对于恼人之事，不要对抗，而是融入并创造性的加以利用

四十不惑的春风

【没有理由说鲁柏不能同时以他的观点来写自己的书。无论如何，他应该回归到诗歌创作以及绘画的嗜好上，这些是他的强项，而且绘画能代表的东西，比他意识到的还多，因为他从先前的经验中，拥有这方面的天赋。

好，我来让你做个试验。你不用想太多。就尝试一下而已。
(对着我说，面带微笑，态度认真。)

如果车子的噪音、邻居的喧哗、割草机以及其他烦人的声音让你觉得困扰，试着这样做：不要与它们对抗，刻意地融入其中，跟着它们一起行动，它们就可以让你精神焕发。

（昨晚发了很多牢骚之后，“我今天正在想这个问题。”）
就当作一种出于（你的）意志的行为，很奇妙，你的直觉就会焕然一新。除非你允许，否则这些声音不必自动成为阻碍因素。但就你来讲，光是忽略或鄙视它们还不够，而是要让它们为你工作。
如果以正确的心态来做，将有助于释放你的直觉天性，并且大大帮助你冲走那些一直在自动起阻碍作用的障碍物。
你不必害怕跟随这些声音所代表的涵义。你不会失去独立感，也不会失去你的个体性。基本上这是在你的反应的背后，与你早年的生活有关。你感觉到母亲的活力和生命力造成了威胁，因为（你母亲的活力和生命力）没有受到任何约束，而是飘忽不定。
你对于“父亲的生命力遭到压抑”的感受更加重了，你觉得这种状况无视你的存在，会真的摧毁你。找不到方向和杂乱无章的生命力吓坏了你，对你而言，喧闹声对你来说代表着你所害怕的“混乱散漫的情感”。
这个练习对于克服这个问题会很管用，因为你够坚强，也需要内在的自由。在这种看似没有方向、非常抽象的散乱和能量的背后，其实有其方向存在，虽然无法从理智上觉知到，但可以从直觉上感受到。这就是你自己的艺术和所有创意背后的那股力量。
它甚至可以用来作为创造的架构，因为你可以从这些原始资料中，按照自己的目的来创造和引导能量。你可以接收这种喧扰并加以利用，但如果你把自己设定成与其对抗的话，那就没辙了，如此一来，你就会受到威胁。
各种声音朝你席卷而来，比如说，从一个不和谐的高亢叫喊声当中，如果你聆听的话，身为艺术家的你，就可以去感受那个被迫发出叫声的人，这样子你也许会得到一个实物，一幅绝佳的肖像画，或是一个独一无二、具有个人特色的嘴巴。或者是一幅有如声音会尖叫出来的风景画。
如果你聆听的话，从车水马龙的阵阵噪音中，可以得到一个宝贝——也许是抽象的，有脉动的声音可以转换成节奏和色彩；又或者是一幅有强迫性人格的肖像，他被迫行事，但背后却隐藏着所有不容易被看到的目的和原因。
我举过几个例子给你，只是为了把我的话说清楚。但这些行动的迹象，显然混乱无章，是内在架构的一部分，也确实有其目的和理由。
如你所知，要是你绷紧神经来对抗这些恼人的事情，此时身体系统甚至也会做出反应。但如果对这些事情运用得当的话，会引领你心生愉悦，然后你就能以有纪律、有方向的方式利用这份愉悦感。
（“这就是左耳困扰我的原因吗？”）
挣扎；约瑟，现在你不必为了排除那些烦人的刺激而挣扎，你母亲已经这样做了。为了你好，就好好运用这些刺激。那些让你生气的事情（annoy you），恰好代表了对你人格和能力的最大挑战。
若是利用那些让你生气的事情，就可以帮助你达到最大的自我实现。左耳之所以受到牵连并非巧合，你使用了正确与错误的象征意义，也就是正常的耳朵和有问题的耳朵，有问题的耳朵之所以会困扰你，是因为你不想听到自己认为不好的声音。（编注：right有右边和正确的意思，这里右耳象征正常的耳朵。巧合的是，出问题的是罗的左耳）左耳和身体的左半边通常也与无意识相连，而声音与你对油画的感觉也有些关联，你看到这种关联性了吗？
（“对。我一直在油画上做很多努力。”）
的确如此，因为你现在理解如何利用那些让你生气的事，也将理解如何利用那些声音。你可以在绘画中运用这些声音，就像运用彩色一样，这种练习会让你更自由，尽管你在尝试时可能会感到不安。
具体化的经验带来具体化的结果，艺术源自于原始的情感，再经过具体化、纪律化的过程，至少在你们的系统中是如此。看似混乱的事物经过识别、感觉，然后放入模式中。然而，人们普遍无法理解的是，这些看似混乱无章的经历其实有其目的。从另一个角度看，你内在身体有机体的状态是混乱的，但可以找到目标。
你听到过去困扰你的各种声音时，如果能尝试从图像和颜色的角度来看待，有时候也会有所帮助。其他时间就不用这么想，只要跟着它们走就好（simply go along with them），你的直觉就会带来直觉自身的成果。
就定义来说，声音具有进攻性，但也预设了界限，因为你只有在一定的范围内才能听见。现在，想象一下，那些声音从另一端听起来会是什么样子，在那里你听不到它们。想象一下，那些声音在空间中产生的影响，以及由此产生的原子的无限舞动。
也要意识到（微笑），这些声音会穿透你的身体，借由听觉以外的方式来想像这些声音的实相。
请注意：在你们的系统中，声音确实形成了你们眼睛无法感知的结构。思考如何绘制这些结构将对你有益。因为在一些其他系统中，是以这种方式来感知声音的，音乐家可以转译视觉资料，仿佛这些资料是一种听觉形式；也可以把一碗葡萄重新创造或诠释为一种特别的音符组合。
你也可以用相反的方式来做，从声音建构出视觉架构，这些架构完全就是由声音所创造出来的原始画像。即便是风景画，自然而脆弱，但是当街上这些起起落落的喧嚣声浪，从你们门口传来时，你也可以创作出来。身为艺术家，就要从万事万物中取材。
我要道声晚安啦，为二位致上我最衷心的祝福。你可以把这堂课当作你的生日礼物。
（本节课是在6月24日举行，我的生日是6月20日。
（“你有生日吗？”）
非常多。我几乎无法全部记住。（微笑）我目前没有生日，但我以前有很多。我以前也有很多忌日，但现在没有啦。
（“晚安，赛斯。”
（珍花了一些时间才回过神来，这次的出神很深沉而且很成功。）】

----- 早期课8，第418节，赛斯文化出版社，译者：梁瑞安，校译：四十不惑的春风


英文原文：
There is no reason why Ruburt cannot work on his own book simultaneously, and from his viewpoint. He should return to his poetry however, and his painting as a hobby. These are his strong points, and the painting represents more than he realizes, for he has a talent for it from previous experience.
(To me, with a smile and earnest manner.)
Now I have an experiment for you. You may not think much of it.  But try it.
When you are bothered by noise and tumult, by traffic and the sound of neighbors’ voices, by lawn mowers and other irritating sounds, try this: do not fight them. Purposely plunge into them; go along with them as action, and they can refresh you.
(“I was thinking about that today. “After doing a lot of griping last night.)
Do it as an act of will, and your intuitions, oddly enough, will be refreshed. They need not serve automatically as inhibiting factors unless you allow them to. But it is not enough in your case to ignore them and despise them. Let them work for you.
If done in the correct spirit, this will help free your intuitive nature, and to a large extent help wash away automatic blocks that have been inhibiting.
(“Okay.”)
You do not have to be afraid of going along with what these sounds represent. You will not lose your sense of isolation nor your individuality. This is basically behind your reaction, having to do with your early life. You felt your mother’s liveliness and vitality threatening, for it was not disciplined in any manner, but erratic.
This was added to by the sensed power of your father’s inhibited vitality. You felt the combination could sweep you aside, and literally destroy you. Undirected vitality and undisciplined vitality has frightened you, and noise to you represents the tumultuous undisciplined Emotions that you feared.
The exercise will do much to override this, for you are strong enough and you need inner freedom. There is behind such seemingly undirected, abstract tumult and energy, direction that cannot be intellectually perceived, but can be intuitively sensed. And this is the force that is behind your own art and all creativity. (Pause.) It can even serve as a framework for creativity, for from these raw materials you can forge and direct energy for your own purposes. You can take that tumult and use it, but not if you set yourself up against it. Then, it is threatening to you.
Various sounds rush at you. From one inharmonious high-pitched yell for example, if you listen, you as an artist can sensethe self that was forced to make that sound, perhaps emerge with a prize, an excellent portrait, or simply an unique and individual mouth. Or a landscape that screams out as the voice did.
From the sound, the assaulting onrushing sound of traffic, if you listen you can emerge with the prize—perhaps an abstract, with the pulsating sounds transferred to rhythm and color; or perhaps again a portrait, here, of a compulsive personality, driven, and yet behind it all the purpose which is not easily seen, and the reason.
I have given you a few examples simply to clarify my remarks. But these evidences of action, apparently chaotic and undisciplined, are parts of inner frameworks that do have both purpose and reason.
As you know, even your physical system reacts when you brace yourself against these things as irritations. But properly used they can lead you to exaltations, and you would use such exaltations then in a disciplined, directed manner.
(“Is that why my left ear bothers me?”)
The struggle; now you must not struggle, Joseph, to close out those stimuli that annoy you. Your mother has done this. Use them for your benefit. Those things that annoy you precisely represent the greatest challenges to your personality and abilities.
Used, they can help you fulfill yourself to the utmost. There is no coincidence that it is the left ear involved. You have used the symbolism of right and wrong. The right ear, the wrong ear, bothers you for you do not want to hear what you consider the bad sounds. The left ear and the left portion of the body generally also are connected with the unconscious. And the sounds are somewhat connected with your feeling toward oil paints. Do you see the connection?
(“Yes. I've been doing a lot better with oils.”)
You have indeed, for you see now how they can be used, and you will see how the sounds can be used. The sounds can be used in your paintings like colors. A freedom will result from this exercise, though you may be uneasy at trying it.
(“I ’ll try it”)
Crystallization follows crystallized experience. Art comes from raw Emotion, within your system at least, that is then crystallized and disciplined. The seemingly chaotic is recognized, felt, and then put into patterns. What is not generally understood however, is that the seemingly chaotic experiences do have purpose. The state of your inner physical organism, viewed from another perspective, is a chaotic one, but it works to find purpose.
Do you have any questions?
(“I think it’s been extremely interesting and helpful. I’ll try these things and well soon know.”)
Very good. It will help also at times if, when hearing various voices that have annoyed you in the past, you try to think of them in terms of images and colors. At other times simply go along with them, without such ideas, and your intuitions will deliver their own product.
(“Yes.”)
Now voice, by its definition, is aggressive, and it presupposes barriers, for you hear only within certain ranges. Now imagine what these sounds would sound like from the other end. There you cannot hear them. And imagine the impact made within space, and the infinite dance of atoms that result.
Realize also, and I am sure that you do (smile), that the sounds penetrate the matter of your body. Imagine their realities in other than auditory ways.
You may take your break or end the session as you prefer.
One note: Within your system sounds do form structures, that your eyes do not perceive. It would help you to think of painting these structures, for in some other systems voice is perceived in this manner.
Now a musician translates visual data as though it was an auditory pattern; recreating say, and interpreting a bowl of grapes as a particular medley of musical notes.
You can do this in the opposite manner, building up from sounds visual frameworks that are completely original portraits, created from the sound of voices. Even landscapes, elemental but fragile, built up from the ebb and flowing voice of traffic as it passes by your door. As an artist use everything.
Now I will say good evening, and give you both my best wishes. You can consider this session as your birthday present.
(This session was held on June 24. My birthday is June 20.
(“Do you have birthdays?’’)
Very many. I could hardly keep track of them all. (Smile.) I do not have birthdays now, but I have had many. I had many death days, but I do not have those now either.
(“Good night, Seth.
(11 PM. Jane took a bit to come out of trance. It had been a deep and effective one.)