THE FOUR MIGHTY ONES
第二章
四位能者
“And a river went out of Eden
to water the garden; and from
thence it was parted, and became
into four heads.”
“有河从伊甸流出来，滋润那园子，从那里分为四道。”（Genesis 2:10）
“And every one had four faces: . . .”
“每个有四张脸...”（Ezekiel 10:14）
“I see four men loose, walking
in the midst of the fire, and they
have no hurt; and the form of
the fourth is like the Son of God.”
我见有四个人，并没有捆绑，在火中游行，也没有受伤。那第四个的相貌好像神子（Daniel 3:25）
“Four Mighty Ones are in everyman.”
. . . Blake
“每个人之内都有四位能者”--威廉·布莱克
The “Four Mighty Ones” constitute the selfhood of man, or God in man. There are “Four Mighty Ones” in every man, but these “Four Mighty Ones” are not four separate beings, separated one from the other as are the fingers of his hand.
“四位能者”构成了人的自我，或者说人内在的上帝。每个人身上都有“四位能者”，但这“四位能者”并不是四个独立的个体，而是像人的手指分开一样。
The “Four Mighty Ones” are four different aspects of his mind, and differ from one another in function and character without being four separate selves inhabiting one man’s body.
“四位能者”是心灵的四个不同方面，在功能和特征上彼此不同，但不是四个独立的自我居住在一个人的身体里。
The “Four Mighty Ones” may be equated with the four Hebrew characters: יהוה [Yodh, He, Waw, He, from right to left] which form the four-lettered mystery-name of the Creative Power [“Yahweh” or even occasionally as “Jehovah”] from and combining within itself the past, present and future forms of the verb “to be.”
“四位能者”可以等同于四个希伯来文字符:יהוה(从右到左:Yodh, He, Waw, He)，结合动词“to be”的过去、现在和未来形式，构成了代表创造力量的神秘名称“Yahweh”（“Jehovah”耶和华）。
The Tetragrammaton is revered as the symbol of the Creative Power in man . . I AM . . the creative four functions in man reaching forth to realize in actual material phenomena qualities latent in Itself.
四字神名被尊为人类创造力的象征...“我是”（I AM）...人的创造性四种功能在实际的物质现象中得以实现。
（注：四字神名（希腊语：τετραγράμματον，英语：Tetragrammaton，意思是“四个字母”），为古代希伯来人尊崇的神名，在《希伯来圣经》中，用四个希伯来辅音，即（拉丁化为IHVH、YHWH、JHVH或JHWH），来表示。是犹太教、基督教所信仰的独一神的名称之一，一般尊敬的代称为上主（英语：the LORD）。）
We can best understand the “Four Mighty Ones” by comparing them to the four most important characters in the production of a play.
我们可以通过将“四位能者”与戏剧中四个最重要的角色进行比较来更好地理解他们。
“All the world’s a stage,
And all the men and women
merely players;
They have their exits and their entrances;
And one man in his time plays
many parts . . .”
. . . As You Like It:
Act II, Scene VII
“全世界是个舞台;
男男女女只是演员而已;
他们都有其退场和登场;
人生在世扮演着多种角色……”
《皆大欢喜》（莎士比亚）
第二幕，第七场
The producer, the author, the director and the actor are the four most important characters in the production of a play. In the drama of life, the producer’s function is to suggest the theme of a play.
制作人、编剧、导演和演员是戏剧制作中最重要的四个角色。在生活戏剧中，制作人的作用是定位戏剧的主题。
This he does in the form of a wish, such as, “I wish I were successful”; “I wish I could take a trip”; “I wish I were married:, and so on.But to appear on the world’s stage, these general themes must somehow be specified and worked out in detail. It is not enough to say, “I wish I were successful” . . that is too vague. Successful at what?
他以愿望的形式来表达，比如，“我希望我是成功的”“我希望我能去旅行”“我要是结婚就好了”，诸如此类。但要想在世界舞台上亮相，这些普遍的主题必须以某种方式加以明确和详细的设计。仅仅说“我希望我能成功”是不够的，这太模糊了，成功是什么?
However, the first “Mighty One” only suggests a theme.
不管怎么说，第一位“能者”只定位一个主题。
The dramatization of the theme is left to the originality of the second “Might One”, the author.
主题的戏剧化留给了第二位“能者”，即编剧。
In dramatizing the theme, the author writes only the last scene of the play . . but this scene he writes in detail. The scene must dramatize the wish fulfilled. He mentally constructs as life-like a scene as possible of what he would experience had he realized his wish.When the scene is clearly visualized, the author’s work is done.
为了使主题戏剧化，编剧只写剧本最后一幕。但是这个场景他要写得很详细。这个场景必须使愿望得到实现的情景戏剧化。他会在心里尽可能地想象出一个愿望实现后会经历的接近生活的场景。当场景清晰可视化时，编剧的任务就完成了。
The third “Mighty One” in the production of life’s play is the director.
The director’s tasks are to see that the actor remains faithful to the script and to rehearse him over and over again until he is natural in the part.
人生剧作制作中的第三位“能者”是导演。
导演的任务是确保演员忠实于剧本，并一遍又一遍地排练，直到演员扮演的角色表现得很自然。
This function may be likened to a controlled and consciously directed attention . . an attention focused exclusively on the action which implies that the wish is already realized.
这种功能可以比作一种自控的和有意识的注意力，注意力完全集中在暗示（代表）愿望已经实现的行动上。
“The form of the Fourth is like the Son of God” . . human imagination, the actor.
“那第四个的相貌好像神子”...人类的想象力，即演员。
This fourth “Mighty One” performs within himself, in imagination, the predetermined action which implies the fulfillment of the wish.
This function does not visualize or observe the action. This function actually enacts the drama, and does it over and over again until it takes on the tones of reality. Without the dramatized vision of fulfilled desire, the theme remains a mere theme and sleeps forever in the vast chambers of unborn themes. Nor without the co-operant attention, obedient to the dramatized vision of fulfilled desire, will the vision perceived attain objective reality.
第四位“能者””在想象中执行预定的代表着愿望已经实现后的行为。
不用构思或观察行为，只需一遍又一遍地重复演出戏剧，直到它呈现出现实的基调（不断重复让感受尽可能逼真）。如果没有那种欲望满足后的戏剧化的视觉，主题将仍然只是一个主题，永远沉睡在尚未诞生主题的巨大房间里。注意力的配合和对愿望实现后的景象的顺从缺一不可，二者都满足，愿望才会变为客观现实。
（愿望达成后自己会做什么？从五感到心理情绪，像演员一样完全沉浸在那个状态，完全入戏。）
The “Four Mighty Ones” are the four quarters of the human soul. The first is Jehovah’s King, who suggests the theme; the second is Jehovah’s servant, who faithfully works out the theme in a dramatic vision; the third is Jehovah’s man, who was attentive and obedient to the vision of fulfilled desire, who brings the wandering imagination back to the script “seventy times seven”. The “Form of the Fourth” is Jehovah himself, who enacts the dramatized theme on the stage of the mind.
“四位能者”是指人类灵魂的四个部分。第一个是耶和华的王，他提出了主题，第二个是耶和华的仆人，他忠实地将主题变得戏剧化，第三个是耶和华的人，他专注并顺从于愿望实现后的场景，他把散漫的想象力一次又一次地带回到剧本中来。（心猿意马，只要静下心来细心感受观察，就会发现内心无时不刻在胡思乱想，做着无效的想象，我们要做的是让内心安静下来，不断重复于你自己设定的剧本）第四个就是耶和华自己，他在心灵的舞台上演绎了戏剧化的主题。
“Let this mind be in you, which
was also in Christ Jesus:
Who, being in the form of God,
thought it not robbery to be
equal with God: . . .”
“你们当以基督耶稣的心为心，他本有神的行像,不以自己与神同等为强夺的”（Philippians 2:5,6）
（robbery 强夺，个人理解这里代表渴望的事物。）
The drama of life is a joint effort of the four quarters of the human soul.
人生的戏剧是人类灵魂的四部分共同努力的结果。
“All that you behold, tho’ it appears without,
it is within, in your imagination, of which this
world of mortality is but a shadow.”
. . . Blake
“你所看到的一切，都是内在的，
尽管表面上看起来不是，但它就在你的想象之中，
这个死亡的世界只是一个影子。”
--威廉·布莱克
All that we behold is a visual construction contrived to express a theme, a theme which has been dramatized, rehearsed and performed elsewhere. What we are witnessing on the stage of the world is an optical construction devised to express the themes which have been dramatized, rehearsed and performed in the imagination of men.
我们所看到的一切都是为了表达一个主题而设计的视觉结构，这个主题已经被戏剧化，排练过，并在其他地方表演过。我们在世界舞台上看到的是一种光学结构，这种结构是为了表达在人们的想象中被戏剧化、排练和表演的主题而设计的。
These “Four Mighty Ones” constitute the Selfhood of man, or God in man: and all that man beholds, tho’ it appears without, are but shadows cast upon the screen of space, optical constructions contrived by Selfhood to inft>orm him in regard to the themes which he has conceived, dramatized, rehearsed and performed within himself.
这“四位能者”构成了人的自我，或者说人内在的神，人们所看到的一切，尽管看起来像是在外面，不过是投射在空间屏风上的阴影，是“自我”设计的视觉结构，目的是告诉他自己在内在构思、戏剧化、排练和表演的主题。
“The creature was made subject unto vanity”
that he may become conscious of Selfhood and its functions, for with consciousness of Selfhood and its functions, he can act to a purpose; he can have a consciously self-determined history.
“受造之物服在虚空之下”（ROMANS 8:20）
他可能会意识到自我及其功能，因为有了自我及其功能的意识，他就能朝着一个目标行动，他可以有一段自觉自主的历史。
Without consciousness, he acts unconsciously, and cries to an objective God to save him from his own creation.
在没有意识的情况下，他的行为是无意识的，他向客观的上帝哭诉，从他自己的创造中拯救他。
“O Lord, how long shall I cry, and
Thou wilt not hear! Even cry out
unto Thee of violence, and
Thou wilt not save!”
（“耶和华阿，我呼求你，你不应允，要到几时呢。我因强暴哀求你，你还不拯救。”Habakkuk 1:2）
When man discovers that life is a play which he, himself, is consciously or unconsciously writing, he will cease from the blind, self-torture of executing judgment upon others.Instead, he will rewrite the play to conft>orm to his ideal, for he will realize that all changes in the play must come from the cooperation of the “Four Mighty Ones” within himself. They alone can alter the script and produce the change.
当人们发现生活是一部他自己有意或无意创作的戏剧时，他就会停止盲目的、自我折磨的对他人进行评判。相反，他会重写剧本以符合他的心愿，因为他会意识到剧本中的所有变化都必须来自于他内心的“四位能者”的合作。只有他们才能修改剧本并带来改变。
All the men and women in his world are merely players and are as helpless to change his play as are the players on the screen of the theatre to change the picture. The desired change must be conceived, dramatized, rehearsed and performed in the theatre of his mind.
所有的男人和女人在他们的世界里都只是演员，他们无力改变他的剧本，就像剧院屏幕上的演员无力改变画面一样。所期望的变化必须在他的心灵剧场里构思、编剧、排练和表演。
When the fourth function, the imagination, has completed its task of rehearsing the revised version of the play until it is natural, then the curtain will rise upon this so seemingly solid world and the “Mighty Four” will cast a shadow of the real play upon the screen of space.
当第四个功能，想象力，完成了它的任务，排练修改后的剧本，直到它变得自然，然后幕布将会在这个看起来如此坚实的世界上升起，“四位能者”将会在空间的屏幕上投影真实的剧本。
Men and women will automatically play their parts to bring about the fulfillment of the dramatized theme.The players, by reason of their various parts in the world’s drama, become relevant to the individual’s dramatized theme and, because relevant, are drawn into his drama. They will play their parts, faithfully believing all the while that it was they themselves who initiated the parts they play. This they do because:
为了实现戏剧化的主题，男人和女人都会自动地扮演各自的角色。由于他们在世界戏剧中扮演的不同角色，与个人戏剧化的主题相关，因为相关，他们被拉到他的戏剧中。他们会扮演自己的角色，始终忠实地相信是他们自己发起了他们扮演的角色。他们这样做是因为:
“Thou, Father, art in me,
and I in thee, . . .
I in them, and thou in me.”
“你父在我里面，我在你里面，...我在他们里面，你在我里面。”（- John 17:21, 23）
I am involved in mankind. We are one. We are all playing the four parts of producer, author, director and actor in the drama of life.Some of us are doing it consciously, others unconsciously.It is necessary that we do it consciously. Only in this way can we be certain of a perfect ending to our play. Then we shall understand why we must become conscious of the four functions of the one God within ourselves that we may have the companionship of God as His Sons.
我与人类息息相关。我们是一体的。在人生这出戏里，我们都要扮演制作人、编剧、导演和演员这四个角色。有些人是有意识的，有些人是无意识的。我们必须有意识地这样做。只有这样，我们才能确定我们的游戏有一个完美的结局。然后，我们就会明白为什么我们必须意识到在我们内心唯一的“神”的四种功能，“以便我们可以与神为伴，成为他的儿子”（清醒地掌握自己的命运，选择自己所要体验的）。
“Man should not stay a man:
His aim should higher be.
For God will only gods
Accept as company.”
. . . Angelus Silesius
“人不应该只做人：
他的目标应该更高。
因为神只会接受诸神为伴。”
--西里西亚天使
In January of 1946, I took my wife and little daughter to Barbados in the British West Indies for a holiday. Not knowing there were any difficulties in getting a return passage, I had not booked ours before leaving New York.
1946年1月，我带着妻子和小女儿去英属西印度群岛的巴巴多斯度假。离开纽约前，我没有预订回程机票，因为不知道返程会有困难。
Upon our arrival in Barbados I discovered that there were only two ships serving the islands, one from Boston and one from New York. I was told there was no available space on either ship before September. As I had commitments in New York for the first week in May, I put my name on the long waiting list for the April sailing.
当我们到达巴巴多斯时，我发现只有两艘船在岛上服务，一艘来自波士顿，一艘来自纽约。我被告知9月前两艘船都没有空位了。由于5月的第一周我在纽约有事，所以我把自己的名字列在长长的等待4月航行的名单上。
A few days later, the ship from New York was anchored in the harbor. I observed it very carefully, and decided that this was the ship we should take. I returned to my hotel and determined on an inner action that would be mine were we actually sailing on that ship. I settled down in an easy chair in my bedroom, to lose myself in this imaginative action.
几天后，那艘从纽约来的船在港口抛锚了。我仔细观察了一下，认为我们应该乘坐这艘船。我回到酒店，决定用内在行动来让我真的在乘坐那艘船。我在卧室的安乐椅上坐下来，沉浸在这充满想象的行为中。
In Barbados, we take a motor launch or rowboat out into the deep harbor when we embark on a large steamer. I knew I must catch the feeling that we were sailing on that ship. I chose the inner action of stepping from the tender and climbing up the gangplank of the steamer.
在巴巴多斯，当我们登上一艘大轮船时，我们会乘坐汽艇或划艇到深港。我知道我必须抓住我们在那艘船上航行的感觉。我选择了内心行动，从汽船上走下来，爬上轮船的跳板。
The first time I tried, my attention wandered after I had reached the top of the gangplank. I brought myself back down, and tried again and again. I do not recall how many times I carried out this action in my imagination until I reached the deck and looked back at the port with the feeling of sweet sadness at departing.
我第一次试着爬上跳板的时候，我的注意力分散了。我把自己注意力拉了回来，一次又一次地尝试。我不记得有多少次我在想象中这样做了，直到我登上甲板，带着离别时甜蜜的伤感回望港口。
I was happy to be returning to my home in New York, but nostalgic in saying goodbye to the lovely island and our family and friends. I do recall that in one of my many attempts at walking up the gangplank in the feeling that I was sailing, I fell asleep. After I awoke, I went about the usual social activities of the day and evening.
我很高兴能回到纽约的家，但也很怀念与可爱的小岛、家人和朋友告别的日子。我记得，在我多次试图带着的要起航感觉走上跳板的时候，我睡着了。醒来后，我开始了白天和晚上的日常社交活动。
The following morning, I received a call from the steamship company requesting me to come down to their office and pick up our tickets for the April sailing. I was curious to know why Barbados had been chosen to receive the cancellation and why I, at the end of the long waiting list, was to have the reservation, but all that the agent could tell me was that a cable had been received that morning from New York, offering passage for three.
第二天早上，我接到轮船公司的电话，要我到他们的办公室去取四月出发的船票。我好奇地想知道为有人会选择在巴巴多斯退票，为什么是漫长的等待名单最后边的我得到了预订，代理商告诉我得是那天早上接到了纽约来的电报，提供三个位置，仅此而已。
I was not the first the agent had called, but for reasons she could not explain, those she had called said that now they found it inconvenient to sail in April. We sailed on April 20th and arrived in New York on the morning of May the first.
我不是第一个接到代理商人电话的人，但出于她无法解释的原因，她打过电话的人都说，现在他们觉得四月开航不方便。我们于4月20日启航，5月1日上午抵达纽约。
In the production of my play . . the sailing on a boat that would bring me to New York by the first of May . . I played the four most important characters in my drama. As the producer, I decided to sail on a specific ship at a certain time. Playing the part of the author, I wrote the script . . I visualized the inner action which conft>ormed to the outer action I would take if my desire were realized. As the director, I rehearsed myself, the actor, in that imagined action of climbing the gangplank until that action felt completely natural.
在我的戏剧制作中，5月1日，我将乘一艘船去纽约。我在剧中扮演了四个最重要的角色，作为制作人，我决定在特定的时间乘坐特定的船只航行，我扮演编剧的角色，写了剧本，让内在的行为与愿望实现后外在的行为一致，作为导演，我确保为自己作为演员，在那个想象的爬跳板的动作中不断排练，直到那个动作感觉完全自然。
This being done, events and people moved swiftly to conft>orm, in the outer world, to the play I had constructed and enacted in my imagination.
这件事做完之后，外部世界的事件和人物迅速地顺应了我在想象中构建和上演的戏剧。
“I saw the mystic vision flow
And live in men and woods and streams.
Until I could no longer know
The stream of life from my own dreams.”
. . . George William Russell
“我看到了神秘的想象（视觉）流动
生于人类、树林和溪流中，
直到我不再知道
人生的波涛源自我自己的梦。”
--乔治·威廉·拉塞尔
I told this story to an audience of mine in San Francisco, and a lady in the audience told me how she had unconsciously used the same technique, when she was a young girl.
我在旧金山把这个故事讲给我的一位听众听，听众中的一位女士告诉我，当她还是个小女孩的时候，她是如何不自觉地使用同样的技巧的。
The incident occurred on Christmas Eve.She was feeling very sad and tired and sorry for herself. Her father, whom she adored, had died suddenly. Not only did she feel this loss at the Christmas season, but necessity had forced her to give up her planned college years and go to work. This rainy Christmas Eve she was riding home on a San Diego street car. The car was filled with gay chatter of happy young people home for the holidays. To hide her tears from those round about her, she stood on the open part at the front of the car and turned her face into the skies to mingle her tears with the rain.With her eyes closed, and holding the rail of the car firmly, this is what she said to herself:“This is not the salt of the tears that I taste, but the salt of the sea in the wind. This is not San Diego, this is the South Pacific and I am sailing into the Bay of Samoa”.And looking up, in her imagination, she constructed what she imagined to be the Southern Cross. She lost herself in this contemplation so that all faded round about her. Suddenly she was at the end of the line, and home.
这一事件发生在平安夜。她感到非常悲伤、疲倦和难过。她深爱的父亲突然去世了。她不仅在圣诞节感到失落，而且迫不得已，她不得不放弃大学生活的计划，去工作。这个下着雨的平安夜，她坐着圣地亚哥的有轨电车回家。车上满是欢天喜地的年轻人回家过节的谈笑风生。为了不让周围的人看到她的眼泪，她站在车前的空地上，把脸转向天空，把她的眼泪和雨混合在一起。她闭上眼睛，紧紧抓住车厢的栏杆，对自己说:“这不是我品尝到的泪水的咸味，而是风中的大海的咸味。”这不是圣地亚哥，这是南太平洋，我正在驶入萨摩亚湾。”她抬起头来，在她的想象中，她构建了一个她想象中的南十字星。她陷入了沉思，周围的一切都消失了。突然，她走到了队伍的最后，回家了。
Two weeks later, she received word from a lawyer in Chicago that he was holding three thousand dollars in American bonds for her. Several years before, an aunt of hers had gone to Europe, with instructions that these bonds be turned over to her niece if she did not return to the United States. The lawyer had just received word of the aunt’s death, and was now carrying out her instructions.
A month later, this girl sailed for the islands in the South Pacific. It was night when she entered the Bay of Samoa. Looking down, she could see the white foam like a “bone in the lady’s mouth” as the ship ploughed through the waves, and brought the salt of the sea in the wind. An officer on duty said to her: “There is the Southern Cross”, and looking up, she saw the Southern Cross as she had imagined it.
两个星期后，她从芝加哥的一个律师那里得到消息说，他替她持有三千美元的美国债券。几年前，她的一个姑姑去了欧洲，她得到的指示是，如果她不回美国，这些债券就交给她的侄女。律师刚刚接到舅妈的死讯，现在正在执行她的命令。
一个月后，这个女孩航行到南太平洋的岛屿。当她进入萨摩亚湾时，已经是晚上了。往下看，当船破浪前进时，她可以看到白色的泡沫把海水的咸味带到风中。一名值班的军官对她说:“那里有南十字星。”她抬头一看，果然看到了她想象中的南十字星。
In the intervening years, she had many opportunities to use her imagination constructively, but as she had done this unconsciously, she did not realize there was a Law behind it all.Now that she understands, she, too, is consciously playing her four major roles in the daily drama of her life, producing plays for the good of others as well as herself.
在这期间，她有很多机会建设性地运用她的想象力，但由于她是无意识地这样做的，她没有意识到这背后有一个法则。现在她明白了，她也在有意识地在她日常生活的戏剧中扮演她的四个主要角色，为他人和自己的利益创作戏剧。
“Then the soldiers, when they had
crucified Jesus, took his garments,
and made four parts, to every soldier
a part; and also his coat; now the coat
was without seam, woven from the
top throughout.”
“兵士把耶稣钉十字架后，拿他的外衣分为四份，每人一份。他们又拿他的内衣，这件内衣没有缝线，是用整块布织成的。”（John 19:23）
匆忙完成翻译，不足之处还请包涵，欢迎大家批评指正。
参考：百度百科、圣经中文标准译本 (CSB Simplified)
编辑于 2022-01-25 15:51
