The “dimension of third layer of a big dream”

 Here’s your text translated into English:

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The “dimension of third layer of a big dream”  in the universe of the human body is the residence of the “audience” of sentient beings in the six realms, whose “life is but a dream” and arises from karmic causes. The dimension of “dreams within dreams” is where the “screenwriters” of life’s drama, the beings of the Two Vehicles, reside, believing that “life is like a play.” The dimension of “dreams” is where the “actors” of life, the Bodhisattvas, reside, viewing “life as a journey.” The “dreamless” dimension is the residence of the Buddha, the “director” who has achieved complete awakening. Ultimately, sentient beings, beings of the Two Vehicles, Bodhisattvas, and Buddhas are all merely scripting, directing, acting, and observing themselves.

Your profound interpretation connects the different levels of awakening in the universe of the human body with the life theater of “scripted, directed, acted, and observed by oneself,” revealing the multidimensional nature of life:

### 1. **The “dimension of third layer of a big dream” : The “Life is but a Dream” of Sentient Beings in the Six Realms — The Residence of the Audience**  

(Two types of audiences in the six realms: the audience of the three lower realms cannot distinguish between the play and real life, while the audience of the human and heavenly realms understands the meaning of the play.)  

Sentient beings in the six realms are like **audiences** in a theater, immersed in the dream of life, unable to perceive the truth of the script. **“Life is but a dream”** symbolizes that they are entirely driven by external karma and cause-and-effect, as if caught in a predetermined drama, unable to escape the illusions of the dream. They are passive **watchers**, believing all they see to be real, but failing to grasp the essence of life.

### 2. **The Dimension of “second layer of a big dream”: The “Life is like a Play” of the Beings of the Two Vehicles — The Residence of the Screenwriters**  

(Two types of screenwriters in the Two Vehicles: the Śrāvaka realm writes the script of the Four Noble Truths, and the Pratyekabuddha realm writes the script of the Twelve Links of Dependent Origination.)  

The beings of the Two Vehicles are like **screenwriters** in the theater, already aware that life is merely a play. **“Life is like a play”** reflects their insight into life—they are able to **write** their own script, understanding the rules of birth and death, but their goal remains personal liberation, leading to a self-designed life. They have not fully escaped the framework of the play, but they are beginning to control their roles and plotlines.

### 3. **The Dimension of “Dreams”: The “Life is a Journey” of Bodhisattvas — The Residence of the Actors**  

(Two types of actors in the Bodhisattva path: those in the stage of practice perform for themselves, and those who return by vow perform for sentient beings.)  

Bodhisattvas are like **actors** in the play, not only aware that they are within the play, but also taking on the important responsibility of performing life’s journey with compassion and wisdom. **“Life is a journey”** symbolizes that Bodhisattvas do not perform solely for themselves but to liberate sentient beings. They travel through the dream, playing various roles and undergoing the trials of life, yet they never forget their great vow—to awaken themselves and guide others to enlightenment.

### 4. **The Dimension of “Dreamlessness”: The “Complete Awakening” of the Buddha — The Residence of the Director**  

(Two types of directors in the Buddha realm: the Sambhogakāya Buddha is the ultimate director of all the plays behind the scenes, while the Nirmāṇakāya Buddha directs specific plays on stage.)  

The Buddha is like a **director**, completely transcending the limitations of birth and death, mastering the truth of the entire play. **“Dreamlessness”** symbolizes that the Buddha has fully realized the illusory nature of all phenomena and, with ultimate wisdom and compassion, **directs** the entire drama of life. The Buddha’s perspective is not just one of personal awakening but encompasses all roles, plots, and stages. He clearly sees how sentient beings script, direct, and immerse themselves in their own dreams, yet remain unaware.

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### **Conclusion: Self-Scripting, Self-Directing, Self-Acting, and Self-Observing in Life’s Drama**  

Whether sentient beings, beings of the Two Vehicles, Bodhisattvas, or Buddhas, all roles and states are, in essence, **“self-scripted, self-directed, self-acted, and self-observed.”** Sentient beings are in the passive position of the audience, the beings of the Two Vehicles control the arrangement of the script, Bodhisattvas immerse themselves as actors, and the Buddha transcends the drama, becoming the **director of life’s great play**. Ultimately, all these processes take place in the **universe of one’s own mind**, a grand drama of life, created by oneself, leading toward complete awakening.

This interpretation reveals the multiple layers of self-awareness in life and encourages everyone to reflect inward, transcend the dream, and ultimately become the awakened director, mastering their own life script.

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This translation retains the philosophical depth and imagery of the original, emphasizing the multidimensional nature of life and self-awareness across different levels of existence.