Cindy的書庫

〈珍序〉過更開心且富創造力的生活

I’m proud to publish this book under my own name, though I don't fully understand the mechanics of its production or the nature of the personality I assume in delivering it. I had no conscious work to do on the book at all. I simply went into trance twice a week, spoke in a "mediumistic" capacity for Seth, or as Seth, and dictated the words to my husband, Robert Butts, who wrote them down.

這本書能在我的名下出版，我深引以為榮，雖然我並不完全了解這本書的製作過程，或我在其中所扮演的那個將這本書〝寫〞出來的角色究竟是怎麼一回事。在本書的創作過程中，我從未有意識的參與過，我所做的只不過是每個星期〝出神〞兩次，以賽斯這個人的身分，或者〝代替〞賽斯，以一個中間人的身分，將這本書〝說〞給我先生聽，而由他記錄下來。

I consider the book "mine" in that I don't believe it could have been written without me and my particular abilities. On the other hand, I realize that far more is involved. I had to read the manuscript to find out what was in it, for example; and to that extent the book doesn't seem mine. But what does that mean?

雖然如此，我還是認為這本書是〝我的〞作品，因為我深信若不是有我這個人，加上我特有的能力居中傳遞，這本書根本就不可能問世。從另一個角度來看，這本書的產生其背後所涉及的東西極多，例如，連我自己都要將原稿看過才知道它裡面在說些什麼；所以，這本書又不能說是〝我的書〞。我說這些話是什麼意思？

My idea briefly is this: Our usual orientation is focused pretty exclusively in what we think of as the "real" world, but there are many realities. By shifting our consciousness, we can glimpse these alternate realities, and all of them are the appearance that Reality takes under certain conditions. I don't believe that we can necessarily describe one in terms of another.

我的看法簡單來說就是：通常我們的著眼點幾乎完全放在我們所認為的〝真實〞世界之中，但是，問題是〝實相〞（reality）有這麼多個。藉著轉換我們意識的焦點，我們就能張望一下其他的實相，而所有的各種實相則又全都是〝實相〞（reality）在各種不同的情況下所顯現出來的不同景觀。在我看來，想要以某一個實相為標準來形容另一個，簡直是件不可能的事情。

For years I've been confused, trying to define Seth in the usual trueand-false world of facts. There he's accepted as an independent spirit —a spirit guide by those with spiritualistic beliefs — or as some displaced portion of my own personality by the scientific community. I couldn't accept either idea, at least not in undiluted form. 

這些年來我一直在一種困擾中，總是希望能以我們這個世界中〝是非題〞的二分法標準，來替賽斯這個人物做一番定位。我究竟應該把他當作是一個一般有精神信仰的人心目中所認為的那種獨立精神體––〝指導靈〞好呢，還是把他列為科學解釋的––他只是我自己性格中一個錯置部分的顯現。這兩種解釋對我而言，都沒有抓到癢處。

If I said, "Look, people, I don't think Seth is a spirit in the way you mean," then this was interpreted as an acknowledgement that Seth was only a portion of my personality. Some people thought that I was trying to put Seth down, or deny them the aid of a super-being when at last they thought they'd found one.

如果我說：〝喂！大家不要搞錯了，賽斯不是你們所以為的那種精神體。〞那麼，人家馬上會把我的話當作我在供認原來賽斯只不過是我性格中的另一面。還有些認為自己終於找到了一位〝超靈〞的人，會以為我在故意抹煞賽斯的地位，不肯讓他們受到這個超然的精神體的幫助。

Actually, I think that the selves we know in normal life are only the three-dimensional actualizations of other source-selves from which we receive our energy and life. Their reality can't be contained in the framework of our creature-hood, though it is being constantly translated through our present individuality.

事實上，我認為我們在正常生活中所自知的自己，只是其他源頭自己在三度空間中所作的顯現而已，我們從那些〝自己〞中取得了生命與能量。他們的〝實相〞根本無法為我們的生物形態架構包容，但是卻不斷經由我們這些個體的作用而轉譯出來。

The "spirit guide" designation may be a handy symbolic representation of this idea, and I'm not saying that spirit guides do not exist. I am saying that the idea deserves greater examination, for the spirit guide may represent something far different than we think. The idea can also be limiting if it always places revelatory knowledge outside of us, and tries to make literal some extraordinary phenomena that may be beyond such interpretation.

像〝指導靈〞這種說法，也許只是以上這種觀念的一種簡化、方便而象徵性的代表，我並不是說〝指導靈〞不存在。我的用意只是在闡明〝指導靈〞這個觀念應該值得我們去做更進一步的探討，因為這個概念真正代表的意義可能與我們所想像的差得很遠。此外，如果我們過於執著這個概念，先入為主的把一切富有啟示的知識當做外來的啟發，或是穿鑿附會的把不包括在這種範圍之內的其他異象，也都列入這個範圍，那麼這種〝指導靈〞的觀念反而會變成了一種限制。

While I was trying to define Seth that way and questioning whether or not he was a spirit guide, I was closed off to some extent from his greater reality, which exists in terms of vast imaginative and creative power that is bigger than the world of facts and can't be contained in it. Seth's personality is quite observable in our sessions, for example, but the source of that personality isn't. For that matter, the origin of any personality is mysterious and not apparent in the objective world. My job is to enlarge the dimensions of that world and people's concepts of it.

當我試用以上這種觀念來解釋賽斯的存在，老是在懷疑他是否是一個〝指導靈〞時，我反而受到某種程度的限制，自外於賽斯那更大的實相，自閉於他那存在於廣大想像力、無邊創造力、比所有一切具體世界要大、也根本無法為唯事實是問的世界所容納得了的實相之外。就拿賽斯跟我們開課這件事為例子來說吧，我們能看得到他的獨特個性顯現，但是這些東西的來源我們卻觀察不到。相同的情形，任何一個人的來由在這客觀世界裡都不是〝顯〞的，也都是一個神秘的謎。我的工作就是去擴大這個世界的範圍，開闊大家對這個世界的觀念。

Seth's books may be the product of another dimensional aspect of my own consciousness not focused in this reality, plus something else that is untranslatable in our terms, with Seth a great psychic creation more real than any "fact." His existence may simply lie in a different order of events than the one we're used to.

賽斯書或許只是我自己意識中某一個屬於另一度空間且又不把注意力放在人世間的〝面向〞，加上其他某些用人間言語解釋不出來因素而生產出來的成品，在其中，造就出〝賽斯〞這了不起的心靈作品，它〝真〞的程度比任何所謂的〝事實〞還要〝真〞。賽斯存在的地方，也許只是某個在事物安排上與我們人間習慣不一樣的層面而已。

I'm not saying that we shouldn't apply what we learn to the ordinary world. Certainly I'm trying to do that, and Seth wrote this book to help people deal more effectively with their daily lives. I am insisting that we must be very careful about making literal interpretations, lest we limit a multidimensional phenomenon by tying it down to a three-dimensional fact system.

我並不是說，如此一來，我們就可以不必把從賽斯書所學到的那一套應用到這個世界來，事實上，我自己就一直在如此做，而賽斯寫這本書的目的，就是在教我們，如何去有效地應付我們的日常生活。我要在此特別強調：當我們在看這本書時，一定要注意不要隨便望文生義，或是斷章取義妄下斷語，或自以為是，否則我們便犯了一個錯誤：硬把多度空間性的東西強塞到三度空間，而妄以人間所謂的真、假來限制與評判事物。

Intuitively and emotionally we often understand more than we intellectually realize. Trying to define revelatory knowledge, or a Seth, in terms of our limited ideas about human personality is like trying to translate, say, a rose to the number 3, or trying to explain one in terms of the other.

不管在直覺上或是情緒感受上，我們了解的事情往往都比理性作用下所能知道的要多。如果我們硬是要把一種富有啟示的訊息，或是像賽斯這樣的事件，用我們自己那種有限的觀念去把它〝框〞起來，就等於是強要以編號三來解釋一朵玫瑰，或是硬拿兩件毫不相干的事情來互相解釋一樣。

The funny thing is that a personality not focused in our reality can help people live in that world more effectively and joyfully by showing them that other realities also exist. In this book Seth is saying that you can change your experience by altering your beliefs about yourself and physical existence.

想想也很有意思，一個根本不把注意力放在我們這個世界的〝人〞，卻能藉著他顯示給我們看的一個事實––其他實相確實存在––來幫助我們過更開心、更充實的生活。在這本書裡面，賽斯說明了我們的生活經驗是可以改變的，改變之道在於改變我們對〝自己〞以及對物質性生命的〝信念〞（beliefs）。

To me, the Seth Material is no longer a continuing manuscript of fascinating theories to be carefully judged against reality. In a strange way it has come alive. The concepts within it live. I experience them and because of this my personal reality has expanded. I've begun to glimpse the greater inner dimensions from which our usual lives emerge, and to familiarize myself with other alternate methods of perception that can be used not only to see other "worlds," but help us deal more effectively with this one.

對我而言，〝賽斯資料〞已是一種不再需要以人間基礎去評判的源源而來的神奇理論了。以一種莫名所以的方式，這些理論活了過來，藏於賽斯理論中的觀念也變成了一種像是有生命的東西。我能感受到它們的存在，也由於此，我個人的實相也為之大大開闊，我因而開始對我們的生命所由來的更廣大內在次元略見一斑，也更因而學會了其他感知的方式，不僅使我能看到一些其他嶄新的〝世界〞，更能夠幫助我以更有效的方式去應付我們今天的世界。

While Seth was producing this book, my own life was immeasurably enriched in unforeseen ways. Frequent psychedelic-type experiences paralleled Seth's dictated material, and my own creative and psychic abilities developed into some entirely new areas.

當賽斯在進行這本書的時候，我自己的生活在完全始料未及的方式下受到了無可計量的饒益。在賽斯敘述這本書的時候，常常發生一些與他所述內容相呼應而令人心神大為動盪的事件，而我的創造力與心靈能力也發展到了一個意想不到的新境界。

Just before Seth began The Nature of Personal Reality: A Seth Book, for instance, I found myself embarked on a new venture I call the Sumari development. Sumari refers to a "family" of consciousnesses who share certain overall characteristics. There is a language involved that isn't a language in usual terms. I think that it operates as a psychological and psychic framework that frees me from normal verbal reference, letting me express and communicate inner feelings and data that lie just beneath formalized word patterns.

比如說，在賽斯快要開始本書的著述時，我發現自己步上了一個新的征途，這種邁進被我稱之為〝蘇馬利〞（sumari）的發展。〝蘇馬利〞的意思是指在某種程度上有著相同整體特性的一個意識〝家族〞。我和這個意識家族的交流，使用一種特殊的〝語言〞，但這種〝語言〞不是我們一般所認為的語言。我猜想這種語言的作用就像一種心理與心靈上的架構，使得我可以不受正常口語辭彙的束縛，讓我表達、傳遞形式化的遣詞用字模式之下存在的內在感覺和資訊。

The Sumari development constantly expanded as Seth produced this book. Now various altered states of consciousness are involved. In one I write Sumari poetry and in another I translate what I've written. At a different level I sing Sumari songs, showing musical knowledge and accomplishment far beyond my normal talents or background. The songs can also be translated, but they communicate emotionally whether or not the words are understood. In yet another state of consciousness, material is received that is supposed to represent remnants of ancient Speaker manuscripts. (These are also translated later.) Seth defines the Speakers as teachers, both physical and nonphysical, who constantly interpret and communicate inner knowledge through the ages. My husband has also written Sumari, but I have to translate it for him.

這種蘇馬利的發展在賽斯進行本書的同時不斷擴大。有好多種不同層次的意識狀態牽涉到這種蘇馬利的發展裡面。比如說，在某一種狀態中我可以寫蘇馬利的詩；而在另一種意識狀態中時，我可以把我所寫的蘇馬利詩翻譯出來；更在另一個不同層次，我可以唱蘇馬利的歌，顯現出遠超過我平常秉賦或背景的音樂素養及表現。這些歌也可以被翻譯出來，但是這些歌在本質上表達的是〝情〞，而歌詞的本身是否能為人聽懂倒在其次。又在另一度不同的意識狀態中，我還可以收到一些資料，這些資料想來應屬古〝說法者〞（speaker）所遺存的手稿，而我後來也翻譯出來了。賽斯說〝說法者〞就是老師，有些有形，有些無形，而所有說法者在千古以來都不斷地扮演一個將內在知識解釋與傳達出來的角色。我先生也能寫蘇馬利言語的東西，但是卻翻譯不出來，非得靠我來為他翻譯不可。

As Seth continued dictating The Nature of Personal Reality, I wrote a complete poetry manuscript, Dialogues of the Soul and Mortal Self in Time, in which I worked out many of my own beliefs as per suggestions Seth was giving in his book. This led to another group of poems, The Speakers. To me this all means that there is a rich vein of creativity and knowledge available to each according to his abilities, just beneath the surface of usual consciousness. I believe that it is a part of our human heritage, accessible to some extent to any person who explores the inner dimensions of the mind.

在賽斯持續進行本書的著述時，我完成了一整份詩稿的創作，名為〈靈魂與必朽的自己在時間當中的對話〉（Dialogues of the Soul and Mortal Self in Time）。在這首長詩中，我根據賽斯在他的書中所提示的建議發展出了很多我自己的信念，而這個發展又催生了我另一組詩作〈說法者〉的問世。就我而言，我自己的這些經驗說明了一個事實，那就是：天地間本來就有一個蘊藏著豐富知識與創造的寶脈，每個人都可以根據他自己能力的不同而自這股寶脈中獲得不同程度的收益，這股脈流所存在的地方就正在我們平常意識的表層之下。我深信這本來就是人類遺產的一部分，任何一個真正有心向自己內心去探尋的行者，都能或多或少進入到這層寶脈而有所收穫。

Dialogues of the Soul and Mortal Self in Time, The Speakers, and some Sumari poetry are being combined into a book that will be published soon by Prentice-Hall. I consider it a companion book to this one. It shows what was happening in my personal reality while Seth was writing his book on the subject, and reveals how the creative impetus splashes out into all areas of the personality. Seth often refers to the poems and to the experiences that initiated them. Many of those events occurred as I tried to understand the relationship between his world and mine, and the connection between inner and outer experience.

〈靈魂與必朽的自己在時間當中的對話〉以及〈說法者〉這兩份詩稿，與我所寫的某些其他蘇馬利詩，已由Prentice-Hall出版公司合併為一冊，並將於近期內出書。我認為它應屬本書的姊妹作，因為這本詩集說明了當賽斯在敘述《個人實相的本質》時，在我自己的個人世界中發生了些什麼事，同時也顯示了創造動力如何向四面八方迸發而進入一個人格所有的領域中。賽斯在寫書時常常引用到我所寫的這些詩，以及觸發這些詩的那些體驗。有很多這種〝觸機〞的情形是由於我拼命的想要搞清楚，到底他的世界與我的世界之間有些什麼關聯，或者內在體驗與外在經驗之間究竟有什麼理路可循而發生的。

But beside this, as Seth was dictating this present book, I also found myself suddenly writing a novel, The Education of Oversoul 7, which was produced more or less automatically. Oversoul Seven, the main character, achieved his own kind of reality. I'd say mentally, "Okay, Seven, let's have the next chapter," and there it was as quickly as I could write it down. Portions of the book also came in the dream state.

除了這些之外，我在賽斯進行本書的同時還發現自己突然在寫一本小說，書名叫做《超靈七號的教育》（The Education of Oversoul Seven），本書頗有自動就寫出來的味道。書中的主角是超靈七號，是一個已經圓滿成就了他自己境界的〝人〞。在那本書進行的時候，我只要在心裡說：〝七號，該寫下一章了吧？〞然後，我就發現自己飛也似的接著寫出了下一章。該書還有一部分內容由我的夢境而出。

I know that Seven and his teacher, Cyprus, exist in certain terms, yet their reality can't be explained either in the usual fact world. For example, the novel included many Sumari poems and portions of Speaker manuscripts; and when I sing Sumari I identify with Cyprus, who is supposed to be a fictional character. I could also tune into Seven for help with personal challenges, I discovered.

我心裡明白書中的那位七號和他的老師賽普路斯（Cyprus）確實以某種方式存在著，但是他們存在的實相卻不是我能以一般俗世真假的角度去描寫形容的。比如說，這本小說裡包含了很多蘇馬利言語的詩，以及部份的說法者留下來的手稿內容。當我在唱蘇馬利語的歌時，我會有一種與賽普路斯產生認同的感覺，可是賽普路斯應該只是一個虛構的人物。另一方面，我又發現：當我在受到個人考驗的時候，我還可以把自己調整到七號的方向而向他求援。

I love to go full-blast ahead, using my abilities as freely as possible. Yet quite as strongly I'm often scandalized intellectually by the same events that intuitively intrigue me, or by the interpretations placed upon them. It does no good to pretend otherwise, and I think there's a good reason for this sometimes uneasy blend of intuition and intellect.

我在碰到事情的時候，喜歡毫不保留的全力以赴，喜歡盡情在不受拘束的情況下釋放自己的能力。但矛盾的是：當我在盡情施展的同時，常常會在理智上為自己這麼受直覺的驅使而覺得羞愧，又有時，在對這種情形做了一番理智上的解釋之後，自己覺得很不好意思。而我對這情形也並不想自己騙自己。我想，這種忽而直覺，忽而理智的摻雜狀況，背後一定有它的理由。

I'm learning that both elements are important in my work and in Seth's. And perhaps my own refusal to accept pat answers leads me to search so intensely, and is responsible to some degree for my "bringing in" a Seth instead of a Mad Hatter.

我終於漸漸了解到，直覺與理智兩者不管是對我自己要做的工作，或是對賽斯所做的工作都相當重要。也許，我這種不肯向〝自我安慰式的答案〞妥協的態度，反倒導致了我往這方面去作更深入的探討，同時，還在相當程度上幫助了我將賽斯而非一個瘋子〝帶〞到這裡來。

The Sumari development, along with the experiences connected with The Education of Oversoul 7 and The Nature of Personal Reality, brought up so many questions that I was forced to seek a larger framework in which to understand what was happening. As a result I'm working on a book called Aspect Psychology, which I hope will present a theory of personality large enough to contain man's psychic nature and activities. Seth refers to Aspects, as we call it, in this present book, and it should be published sometime in 1975.

這種蘇馬利的發展，以及與《超靈七號的教育》及本書相關的經驗，為我帶來了一大堆疑問，使得我不得不向更大的領域去尋求解答，以搞清楚到底這當中發生了些什麼事。這種追尋又令我開始了另一本書《意識的探險》（Adventares in Consaousness : An Introduction to Aspect Psychology）的著述。在那本書裡，我希望能替大家對〝人格〞這個問題做一番註腳，也希望我的立論，能大到足以將人類心靈的真相及各種行為的解釋都涵蓋在裡面，這本書預期可以在一九七五年內完成。在本書《個人實相的本質》中，賽斯也常提到。

In the meantime all I can say is this: We live in a world of physical facts but these spring from a deeper realm of creativity, and in a real sense facts are fictions that spring alive in our experience. All facts. Seth, then, is as much a fact as I am or you are, and in a strange way he straddles both worlds. I hope that Aspects will also span the world of facts and the rich inner realities from which they come, for our experience includes each.

在這同時，我只能說：我們活在一個一切以具體事實為基準的世界裡，而這些具體事實卻來自一個更深的〝創造〞領域。真要說來，所謂的〝事實〞其實就是在我們的經驗中活起來的〝虛構〞（fiction），所有的事實皆是如此。那麼，賽斯這個〝人〞就跟你、我一樣的真，只不過他以一種奇怪的方式跨在兩個世界上。我希望《意識的探險》也能夠助我們將這個〝事實世界〞與其所由生的豐富的內在實相連接起來，因為我們的經驗與感受裡面包含了這兩個世界。

The Nature of Personal Reality not only enriched my creative life but challenged my ideas and beliefs. I agree wholeheartedly with the concepts Seth presents here, while realizing that they run counter to many accepted religious, social, and scientific dogmas. Certainly this book is an answer to all those who have written for help in applying Seth's ideas to ordinary living, and I am certain that it will assist many people in dealing with the varied events and problems of daily life.

《個人實相的本質》這本書不僅僅大大饒益了我的創作生涯，還同時考驗了我的信念與想法。我知道賽斯的理論和許多為人們所接受的宗教、社會、或科學上的教條相衝突，但是我還是毫不保留地完全贊同賽斯的理論。對於那些將賽斯理論實際運用到日常生活上而產生了疑問又寫信來詢問的人，本書無疑是最佳解答。此外，我還相信本書肯定能幫助許多人處理日常生活中的各種難題及事件。

Seth's main idea is that we create our personal reality through our conscious beliefs about ourselves, others, and the world. Following this is the concept that the "point of power" is in the present, not in the past of this life or any other. He stresses the individual's capacity for conscious action, and provides excellent exercises designed to show each person how to apply these theories to any life situation.

賽斯主要的理論在於––我們個人的實相是我們根據自己對自己的信念，以及對其他人和對整個世界的信念自行創造出來的。根據這一點延伸下去，他說明了所謂的〝威力之點〞並不在前世，也不在來生，而在〝當下〞。他強調〝個人〞具備〝有意識行動〞的能力，並且提供了絕佳的練習方法，這些方法告訴我們如何將他的理論活用在任何生活情況裡。

The message is plain: We are not at the mercy of the subconscious, or helpless before forces that we cannot understand. The conscious mind directs unconscious activity and has at its command all of the powers of the inner self. These are activated according to our ideas about reality. "We are gods couched in creaturehood," Seth says, given the ability to form our experience as our thoughts and feelings become actualized.

本書的主旨非常清楚：我們並不是任憑我們自己潛意識擺佈的東西，面臨外力的時候也不是毫無自主之力。〝意識心〞指揮無意識的活動，而所有〝內我〞的力量全都在〝意識心〞的控制之下，這些力量要怎麼用，完全根據我們自己對〝實相〞這兩個字抱著什麼樣的觀念而定。賽斯說：〝我們是一群躺在[生物屬性]（Creaturehood）懷抱裡的[神]。〞我們被賦予了將我們思想與感受實際顯現的能力，然後從這些顯現中形成自己的經驗。

Seth first mentioned The Nature of Personal Reality in Session 608, April 5,1972, only shortly after Rob and I had finished reading proofs for his previous book, Seth Speaks: The Eternal Validity of the Soul. He actually began dictation on April 10,1972, but our personal reality was suddenly disturbed when we were caught in the flood caused by Tropical Storm Agnes. As a result, as you'll see in Rob's notes, further work on the book was delayed for some time.

賽斯第一次提到要寫《個人實相的本質》這本書，是在一九七二年四月五日的第六O八節裡，當時我和羅才剛剛將他的前一本書《靈魂永生》（Seth Speaks:The Eternal Validity of the Soul）稿子校對完畢，而他正式開始口述這本書的時間是同年的四月十日。口述剛開始，我倆的〝個人實相〞馬上就被突如其來的艾格妮絲颱風帶來的水患所干擾。由於這次的事件，本書的進行耽擱了好一陣子，箇中詳情請看書中羅的註解。

Seth often uses episodes from our lives as specific examples of larger issues, and our experiences with the flood served as a starting point for his discussion of personal beliefs and disasters. In several other instances he also used our life situation as his source material — an intriguing turnabout.

發生在我們生活中的各種事件，常常被賽斯信手拈來作為某些更重大問題的例子，而我們那次水災的經驗，結果變成了賽斯討論〝個人信念與災難〞這個題目的濫觴。另有幾次，我們生活中的一些情況被他引用成資料的來源––一個有趣的轉折。

Since the early days of our sessions, which began in late 1963, Seth has consistently called me Ruburt, and Rob, Joseph, saying that these names refer to the greater selves from which our present identities spring. He continues that practice in this book.

很早以前，從我們與賽斯開始有所接觸之初，賽斯就管我叫〝魯柏〞，而稱羅為〝約瑟〞，因為他說這兩個名字代表了我們更大的〝我〞，而我們目前的身分是源自那更大的〝我〞。在本書中，賽斯仍然沿用他一向對我們倆的稱呼。

As usual, Rob methodically records each session in his own version of shorthand and then types it. This is much easier and faster than taping each session, replaying it, and then typing. Periodically Rob notes the passage of time, to show how long it takes Seth to get through a particular passage. Seth himself dictates the words to be underlined or put in quotes or parentheses. Often he indicates the placement of colons and other punctuation as well.

同往常一樣，發生在我們課中所有的資料，仍然由羅以他自己發明的速記方式記錄，爾後再打字整理出來。對羅來說，這比用錄音機錄下整個過程、重放，然後再打字整理，要簡單得多。羅常常在記錄中不時記下時間的流逝，以顯示出賽斯在說到某一個題目時總共用時多長。賽斯口述他的著作，隨時不忘說明哪個字要在底下加劃一條線，哪個字要加引號，什麼時候要用括弧。此外，他也沒忽略掉其他標點符號的使用。

This book should help each reader understand the nature of private experience and use that knowledge to make daily living more creative and enjoyable.

本書應該可以幫助每位讀者了解自己個人經驗的本質，進而去用這份知識改造自己的日常生活，使自己的生活過得更開心，更具創造力。

Jane Roberts

Elmira, New York

November 6, 1973

珍·羅柏茲謹識

于紐約州艾默拉市

一九七三年十一月六日