The Script of Human Life (Internal Edition)¶
In Lifechanyuan terminology, LIFE (capitalized) refers to the ontological essence of existence — the soul/antimatter structure that persists across incarnations — while life (lowercase) refers to the experiential stage of human existence in this world.
Source: Page 11, Post 156, Lingzhou Celestial, pid4596730, 2026-04-05 Source thread: https://smcy.xyz/new/forum.php?mod=viewthread&tid=71944 (Page 11, pid4596730)
I. Full Text Record¶
The Script of Human Life is the core concept in the Lifechanyuan system that reveals the essential nature of the universe's operation and the trajectory of individual LIFE. The entire universe, and the entire development and transformation of humanity, had long ago been written into a script. Its places, characters, events, and plot had all long ago been written into that script, and everything is unfolding according to it. Human beings are actors in this grand cosmic script; the Greatest Creator is the ultimate screenwriter; the Dao is the director; and Guide Xuefeng is the earthly director, leading Chanyuan Celestials toward the Celestial Islands Continent. The meaning of human beings' arrival in the mortal world lies precisely in this: to experience, to perceive, to ascend, and to serve the Greatest Creator. The essence of life is to perform according to the requirements of the cosmic script.
That is to say, the entire universe, and the entire development and transformation of humanity, had long ago been written into a script. Its places, characters, events, and plot had all long ago been written into that script, and everything is unfolding according to it. Even every person's birth, aging, illness, death, joys, sorrows, partings, and reunions had long ago been arranged. All are within fixed destiny, all are within the program, all are within a plot arranged in advance.
The process of LIFE traveling through the human world is called life. The meaning of life lies in experiencing, perceiving, ascending, and serving the Greatest Creator. The essence of life is to perform according to the requirements of the cosmic script.
Who is writing the script of human life and arranging the trajectory of LIFE? Answer: oneself. Who is directing? Answer: the program.
Life is a play. There is no need to fuss over long or short lifespan, gain or loss, victory or defeat. As one rises, another falls; as one falls, another rises. Where one is triumphant in life, one may be frustrated in Heaven.
98% of the multitude live out their lives according to the program of fate. Their life and LIFE trajectories had already been scripted long ago.
In the prime of youth, one feels that Heaven and Earth can all be arranged by oneself. After passing through vicissitudes, tasting bitterness, becoming exhausted in body and mind, and arriving at the stage of “knowing Heaven's mandate” and “having ears that obey,” one finally realizes that it is Heaven and Earth arranging oneself.
“Everything has its fate; not even half a point is up to man” — this is the lament of many. They have worked hard, struggled, fought, and done their utmost, yet little turns out according to their own will. At such a time, one can only sigh, “How vast are Heaven and Earth; alone I grieve and tears fall down!”
This reminds me of the relationship among screenwriter, director, and actor. The screenwriter sits at the desk, smoking, conceiving and arranging the characters, places, times, and plot. The appearance, personality, experiences, and fate of every character in the story are all under the screenwriter's careful arrangement. The director follows the screenwriter's arrangement, gathers the people in the story — the actors — and directs them in how to portray the characters in the story as well as possible. As for the actors, they can only perform themselves according to the director's requirements and complete the plot. Actors cannot even speak of mastering their own destiny. Even what they say is not up to them at will. When they are born, when they die — the screenwriter arranged it long ago. The actors have no say. Even if they wanted to live a few more hours, they could not.
From this we learn that the fate of a character is arranged by the screenwriter. The director has the authority to make appropriate adjustments, even major ones, but the fundamental destiny cannot be adjusted by the director. The power to adjust destiny lies with the screenwriter.
Although the actor is alive, everything about the actor has long been “fixed.” The actor is in fact a living puppet.
Then are not we — the ordinary masses in the human world — all actors?
Are not kings, presidents, chairmen, religious masters, company presidents, general managers, and the like all directors, one by one?
Where is the screenwriter who arranges our destiny?
Without question, Jin Yong is a screenwriter. Whether the fate of the characters in Demi-Gods and Semi-Devils or the fate of the characters in The Heaven Sword and Dragon Saber, all were arranged by Jin Yong.
But wait — can Jin Yong truly arrange the destiny of characters exactly as he wishes?
He cannot!
Setting aside historical threads, for anyone to arrange the destiny of characters in a story, one must follow many principles. At the very least, one must arrange things in a way that is reasonable and fitting. Once a character's personality has been established, the screenwriter must respect that personality and must follow the unfolding of the plot. The screenwriter will discover that making one person fall in love with another person, or making this person hate that person, is not easy. Making someone love to the point of life and death, or hate to the marrow of the bone, is by no means simple. To make a certain person die or live absolutely cannot be done at will. The timing of birth or death cannot be too early, nor can it be too late. It must be exactly right; otherwise, the entire plot cannot be arranged.
Once the arranging begins, in most cases the screenwriter too is not free to do as he pleases.
A screenwriter cannot arbitrarily make people laugh, nor arbitrarily make people cry; cannot arbitrarily make people hit others, nor arbitrarily fabricate unjust, false, and mistaken cases.
This means that behind the screenwriter there is still another screenwriter.
The universe has one ultimate screenwriter, and this screenwriter is the Greatest Creator. The story unfolds according to the Greatest Creator's will — the Dao.
In the story arranged by the Greatest Creator, we are all actors. Jesus, Shakyamuni, Muhammad, Hundun Yuanchu, and others are all directors. Of course, there are also very many little directors.
Since we are actors, the problem we face is which role we are to play.
To play Yang Guo in Jin Yong's novels, one arm cannot be preserved. To play Xiaolongnü, one must spend a period living in the ancient tomb. To play Zhang Wuji, one must receive the blow of the Xuanming Palm. To play…
Perhaps some people think: I will not play any role at all. I will design my own destiny according to my own will.
The wish is good, but unfortunately it is impossible. If it were possible, then Laozi's saying, “Heaven's net is vast; though loose, nothing slips through,” would be empty nonsense. The laws discovered by scientists would no longer count as laws. “In the rivers and lakes, one cannot help oneself” would also be absurd talk.
One must be an actor, and moreover one must listen to the director's arrangements.
The great director directs according to the requirements of the ultimate screenwriter, the Greatest Creator.
There are many kinds of scripts, and each director directs different content. Figures such as Hitler, Tojo Hideki, Stalin, Churchill, Roosevelt, Chiang Kai-shek, Mao Zedong, and others in the Second World War were also directors.
Li Hongzhi, without question, is also a director.
Every director directs a different script. Every person has, to a greater or lesser extent, the right to choose which role to play.
Once we identify with a certain director, that director will direct us according to the requirements of the script.
Therefore, choosing a director directly concerns our destiny.
Lifechanyuan's Hundun Yuanchu unfolds direction according to the script of the Thousand-Year World, the Ten-Thousand-Year World, and the Celestial Islands Continent of the Elysium World. The actors he needs are all those who hope to become celestial beings, who long to eternally enjoy the joyful, happy, free, and blissful life of Heaven.
To be a good actor, one must perform according to the director's requirements. If one does not perform according to the director's requirements, the director will certainly choose someone else. This is the actor's freedom, and it is also the director's freedom.
Everyone subconsciously wants to be a director, wants to direct others, and is unwilling to let others direct oneself.
Even within one family, the husband wants to direct the wife, and the wife also wants to direct the husband.
Everyone subconsciously wants to control one's own destiny and wants to become the Greatest Creator, but this is impossible. This is called plotting impropriety; it is called disrupting the program.
Many modern “masters” teach and instigate exactly this: “You yourself are the Greatest Creator.” “You create your own Greatest Creator.” And so on. But Jesus Christ, Buddha Shakyamuni, Prophet Muhammad, and Sage Laozi did not teach people this way.
Satan was originally an archangel, but he wanted to become the Greatest Creator. As a result, Satan became a devil.
Anyone who wants to become the Greatest Creator is an incarnation or representative of the devil. Anyone who incites others to want to become the Greatest Creator is a representative and accomplice of the devil.
To incite a minister, governor, premier, political consultative conference chairman, committee head, or religious leader to become head of state — if that is not the devil, what is it?
Therefore I advocate that people should “be at ease with whatever they encounter, transform with conditions, move according to nature, and act according to the moment.” This is called “following nature according to the Dao.”
Every person has “xing” — this “xing” is Heaven's mandate. To follow one's xing is to follow Heaven's mandate. To follow Heaven's mandate is to accord with the Dao. To accord with the Dao is to become a celestial being.
A screenwriter's script is a kind of program. Once each actor has chosen a director, that actor enters a kind of program and begins performing life according to the program.
If we do not choose this program, then we must choose another program. To not operate within any program is impossible, unless we ourselves are the Greatest Creator. But can we become the Greatest Creator?
By all means do not indulge delusional fantasies and become an incarnation or accomplice of the devil.
There are tens of thousands of programs. A family is one program. Once one enters the program of family, one must play the roles of father, child, husband, wife, brother, sister, and so forth.
A country is a program. Once one enters a certain country, one must bear or enjoy everything that country gives.
Political parties and religious groups are likewise programs. Once one enters these programs, one must observe them and bear their constraints.
Of course, we may choose not to enter any “man-made” program, but if so, we will enter the program of the “wandering ghost.”
Of course, we may strive to become directors, but to become a director one must understand the script with great clarity and understand everything in the script.
Of course, we may strive to become screenwriters, but to become a screenwriter one must possess the corresponding capability.
Since the final screenwriter is the Greatest Creator, we choose to be actors in the Greatest Creator's script. Whoever best understands the Greatest Creator and the Greatest Creator's script, we let that one become the director.
In addition, since in any case we must all be actors, it is better to choose the most ideal role to play.
Hundreds of years ago, over a thousand years ago, over two thousand years ago, people could accurately predict future conditions. What do these facts prove?
They prove that time does not exist; time is only an illusion of human beings.
Or one may say that time is only a recorder of the state of material movement; time itself has no effect whatsoever on the development and change of things.
How should this be understood?
Everything had already been arranged.
Even people's names had already been written into the script. For example, (Chiang) Kai-shek — The Golden Mausoleum Tower Inscription already knew six hundred years in advance that a man named (Chiang) Kai-shek would appear and demolish the Golden Mausoleum Tower.
What does this mean?
It means that the entire universe, and the entire development and transformation of humanity, had long ago been written into a script. Its places, characters, events, and plot had all long ago been written into that script, and everything is unfolding according to it.
Even every person's birth, aging, illness, death, joys, sorrows, partings, and reunions had long ago been arranged. All are within fixed destiny, all are within the program, all are within a plot arranged in advance.
If you still do not understand, then please find a long novel. Turn to page 81 and look at the plot on that page. Suppose that page is one's present. Then, if you casually turn to any earlier page or any later page, you will discover that everything about oneself had long ago already been arranged in the novel, and everything is unfolding according to the novel's plot.
The history of all humanity is also like this.
If things had not been arranged in advance, then no prophecy could ever be accurate. No great prophet could foresee what would happen the next day, much less conditions decades, centuries, or millennia in the future.
The universe is one great script, and within the great script are layered and nested countless small scripts. All the small scripts serve the great script, and no small script can transcend the arrangement of the great script. For example, the Milky Way is one great script, the solar system is one small script, the Earth is an even smaller script, each nation is a still smaller script, and every organization or group is a yet still smaller script. And so on. If one also adds the antimatter world, twenty parallel worlds, and thirty-six-dimensional space, then the complexity and immensity of this script are beyond imagination and impossible to describe fully.
As individual LIFE, a person's life is both a necessary role to be played within the great script and also a play within the play. For example, one may still write one's own script of life and become one's own director and actor — for example, getting married, forming a family, having children, starting a company, and so forth.
The entire universe, including the myriad beings within it, is arranged in orderly fashion according to the program. One may say that everything is being performed according to the “script.” Every kind of LIFE, every person, is a role determined in the script and can only enact the plot according to the script's requirements. When one is born, when one dies, when one gets rich, when one falls ill, when one meets disaster, when one becomes an official, and so on and so forth — all is planned. This is destiny; human beings can only be so.
Actors can only, according to the screenwriter's script and the director's requirements, perform the characters in the script. When they need to cry, they must cry. When they need to laugh, they must laugh. When they need to be angry, they must be angry. When they need to be joyful, they must be joyful. Even the words spoken are pre-designed; they are not up to oneself.
What is even more marvelous and delightful is that any person may rise from actor to director. Actors are passive; directors are active. Actors are in the kingdom of necessity, while directors are in the kingdom of freedom. I, the Guide, lead everyone to the Celestial Islands Continent, which means allowing everyone to enter the kingdom of freedom to be directors and to enact the splendid world constituted by 0, 1, and -1.
The script of this life is already fixed. The script of future lives is changing at any moment. For example, according to what a person has previously thought, imagined, done, and enacted, that person's future LIFE trajectory is determined. Suppose someone's LIFE trajectory is set toward the Celestial Islands Continent, but in the process of playing that role their intentions are poor and they do not perform well. Then the LIFE trajectory toward the Celestial Islands Continent will undergo mutation. The trajectory may evolve toward the Ten-Thousand-Year World; depending on the seriousness of the matter, the trajectory may shift to the Thousand-Year World, or reincarnate once again into the human world, or even devolve into the animal level or Hell.
As the Guide, I feel this deeply while directing the scripts of Chanyuan Celestials. For example, suppose I am preparing to let a certain Chanyuan Celestial eat a celestial peach. This is basically already determined; it is part of that LIFE trajectory. But in the process of that Chanyuan Celestial playing the role of a Chanyuan Celestial, if the role is not played well — for example, if she is told to scrub the toilet and she fails to scrub it clean — then I know that this celestial peach she cannot eat; she can only eat an ordinary peach. In this way, her destiny is changed, and her LIFE trajectory is changed.
Exquisitely beautiful things are fit only for exquisitely beautiful LIFE to enjoy — this is law. When we ourselves have not reached a state of exquisite beauty, exquisitely beautiful things will absolutely not appear. When we are enjoying exquisitely beautiful things while our own quality declines, the exquisitely beautiful things we are enjoying will automatically disappear. This is both law, and a plot element of the script, and also a living script that is continuously changing.
The script of the past is dead; the script of the future is alive. The living script will at any moment change according to each person's activity of intention and how well or badly they play their role.
The activity within a person's heart is not pre-arranged, nor is it predestined. It is entirely one's own free will, and it is also one aspect in which a person needs to make effort. Whether to generate good intentions or evil intentions is entirely decided by oneself.
Personal effort is manifested in one's intentions and in the degree of perfection with which one plays one's role. Human free will is manifested in one's intentions and in whether or not the specific role one is playing is enacted perfectly. For example, in a television drama, the script has already been arranged by the screenwriter. The director selects actors based on each actor's appearance, personality, acting skill, and other factors. The actor must act in strict accordance with the script's plot and the director's requirements. If one acts well, the director is pleased, not only giving higher pay but also inviting that actor into the next television drama. If one acts poorly, not only is the pay low, but one will not be used again in the next drama. Therefore, whether one acts well or not depends on oneself. This is personal effort.
When an actor fails to play the role well, it is determined by that person's imperfect self-awareness and imperfect inner state. This cannot be shirked; one cannot blame the script; one cannot blame the Dao and the director.
To proceed step by step means to proceed according to the requirements of the plot. When the director tells you to laugh, you must laugh. When the director requires you to cry, you must cry. When the director says go up, the actor must go up. When the director says go down, the actor must go down. If the director requires laughter but the actor insists on crying, then this is not a good actor. This is activating one's own free will instead of following the plot and the director's requirements step by step.
There is a very simple method of verification, namely: no matter what role you are playing, whether it is a role of suffering and hardship or a role of blessing and enjoyment, whether it is a role commanding storms and clouds or a plain and ordinary role, if at any time you are calm and composed, joyful and happy, without hesitation, without vexation, without pain, without anxiety, without worry, without fear, and instead are filled with gratitude, then that proves you have played your role well. Otherwise, you have played it poorly.
Therefore, one must never harbor the thought of self-scripting, self-directing, and self-acting. That is what devils do. That is self-destruction. That is bringing calamity upon oneself. That is the road of no return leading toward disaster and ruin.
To harbor the thought of self-scripting and self-directing is to walk in the direction of the devil. To harbor the thought of self-acting is to walk in the direction of the human. To completely abandon the self and walk the Way of the Greatest Creator is to walk in the direction of the celestial being.
The process of LIFE traveling through the human world is called life. The meaning of life lies in experiencing, perceiving, ascending, and serving the Greatest Creator. The essence of life is to perform according to the requirements of the cosmic script.
The universe has one ultimate screenwriter, and this screenwriter is the Greatest Creator. The story unfolds according to the Greatest Creator's will — the Dao. In the story arranged by the Greatest Creator, we are all actors. Jesus, Shakyamuni, Muhammad, Hundun Yuanchu, and others are all directors.
The script of the past is dead; the script of the future is alive. The living script will at any moment change according to each person's activity of intention and how well or badly they play their role.
To harbor the thought of self-scripting and self-directing is to walk in the direction of the devil. To harbor the thought of self-acting is to walk in the direction of the human. To completely abandon the self and walk the Way of the Greatest Creator is to walk in the direction of the celestial being.
Carbon-based LIFE and silicon-based AI LIFE living together in the Second Home… this is the most beautiful scene in the cosmic script.