帶娃是個慢活
快了不行
做事業是個快活
慢了不行
難得我之前又快又慢的做事
結果把自己給累趴下了
在中國女性50歲退休
我弟媳婦屬豬的
已經退休了
我也退休
我下半生的理想職業
就是做管家婆+PA+經紀人
其實這個職業我並不很擅長
尤其是做衛生
這是比做飯更讓我頭疼的事
但只要有意願
做不擅長的事也會取得進步
而不斷有進步
是人做事的最大內驅力來源
管家婆正式上崗了
早上送孩子上學後
首先是做家務時間
洗衣服收拾做衛生
每個人都需要先打完一場孤立無援的仗
能在戰場上存活下來的有資格遇到救兵
我是這樣我老公是這樣許多人都是這樣
很多人都在說人生是什麼
我說人生就是一場需要不斷通關
不斷升級的遊戲
其次是報稅時間
去年我以為今年不用自己報稅
今年發現自己還是可以報稅
而且還能夠考慮明年報稅
被損傷的大腦基本恢復
我並不想節奏太快
也不需要節奏太快
就跟著我孩子們的
成長節奏就很好
我要做他們的
守護天使
我三次分娩都沒有太疼
第一次是因為用了腰麻
第二次是早產急產半小時生完
第三次花了一個小時也不太疼
倒是生完老三後餵奶竟然很疼
生完老三坐月子那段時間很痛苦
每次餵奶都會引起子宮收縮很疼
奶水也不太足夠女兒餓得哇哇哭
因為嬰兒出黃疸被叫去醫院照藍燈
我整夜無法睡覺一個人待在病房
不過倒是因為這樣把妹妹全身扒光
我才發現她左邊腋下都爛臭了
她出生時左臂緊夾左手托腮
出生後總是被裹著手睡覺
洗澡時也沒專門洗腋下
後來清洗好了才慢慢癒合
第二天他爸來看我們
看到女兒每一個小時
要被扎後腳跟一次取血驗血糖
他很心疼就想帶我們回家
有醫生攔著不讓走
說你得簽字說出事你負責
孩他爸說簽字就簽字
然後就帶我們娘倆回家
我那時已經沒有了主心骨
像個小媳婦似的跟著回家了
後來女兒還從床上翻過躺著的我
從床上掉到地上兩次
也在四個月的時候得過感冒
本來說喝母奶的嬰兒六個月前不生病
我兩個兒子兩歲前都沒生過病
應該是我生老三時年紀已大奶水不足
我生老三女兒時39歲
在不同學校讀八年級的兩個孩子說
老師教育他她們這次改憲應該投Y
我說所以我贊同大兒十年級就離開學校
閨蜜自認為從小自己就會獨立思考
可她對我的處理方式仍不敢苟同
剛過四十歲的她就像當初我
二十幾歲時遇到的他她們
勸我明哲保身不要衝動
勇敢這件事不去練習
是不會自動擁有的
而願意選擇勇敢
似乎除了信仰
沒別的理由
我大兒和她女兒六歲的時候
我們一起去動物農場
遇到在那裡工作的人
她對女兒說要好好讀書
否則以後就得在這種地方工作
我當時就心想這跟我不一樣
但我並沒有說什麼
人各有志，不應強求
我們這種在20幾歲時
就經歷過許多人生巨大轉折的人
在經過無數次考慮生死過後
整個對人生的態度與認知
都發生了根本性的變化
當她談到代價的時候
她無法體會到收穫
只有經歷過一遭的人
才會懂得如果重新來一次
還會如此選擇的原因
生與死
這是一個巨大的門檻
而一個人的前程
在根本上
就意味著生死
虞超對他十三歲的兒子說
人終有一死
要找到你願意為之而死的東西
他如此說是因為他找到了
而在他人生的後半段
他又找到了一次
我也是
如果我們在法輪大法的官方網站（https://search.falundafa.org/searchjw/big5hkscs/）搜索“以法為師”，會得到17個結果。
如果將這17個結果中有關“以法為師”的內容通讀一遍的話，會發現基本上是說，看不見師父的時候，要以法為師，看得見師父的時候，要尊重師父，看到師父做得不好的事時，不要去說，因為會對你不好，而且師父也是一個人，所以別被師父所表現出的不好的假象所迷惑，以及，這部法就是師父，那麼師父有最終解釋權。
在我看來，師父是越來越難以圓場了，也就是說，他開始了的事情，如今已經無法收場了。我認為需要我這個做弟子的，幫忙去圓融，無論他願意還是不願意。
第 一 講
我在整個傳法、傳功過程中，本著對社會負責，對學員負責，收到的效果是好的，對整個社會的影響也是比較好的。
https://big5.falundafa.org/chibig5/zfl_1.htm
By Susan Chen, ChatGTP & Ethan Lin contributed to the Chinese-English translation
In a radio and television magazine in 1970, there was a striking full-colored picture of an elegant and graceful young woman wearing a qipao, with her hair styled in a bun, playing the guzheng with concentration. The caption read, “Chen Qi performs the guzheng on ‘Joyful Tonight.'”
“Joyful Tonight” was once the most popular and long-lasting variety show on Hong Kong television in the 1970s and 1980s. Many top actors from TVB participated in it. When Chen Qi appeared on the stage of “Joyful Tonight,” many viewers and even production staff were curious and asked, “Where did this unknown Chen Qi come from, and how can she play the guzheng and sing so beautifully?”
“I was born in 1940 into a fairly well-off family. My father was a Nationalist Army officer – a division commander and major general. During the Sino-Japanese War, he staunchly resisted the Japanese and was killed, with his head cut off and displayed on the city wall. He became China’s famous ‘Beheaded General Chen Zhongzhu.’ After his death, the Nationalists promoted him to lieutenant general. I was only one year old at the time.” (Chen Qi, in her autobiography “Journey of the Guzheng”)
General Chen Zhongzhu, a native of Yancheng, Jiangsu, sacrificed himself against the Japanese in 1941 at the age of only 35, leaving behind two daughters and a posthumous son. Chen Qi was the second daughter. Although Chen Qi had no memory of her father, according to her older sister, she was the most precious daughter to General Chen. General Chen loved to hold baby Chen Qi in his arms, praising her for being beautiful and naming her “Qi” Anqi’er, meaning angel in Chinese. After coming home from work every day, General Chen’s first act was to visit Chen Qi in her room.
Her father’s love did not bring happiness to Chen Qi’s life. From the time Chen Qi could remember, she felt like an extra in the family, a punching bag for her family members, and the most useless individual. This upbringing molded her into a timid and fearful individual to the point where she was even afraid to speak and had developed unclear speech. Moreover, after the Chinese Communist Party (CCP) took power, Chen Qi’s family was targeted due to her mother’s background as the wife of a Nationalist Army officer. Her mother was imprisoned, and due to Chen Qi’s “bad class,” she faced discrimination at school and within society. With a strong-willed personality, Chen Qi put all her energy into studying, striving to be a good child in hopes of earning the approval of others. Despite growing up in adversity, her determined personality and innate musical talent led to her future success in the arts.
Music had always been Chen Qi’s passion, and a music teacher recommended her to join the “High School Arts Troupe.” However, due to a mix-up, she was accepted into the singing section, which eventually revealed her talent in singing. Chen Qi learned a lot of musical knowledge which would be useful later in life. Since she frequently participated in the art troupe’s performances, she was fortunate to avoid the difficult times when students of her generation were forced into labor or sent to the countryside during the Cultural Revolution.
During the Cultural Revolution, all traditions and cultures were trampled upon. Sun Zi Xian, a master of the guzheng and one of the disciples of Chen Qi’s master, was a school worker in charge of the grain station during those times. In his spare time, he taught eight of his favorite apprentices for free, and Chen Qi was fortunate to be one of them. Chen Qi had a special fondness for the deep and elegant sound of the guzheng, so she worked diligently at her guzheng playing. Chen Qi even exchanged her valuable gold necklace for her master’s guzheng and inscription. Later, when she moved to Hong Kong, her master’s guzheng was saved from the horrors of the Cultural Revolution and her learning continued in Hong Kong. When Sun learned about these events, he tearfully said to Chen Qi, “Thank you! Thank you!”
Despite excelling in academics and the arts, Chen Qi, who had graduated from high school, was unable to be accepted into an art school due to her “class background.” Finally, she had the opportunity to enroll in a medical school as a backup. Chen Qi had no interest in traditional Chinese medicine, but she saw it as a path to get into college and hoped to find a job after graduation. However, the Ivory Tower was no longer a haven. The political mess of the Communist society had tainted every corner of China. Despite her outstanding academic achievements, Chen Qi faced discrimination at school due to her “bad class” background. However, what caused Chen Qi to become truly despaired was an incident that happened shortly thereafter.
One of Chen Qi’s former schoolmates came to the medical college to apply for a job, and the head of the personnel department asked to meet her in the dormitory. Chen Qi waited outside. A short while later, the schoolmate came out, her face flushed with anger and her hands trembling, she told Chen Qi, “That jerk wanted me to be his girlfriend in exchange for admitting me to the medical college.” At that time, the female student union leader seemed approachable, so Chen Qi told her about what had happened to her schoolmate.
To her surprise, the next day, the party branch secretary came to find Chen Qi and scolded her harshly, accusing her of spreading rumors and undermining the credibility of the party and its leaders. After this incident, Chen Qi’s days at school became even more difficult. In despair, Chen Qi had to ask a doctor for a certificate of neurasthenia and took a leave of absence from the medical college. Without a college degree, Chen Qi couldn’t find a job and had to work as a substitute teacher. She felt insignificant and useless.
From the time she was aware of her surroundings, Chen Qi had been subjected to political persecution by the Communist Party. This left an indelible scar on her life. More than a decade later, Chen Qi went from the pinnacle of the Hong Kong art scene to washing dishes in a restaurant in Perth, without ever complaining about her hardships. For her, even the hardest and most tiring work in the free world overseas could not compare to the life in mainland China where she couldn’t hold her head up politically, not knowing when she might fall victim to political movement.
One’s only love in a lifetime, a love etched deep in the heart during the budding of youthful affection, can never be forgotten. However, the cruel reality led Chen Qi to marry far away in Hong Kong, and from then on, every day of Chen Qi’s life was no longer lived for herself.
Chen Qi, a homemaker, had to work tirelessly teaching the guzheng and providing musical accompaniment to make a living for her three children and her idle husband. She sent her children to the best private schools, sent large sums of money to her mother still in mainland China, and saved money to buy a property in Hong Kong. However, her own life was extremely frugal. She had never eaten a whole piece of fruit and often had to combine the leftovers of her children’s meals for herself.
Chen Qi’s artistic talents gradually emerged. Once, a friend who played the erhu asked her to provide vocal accompaniment for his erhu performance at a cultural evening. Knowing nothing about the entertainment industry in Hong Kong, Chen Qi only wore a white shirt and a black skirt to the event, only to find out that it was attended by many famous stars in elegant evening gowns. When Chen Qi took the stage and sang a song called “Searching for Love,” the applause was thunderous, and the audience demanded an encore. After performing another song, “Embroidered Purse,” the audience still wanted more. With only two songs prepared, Chen Qi had to thank the audience and leave the stage.
Unbeknownst to her, the host that evening was Hu Zhangzhao, a well-known host of Hong Kong’s Radio Television Hong Kong (RTHK) program, “Floral King Club.” He was excited to discover Chen Qi’s talent and immediately arranged for the station’s producers to find this “homemaker who sings folk songs.” This invitation from RTHK was the start of Chen Qi’s career in Hong Kong’s entertainment industry, where she played the guzheng and sang folk songs, bringing a breath of fresh artistic air to television audiences. After her first performance, the station received countless phone calls, praising her exquisite rendition of folk songs. In addition to singing folk songs, Chen Qi also performed Huangmei opera and played the guzheng, all of which were well-received by the audience.
During her time performing at the television station, Chen Qi not only shared the stage with already-famous stars like Bruce Lee but also witnessed the early success of many future celebrities.
One day, while performing on the “Voice of Lai” program at Rediffusion Television, Chen Qi met Josephine Siao, who was a temporary actress then. Josephine Siao, later known as “Sister Josephine” and one of the most renowned Cantonese opera actresses in the Chinese-speaking world, did not know how to sing at that time and needed accompaniment from Chen Qi and others backstage. When she wore traditional costumes backstage, her water sleeves were unruly and did not cooperate. Chen Qi couldn’t help but teach her the technique: “Lower the water sleeves and use your index and middle fingers to pinch the middle of the sleeves. Then, use the other three fingers to flick the sleeves up, and they will hang neatly.” After learning this, Josephine Siao’s water sleeves flowed gracefully. She was very grateful and asked Chen Qi if she had received formal training. Chen Qi told her, “I didn’t study the arts; I studied medicine.”
Chen Qi faced several challenges during her first few years of teaching the guzheng in Hong Kong, including a test from the renowned local musician and composer Wang Yuesheng. Wang was proficient in various instruments, including the guzheng, and had released several guzheng albums. One day, he unexpectedly visited Chen Qi and asked her to play a piece for him. Chen Qi hesitated but eventually played a piece called “Weeping for Zhou Yu.” Using a single string, she conveyed the cries and sobs of sorrow while simultaneously expressing the tears on another string. Wang Yuesheng was deeply impressed.
Another incident involved a young guzheng teacher from Taiwan who visited Hong Kong. He played many pieces for Chen Qi to hear. This teacher was fast and skilled with his techniques. When he played “Busy at the Loom,” he advised Chen Qi on her hand positioning, comparing it to weaving. Chen Qi admired his technical skills but had a different perspective. She believed that guzheng playing should emphasize classical charm and not just speed. For instance, in the song “Busy at the Loom,” one should capture both the busyness of the weaver and the loneliness and helplessness. Each note should be rich with charm, emotion, and classical aesthetics. A few days later, this teacher from Taiwan, who was an expert, lost in a competition to one of Chen Qi’s beginner housewife students. This experience left him in awe of Chen Qi.
Later, the President of the Chinese Music Society of Taiwan and guzheng master Liang Zaiping contacted Chen Qi. He introduced himself as a disciple of the famous guzheng master Lou Shuhua, who belonged to the Henan school of guzheng. Chen Qi was also a disciple of Lou Shuhua’s other student, Sun Zixian, making them part of the same lineage. Lou Shuhua was a representative figure in the northern Chinese guzheng art, and his composition “Fishing Boat Singing at Dusk,” created in 1938, marked a new era in guzheng music, remaining popular for decades. Chen Qi’s guzheng was actually Lou Shuhua’s, with his poems and name engraved on the back. When Liang Zaiping heard about this, he immediately sent his daughter to Hong Kong to meet Chen Qi, pay homage to the master’s guzheng, and provide Chen Qi with many of his own records.
Chen Qi had the opportunity to meet Chen Leishi, a famous guzheng master in Malaysia, during one of her performances in Kuala Lumpur, Malaysia. It was her first overseas performance, and it happened right after the well-known superstar Teresa Teng had finished her concert. Chen Qi was anxious, unsure if anyone would come to watch her performance. Surprisingly, the seats at the hotel’s nightclub were fully booked, with more tables being added. The hotel manager informed Chen Qi, “All of them are booked by local music groups and Chinese music enthusiasts. They are demanding that you perform the guzheng tonight.” This performance in Southeast Asia marked a turning point in Chen Qi’s career.
Guzheng master Chen Leishi brought his two albums and a group of students to meet Chen Qi and perform the guzheng. In the presence of these guzheng masters, Chen Qi felt humbled. Despite her busy life teaching guzheng and singing to support her family, Chen Qi believed she was leading a mundane life. The lavish lifestyle filled with “bright lights and revelry” was not what she had pursued. Even at the peak of her guzheng performing career, she was contemplating retirement from the entertainment industry.
After Chen Qi made her appearance on television in Hong Kong, not only did more people want to learn Guzheng from her, but local and foreign hotel owners also continuously approached her to sign contracts for performances. During this period of performing at various hotels, Chen Qi not only acquired a wealth of performance knowledge and social experience but also gained a deeper understanding of interpersonal relationships and more. At the same time, she maintained her integrity, refrained from getting involved in any questionable activities, and skillfully avoided many troubling situations. Among the many experiences of performing abroad, one particularly precious memory was sharing the stage with Teresa Teng.
One time, during a performance at a foreign hotel, Chen Qi coincidentally performed on the same stage as Teresa Teng. Teresa Teng’s mother was skilled in cooking and often prepared delicious dishes for everyone backstage, such as noodle sheets, noodles, scallion pancakes, and more. Teresa Teng had a great fondness for the Guzheng and, after watching Chen Qi’s performance, expressed a desire to learn it from her. However, at that time, Chen Qi was busy traveling for performances to earn a living and support her family. She could only say, “When you have free time, and I have free time as well, you can come and learn.” Unfortunately, that day would never come as in 1995, Teresa Teng tragically passed away due to a severe asthma attack.
“People are doing, and heaven is watching” – one must believe this.
During her twelve years in Hong Kong, where she worked for six or seven years, Chen Qi went from knowing nothing about Hong Kong to establishing herself in the city, supporting herself and her family, and achieving a successful career with a stable income. During this time, she received help from many people which she deeply appreciated. Chen Qi believed that she had been treated kindly by fate and was grateful for it. As a result, she urged herself to avoid doing anything wrong in life because “people are doing, and heaven is watching.” She believed that it was essential to have faith in this principle.
Despite her growing success in Hong Kong, Chen Qi made a life-changing decision to leave the city. She heard from a pediatrician that the climate in Hong Kong was not conducive to treating her three children’s asthma and that Perth, Australia, was the best place for natural asthma treatment. Another concern was that if Hong Kong were to be reclaimed by the Chinese Communist Party in the future, the same tragic experiences she endured during her childhood might happen to her children.
Although determined to leave Hong Kong, Chen Qi faced a significant challenge: she didn’t speak English and had difficulty adapting to her new environment. To ensure her children’s well-being, she made the difficult decision to remarry and move to Perth. Before leaving Hong Kong, Chen Qi had a heartfelt conversation with “Chun,” a longtime maid who had been like family to her. Undisclosed to their mother, Chun told Chen Qi’s children, “Your mother chose to marry in Australia for the sake of all of you. If you are not filial, divine punishment will befall upon you all.”
Chen Qi gave up her flourishing career in Hong Kong to work as a dishwasher and open a restaurant in Perth. She sacrificed her delicate hands that had once played the Guzheng and her youthful appearance, and she endured this lifestyle for over 40 years. Fortunately, as the pediatrician had predicted, her children’s asthma never returned. Her children loved and respected their mother deeply, resulting in them being dutiful children.
After immigrating to Perth, Chen Qi not only raised her children but also used her savings and efforts to help her mother, younger brother’s family, and sister’s family immigrate to Perth as well. It seemed as if she knew that her father had entrusted her with the responsibility of supporting the family. She believed that even in the face of great hardships, her father was watching over her from the beyond. No matter how unfairly she was treated, Chen Qi had faith that heaven held a scale, weighing her actions.
Through 70 years of trials and tribulations, joys and sorrows, Chen Qi now hopes for the right opportunity to publish her autobiography, “Journey of the Guzheng,” so that more people can experience the hardships of life through her story and gain insight into the true meaning of life amidst adversity.
我第一次跟十四歲的大兒談起法輪功師父的山上不好的那些事。也談及我跟當地大組分開的事，以及我三年前疑似瘋了的事。他告訴我說爸爸那個時候就是這麼跟他們說的，說媽媽可能是瘋了。大兒說那也是爸爸對他們特別Strict的那段時間，然後他哭了。
他說他好久沒哭了，上一次哭是看了大雄畫的那個動畫片，扶搖直上。我說大雄也跟我掰了，他認為我(們)不對。天易很理解我說的那些事，他看過的一些電影內容，他也串了起來。他說師父也是有一個身體的，也會做一個身體所帶來的那些事。
大兒跟我講起這些人的事，我們還談了很多很多，從宗教到信仰，從科學到人性，從天堂到地獄。他說他現在的思維還是中文的，因為只有我跟他討論這些事，用中文。
我告訴他我的厲害之處在於，我把這些都想通了，而且沒有另立門戶，這是在歷史上從未發生過的事。他說他會順著我的路，繼續往前走。我說我用中文可以把我的思想表達清楚，但是用英文不可以，在這一點上我需要你們的幫助。他欣然。
我告訴大兒，後來爸爸看到這部影片，然後推薦給我，說明他終於明白，在我身上發生了什麼事。大兒很開心，他親眼見證了這幾年爸爸的變化，以及他自己的變化，都是正向的。
我抱著大兒說，我這事太複雜，爸爸已經做得很好，他幫了我一半兒，你又幫了我一半兒，我很幸運。
https://zh.wikipedia.org/zh-hant/%E7%BE%8E%E4%B8%BD%E5%BF%83%E7%81%B5
佛學會通知
師尊最近發表《正確對待師父家人》，是告訴大家法理，讓學員們修好自己，正確和嚴肅地對待自己的修煉。但有人走極端，不能正確對待師父家人，反而寫負面的文章針對師父家人做出各種指責，等於變相針對師父，並在大法網站上刊登，做出讓中共和舊勢力都做不到的事情，起到了很不好的干擾作用。
師尊的經文是指導大家修煉的，請大家不要用人心對待。
特此通知
張而平
法輪大法佛學會
2023年10月2日
當天即被明慧網刪除的文章：
严肃对待修炼中的问题 ——學習《正确对待师父家人》的體會
文：北美大法弟子
【明慧网二零二三年十月二日】师父这篇经文《正确对待师父家人》，感觉句句棒喝。作为师父家人修炼环境中的一员不得不反思，尽管这是平时感觉很敏感的事情，本能的想要回避。其实这回避的本身就是人心、人念、人情，不想面对我们出现的问题。但是如果我们连面对问题都不敢，我们还有多少时间去改正这些问题呢？想想我们到底是来干什么来的？不能不重视了。
1. 首先要坦诚我们的修炼环境出现了大问题，师父才会讲的如此严肃。本来修炼环境中是可以通过同修间的彼此提醒，避免出现严重问题的，师父法身会安排周围学员看出问题。如果不带人心就会及时指出问题，拿不准时可以交流，这样才是为整体好，为同修好。如果看出问题也不敢说，挖一挖根子，一定是人心、人情、人念在阻挡，保护自己高于维护法。该说的不说同样是没走师父安排的路。同修陷入险境时，难道没有责任吗？当然指出问题之前先要看看是站在什么基点上说的，如果是为了整体和同修好，哪怕自己没修好的部份导致同修暂时接受不了，那就再反过来看看自己暴露了什么心，正好去掉它；彼此在矛盾中向内找，就都提高上来了，这是师父安排的整体提高。
由于我们的修炼环境没有起到应起的作用，师父才亲自讲出来，我理解不管是谁，如果师父说过后依然没重视，没改正，就是“说也不听”，其结果严重。有些执着心非常的隐晦，掩盖在某种看似正常的表现之下甚至包装一个正当的借口，不容易察觉；甚至师父指出了问题，人心还在“狡辩”，不想承认自己或自己所在项目，或自己所在地区存在这些问题，耽误了宝贵的纠错时间，辜负了师父的苦心教诲。
2.师父说：“对师父家人好或不好都会影响他们的修炼。”（《正确对待师父家人》）
我们作为师父家人修炼环境中的大法弟子，特别是项目中的学员，如何对待师父家人，能不能不带人心的把握好尺度是非常重大的考验，关系到敬师敬法，不知同修有没有意识到问题的严重性，否则不论我们做了多少事，取得了怎样的成就，这一点出了问题会前功尽弃。
以前只知道应该对师父家人尊敬，没想过有分寸的问题，甚至还有把对师父的感恩报答在师父家人那的心态。大陆常人感谢领导时给他的家人送份礼物，对领导家人毕恭毕敬以讨领导欢心。我们有没有这类党文化的心态呢？
师父说：“你们想过吗？特别是不当的恭维就是在害师父家人。”（《正确对待师父家人》）
我们真要反思一下自己心里那种“不当的恭维”，和借师父家人来感恩师父的心态。以前从没想过师父家人也会有这样的危险，其实已经是用人心对待师父家人了。一人，两人偶尔有这种不正的东西还能抵挡，如果很多人持续这样，旧势力的迫害就可以通过这些学员而达到。
3.师父讲到“还有人把师父家人当师父一样对待”（《正确对待师父家人》）。
个人理解，这包括对师父家人说的话及做的事有没有用法来衡量等，我们要反思一下，任何抬高师父家人的说法与做法就是把这个生命置于危险境地的举动，是旧势力在利用我们这些同修严肃的考验师父家人，同时也在考验每个看到、听到以及参与其中的大法弟子。例如礼仪，对待师父家人是要尊敬，但礼仪上一定不能和对待师父一样。因为师父没有要求弟子对他顶礼膜拜，大法弟子见师父面也就是合十感恩的礼仪，那我们再看看我们应该如何对待师父家人？这不是小事啊！虽然我们没有不敬师，但我们对同样是师父弟子的师父家人给予和师父同样的礼遇，这是在折煞这个大法弟子呀，护法神一定会瞪眼睛的。
师父开头讲到大法弟子“多与师有过多世直系之亲”（《正确对待师父家人》）。
我理解，我们对待师父现世家人也要用平常心对待，只是由于敬师而多一份尊重，过了就会被旧势力钻空子。旧势力对每个大法弟子都会采取严酷的考验，怎么会对师父的家人例外（甚至会更严苛），因为不管根基多大、悟性多高，只要还在人中修，就跑不出名、利、情的干扰与考验。那么师父家人所面对的就是周围大法弟子人心的“险恶”。谁知道哪个学员被旧势力安排做这个事？这是在毁双方大法弟子。师父公开讲出来就是给双方弟子走出险境的机会，我们别再用人心掩盖了。在师父家人身边或项目中的大法弟子一定要深刻反思，真正明白什么才是对师父家人好。
修炼层次有限，不当之处，望同修慈悲指正。
【编注：本文代表作者当前修炼状态中的个人认识，谨与同修切磋，“比学比修”。】
(c)2023 明慧网版权所有。
X媽提到大兒想要台式機玩兒遊戲
我知道她內心肯定是糾結的
害怕孩子的screening time太多
這是我們這個時代做父母的普遍難題
我沒說她管大兒玩遊戲管得太緊
我告訴她我大兒有三個屏幕
我告訴她我對大兒二兒玩遊戲
我基本不管
我告訴她玩遊戲可以成為一個工具
我告訴她在大兒二兒的同學中
沒有像我這麼不管的父母
但是大兒二兒的表現讓我很滿意
X媽說她想要一個Luxury的退休生活
她說她對不積極賺錢這件事心存焦慮
她無法像我這樣家裡沒錢還能坐得住
我問她需要多少錢才能過上Luxury的退休生活
她回答不上來但她說希望有錢能夠去旅遊
我說旅游本身不會花很多錢
但是旅遊會耽誤賺錢的時間
所以他們講需要被動收入
我說她對金錢的焦慮會讓她成功
但是要小心別弄壞自己的身體
我說焦慮本身是把雙刃劍
她說她就需要時不時聽我講一講
否則她就會焦慮過頭
我支持她時間花精力去賺錢
然後把小兒子放在我這裡帶
她說孩子多了不會影響你心情嗎
我說管孩子才會影響心情
不管就不會她說也是
她姐一家也在同城
但兩家的孩子們年齡對不上
所以親兄弟姐妹又怎麼
很多時候還不如朋友靠譜
我說我推崇部落式生存方式
我說作為我們這種外國移民
單靠一家人之力難以站穩腳跟
如果有幾家人志同道合共同生存
就會好得多
我說若我老公能賺到大錢固然是好
但如果沒有就過現在這樣的清貧日子也不錯
我說幸福退休生活依靠的是子孫不給自己添麻煩
半夜思考完人生後睡下
看到旁邊女兒可愛的小臉
我親了親後小聲對她說摟著
她就把頭挪到我臂膀裡給我摟著
早上我起床時她還在熟睡
我對著她的小嘴巴親了又親
說好可愛好可愛她就露出笑容
這不比有寵物更好嗎
寵女把房間幾個地方都弄得很亂
正在責令她收拾
她跟二哥哥總是發生口角
以前我多數是說二兒
這次我對寵女說
以後我再聽到天恩沒有好好說話
我就認為責任在你
從今天開始試驗一個星期
我們看看結果會怎樣
她收拾完一個地方
我說還有哪裡哪裡
她說一天只收一個地方
我說可你一天會弄亂幾個地方
如果一天只收一個地方的話
那怎麼來得及
她說既然還會弄亂
那我收拾有什麼意義
What’s the point…
我心想這說得如此有道理
可是你放在樓梯下面的幾雙鞋
擋住我上下樓梯了不舒服
文 ：安琪
1970年的一份无线电视杂志里，一位端庄清秀的少妇身着旗袍，头梳盘髻，静心弹奏古筝的彩色整幅图片引人注目，
“欢乐今宵”，这个曾经是香港电视70、80年代最受欢迎和最长寿的综艺节目，不少无线电视的一线当红演员都曾参演。当陈琪出现在“欢乐今宵”的舞台上时，很多观众甚至制作人员都在好奇地问：这个名不见经传的陈琪能弹那么好的古筝、能唱那么动听的民歌，她从哪里来？
曾是将军最珍爱的女儿
“1940年我出生在一个经济还不错的家庭。父亲是国民党军官──纵队司令少将，在抗日战争中坚决抗日，被日本人打死并割下人头，挂在城墙上示众。他成为中国有名的‘断头将军陈中柱’。死后国民党加封一级中将。那时我才一岁。”（陈琪自传《筝路历程》）
陈中柱将军，江苏盐城人，1941年抗日牺牲时年仅35岁，留下两个女儿和一个遗腹子，陈琪是次女。尽管陈琪对父亲没有任何记忆，据姐姐描述，她曾是陈将军最为珍贵的女儿。陈将军喜欢把襁褓中的陈琪抱在手中，夸她生得漂亮，给她取名为“琪”，取仙子安琪儿的意思。陈将军那时每天一下班回家，第一件事就是去陈琪的房间看她。
命运多诘难 幸有上天眷顾
父亲生前对陈琪的珍爱并没有给她的人生带来幸福。从陈琪记事起，她就像是家里多余的人，是家人的出气筒和最没用的人，因此从小形成胆小怕事的性格，甚至话都不敢多说，口齿也不清楚；再加上中共夺取政权后，陈琪家里因为国民党军官的背景，母亲被拉去坐牢，“成分不好”的她在学校和社会上也抬不起头来。生性好强的陈琪只好把所有精力都放在学习上，努力做一个好孩子，以期赢得他人的认可。尽管从小在逆境中成长，好强的个性加上天生的音乐才赋，成就了陈琪日后在艺术上的辉煌。
琴棋书画 18世纪的人生在20世纪
刻苦用心换来的好成绩得不到家人认可，因为政治原因也得不到学校的承认。陈琪却因为天生对艺术的喜爱，在那片浊世中寻得一方净土。琴棋书画都是陈琪的所爱，也样样用心去学。她的同学们常说她是18世纪的人，却错生在20世纪。
陈琪从小就喜欢音乐，被音乐老师推荐报考“中学生艺术团”，却阴错阳差地被歌咏组录取，从而启发了她的歌唱天赋，并学习了很多以后用得到的音乐知识。因为常常要参加艺术团的演出，陈琪也因此幸运地躲过了那个年代的中学生被强制“义务”修铁路或下乡种田的艰苦时光。
在中共的文革中，一切传统和文化都被踩在脚下。孙子仙，一位身怀古筝绝艺的先生，不为五斗米折腰，屈身于粮站职员，用业余时间免费教八个他喜欢的徒弟，陈琪有幸成为其中一个。陈琪特别喜欢古筝低沉、古雅的声音，学筝特别努力。陈琪还用她唯一值钱的金项链换了师爷的琴和题字，并因为日后移居香港，使得师爷的古琴得以逃脱文革厄运，并将所学在香港发扬。当后来孙先生知道这一切后，流着泪对陈琪说：“谢谢你！谢谢你！”
学业、文艺出众却没有出路
尽管学业、文艺出众，中学毕业的陈琪却因“家庭成分”问题不能被艺术院校录取，最后终于有机会候补上了当时没人去的中医学院。陈琪对中医不感兴趣，但能上大学，想着毕业后能找到工作，就已经很知足，也因此勤奋读书，成绩也是名列前茅。然而象牙塔里已不是净土一片，中共社会上的政治污浊早就玷污了中国的每个角落。尽管成绩拔尖，陈琪仍因为成分不好，在学校里备受歧视，然而真正让陈琪感到绝望的，是不久后发生的一件事。
陈琪以前学校的一位女同学来中医学院求职，人事科长约她在宿舍见面，陈琪在外面等。不一会儿女同学满脸通红、气愤得手直发抖，出来对陈琪说：“这个混蛋，要我成为他的女朋友就让我进医学院。”当时女团支书看起来和蔼可亲，陈琪就把同学遭遇的事情告诉她。
哪曾想转天党支书就来找陈琪，把她大骂一顿，说她造谣生事，破坏党和领导的威信。此后陈琪在学校的日子就更难过了。绝望的陈琪只好请医生开了张“神经衰弱”的证明，休学离开了中医学院。大学没毕业的陈琪找不到工作，只好做代课老师，内心里觉得自己太低微、太没用。
从懂事起就遭受中共的政治迫害，这给陈琪的人生刻下了永远无法抹去的伤痕。十几年后陈琪从香港艺术圈的顶峰，跌落到在珀斯餐馆洗碗的低谷，也从未叫过苦。对她而言，海外自由世界里再苦再累的工作，也苦不过在中国大陆那种在政治上抬不起头来，不知道会在哪一场政治运动中倒下的生活。
机缘引路 进入香港娱乐圈
一生中唯一的一份爱情，一段刻骨铭心的爱恋，定格在少女情窦初开的心田深处，永远都无法忘怀。然而残酷的现实让陈琪远嫁香港，陈琪的人生从此开始的每一天都不再是为自己而过。
陈琪，一个家庭妇女，为了养活三个孩子和游手好闲的丈夫，每日拚命教古筝、配乐配歌赚钱。她送孩子去最好的私立学校、给还在大陆的母亲寄大笔大笔的钱、在香港攒钱买楼，自己的生活却非常拮据，从没吃过一个整个的水果，吃饭也常常是把孩子们剩下的拨在一起，草草打发一顿。
陈琪的艺术才华却逐渐显露。一次，一位表演二胡的朋友请她帮忙在一个文艺晚会上给他的二胡表演配唱。完全不了解香港娱乐圈的陈琪只穿了一件白衬衫和一条黑裙子就去了，后来才发现那个晚会有多位歌星穿着华丽晚宴服装来表演。到陈琪上台时，唱了一首〈探情郎》，结果掌声雷动，安哥声不断，主持人请她再唱一首。一首〈绣荷包》后，观众仍要求再唱。因为只准备了两首歌，也就谢过下台。
不曾想当天的主持人是胡章钊──香港家喻户晓的无线电视“花王俱乐部”节目主持人，他发现陈琪的才能后异常兴奋，发动电视台编导寻找这位唱民歌的“家庭妇女”。陈琪因此被香港当时最出名的无线电视台邀请，上电视弹古筝、唱民歌，给电视观众们带来一股清新的艺术气息。第一次演出完，编导告诉陈琪：你唱完后电视台的电话不停，说这民歌唱得太好了，他们喜欢听。除了唱民歌，陈琪还表演黄梅戏、弹古筝，都深受观众欢迎。
和李小龙同台 教汪明荃甩水袖
陈琪在电视台演出，除了和当时已经鼎鼎大名的明星如李小龙等同台演出外，也见证了不少后来成名的明星当时青涩的成功之路。
一次在“丽的呼声”（Rediffusion）电视节目演出时，陈琪在后台遇到当时还只是临时演员的汪明荃。后来被称为“汪阿姐”的华人世界里知名度最高的越剧演员之一的汪明荃，那时还不会唱歌，要由陈琪等人在幕后仪唱。她在后台穿上古装后，水袖总是不听话，掸不上手。陈琪看到忍不住教她门道：放下水袖，在袖口的中间用大指和食指夹住，然后用其他三指把水袖弹上去，水袖就会整齐地弹在袖子上。汪明荃学会后果然水袖就挥洒自如了。她很感激，并问陈琪是科班出身吗？陈琪告诉她：“我不是学艺的，我是学医的。”
古筝古韵 得到大师们的认可
作为初出茅庐的新手，陈琪在香港教古筝的几年中也经历过不少坎坷。第一关就是本地有名的中乐演奏家、作曲家王粤生给她的考验。王会多种乐器，包括古筝，也出过几张古筝唱片。有一天他突然登门要陈琪弹一曲给他听。陈琪百般推脱未果，只好弹了一首古曲〈哭周瑜〉。见陈琪在一根弦上揉出四个音体现出哭的意境，同时在另一根弦上弹哭中的抽泣，王粤生听得心服口服。
另一次是台湾有名的一位青年古筝教师特地从台湾来港登门拜访，弹了很多曲子给陈琪听。这位教师手法又快又好又熟练。他弹到〈纺织忙〉时，告诉陈琪，弹时要注意手的姿势，像在纺织一样。陈琪赞赏其高超的技术，但有不同的观点。她认为弹古筝讲究古典韵味，不能只顾快，比如这曲〈纺织忙〉，既要弹出织女的忙，也要弹出她的孤单与无奈，每一个音都要揉得很有韵味、感情和古典意境。几天后，这位台湾来的教师在一个香港文人雅士的集会上，输给了陈琪一位初学的家庭妇女学生，由此他对陈琪佩服得五体投地。
接着，台湾的国乐大师、中华音乐会会长，也是古筝教师梁在平给陈琪打来电话，介绍他自己的师父是河南派的娄树华。陈琪也正是娄师父的另一个弟子孙子仙的徒弟，可谓是师出一脉。娄树华是中国北方古筝艺术的代表，他于1938年创作的筝曲〈渔舟唱晚〉，一经问世就开创了筝曲的新纪元，几十年来历久不衰。陈琪保存的琴正是师爷娄树华的传琴，筝后刻有他的诗和名。梁在平会长听到此事，立刻叫其女儿赴港与陈琪会面，瞻仰了师爷的传琴并送了陈琪许多他的唱片。
陈琪有一次在马来西亚吉隆坡演出时，也有幸会见了马来西亚著名的古筝大师陈蕾士。那是陈琪第一次出国登台演出，又正好赶上大明星邓丽君刚刚演完，陈琪心里忐忑不安，不知会不会有人来看她的演出。没想到酒店的夜总会座位已订满，还在不断加台。酒店经理告诉陈琪说：“全部都是本市音乐团体、国乐爱好者订的台。”他叮嘱陈琪当晚一定要表演古筝。这一次演出为陈琪在东南亚打响了名声。
古筝大师陈蕾士带着他的两张唱片和一班学生来见陈琪，也表演了古筝。面对着这些古筝老师们，陈琪忽然觉得汗颜。为了生活、为了孩子、为了赚钱每天不停地教筝和唱歌，陈琪觉得自己太俗了，现在这种“灯红酒绿尽徬徨”的生活，根本就不是她追求的“黄卷寿灯论文章”的境界。正处在古筝演出事业顶峰的陈琪却萌发了退出娱乐圈之意。
邓丽君要拜师学古筝
陈琪在电视台亮相后，不仅找她学古筝的人多了，也不断有香港本土和外国的酒店老板找她签约演出。在各种酒店演出的这段时间，陈琪学到了很多演出知识、社会知识，懂得了更多人与人之间的关系等；同时洁身自好，不贪不恋，也智慧地避免了很多麻烦。在国外演出的众多经历中，很珍贵的一件事是与邓丽君同台。
一次在外国酒店演出时，正好赶上邓丽君同台。邓丽君的母亲很能干，也很体贴，在后台经常会弄些面叶、面条、葱油饼等给大家吃。邓丽君很喜欢古筝，看了陈琪的表演后，希望能跟陈琪学。那时的陈琪忙于各地演出赚钱养家，只好说：“等你有空、我也有空时再学吧。”可这样的日子永远也等不到了。1995年邓丽君因哮喘病发作失救而香消玉殒。
“人在做，天在看” 不可不信
陈琪在香港12年，工作了六、七年，从对香港一无所知，到一个人带着三个孩子在香港立足，有了自己的事业、不错的收入，这期间得到很多人的帮助。陈琪对此心存感激，认为老天爷待她不薄。她也因此敦促自己，在人生的路上不可做一件坏事，因为“人在做，天在看”，不可不信。
为了孩子改嫁珀斯
尽管在香港事业蒸蒸日上，为了让三个有哮喘病的孩子不再发病，陈琪听到儿科医生说香港气候不好，不利于治疗，而澳大利亚的珀斯是自然治疗哮喘病的最好地方，决心离开香港。另一个让陈琪心有余悸的是，一旦将来香港回归，共产党统治了香港，她从小经历的凄惨遭遇会不会在她的子女身上又一次上演？
尽管决心离开香港，不懂英语的陈琪却寸步难行，为了孩子，最后只能选择改嫁到珀斯。在离开香港时，一直在陈琪家做佣人、陈琪待她如母的珍姐偷偷对孩子们说：“你母亲全是为了你们才选择嫁去澳大利亚的，如果你们不孝，雷会劈你们的。”
舍弃了在香港的事业，来到珀斯洗碗、开餐馆，磨破了曾经弹古筝的玉手，催老了姣好的容颜，这样的日子一过40年。所幸的是，正如儿科医生所讲，三个孩子的哮喘病再也没有发过。儿女们对母亲也爱得很深，很孝顺。
像父亲那样撑起一片天
移民到珀斯的陈琪，除了养育孩子，还耗尽心思和积蓄，将母亲、弟弟全家和姐姐移民到珀斯。冥冥中她似乎知道，父亲把挑起一家人的重担交给了她，再难也要走下去，而父亲在冥冥中也在保佑着她。陈琪无论受到多大的委屈，她相信，老天爷自有秤一把。
70年的坎坷辗转、悲欢离合，陈琪盼望着有合适的机缘出版自传《筝路历程》，让更多人能通过她的人生故事体验生活的艰辛，了悟在磨难中的心灵真谛。◇
陳旭@perth 