！

SHIVA REPLIES:
1. RADIANT ONE, THIS EXPERIENCE MAY DAWN BETWEEN TWO BREATHS. AFTER BREATH COMES IN (DOWN) AND JUST BEFORE TURNING UP (OUT) – THE BENEFICENCE.
濕婆回答：
1. 燦爛之人啊，這樣的體驗會在兩個氣息之間露出曙光。當氣進來(往下)後，正要轉上(往外)之前──慈恩。
ऊर्ध्वे प्राणो ह्यधो अधो जीवो विसर्गात्मा परोच्चरेत्
उत्पत्तिद्वितयस्थाने, भरणाद्भरिता स्थितिः
ūrdhve prāṇo hyadho jīvo visargātmā paroccaret
utpattidvitayasthāne bharaṇādbharitā sthitiḥ

2. AS BREATH TURNS FROM DOWN TO UP, AND AGAIN AS BREATH CURVES FROM UP TO DOWN – THROUGH BOTH THESE TURNS, REALIZE.
2. 當氣從下轉向上，以及當氣再從上彎向下時──透過這兩個轉折，體悟。
मरुतोऽन्तर्बहिर्वापि वियद्युग्मानुवर्तनात्
भैरव्या भैरवस्येत्थं भैरवि व्यज्यते वपुः
maruto’ntarbahirvāpi viyadyugmānuvartanāt
bhairavyā bhairavasyetthaṁ bhairavi vyajyate vapuḥ

3. OR, WHENEVER IN-BREATH AND OUT-BREATH FUSE, AT THIS INSTANT TOUCH THE ENERGY-LESS, ENERGY-FILLED CENTER.
3.或者，每當進來的氣與出去的氣消融之際，在這瞬間碰觸到那無有能量，又滿載能量的中心。
न वजेन्न विशेच्छक्ति-र्मरुद्रूपा विकासिते
निर्विकल्पकतया मध्ये तया भैरवरूपता
na vajenna viśecchaktir marudrūpā vikāsite
nirvikalpakatayā madhye tayā bhairavarūpatā

4. OR, WHEN BREATH IS ALL OUT (UP) AND STOPPED OF ITSELF, OR ALL IN (DOWN) AND STOPPED – IN SUCH UNIVERSAL PAUSE, ONE’S SMALL SELF VANISHES. THIS IS DIFFICULT ONLY FOR THE IMPURE.
4.或者，當氣完全出去(上)並自行停止，或完全進來(下)且停止時──在如此宇宙性的停頓裡，人渺小的自己消失無蹤。這只對不純淨之人才是困難的。
कुम्भिता रेचिता वापि पूरिता या यदा भवेत्
तदन्ते शान्तनामासौ शक्त्या शान्तः प्रकाशते
kumbhitā recitā vāpi pūritā vā yadā bhavet
tadante śāntanāmāsau śaktya śāntaḥ prakāśate

5. ATTENTION BETWEEN EYEBROWS, LET MIND BE BEFORE THOUGHT. LET FORM FILL WITH BREATH ESSENCE TO THE TOP OF THE HEAD AND THERE SHOWER AS LIGHT.
5.專注在兩眉之間，讓心落在思緒之前，讓形體直到頭頂充滿呼吸的精髓，從那裡如光一般灑落。
तयापूर्याशु मूर्धान्तं भङ्क्त्वा भ्रूक्षेपसेतुना
निर्विकल्पं मनः कृत्वा सर्वोर्ध्वे सर्वगोद्गमः
tayāpūryāśu mūrdhāntaṁ bhaṅktvā bhrūkṣepasetunā
nirvikalpaṁ manaḥ kṛtvā sarvordhve sarvagodgamaḥ

6. WHEN IN WORLDLY ACTIVITY, KEEP ATTENTION BETWEEN TWO BREATHS, AND SO PRACTICING, IN A FEW DAYS BE BORN ANEW.
6.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。
यथा तथा यत्र तत्र द्वादशान्ते मनः क्षिपेत्
प्रतिक्षणं क्षीणवृत्तेर्वैलक्षण्यं दिनैर्भवेत्
yathā tathā yatra tatra dvādaśānte manaḥ kṣipet
pratikṣaṇaṃ kṣīṇavṛttervailakṣaṇyam dinairbhavet

7. WITH INTANGIBLE BREATH IN CENTER OF FOREHEAD, AS THIS REACHES HEART AT THE MOMENT OF SLEEP, HAVE DIRECTION OVER DREAMS AND OVER DEATH ITSELF.
7.隨著前額中心裡那無形的呼吸，在沉睡的時刻抵達於心，對夢和死亡本身都已掌握。
पिनां च दुर्बलां शक्तिं ध्यात्वा द्वादशगोचरे
प्रविश्य हृदये ध्यायन्-सुप्तः स्वातन्त्र्यमाप्नुयात्
pināṁ ca durbalāṁ śaktiṁ dhyātvā dvādaśagocare
praviśya hṛdaye dhyāyan-suptaḥ svātantryamāpnuyāt

8. WITH UTMOST DEVOTION, CENTER ON THE TWO JUNCTIONS OF BREATH AND KNOW THE KNOWER.
8.懷著最大之奉獻，以呼吸的兩個轉接點為中心，知道了知者。
वायुद्वयस्य संघट्टा-दन्तर्वा बहिरन्ततः
योगी समत्वविज्ञान-समुद्गमनभाजनम्
vāyudvayasya saṁghaṭṭād-antarvā bahirantataḥ
yogī samatvavijñāna-samudgamanabhājanam

9. LIE DOWN AS DEAD. ENRAGED IN WRATH, STAY SO. OR STARE WITHOUT MOVING AN EYELASH. OR SUCK SOMETHING AND BECOME THE SUCKING.
9.如死去般躺下來。憤怒激起時，待在如此。或眼睛眨也不眨地直瞪著。或吸吮某樣東西並變成那個吸吮。
करङ्किण्या क्रोधनया भैरव्या लेलिहानया
खेचर्या दृष्टिकाले च परावाप्तिः प्रकाशते
karaṅkiṇyā krodhanayā bhairavyā lelihānayā
khecaryā dṛṣṭikāle ca parāvāptiḥ prakāśate

10. WHILE BEING CARESSED, SWEET PRINCESS, ENTER THE CARESS AS EVERLASTING LIFE.
10.在接受愛撫時，甜美的公主啊，如永恆持續之生命進入那樣的愛撫。
कुहनेन प्रयोगेन सद्य एव मृगेक्षणे
समुदेति महानन्दो येन तत्त्वं प्रकाशते
kuhanena prayogena sadya eva mṛgekṣaṇe
samudeti mahānando yena tattvaṁ prakāśate

11. STOP THE DOORS OF THE SENSES WHEN FEELING THE CREEPING OF AN ANT. THEN.
11.當身上出現蟲蟻爬行的感覺時關上知覺的門戶。就在那時。
सर्वस्रोतोनिबन्धेन प्राणशक्त्योर्ध्वया शनैः
पिपीलस्पर्शवेलायां प्रथते परमं सुखम्
sarvasrotonibandhena prāṇaśaktyordhvayā śanaiḥ
pipīlasparśavelāyāṁ prathate paramaṁ sukham

12. WHEN ON A BED OR A SEAT, LET YOURSELF BECOME WEIGHTLESS, BEYOND MIND.
12.在床上或在座位上時，讓自己變得沒有重量，超出了心靈。
आसने शयने स्थित्वा निराधारं विभावयन्
स्वदेहं मनसो क्षीणे, क्षणात् क्षीणाशयो भवेत्
āsane śayane sthitvā nirādhāraṁ vibhāvayan
svadehaṁ, manaso kṣīṇe kṣaṇāt kṣīṇāśayo bhavet

13. OR, IMAGINE THE FIVE-COLORED CIRCLES OF THE PEACOCK TAIL TO BE YOUR FIVE SENSES IN ILLIMITABLE SPACE. NOW LET THEIR BEAUTY MELT WITHIN. SIMILARLY, AT ANY POINT IN SPACE OR ON A WALL – UNTIL THE POINT DISSOLVES. THEN YOUR WISH FOR ANOTHER COMES TRUE.
13.或者，想像在那無垠空間裏孔雀尾部的五彩圓圈成為你的五個感官。現在讓它們的美融化在你裡面。同樣地，就在空間或牆上的任何一點──直到那一點溶解。這時你對另個世界的渴望將會實現。
शिरिवपक्षैश्चित्ररूपै-र्मण्डलैः शून्यपञ्चकम्
ध्यायतोऽनुत्तरे शून्ये प्रवेशो हृदये भवेत्
śikhipakṣaiścitrarūpair-maṇḍalaiḥ śūnyapañcakam
dhyāyato’nuttare śūnye praveśo hṛdaye bhavet
ईदृशेन क्रमेणैव यत्र कुत्रापि चिन्तना
शून्ये कुड्ये परे पात्रे स्वयं लीना वरप्रदा
īdṛśena krameṇaiva yatra kutrāpi cintanā
śūnye kuḍye pare pātre svayaṁ līnā varapradā

14. PLACE YOUR WHOLE ATTENTION IN THE NERVE, DELICATE AS THE LOTUS THREAD, IN THE CENTER OF YOUR SPINAL COLUMN. IN SUCH BE TRANSFORMED.
14.將你整個注意力放在神經脈絡上，細緻如蓮花的紋路，就在你脊柱的中心。在如此之中得到蛻變。
मध्यनाडी मध्यसंस्था बिससूत्राभरूपया
ध्यातान्तर्व्योमया देव्या तया देवः प्रकाशते
madhyanāḍī madhyasaṁsthā bisasūtrābharūpayā
dhyātāntarvyomayā devyā tayā devaḥ prakāśate

15. CLOSING THE SEVEN OPENINGS OF THE HEAD WITH YOUR HANDS, A SPACE BETWEEN YOUR EYES BECOMES ALL INCLUSIVE.
15.用雙手關閉頭部的七個開口，你雙眼之間的空隔變得含括一切。
कररुद्धदृगस्त्रेण भ्रूभेदाद्द्वाररोधनात्
दृष्टे बिन्दौ क्रमाल्लीने तन्मध्ये परमा स्थितिः
kararuddhadṛgastreṇa bhrūbhedāddvārarodhanāt
dṛṣṭe bindau kramāllīne tanmadhye paramā sthitiḥ

16. BLESSED ONE, AS SENSES ARE ABSORBED IN THE HEART, REACH THE CENTER OF THE LOTUS.
16.有福之人啊，當各種感官知覺都已攝入於心，到達了蓮花的中心。
हृद्याकाशे निलीनाक्षः पद्मसंपुटमध्यगः
अनन्यचेताः सुभगे परं सौभाग्यमाप्नुयात्
hṛdyākāśe nilīnākṣaḥ padmasaṁpuṭamadhyagaḥ
ananyacetāḥ subhage paraṁ saubhāgyamāpnuyāt

17. UNMINDING MIND, KEEP IN THE MIDDLE – UNTIL.
17.卸心念於心念，執於中──直至。
सर्वतः स्वशरीरस्य द्वादशान्ते मनो लयात्
दृढबुद्धेर्दृढीभुतं-तत्त्वलक्ष्यं प्रवर्तते
sarvataḥ svaśarīrasya dvādaśānte mano layāt
dṛḍhabuddherdṛḍhībhutaṃ tattvalakṣyaṁ pravartate

18. LOOK LOVINGLY AT SOME OBJECT. DO NOT GO TO ANOTHER OBJECT. HERE IN THE MIDDLE OF THE OBJECT – THE BLESSING.
18.懷著愛地看著某個客體。不要去到別的對象。就在此對象之中間處──賜福。
भावे त्यक्ते निरुद्धा चित् नैव भावान्तरं व्रजेत्
तदा तन्मध्यभावेन विकसत्यति भावना
bhāve tyakte niruddhā cit naiva bhāvāntaraṁ vrajet
tadā tanmadhyabhāvena vikasatyati bhāvanā

19. WITHOUT SUPPORT FOR FEET OR HANDS, SIT ONLY ON THE BUTTOCKS. SUDDENLY, THE CENTERING.
19.不靠腳或手的支撐，僅以臀部去坐。突然間, 歸於中心。
मृद्वासने स्फिजैकेन हस्तपादौ निराश्रयम्
निधाय तत्प्रसङ्गेन परा पूर्णा मतिर्भवेत्
mṛdvāsane sphijaikena hastapādau nirāśrayam
nidhāya tatprasaṅgena parā pūrṇā matirbhavet

20. IN A MOVING VEHICLE, BY RHYTHMICALLY SWAYING, EXPERIENCE. OR IN A STILL VEHICLE, BY LETTING YOURSELF SWING IN SLOWING INVISIBLE CIRCLES.
20.在移動中的交通工具裏，藉由有節奏地晃動，體驗。或是在靜止的交通工具裡，藉由讓自己以緩慢無形的圓圈擺動。
चलासने स्थितस्याथ शनैर्वा देहचालनात्
प्रशान्ते मानसे भावे देवी दिव्यौघमाप्नुयात्
calāsane sthitasyātha śanairvā dehacālanāt
praśānte mānase bhāve devī divyaughamāpnuyāt

21. PIERCE SOME PART OF YOUR NECTAR-FILLED FORM WITH A PIN, AND GENTLY ENTER THE PIERCING AND ATTAIN TO THE INNER PURITY.
21.以尖針刺入你注滿甘露之形體某處，輕柔地進入這穿刺，於是達到內在的純淨。
किञ्चिदङ्गं विभिद्यादौ तीक्ष्णसूच्यादिना ततः
तत्रैव चेतनां युक्त्वा भैरवे निर्मला गतिः
kiñcidaṅgaṁ vibhidyādau tīkṣṇasūcyādinā tataḥ
tatraiva cetanāṁ yuktvā bhairave nirmalā gatiḥ

22. LET ATTENTION BE AT A PLACE WHERE YOU ARE SEEING SOME PAST HAPPENING, AND EVEN YOUR FORM, HAVING LOST ITS PRESENT CHARACTERISTICS, IS TRANSFORMED.
22.將專注力放在你從那裡正看見一些過去在發生之處，於是連你的形體，失去了它現有的屬性，都蛻變了。
वस्तुषु स्मर्यमाणेषु दृष्टे देशे मनस्त्यजेत्
स्वशरीरं निराधारं कृत्वा प्रसरति प्रभुः
vastuṣu smaryamāṇeṣu dṛṣṭe deśe manastyajet
svaśarīraṁ nirādhāraṁ kṛtvā prasarati prabhuḥ

23. FEEL AN OBJECT BEFORE YOU. FEEL THE ABSENCE OF ALL OTHER OBJECTS BUT THIS ONE. THEN, LEAVING ASIDE THE OBJECT-FEELING AND THE ABSENCE-FEELING, REALIZE.
23.感覺你面前的某個事物，感覺除此之外其他所有事物都不存在。這時，拋掉事物存在之感與不存在之感，體悟。
वस्त्वन्तरे वेद्यमाने शनैर्वस्तुषु शून्यता
तामेव मनसा ध्यात्वा विदितोऽपि प्रशाम्यति
vastvantare vedyamāne śanairvastuṣu śūnyatā
tāmeva manasā dhyātvā vidito’pi praśāmyati

24. WHEN A MOOD AGAINST SOMEONE OR FOR SOMEONE ARISES, DO NOT PLACE IT ON THE PERSON IN QUESTION, BUT REMAIN CENTERED.
24.當憎惡某人或喜愛某人的心情生起，不要將它放在涉及之人身上，而是保持歸於中心。
न द्वेषं भावयेत्क्वापि न रागं भावयेत्क्वचित्
रागद्वेषविनिर्मुक्तौ मध्ये ब्रह्म प्रसर्पति
na dveṣam bhāvayetkvāpi na rāgaṁ bhāvayetkvacit
rāgadveṣavinirmuktau madhye brahma prasarpati

25. JUST AS YOU HAVE THE IMPULSE TO DO SOMETHING, STOP.
25.就在你衝動著要做些什麼時，停住。
यस्य कस्येन्द्रियस्यापि व्याघाताच्च निरोधतः
प्रविष्टस्याद्वये शून्ये तत्रैवात्मा प्रकाशते
yasya kasyendriyasyāpi vyāghātācca nirodhataḥ
praviṣṭasyādvaye śūnye tatraivātmā prakāśate

26. WHEN SOME DESIRE COMES, CONSIDER IT. THEN, SUDDENLY, QUIT IT.
26.當某個慾望出現，正視它。於是，突然地，免除它。
झगितीच्छां समुत्पन्ना-मवलोक्य शमं नयेत्
यत एव समुद्भूता ततस्तत्रैव लीयते
jhagitīcchāṁ samutpannām-avalokya śamaṁ nayet
yata eva samudbhūtā tatastatraiva līyate

27. ROAM ABOUT UNTIL EXHAUSTED AND THEN, DROPPING TO THE GROUND, IN THIS DROPPING BE WHOLE.
27.四處遊走直到精疲力盡，此時，整個摔落在地上，在這樣的倒落中成為完整的。
भ्रान्त्वा भ्रान्त्वा शरीरेण त्वरितं भुवि पातनात्
क्षोभशक्तिविरामेण परा संजायते दशा
bhrāntvā bhrāntvā śarīreṇa tvaritaṁ bhuvi pātanāt
kṣobhaśaktivirāmeṇa parā saṁjāyate daśā

28. SUPPOSE YOU ARE GRADUALLY BEING DEPRIVED OF STRENGTH OR OF KNOWLEDGE. AT THE INSTANT OF DEPRIVATION, TRANSCEND.
28.彷彿你正逐漸被剝奪力量或知識。在完全喪失的瞬間，超越。
आधारेष्वथवाऽशक्त्या-ऽज्ञानाच्चित्तलयेन वा
जातशक्तिसमावेश-क्षोभान्ते भैरवं वपुः
ādhāreṣvathavā’śaktyā-‘jñānāccittalayena vā
jātaśaktisamāveśa kṣobhānte bhairavaṁ vapuḥ

29. DEVOTION FREES.
29.奉獻而自由。
भक्त्युद्रेकाद्विरक्तस्य यादृशी जायते मतिः
सा शक्तिः शाङ्करी नित्यं भावयेत्तां ततः शिवः
bhaktyudrekādviraktasya yādṛśī jāyate matiḥ
sā śaktiḥ śāṅkarī nityaṁ bhāvayettām tataḥ śivaḥ

30. EYES CLOSED, SEE YOUR INNER BEING IN DETAIL. THUS SEE YOUR TRUE NATURE.
30.閉起眼睛，詳細看見你的內在本體。於是見到你的真實自性。
कपालान्तर्मनो न्यस्य तिष्ठन्मीलितलोचनः
क्रमेण मनसो दार्ढ्यात्-लक्षयेल्लक्ष्यमुत्तमम्
kapālāntarmano nyasya tiṣṭhanmīlitalocanaḥ
krameṇa manaso dārḍhyāt lakṣayellakṣyamuttamam

31. LOOK UPON A BOWL WITHOUT SEEING THE SIDES OR THE MATERIAL. IN A FEW MOMENTS BECOME AWARE.
31.將目光放在一個碗上，然非見其形貌或材質。不需多久變得覺知。
घटादिभाजने दृष्टिं भित्तिस्त्यक्त्वा विनिक्षिपेत्
तल्लयं तत्क्षणाद्गत्वा तल्लयात्तन्मयो भवेत्
ghaṭādibhājane dṛṣṭiṁ bhittistyaktvā vinikṣipet
tallayaṁ tatkṣaṇādgatvā tallayāttanmayo bhavet

32. SEE AS IF FOR THE FIRST TIME A BEAUTEOUS PERSON OR AN ORDINARY OBJECT.
32.美麗之人或普通事物，都像初次遇見那樣去看。
स्थूलरूपस्य भावस्य स्तब्धां दृष्टिं निपात्य च
अचिरेण निराधारं मनः कृत्वा शिवं व्रजेत्
sthūlarūpasya bhāvasya stabdhām dṛṣṭiṁ nipātya ca
acireṇa nirādhāraṁ manaḥ kṛtvā śivaṁ vrajet

33. SIMPLY BY LOOKING INTO THE BLUE SKY BEYOND CLOUDS, THE SERENITY.
33.僅是藉由看向雲朵之外的藍天，靜謐。
आकाशं विमलं पश्यन् कृत्वा दृष्टिं निरन्तराम्
स्तब्धात्मा तत्क्षणाद्देवि भैरवं वपुराप्नुयात्
ākāśaṁ vimalaṁ paśyan kṛtvā dṛṣṭiṁ nirantarām
stabdhātmā tatkṣaṇāddevi bhairavaṁ vapurāpnuyāt

34. LISTEN WHILE THE ULTIMATE MYSTICAL TEACHING IS IMPARTED. EYES STILL, WITHOUT BLINKING, AT ONCE BECOME ABSOLUTELY FREE.
34.聽啊，當這最終的神祕教誨已然傳遞。雙眼凝神，絲毫不眨，瞬間成為絕對地自由。
संप्रदायमिमं देवि शृणु सम्यग्वदाम्यहम्
कैवल्यं जायते सद्यो नेत्रयोः स्तब्धमात्रयोः
saṁpradāyamimaṁ devi śṛṇu samyagvadāmyaham
kaivalyaṁ jāyate sadyo netrayoḥ stabdhamātrayoḥ

35. AT THE EDGE OF A DEEP WELL LOOK STEADILY INTO ITS DEPTHS UNTIL – THE WONDROUSNESS.
35.在一口深井的邊緣，持續看進它的深處，直到──那嘆為觀止的。
कूपादिके महागर्ते स्थित्वोपरि निरीक्षणात्
अविकल्पमतेः सम्यक् सद्यश्चित्तलयः स्फुटम्
kūpādike mahāgarte sthitvopari nirīkṣaṇāt
avikalpamateḥ samyak sadyaścittalayaḥ sphuṭam

36. LOOK UPON SOME OBJECT, THEN SLOWLY WITHDRAW YOUR SIGHT FROM IT, THEN SLOWLY WITHDRAW YOUR THOUGHT FROM IT. THEN.
36.看著某件事物，然後從它上面緩緩撤回你的目光，再從它那裡緩緩撤回你的思緒。就在此時。
क्वचिद्वस्तूनि विन्यस्य शनैर्दृष्टिं निवर्तयेत्
तज्ज्ञानं चित्तसहितं देवि शून्यालयो भवेत्
kvacidvastūni vinyasya śanairdṛṣṭiṁ nivartayet
tajjñānaṁ cittasahitaṁ devi śūnyālayo bhavet

37. DEVI, IMAGINE THE SANSKRIT
LETTERS IN THESE HONEY-FILLED FOCI OF AWARENESS, FIRST AS LETTERS, THEN MORE SUBTLY AS SOUNDS, THEN AS MOST SUBTLE FEELING. THEN, LEAVING THEM ASIDE, BE FREE.
37.女神啊，想像梵文字母在這些注滿蜂蜜的覺知光點裏，一開始是字體，接著更微妙地是聲音，然後是最精微的感受。此時，離開它們，成為自由。
क्रमद्वादशकं सम्यग् द्वादशाक्षरभेदितम्
स्थूलसूक्ष्मपरस्थित्या मुक्त्वा मुक्त्वान्ततः शिवः
kramadvādaśakaṁ samyag dvādaśākṣarabheditam
sthūlasūkṣmaparasthityā muktvā muktvāntataḥ śivaḥ

38. BATHE IN THE CENTER OF SOUND, AS IN THE CONTINUOUS SOUND OF A WATERFALL. OR, BY PUTTING THE FINGERS IN THE EARS, HEAR THE SOUND OF SOUNDS.
38.沐浴在聲音的中心，如同身在連綿的瀑布聲裡。或者，藉由手指堵住耳朵，聽見聲中之聲。
अनाहते पात्रकर्णे-ऽभग्नशब्दे सरिद्द्रुते
शब्दब्रह्मणि निष्णातः परं ब्रह्माधिगच्छति
anāhate pātrakarṇe-‘bhagnaśabde sariddrute
śabdabrahmaṇi niṣṇātaḥ param brahmādhigacchati

39. INTONE A SOUND, AS AUM, SLOWLY. AS SOUND ENTERS SOUNDFULNESS, SO DO YOU.
39.頌唸一個聲音，譬如‘唵’，緩緩地。當聲音進入遍滿之聲，你亦如此。
प्रणवादिसमुच्चारात् प्लुतान्ते शून्यभावनात्
शून्यया परया शक्त्या शून्यतामेति भैरवि
praṇavādisamuccārāt plutānte śūnyabhāvanāt
śūnyayā parayā śaktyā śūnyatāmeti bhairavi

40. IN THE BEGINNING AND GRADUAL REFINEMENT OF THE SOUND OF ANY LETTER, AWAKE.
40.在任何字母聲音之最初與逐漸精細中，覺醒。
यस्य कस्यापि वर्णस्य पूर्वान्तावनुभावयेत्
शून्यया शून्यभूतोऽसौ शून्याकारः पुमान्भवेत्
yasya kasyāpi varṇasya pūrvāntāvanubhāvayet
śūnyayā, śūnyabhūto’sau śūnyākāraḥ pumānbhavet

41. WHILE LISTENING TO STRINGED INSTRUMENTS, HEAR THEIR COMPOSITE CENTRAL SOUND; THUS OMNIPRESENCE.
41.聆聽絃樂器時，聽見它們綜合而成的中心之聲；於是遍在。
तन्त्र्यादिवाद्यशब्देषु दीर्घेषु क्रमसंस्थितेः
अनन्यचेताः प्रत्यन्ते परव्योमवपुर्भवेत्
tantryādivādyaśabdeṣu-dīrgheṣu kramasaṃsthiteḥ
ananyacetāḥ pratyante paravyomavapurbhavet

42. INTONE A SOUND AUDIBLY, THEN LESS AND LESS AUDIBLY AS FEELING DEEPENS INTO THIS SILENT HARMONY.
42.吟頌一個可聽見的聲音，然後越來越無法聽見，此時情感已深入這寧靜的和諧裡。
पिण्डमन्त्रस्य सर्वस्य स्थूलवर्णक्रमेण तु
अर्धेन्दुबिन्दुनादान्तः शून्योच्चाराद्भवेच्छिवः
piṇḍamantrasya sarvasya sthūlavarṇakrameṇa tu
ardhendubindunādāntaḥ śūnyoccārādbhavecchivaḥ

43. WITH MOUTH SLIGHTLY OPEN, KEEP MIND IN THE MIDDLE OF THE TONGUE. OR, AS BREATH COMES SILENTLY IN, FEEL THE SOUND “HH”.
43.嘴巴微張，留意在舌心處。或者，當氣安靜地進來時，感覺那聲音“HH”。
मध्यजिह्वे स्फारितास्ये मध्ये निक्षिप्य चेतनाम्
होच्चारं मनसा कुर्वं-स्ततः शान्ते प्रलीयते
madhyajihve sphāritāsye madhye nikṣipya cetanām
hoccāraṁ manasā kurvaṁ-stataḥ śānte pralīyate

44. CENTER ON THE SOUND ”AUM” WITHOUT ANY “A” OR “M”.
44.在聲音“AUM”上面歸於中心，不帶任何“A”或“M”。
अबिन्दुंअविसर्गं च अकारं जपतो महान्
उदेति देवी सहसा ज्ञानौघः परमेश्वरः
abinduṁavisargaṁ ca akāram japato mahān
udeti devī sahasā jñānaughaḥ parameśvaraḥ

45. SILENTLY INTONE A WORD ENDING IN “AH”. THEN IN THE “HH”, EFFORTLESSLY, THE SPONTANEITY.
45.安靜地吟頌一個字尾是“AH”的字。然後是“HH”，不費力地，自發狀態。
वर्णस्य सविसर्गस्य विसर्गान्तं चित्तिं कुरु
निराधारेण चित्तेन स्पृशेद्ब्रह्म सनातनम्
varṇasya savisargasya visargāntaṁ cittiṁ kuru
nirādhāreṇa cittena spṛśedbrahma sanātanam

46. STOPPING EARS BY PRESSING AND THE RECTUM BY CONTRACTING, ENTER THE SOUND.
46.藉由按壓與收縮將耳朵和肛門堵住，進入那聲音。
संकोचं कर्णयोः कृत्वा ह्यधोद्वारे तथैव च
अनच्कमहलं ध्याय-न्विशेद्ब्रह्म सनातनम्
saṁkocaṁ karṇayoḥ kṛtvā hyadhodvāre tathaiva ca
anackamahalaṁ dhyāyan-viśedbrahma sanātanam

47. ENTER THE SOUND OF YOUR NAME AND, THROUGH THIS SOUND, ALL SOUNDS.
47.進入你名字的聲音，透過此聲音，一切的聲音。
भिया सर्वं रवयति सर्वगो व्यापकोऽखिले
इति भैरवशब्दस्य संततोच्चारणाच्छिवः
bhiyā sarvaṁ ravayati sarvago vyāpako’khile
iti bhairavaśabdasya saṁtatoccāraṇācchivaḥ

48. AT THE START OF SEXUAL UNION KEEP ATTENTIVE ON THE FIRE IN THE BEGINNING, AND SO CONTINUING, AVOID THE EMBERS IN THE END.
48.在性結合一開始時，專注在那初始之火，如此延續下去，避開最後的餘燼。
वहनेविषस्य मध्ये तु चित्तं सुखमयं क्षिपेत्
केवलं वायुपूर्णं वा स्मरानन्देन युज्यते
vahnerviṣasya madhye tu cittaṁ sukhamayaṁ kṣipet
kevalaṁ vāyupūrṇaṁ vā smarānandena yujyate

49. WHEN IN SUCH EMBRACE YOUR SENSES ARE SHAKEN AS LEAVES, ENTER THIS SHAKING.
49.處在這般的擁抱中，你的感官如葉子般顫動起來，進入此顫動。
शक्तिसङ्गमसंक्षुब्ध-शक्त्यावेशावसानिकम्
यत्सुखं ब्रह्मतत्त्वस्य तत्सुखं स्वाक्यमुच्यते
śaktisaṅgamasaṁkṣubdha-śaktyāveśāvasānikam
yatsukhaṁ brahmatattvasya tatsukhaṁ svākyamucyate

50. EVEN REMEMBERING UNION, WITHOUT THE EMBRACE, TRANSFORMATION.
50.即使只是記起這結合，並沒有擁抱，蛻變。
लेहनामन्थनाकोटैः स्त्रीसुखस्य भरात्स्मृतेः
शक्त्यभावेऽपि देवेशि भवेदानन्दसंप्लवः
lehanāmanthanākoṭaiḥ strīsukhasya bharāt smṛteḥ
saktyabhāve’pi deveśi bhavedānandasaṁplavaḥ

51. ON JOYOUSLY SEEING A LONG ABSENT FRIEND, PERMEATE THIS JOY.
51.喜悅地見到久違之友時，瀰漫於此喜悅中。
आनन्दे महति प्राप्ते दृष्टे वा बान्धवे चिरात्
आनन्दमुद्गतं ध्यात्वा तल्लयस्तन्मना भवेत्
ānande mahati prāpte dṛṣṭe vā bāndhave cirāt
ānandamudgataṁ dhyātvā tallayastanmanā bhavet

52. WHEN EATING OR DRINKING, BECOME THE TASTE OF FOOD OR DRINK, AND BE FILLED.
52.在吃喝之時，成為那食物或汁液的滋味，並為之充滿。
जग्धिपानकृतोल्लास-रसानन्दविजृम्भणात्
भावयेद्भरितावस्थां महानन्दस्ततो भवेत्
jagdhipānakṛtollāsa rasānandavijṛmbhaṇāt
bhāvayedbharitāvasthāṁ mahānandastato bhavet

53. OH LOTUS-EYED ONE, SWEET OF TOUCH, WHEN SINGING, SEEING, TASTING, BE AWARE YOU ARE AND DISCOVER THE EVER-LIVING.
53.喔，蓮花眼之人啊，甜蜜的碰觸，當唱著、看著、嚐著時，覺知到你存在並發覺那永生的。
गितादिविषयास्वादा-समसौख्यैकतात्मनः
योगिनस्तन्मयत्वेन मनोरूढेस्तदात्मता
gitādiviṣayāsvādā-samasaukhyaikatātmanaḥ
yoginastanmayatvena manorūḍhestadātmatā

54. WHEREVER SATISFACTION IS FOUND, IN WHATEVER ACT, ACTUALIZE THIS.
54.無論在何處發現了滿足，何種行為中，將此實現。
यत्र यत्र मनस्तुष्टि-र्मनस्तत्रैव धारयेत्
तत्र तत्र परानन्द-स्वरूपं संप्रवर्तते
yatra yatra manastuṣṭir-manastatraiva dhārayet
tatra tatra parānanda-svarūpaṁ saṁpravartate

55. AT THE POINT OF SLEEP, WHEN THE SLEEP HAS NOT YET COME AND THE EXTERNAL WAKEFULNESS VANISHES, AT THIS POINT BEING IS REVEALED.
55.在即將入睡的剎那，當睡眠尚未到來而外圍的清醒已然消失，就在這瞬間本體顯現了。
अनागतायां निद्रायां प्रणष्टे बाह्यगोचरे
सावस्था मनसा गम्या परा देवी प्रकाशते
anāgatāyāṁ nidrāyāṁ praṇaṣṭe bāhyagocare
sāvasthā manasā gamyā parā devī prakāśate

56. ILLUSIONS DECEIVE, COLORS CIRCUMSCRIBE, EVEN DIVISIBLES ARE INDIVISIBLE.
56.幻象蒙蔽著，顏色劃界著，即便可分隔的都是不可分隔的。
माया विमोहिनी नाम कलायाः कलनं स्थितम्
इत्यादिधर्मं तत्त्वानां कलयन्ना पृथग्भवेत्
māyā vimohinī nāma kalāyāḥ kalanaṁ sthitam
ityādidharmaṁ tattvānāṁ kalayannā pṛthagbhavet

57. IN MOODS OF EXTREME DESIRE, BE UNDISTURBED.
57.在極度欲求的心情中，不為所動。
कामक्रोधलोभमोह-मदमात्सर्यगोचरे
बुद्धिं निस्तिमितां कृत्वा तत्तत्त्वमवशिष्यते
kāmakrodhalobhamoha-madamātsaryagocare
buddhiṁ nistimitāṁ kṛtvā tattattvamavaśiṣyate

58. THIS SO-CALLED UNIVERSE APPEARS AS A JUGGLING, A PICTURE SHOW. TO BE HAPPY, LOOK UPON IT SO.
58.這所謂的宇宙有如上演著戲法，連環圖畫。開心地，如此看待它。
इन्द्रजालमयं विश्वं न्यस्तं वा चित्रकर्मवत्
भ्रमद्वा ध्यायतः सर्वं पश्यतश्च सुखोद्गमः
indrajālamayaṁ viśvaṁ nyastaṁ vā citrakarmavat
bhramadvā dhyāyataḥ sarvaṁ paśyataśca sukhodgamaḥ

59. OH BELOVED, PUT ATTENTION NEITHER ON PLEASURE NOR ON PAIN, BUT BETWEEN THESE.
59.喔，摯愛，注意力既不在歡愉也不在痛苦，而是兩者之間。
न चित्तं निक्षिपेद्दुःखे न सुखे वा परिक्षिपेत्
भैरवि ज्ञायतां मध्ये किं तत्तत्त्वमवशिष्यते
na cittaṁ nikṣipedduḥkhe na sukhe vā parikṣipet
bhairavi jñāyatāṁ madhye kiṁ tattattvamavaśiṣyate

60. OBJECTS AND DESIRES EXIST IN ME AS IN OTHERS. SO ACCEPTING, LET THEM BE TRANSFORMED.
60.事物與慾望存在於我亦存在於他人。因此接受吧，令其蛻變。
घटादौ यच्च विज्ञान-मिच्छाद्यं वा ममान्तरे
नैव सर्वगतं जातं भावयन्निति सर्वगः
ghaṭādau yacca vijñānam-icchādyaṁ vā mamāntare
naiva sarvagataṁ jātaṁ bhāvayanniti sarvagaḥ

61. AS WAVES COME WITH WATER AND FLAMES WITH FIRE, SO THE UNIVERSAL WAVES WITH US.
61.如同浪潮現之於水，燄光現之於火，宇宙亦是如此與我們波動著。
जलस्येवोर्मयो वह्नेर्ज्वालाभङ्ग्यः प्रभा रवेः
ममैव भैरवस्यैता विश्वभङ्ग्यो विभेदिताः
jalasyevormayo vahner-jvālābhaṅgyaḥ prabhā raveḥ
mamaiva bhairavasyaitā viśvabhaṅgyo vibheditāḥ

62. WHEREVER YOUR MIND IS WANDERING, INTERNALLY OR EXTERNALLY, AT THIS VERY PLACE, THIS.
62.無論你心遊蕩何方，裡或外，就在此處，即此。
यत्र यत्र मनो याति बाह्ये वाभ्यन्तरेऽपि वा
तत्र तत्र शिवावस्था व्यापकत्वात्क्व यास्यति
yatra yatra mano yāti bāhye vābhyantare’pi vā
tatra tatra śivāvasthā vyāpakatvāt kva yāsyati

63. WHEN VIVIDLY AWARE THROUGH SOME PARTICULAR SENSE, KEEP IN THE AWARENESS.
63.當透過某個特定感官鮮明地覺知時，保持在此覺知中。
यत्र यत्राक्षमार्गेण चैतन्यं व्यज्यते विभोः
तस्य तन्मात्रधर्मित्वा-च्चिल्लयाद्भरितात्मता
yatra yatrākṣamārgeṇa caitanyaṁ vyajyate vibhoḥ
tasya tanmātradharmitvāc-cillayādbharitātmatā

64. AT THE START OF SNEEZING, DURING FRIGHT, IN ANXIETY, ABOVE A CHASM, FLYING IN BATTLE, IN EXTREME CURIOSITY, AT THE BEGINNING OF HUNGER, AT THE END OF HUNGER, BE UNINTERRUPTEDLY AWARE.
64.噴嚏一開始，驚嚇時，焦慮裡，深淵之上，戰鬥中飛奔，極度好奇，飢餓出現，飢餓消失，不中斷地覺知。
क्षुताद्यन्ते भये शोके गह्वरे वा रणाद्द्रुते
कुतूहले क्षुधाद्यन्ते ब्रह्मसत्ता समीपगा
kṣutādyante bhaye śoke gahvare vā raṇāddrute
kutūhale kṣudhādyante brahmasattā samīpagā

65. THE PURITY OF OTHER TEACHINGS IS AN IMPURITY TO US. IN REALITY, KNOW NOTHING AS PURE OR IMPURE.
65.其他教誨的純淨之於我們是種不淨。真實之中，不將任何事情看作純淨或不純淨。
किञ्चिदङ्गं विभिद्यादौ तीक्ष्णसूच्यादिना ततः
तत्रैव चेतनां युक्त्वा भैरवे निर्मला गतिः
kiñcidaṅgaṁ vibhidyādau tīkṣṇasūcyādinā tataḥ
tatraiva cetanāṁ yuktvā bhairave nirmalā gatiḥ

66. BE THE UNSAME SAME TO FRIEND AS TO STRANGER, IN HONOR AND DISHONOR.
66.以不同之同，及於友人與陌生者，榮辱皆然。
समः शत्रौ च मित्रे च समो मानावमानयोः
ब्रह्मणः परिपूर्णत्वा-दिति ज्ञात्वा सुरवो भवेत्
samaḥ śatrau ca mitre ca samo mānāvamānayoḥ
brahmaṇaḥ paripūrṇatvād-iti jñātvā sukhī bhavet

67. HERE IS THE SPHERE OF CHANGE, CHANGE, CHANGE. THROUGH CHANGE CONSUME CHANGE.
67.此處是變動的界域，變動，變動。透過變動耗盡變動。
अतत्त्वमिन्द्रजालाभमिदं सर्वमवस्थितम्
किं तत्त्वमिन्द्रजालस्यइति दार्ढ्याच्छमं व्रजेत्
atattvamindrajālābham-idaṁ sarvamavasthitam
kiṁ tattvamindrajālasya-iti dārḍhyācchamaṁ vrajet

68. AS A HEN MOTHERS HER CHICKS, MOTHER PARTICULAR KNOWINGS, PARTICULAR DOINGS, IN REALITY.
68.如母雞撫育她的小雞，撫育特定的了解，特定的作為，在實相之中。
आत्मनो निर्विकारस्य क्व ज्ञानं क्व च वा क्रिया
ज्ञानायत्ता बहिर्भावा अतः शून्यमिदं जगत्
ātmano nirvikārasya kva jñānaṁ kva ca vā kriyā
jñānāyattā bahirbhāvā ataḥ śūnyamidaṁ jagat

69. SINCE, IN TRUTH, BONDAGE AND FREEDOM ARE RELATIVE, THESE WORDS ARE ONLY FOR THOSE TERRIFIED WITH THE UNIVERSE. THIS UNIVERSE IS A REFLECTION OF MINDS. AS YOU SEE MANY SUNS IN WATER FROM ONE SUN, SO SEE BONDAGE AND LIBERATION.
69.既然，在真理之中，束缚與自由是相對的，這些話只對恐懼這個宇宙之人而說。此宇宙是諸心的反映。如同你在水裏見到的許多太陽皆來自同一個太陽，如此看待束缚與解脫。
न मे बन्धो न मे मोक्षो जीवस्यैता विभीषिकाः
प्रतिबिम्बमिदं बुद्धे-र्जलेष्विव विवस्वतः
na me bandho na me mokṣo jīvasyaitā vibhīṣikāḥ
pratibimbamidaṁ buddher-jaleṣviva vivasvataḥ

70. CONSIDER YOUR ESSENCE AS LIGHT RAYS FROM CENTER TO CENTER UP THE VERTEBRAE, AND SO RISES “LIVINGNESS” IN YOU.
70.將你的本質視為從中心到中心沿脊椎而上的光線，因此在你裡面升起那“活生生的”。
आ मूलात्किरणाभासां सूक्ष्मात् सूक्ष्मतरात्मिकाम्
चिन्तयेत्तां द्विषट्कान्ते शाम्यन्तीं, भैरवोदयः
ā mūlātkiraṇābhāsāṁ sūkṣmāt sūkṣmatarātmikām
cintayettāṁ dviṣaṭkānte śāmyantīṁ, bhairavodayaḥ

71. OR IN THE SPACES BETWEEN, FEEL THIS AS LIGHTNING.
71.或於各間隔之空隙，感覺此如閃電一般。
उद्गच्छन्तींतडिद्रूपां प्रतिचक्रं क्रमात्क्रमम्
ऊर्ध्वं मुष्टित्रयं यावत् तावदन्ते महोदयः
udgacchantīṁ taḍidrūpāṁ praticakraṁ kramātkramam
ūrdhvaṁ muṣṭitrayaṁ yāvat tāvadante mahodayaḥ

✽72. FEEL THE COSMOS AS A TRANSLUCENT EVER-LIVING PRESENCE.
72.將此宇宙感覺成晶瑩剔透，永生不滅之存在。
[尚未在Vijñānabhairava原典裡見到本譯句可相應之經文]

73. IN SUMMER WHEN YOU SEE THE ENTIRE SKY ENDLESSLY CLEAR, ENTER SUCH CLARITY.
73.夏日裡你看著整個無盡晴朗的天空，進入這般的清澈。
तेजसा सूर्यदिपादे-राकाशे शबलीकृते
दृष्टिर्निवेश्या तत्रैव स्वात्मरूपं प्रकाशते
tejasā sūryadipāder-ākāśe śabalīkṛte
dṛṣṭirniveśyā tatraiva svātmarūpaṁ prakāśate

74. SHAKTI, SEE ALL SPACE AS IF ALREADY ABSORBED IN YOUR OWN HEAD IN THE BRILLIANCE.
74.夏克提，在光輝之中將一切空間看作仿彿已納入你自身頭部。
लीनं मूर्ध्नि वियत्सर्वं भैरवत्वेन भावयेत्
तत्सर्वं भैरवाकार-तेजस्तत्त्वं समाविशेत्
līnaṁ mūrdhni viyatsarvaṁ bhairavatvena bhāvayet
tatsarvaṁ bhairavākāra-tejastattvaṁ samāviśet

75. WAKING, SLEEPING, DREAMING, KNOW YOU AS LIGHT.
75.醒著、睡著、夢中，將你自己認知為光。
किञ्चिज्ज्ञातं द्वैतदायी बाह्यालोकस्तमः पुनः
विश्वादि भैरवं रूपं ज्ञात्वानन्तप्रकाशभृत्
kiñcijjñātaṁ dvaitadāyī bāhyālokastamaḥ punaḥ
viśvādi bhairavaṁ rūpaṁ jñātvānantaprakāśabhṛt

76. IN RAIN DURING A BLACK NIGHT, ENTER THAT BLACKNESS AS THE FORM OF FORMS.
76.在漆黑的雨夜，如諸形相之形相，進入那黑暗。
एवमेव दुर्निशायां कृष्णपक्षागमे चिरम्
तैमिरं भावयन् रूपं भैरवं रूपमेष्यति
evameva durniśāyāṁ kṛṣṇapakṣāgame ciram
taimiraṁ bhāvayan rūpaṁ bhairavaṁ rūpameṣyati

77. WHEN A MOONLESS RAINY NIGHT IS NOT PRESENT, CLOSE EYES AND FIND BLACKNESS BEFORE YOU. OPENING EYES, SEE BLACKNESS. SO FAULTS DISAPPEAR FOREVER.
77.當無月的雨夜不存在時，閉上眼睛並發現在你面前的黑暗。張開眼睛，看見那黑暗。於是種種過錯永遠消失。
एवमेव निमील्यादौ नेत्रे कृष्णाभमग्रतः
प्रसार्य भैरवं रूपं भावयंस्तन्मयो भवेत्
evameva nimīlyādau netre, kṛṣṇābhamagrataḥ
prasārya bhairavaṁ rūpaṁ bhāvayaṁstanmayo bhavet

78. WHEREVER YOUR ATTENTION ALIGHTS, AT THIS VERY POINT, EXPERIENCE.
78.無論你的注意力點燃於何處，就在這個點上，體驗。
यत्र यत्र मनो याति तत्तत्तेनैव तत्क्षणम्
परित्यज्यानवस्थित्या निस्तरङ्गस्ततो भवेत्
yatra yatra mano yāti tattattenaiva tatkṣaṇam
parityajyānavasthityā nistaraṅgastato bhavet

79. FOCUS ON FIRE RISING THROUGH YOUR FORM FROM THE TOES UP UNTIL THE BODY BURNS TO ASHES BUT NOT YOU.
79.注意力集中在從腳趾沿著你的形體升起之火，往上直到身體燃成灰燼，但不是你。
कालाग्निना काअपदा-दुत्थितेन स्वकं पुरम्
प्लुष्टं विचिन्तयेदन्ते शान्ताभासस्तदा भवेत्
kālāgninā kāapadād-utthitena svakaṁ puram
pluṣṭaṁ vicintayedante-śāntābhāsastadā bhavet

80. MEDITATE ON THE MAKE-BELIEVE WORLD AS BURNING TO ASHES AND BECOME BEING ABOVE HUMANAS.
80.冥想這假扮的世界燃成灰燼，成為在人之上的存有。
एवमेव जगत्सर्वं दग्धं ध्यात्वा विकल्पतः
अनन्यचेतसः पुंसः पुंभावः परमो भवेत्
evameva jagatsarvaṁ dagdhaṁ dhyātvā vikalpataḥ
ananyacetasaḥ puṁsaḥ puṁbhāvaḥ paramo bhavet

81. AS SUBJECTIVELY, LETTERS FLOW INTO WORDS AND WORDS INTO SENTENCES, AND AS, OBJECTIVELY, CIRCLES FLOW INTO WORLDS AND WORLDS INTO PRINCIPLES, FIND AT LAST THESE CONVERGING IN OUR BEING.
81.以主體來看，字母流動成單字而單字形成句子，既而，以客體來看，圓形流動成世界而世界形成定理，最終發現此皆匯集於我們本體裏面。
भुवनाध्वादिरूपेण चिन्तयेत्क्रमशोऽखिलम्
स्थूलसूक्ष्मपरस्थित्या यावदन्ते मनोलयः
bhuvanādhvādirūpeṇa cintayetkramaśo’khilam
sthūlasūkṣmaparasthityā yāvadante manolayaḥ

82. FEEL: MY THOUGHT, I-NESS, INTERNAL ORGANS – ME.
82.感覺著：我之思緒，此我體性，諸內部器官──我。
चित्ताद्यन्तःकृतिर्नास्ति ममान्तर्भावयेदिति
विकल्पानामभावेन विकल्पैरुज्झितो भवेत्
cittādyantaḥkṛtirnāsti mamāntarbhāvayediti
vikalpānāmabhāvena vikalpairujjhito bhavet

83. BEFORE DESIRE AND BEFORE KNOWING, HOW CAN I SAY I AM? CONSIDER. DISSOLVE IN THE BEAUTY.
83.在欲望之前與認知之前，我怎能說我在？深思。溶入那美。
यदा ममेच्छा नोत्पन्ना ज्ञानं वा, कस्तदास्मि वै
तत्त्वतोऽहं तथा भुत-स्तल्लीनस्तन्मना भवेत्
yadā mamecchā notpannā jñānaṁ vā, kastadāsmi vai
tattvato’haṁ tathā bhutas-tallīnastanmanā bhavet

84. TOSS ATTACHMENT FOR BODY ASIDE, REALIZING I AM EVERYWHERE
ONE WHO IS EVERYWHERE IS JOYOUS.
84.將對身體的執著扔在一旁，領悟到我無所不在。那無所不在之人是喜悅的。
विहाय निजदेहास्थां सर्वत्रास्मीति भावयन्
दृढेन मनसा दृष्ट्या नान्येक्षिण्या सुरवो भवेत्
vihāya nijadehāsthāṁ sarvatrāsmīti bhāvayan
dṛḍhena manasā dṛṣṭyā nānyekṣiṇyā sukhī bhavet

85. THINKING NO THING WILL LIMITED-SELF UNLIMIT.
85.心生無物，受限之自我將無有侷限。
निराधारं मनः कृत्वा विकल्पान्न विकल्पयेत।
तदात्मपरमात्मत्वे भैरवो मृगलोचने
nirādhāraṁ manaḥ kṛtvā vikalpānna vikalpayet
tadātmaparamātmatve bhairavo mṛgalocane

86. SUPPOSE YOU CONTEMPLATE SOMETHING BEYOND PERCEPTION, BEYOND GRASPING, BEYOND NOT BEING. – YOU.
86.假設你沉思某樣超出知覺的事物，超出掌握，超出了不存在──你。
यदव्येद्यं यदग्राह्यं यच्छून्यं यदभावगम्
तद्सर्वं भैरवं भाव्यं तदन्ते बोधसंभवः
yadavyedyaṁ yadagrāhyaṁ yacchūnyaṁ yadabhāvagam
tadsarvaṁ bhairavaṁ bhāvyaṁ tadante bodhasaṁbhavaḥ

87. I AM EXISTING. THIS IS MINE. THIS IS THIS. OH BELOVED, EVEN IN SUCH KNOW ILLIMITABLY.
87.我存在著。此為我有。此即為此。喔，摯愛，即便在這般之中無限地了悟。
अहं ममेदमित्यादि-प्रतिपत्तिप्रसङ्गतः
निराधारं मनो कृत्वा तद्ध्यानप्रेरणाच्छमी
ahaṁ mamedamityādi-pratipattiprasaṅgataḥ
nirādhāraṁ mano kṛtvā taddhyānapreraṇācchamī

88. EACH THING IS PERCEIVED THROUGH KNOWING. THE SELF SHINES IN SPACE THROUGH KNOWING. PERCEIVE ONE BEING AS KNOWER AND KNOWN.
88.每件事物都是透過了悟而察覺。本我透過了悟而閃耀在宇宙中。將同一存有覺察為知者與被知者。
ज्ञानं प्रकाशकं लोके आत्मा चैव प्रकाशकः
अनयोरपृथग्भावात् ज्ञानी ज्ञाने विभाव्यते
jñānaṁ prakāśakaṁ loke ātmā caiva prakāśakaḥ
anayorapṛthagbhāvāt jñānī jñāne vibhāvyate

89. BELOVED, AT THIS MOMENT LET MIND, KNOWING, BREATH, FORM, BE INCLUDED.
89.摯愛，就在此刻將心，認識，呼吸、形體，全納進來。
मानसं चेतना शक्ति-रात्मा चेति चतुष्टयम्
यदा प्रिये परिक्षीणं तदा तद्भैरवं वपुः
mānasaṁ cetanā śaktir-ātmā ceti catuṣṭayam
yadā priye parikṣīṇaṁ tadā tadbhairavaṁ vapuḥ

90. TOUCHING EYEBALLS AS A FEATHER, LIGHTNESS BETWEEN THEM OPENS INTO HEART AND THERE PERMEATES THE COSMOS.
90.如羽毛般碰觸眼球，某種輕盈在它們之間開啟並入心，在那瀰漫著整個宇宙。
धामान्तः क्षोभसंभूत-सूक्ष्माग्नितिलकाकृतिम्
बिन्दुं शिखान्ते हृदये लयान्ते ध्यायतो लयः
dhāmāntaḥ kṣobhasaṁbhūta-sūkṣmāgnitilakākṛtim
binduṁ śikhānte hṛdaye layānte dhyāyato layaḥ

91. KIND DEVI, ENTER ETHERIC PRESENCE PERVADING FAR ABOVE AND BELOW YOUR FORM.
91.慈愛的女神啊，進入那遠布於你形體上下之乙太存在。
पृष्ठशून्यं मूलशून्यं युगपद्भावयेच्च यः
शरीरनिरपेक्षिण्या शक्त्या शून्यमना भवेत्
pṛṣṭhaśūnyaṁ mūlaśūnyaṁ yugapadbhāvayecca yaḥ
śarīranirapekṣiṇyā śaktyā śūnyamanā bhavet

92. PUT MINDSTUFF IN SUCH INEXPRESSIBLE FINENESS ABOVE, BELOW AND IN YOUR HEART.
92.將心思內容放進如此難以言表的華美裡，於你心之上、下、和內。
पृष्ठशून्यं मूलशून्यं हृच्छून्यं भावयेत्स्थिरम्
युगपन्निरिविकल्पत्वा-न्निर्विकल्पोदयस्ततः
pṛṣṭhaśūnyaṁ mūlaśūnyaṁ hṛcchūnyaṁ bhāvayetsthiram
yugapannirivikalpatvān-nirvikalpodayastataḥ

93. CONSIDER ANY AREA OF YOUR PRESENT FORM AS LIMITLESSLY SPACIOUS.
93.將你當下形體的任何區域皆視為無有極限地寬廣。
तनूदेशे शून्यतैव क्षणमात्रं विभावयेत्
निर्विकल्पं निर्विकल्पो निर्विकल्पस्वरूपभाक्
tanūdeśe śūnyataiva kṣaṇamātraṁ vibhāvayet
nirvikalpaṁ nirvikalpo nirvikalpasvarūpabhāk

94. FEEL YOUR SUBSTANCE, BONES, FLESH, BLOOD, SATURATED WITH THE COSMIC ESSENCE.
94.感覺你的實體，骨，肉，血，浸透著宇宙精華。
सर्वं देहगतं द्रव्यं वियद्व्याप्तं मृगेक्षणे
विभावयेत्ततस्तस्य भावना सा स्थिरा भवेत्
sarvaṁ dehagataṁ dravyaṁ viyadvyāptaṁ mṛgekṣaṇe
vibhāvayettatastasya bhāvanā sā sthirā bhavet

95. FEEL THE FINE QUALITIES OF CREATIVITY PERMEATING YOUR BREASTS AND ASSUMING DELICATE CONFIGURATIONS.
95.感覺那創造力的精純質地瀰漫著你的胸部並示現出精緻的輪廓。
स्वदेह जगतो वापि सूक्ष्मसूक्ष्मतराणि च
तत्त्वानि यान्ति निलयं ध्यात्वान्ते व्यज्यते परा
svadeha jagato vāpi sūkṣmasūkṣmatarāṇi ca
tattvāni yānti nilayaṁ dhyātvānte vyajyate parā

96. ABIDE IN SOME PLACE ENDLESSLY SPACIOUS, CLEAR OF TREES, HILLS, HABITATIONS. THENCE COMES THE END OF MIND PRESSURES.
96.安住在某無盡寬廣之處，一無樹木、山丘、居民。內心壓迫因之消除。
निर्वृक्षगिरिभित्त्यादि-देशे दृष्टिं विनिक्षिपेत्
विलीने मानसे भावे वृत्तिक्षीणः प्रजायते
nirvṛkṣagiribhittyādi-deśe dṛṣṭiṁ vinikṣipet
vilīne mānase bhāve vṛttikṣīṇaḥ prajāyate

97. CONSIDER THE PLENUM TO BE YOUR OWN BODY OF BLISS.
97.將此充盈之整體視為你自己的喜樂體。
सर्वं जगत्स्वदेहं वा स्वानन्दभरितं स्मरेत्
युगपन्स्वामृइतेनैव परानन्दमयो भवेत्
sarvaṁ jagatsvadehaṁ vā svānandabharitaṁ smaret
yugapansvāmṛitenaiva parānandamayo bhavet

98. IN ANY POSITION GRADUALLY PERVADE AN AREA BETWEEN THE ARMPITS INTO GREAT PEACE.
98.在任何姿勢中將兩腋間的某個區域逐漸遍入極大的祥和。
उपविश्यासने सम्यक् बाहू कृत्वार्धकुञ्चितौ
कक्षव्योम्नि मनः कुर्वन् शममायाति तल्लयात्
upaviśyāsane samyak bāhū kṛtvārdhakuñcitau
kakṣavyomni manaḥ kurvan śamamāyāti tallayāḥ

99. FEEL YOURSELF AS PERVADING ALL DIRECTIONS, FAR, NEAR.
99.感覺自身遍及所有方向，遙遠，臨近。
व्योमाकारं स्वमात्मानं ध्यायेद्दिग्भिरनावृतम्
निराश्रया चितिः शक्तिः स्वरूपं दर्शयेत्तदा
vyomākāraṁ svamātmānaṁ dhyāyeddigbhiranāvṛtam
nirāśrayā citiḥ śaktiḥ svarūpaṁ darśayettadā

100. THE APPRECIATION OF OBJECTS AND SUBJECTS IS THE SAME FOR AN ENLIGHTENED AS FOR AN UNENLIGHTENED PERSON. THE FORMER HAS ONE GREATNESS: HE REMAINS IN THE SUBJECTIVE MOOD, NOT LOST IN THINGS.
100.對客體和主體的欣賞之於成道者與非成道者都為相同。前者有一卓越之處：他會保持在主體心境裏，非迷失在事物中。
ग्राह्यग्राहकसंवित्तिः सामान्या सर्वदेहिनाम्
योगिनां तु विशेषोऽयम् संबन्धे सावधानता
grāhyagrāhakasaṁvittiḥ sāmānyā sarvadehinām
yogināṁ tu viśeṣo’yam saṁbandhe sāvadhānatā

101. BELIEVE OMNISCIENT, OMNIPOTENT, PERVADING.
101.信任那全知，全能，遍及一切。
सर्वज्ञः सर्वकर्ता च व्यापकः परमेश्वरः
स एवाहं शैवधर्मा इति दार्ढ्याद्भवेच्छिवः
sarvajñaḥ sarvakartā ca vyāpakaḥ parameśvaraḥ
sa evāhaṁ śaivadharmā iti dārḍhyādbhavecchivaḥ

102. IMAGE SPIRIT SIMULTANEOUSLY WITHIN AND AROUND YOU UNTIL THE ENTIRE UNIVERSE SPIRITUALIZES.
102.想像靈魂同時於你裡面和四周，直到全部宇宙都轉為靈性。
निजदेहे सर्वदिक्कं युगपद्भावयेद्वियत्
निर्विकल्पमनास्तस्य वियत्सर्वं प्रवर्तते
nijadehe sarvadikkaṁ yugapadbhāvayedviyat
nirvikalpamanāstasya, viyatsarvaṁ pravartate

103. WITH YOUR ENTIRE CONSCIOUSNESS IN THE VERY START OF DESIRE, OF KNOWING, KNOW.
103.以你全部意識，在欲望、認知的最初之際，了悟。
इच्चायामथवा ज्ञाने जाते चित्तं निवेशयेत्
आत्मबुद्ध्यानन्यचेतास्ततस्तत्त्वार्थदर्शनम्
iccāyāmathavā jñāne jāte cittaṁ niveśayet
ātmabuddhyānanyacetās-tatastattvārthadarśanam

104. O SHAKTI, EACH PARTICULAR PERCEPTION IS LIMITED, DISAPPEARING IN OMNIPOTENCE.
104.喔，夏克提，每個特定知覺都是受限的，消失在那全能之中。
निर्निमित्तं भवेज्ज्ञानं निराधारं भ्रमात्मकम्
तत्त्वतः कस्यचिन्नैत-देवंभावी शिवः प्रिये
nirnimittaṁ bhavejjñānaṁ nirādhāraṁ bhramātmakam
tattvataḥ kasyacinnaitad-evaṁbhāvī śivaḥ priye

105. IN TRUTH FORMS ARE INSEPARATE. INSEPARATE ARE OMNIPRESENT BEING AND YOUR OWN FORM. REALIZE EACH AS MADE OF THIS CONSCIOUSNESS.
105. 在真理中形式不可分隔。那無所不在的存有與你自身的形體無法分隔。明瞭一切皆由此意識而成。
चिद्धर्मा सर्वदेहेषु विशेषो नास्ति कुत्रचित्
अतश्च तन्मयं सर्वं भावयन्भवजिज्जनः
ciddharmā sarvadeheṣu viśeṣo nāsti kutracit
ātaśca tanmayaṁ sarvamṁ bhāvayanbhavajijjanaḥ

106. FEEL THE CONSCIOUSNESS OF EACH PERSON AS YOUR OWN CONSCIOUSNESS. SO, LEAVING ASIDE CONCERN FOR SELF, BECOME EACH BEING.
106.感覺每個人的意識有如你自己的意識。因此，拋開對自身的顧慮，成為每一個存在。

107. THIS CONSCIOUSNESS EXISTS AS EACH BEING, AND NOTHING ELSE EXISTS.
107.此意識存在為每一個存有，於此之外無有存在。
स्ववदन्यशरीरेऽपि संवित्तिमनुभावयेत्
अपेक्षां स्वशरीरस्य त्यक्त्वा व्यापी दिनैर्भवेत्
svavadanyaśarīre’pi saṁvittimanubhāvayet
āpekṣāṁ svaśarīrasya tyaktvā vyāpī dinairbhavet

✽108. THIS CONSCIOUSNESS IS THE SPIRIT OF GUIDANCE OF EACH ONE. BE THIS ONE.
108.此意識為指引眾生的神靈。成為此者。
[尚未在Vijñānabhairava原典裡見到本譯句可相應之經文]

109. SUPPOSE YOUR PASSIVE FORM TO BE AN EMPTY ROOM WITH WALLS OF SKIN – EMPTY.
109.設想你被動的形體為一個具有皮膚外牆之空的房間──空無。
देहान्तरे त्वग्विभागं भित्तिभूतं विचिन्तयेत्
न किञ्चिदन्तरे तस्य ध्यायन्नध्येयभाग्भवेत्
dehāntare tvagvibhāgaṁ-bhittibhūtaṁ vicintayet
na kiñcidantare tasya dhyāyannadhyeyabhāgbhavet

110. GRACIOUS ONE, PLAY. THE UNIVERSE IS AN EMPTY SHELL WHEREIN YOUR MIND FROLICS INFINITELY.
110.華美之人啊，玩耍吧。此宇宙為中空之殼，你心可無盡嬉戲於其中。
विश्वमेतन्महादेवि शून्यभूतं विचिन्तयेत्
तत्रैव च मनो लीनं ततस्तल्लयभाजनम्
viśvametanmahādevi śūnyabhūtaṁ vicintayet
tatraiva ca mano līnaṁ tatastallayabhājanam

111. SWEET HEARTED ONE, MEDITATE ON KNOWING AND NOT-KNOWING, EXISTING AND NOT-EXISTING. THEN LEAVE BOTH ASIDE THAT YOU MAY BE.
111.心地甜美之人啊，冥想知道與非知道，存在與非存在。然後將你可能所屬的這兩者一舉拋開。
उभयोर्भावयोर्ज्ञाने ध्यात्वा मध्यं समाश्रयेत्
युगपच्च द्वयं त्यक्त्वा मध्ये तत्त्वं प्रकाशते
ubhayorbhāvayorjñāne dhyātvā madhyaṁ samāśrayet
yugapacca dvayaṁ tyaktvā madhye tattvaṁ prakāśate

112. ENTER SPACE, SUPPORTLESS, ETERNAL, STILL.
112.進入那空間，無需支撐，永恆，寂止。
नित्ये निराश्रये शून्ये व्यापके कलनोज्झिते
बाह्याकाशे मनः कृत्वा निराकाशं समाविशेत्
nitye nirāśraye śūnye vyāpake kalanojjhite
bāhyākāśe manaḥ kṛtvā nirākāśaṁ samāviśet

永恆的信息  

人類對靈性的追尋, 能回溯至多麼久遠的時光?
我們在Vijñānabhairava裡看到的經文, 據信源自至少4,5千年前的印度. 考古工作證實那個時期的確有一印度河流域文明, 甚至發現刻著盤腿坐姿人像的印章.
大約是在具有歐亞交界種族血統的雅利安人進入印度之際, 這神秘的文明也煙滅於歷史的洪流中, 隨之登場的就是較為後世所知的吠陀, 婆羅門, 以及恆河的印度了.
然而, 從耆那教始祖Adinatha到佛陀的存在, 已經表明印度大陸的靈性傳統自有其源頭. 最古老的吠陀經書為Rig Veda, 書中對Adinatha表達了崇高的敬意, 依常理判斷Adinatha的年代必然較Rig Veda久遠得多. 佛陀所屬的釋迦族雖為雅利安貴族階層, 生活在恆河文化圈內, 可是當他踏上探索生死之旅時, 首先是向附近森林裡的仙人學習禪定, 而吠陀經典裡並無禪定法門方面的記載. 所以那些修行方法是傳自何人何地呢?
佛陀所代表的Shrama, 沙門僧團開始興起, 而另個修行系統也以較具組織的面貌逐漸成形, 那就是Tantra——先於佛教密宗的古印度密教, 在台灣也譯作譚崔.
Tantra是西方學者所取的概稱, 此體系在印度本土是由許多不同名稱的教派團體所組成. 例如在西元最初幾個世紀有Kapalika, 一般認為是他們將Vijñānabhairava裡那些承自遠古的修行祕語寫成經書篇章, 再經歲月的流傳, 保存於今日的Kashmir Shaivism, 喀什米爾濕婆教派.
美國俳句詩人Paul Reps於1930年代去到喀什米爾, 與濕婆教派上師Lakshmanjoo合力將經文裡的112個靜心法門譯成英文, 自1955年開始印行. 隨著Paul Reps本流傳於世, 加上Lakshmanjoo其他學生的成果發表以及他本人的解說記錄, 現今Vijñānabhairava—或稱Vigyan Bhairav Tantra—已有十多種語言的翻譯和論著.
奧修於1972年至1973年在孟買對Vigyan Bhairav Tantra即VBT的英譯經句作出解說, 包含每一個靜心技巧的重點說明, 並回覆聽眾的諸多提問. 所有講解和問答隨後出版成"The Book of Secrets", 中譯為奧祕之書.

奧祕之書工作  

※VBT的梵文原句於1918年刊行在Kashmir Series of Texts and Studies, No. IX.
※最早見到的英譯為 Paul Reps版本, 據其所述綜合了Vigyan Bhairava Tantra, Sochanda Tantra, Malini Vijaya Tantra三篇經典. 最初發表於1955年春季號的“Gentry”雜誌, 1957年與禪宗故事, 公案, 十牛圖等合為“Zen Flesh, Zen Bones”一書出版, 此篇譯文為書中第四部分, 題作‘Centering’. 志文出版社於1969年出版“Zen Flesh, Zen Bones”中譯本“禪的故事”.
※Lakshmanjoo於1973至1984年間的錄音於2007年初次成書. Jaideva Singh的 “Vijñānabhairava or Divine Consciousness"初版為1979年, 內容有原文, 作者的英譯, 以及他引據歷來各家所作的註釋. Lilian Silburn的法譯和評註“Le Vijñāna Bhairava”初版則在更早的1961年. Satyasangananda Saraswati的“Sri Vijnana Bhairava Tantra: The Ascent”有她以Bihar Yoga出家僧侶觀點所作的詳細譯解, 2003年初版. Daniel Odier在其網站載有他的法譯之英譯, 並有另篇相關譯作“Spandakarika”. Lorin Roche的譯解“The Radiance Sutras”初版為2014年, 附錄列有各家譯解本. Dimitri Semenov的“Vijñānabhairava or Techniques for Entering Liminal Consciousness”初版於2010年, 他在如何從112個技巧中找出適合自己的方法這方面的建議有值得參考之處. Hareesh同時是一位修行者, 學者, 以及文筆出眾的作家, 他所闡釋的VBT無論廣度和深度或許皆為當世最佳: https://hareesh.org/vbt-blog-posts
※奧修在1972年10月1日至1973年11月8日, 分作5段共80場次, 依Paul Reps的英譯本加以闡釋並回覆提問. 此一系列演說名為“Vigyan Bhairav Tantra”. 隨後於1974到76年間出版為5卷的“The Book of the Secrets”, 1991年改版為2卷的“Vigyan Bhairav Tantra”, 1998年再度改版為合1冊“The Book of Secrets”.
※奧修出版社於1990年10月出版“The Book of the Secrets”第3卷之中譯本“奧祕之書”, 並分成上下冊. 2005年5月至2008年2月將原書5卷各分上下, 出版為共10冊的中譯本“譚崔經典”.
※桑雅最早曾在2003年的劇場演出裡運用了部份奧祕之書經句. 2007年寫成“The Book of Secrets”裡全部經句的中譯, 並以看板型式陳列在該年5月桑雅劇場的年度展演中, 題為“永恆存在的靜心信息”. 目前除了依據奧修的詮釋, 也會參考Lakshmanjoo與Jaideva Singh等人的註解, 持續進行經文中譯和原文比對解析, 並將奧祕之書裡奧修對於經文技巧的解說加以擇要重譯. 這些研究成果亦同時反映在靜心內蘊和內面凝視之舞的實踐當中.

奧祕之書112個靜心技巧原文譯句, 以及各靜心技巧的奧修解說摘譯, 可見於:
奧祕之書：112技巧原文與中譯-持續增訂 │ 奧祕之書：奧修解說摘譯-持續增訂