CHAPTER 5 第五章
THE CONSTANT CREATION OF THE PHYSICAL BODY
實質身驅的持續創造
Chapter Five. (Pause.) "The Constant Creation of the Physical Body." As mentioned, (in Chapter Four), the conscious mind is a portion of the inner self; that part that surface, so to speak, and meets physical reality more or less directly.
第五章（暫停）「實質身驅的持續創造」如在第四章所提，意識心是內我的一部份，可以這麼說，或裡或外，多多少少直接符合實質的實相。
INTRODUCTION BY JANE ROBERTS
珍•蘿勃茲的導讀
I'm proud to published 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 dictiated the words to my husband, Robert Butts, who wrote them down.
我很榮幸這本書能以我的名義付梓，雖然我不全然了解出版的機制或者是以為是在述說人格的本質。在書上我一點都沒有意識這麼做，我僅僅是一個禮拜出神兩次，以「中介」能力替賽斯發言、或者扮演賽斯，把這些話述說給我的老公–羅勃•巴茲，由他記下來。
I consider the book "mine" in that I don't believe it could have been written without me and my particular abilities. On 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?
ONE HUNDRED YEARS OF SOLITUDE
百年孤寂
Translated into Chinese by Chang-An Liu, All rights reserved
中譯 劉長安 版權所有
CHAPTER 1第一章
這篇文章受密碼保護，請輸入密碼後查看內容。
這篇文章受密碼保護，請輸入密碼後查看內容。
其一：越人歌 先秦•佚名
馮小剛作品的＂夜宴＂，由章子怡、周迅、吳彥祖主演，戲中有段＂越人歌＂的古典舞劇，酷似日本能劇，心想應是源於中原。按越人歌係中國春秋早期使用壯侗族語之越民族古老民歌。該越人歌係先秦無名氏所填詞。詞曰：
今夕何夕兮，搴(ㄑ一ㄢ）舟中流。
What the night of tonight?
Drifting between stream and self in raft.
其一：越人歌 先秦•佚名
馮小剛作品的＂夜宴＂，由章子怡、周迅、吳彥祖主演，戲中有段＂越人歌＂的古典舞劇，酷似日本能劇，心想應是源於中原。按越人歌係中國春秋早期使用壯侗族語之越民族古老民歌。該越人歌係先秦無名氏所填詞。詞曰：
今夕何夕兮，搴(ㄑ一ㄢ）舟中流。
What the night of tonight?
Drifting between stream and self in raft.
蝶戀花˙溪頭冶遊
暮靄重重重幾許，松葉如針，羞怯枝頭送。
竹影曳搖風語應，婆娑山徑輕輕迎。
卻顧履跡猶踏映，翠綠怡人，春雨留幻影。
問語花間花不語，意猶未盡冶遊趣。
