English
and the four. The circular pattern in the center, Lha sbas said is wind, therefore, the ninth pattern, which surrounds the eight patterns and serves as the basis for the eight patterns, is called wind, which is the inseparable union of the three-syllable mantra and wind. The nature of emptiness is immaculate. Āḥ (Tibetan, Sanskrit Devanagari: आः, Sanskrit Romanization: āḥ, literal Chinese meaning: Ah), li (Tibetan, Sanskrit Devanagari: li, Sanskrit Romanization: li, literal Chinese meaning: Li), kāli (Tibetan, Sanskrit Devanagari: kāli, Sanskrit Romanization: kāli, literal Chinese meaning: Ga Li) grow together. This will be explained below. Possessing the nature of the four joys. The indestructible great drum of Dharma. There are two drums: the Buddha's drum of Dharma and the indestructible drum in the center of the body, in the heart. It is the nature of the four joys, that is, the source of the four joys. In the table with the nature of emptiness, each letter is jointly grown by the immaculate āli and kāli, that is, filled. As it is said: Of the twelve scriptures, all the letters of the Dharma. This symbolizes that the great drum of Dharma shows all the letters of the Dharma of the twelve scriptures, which are the nature of vowels and consonants. Therefore, the root of all linguistic activities is the wind that resides in the indestructible in the heart. It is the basis of all the letters of the forty-nine squares, and the kṣa (Tibetan, Sanskrit Devanagari: kṣa, Sanskrit Romanization: kṣa, literal Chinese meaning: Qia) in the center symbolizes indestructibility. Previously, the letters of the name of the drum sound were explained, but here the meaning of the name is explained, so the difference is great. Those contained within the numbers, rely completely on the Dharma of selflessness. Lha sbas said that what is extracted from the intervals of those numbers is the Dharma of selflessness. As it is said, the most supreme mantra extracted from vowels and consonants is: the essence of the vowels and consonants of the twelve scriptures, the most supreme wisdom of selflessness. The four-faced one is most famous, completely destroying the four maras. As it is said in Heruka Abhisamaya: This mantra of the four-faced one, what has not arisen will not arise, and what has arisen will not change. Therefore, the mantra of Sumbhani is called the mantra of the four-faced one, that is, the mantra of the four-faced one is the most famous. The extracted mantra, that is, the definitive meaning of destroying the maras by extraction, is: through the wisdom of extracting the essence of the scriptures, the inseparability of bliss and emptiness, to eliminate the inner maras from the root. Riding on the wind and rejoicing, completely gathering the three realms. The suchness of wind is extremely sharp. Lha sbas said that when reciting the forms of the mantra, they will completely radiate.
Chinese
收摄和归纳是：与风一同乘骑，将三界全部认知为风的本性。如是念诵桑巴尼的咒语时，进行舒展和收摄，即是认知三界之根本为风的本性后，进行加持于风的金刚念诵。之前已说过三个字与风无别，与此结合。次第生起和非次第生起，从阿黎嘎黎中产生，是能说和所说的文字，领悟如声音影像般的状态。此句之义，若与二者中的所说结合，次第和非次第之义，是上降的四喜顺生，和下依的四喜逆转。这二者是从阿黎嘎黎所代表的红白明点聚合中产生的。若与能说结合，则是安立元音辅音，是元音辅音真实与非真实的二者之影像。由此表示领悟一切语言如山谷回音。归纳这些意义，从心间的无坏处，通过风升起、进入、安住三者的金刚念诵所引生的四喜俱生大乐，和无我之义二者结合，是经论的心髓。将其安立元音辅音于束缚土鼓之形态上，解释为殊胜咒语的决定意义，拉瓦巴的口诀所说，显现为智者欢喜的说法。第三有四：收集咒语第一句，收集咒语第二句，收集咒语第三句，收集咒语第四句以及开头结尾的文字。第一是：行善成办之后。这两句在其他译本和注释中没有，而且如根本续部般出现的显句中也说：成办者彼之数转变，取三十二个表格。这样说来，没有第一句似乎更好。成办者是七的数字，因此从部类成办者彼之数转变的显句中，从ka开始数的第三十二个表格中取，从a开始数的第五个元音短乌来区分。百半是五十，其一半是二十五，因此从ka开始数的第二十五个ma正确地取，第二十四个bha分开，是加在ma上的。从a开始数的第三十个
English
The gathering and summarizing are: Riding together with the wind, recognize all three realms as the very nature of wind. Thus, when reciting the Sambhani mantra, performing expansion and contraction means recognizing the root of the three realms as the nature of wind, and then performing Vajra recitation while empowering the wind. Previously, it was said that the three letters are inseparable from the wind, and combine this with that. Sequential arising and non-sequential arising, arising from Ali and Kali, are the letters of the speaker and the spoken, realizing the state like sound and image. The meaning of this verse, if combined with the spoken of the two, the meaning of sequential and non-sequential is the four joys of descending arising in order, and the four joys of depending below reversing in order. These two arise from the union of red and white essence represented by Ali and Kali. If combined with the speaker, then the arrangement of vowels and consonants is the image of the real and unreal of those two vowels and consonants. This represents the realization that all speech is like an echo in the mountains. Summarizing these meanings, from the indestructible at the heart, through the Vajra recitation of the three of wind rising, entering, and abiding, the co-emergent great bliss of the four joys drawn forth, and the meaning of selflessness combined, is the essence of the scriptures. Establishing vowels and consonants on the form of bound clay drum, explaining it as the definitive meaning of the supreme mantra, the instruction of Lawapa said, appears as a teaching that delights the wise. The third has four: gathering the first line of the mantra, gathering the second line of the mantra, gathering the third line of the mantra, gathering the fourth line of the mantra together with the beginning and ending letters. The first is: Having accomplished virtue. These two lines are not in other translations and commentaries, and also in the explicit statement that appears like the root tantra: The number of the accomplished one transforms, take the thirty-second table. Thus, it seems better to not have the first line. The accomplished one is the number seven, therefore from the explicit statement of the category the number of the accomplished one transforms, take from the thirty-second table counted from ka, and distinguish with the fifth vowel short u counted from a. Half of a hundred is fifty, half of that is twenty-five, therefore correctly take the twenty-fifth ma counted from ka, and separate the twenty-fourth bha, which is attached to ma. The thirtieth counted from a
Chinese
在“ྲུག་པ་”中取，用元音的第三个“ཨི་”来区分，即通过区分来完成。然后取从“ཀ་”开始数的第三十二个字母，用元音的第五个“ཨུ་”来区分，即“སུ”。之后取第二十五个字母“མ་”，与第二十四个字母“བྷ་”结合，即加在其上。从“ཀ་”开始数的第三十三个字母“ཧ་”完全取用，从“ཨ་”开始数的第十五个字母“ཨཾ”（藏文ཨཾ，梵文天城体अं，梵文罗马拟音aṃ，汉语字面意思：ཨཾ）。因为它是表达“ཨ་”字的意义，所以去除。在“ཧ་”之后加上空点和鼻音，即“ཧཾ་”（藏文ཧཾ，梵文天城体हं，梵文罗马拟音haṃ，汉语字面意思：ཧཾ）。它与元音的第五个“ཨུ་”结合，即“ཧུཾ་”（藏文ཧུཾ，梵文天城体हुं，梵文罗马拟音huṃ，汉语字面意思：ཧུཾ）。这被认为是美丽的顶峰，这是咒语的第一句。 第二句是：取从“ཨ་”开始数的第十九个字母“ག་”，与火之子，即“ར་”完全结合，即写成“བྲི”。用元音表的第三个短“ཨི་”来区分它，即“བྲི”。“ཡ་”组，即从“ཡ་”组的“ཡ་”开始数的第八个种子字“ཧ་”，与从“ཨ་”开始数的第三十六个字母“ན་”完全结合，形成的字母是“ཧ་”上加“ན་”。再次，重复“གྲིཧྞ”这个词，是为了实现所有显现的愿望。然后是自生，即取“ཧ་”，从表中，即从表中的第五个字母“ཨུ་”结合，即“ཧུ”。在其顶部加上空点和நாத，即“ཧཱུཾ་”（藏文ཧཱུཾ，梵文天城体हूं，梵文罗马拟音hūṃ，汉语字面意思：ཧཱུཾ）。据说这是实现所有愿望的咒语的第二句。 第三句是：从“ཨ་”开始数的第十九个字母“ག་”，用从“ཀ་”开始数的第二十七个字母“ར་”来区分，即“གྲ”。它与元音的第三个“ཨི་”完全结合，即写成“བྲི”。一些藏人认为第二句和第三句的“གྲི་”是： 提取时，提取了“ར་”和“ཨི་”的组合。提取完成后，在“ནག་”上加上“རྀ”，这在大多数汉文版本中都有出现。因此，应该知道“ག་”上加了元音“རྀ”。虽然他们这样说，但从根本上来说，“ར་”和“ཨི་”是分开提取的，并且在注释中也像这样解释了，所以最好还是按照之前第五章所说的。很好地取用从“ག་”开始数的第三十三个字母“ཧ་”，并与元音表的第二个长“ཨཱ་”结合。与从“ཀ་”开始数的第二十个字母“ན་”完全结合，即“ཧ་”上加“ན་”。这被认为是字母中最美丽的顶峰。
English
From "ྲུག་པ་," take it, and the third vowel "ཨི་" is to differentiate, that is, it is done by differentiating. Then take the thirty-second letter counted from "ཀ་," and differentiate it with the fifth vowel "ཨུ་," which is "སུ." After that, take the twenty-fifth letter "མ་," and combine it with the twenty-fourth letter "བྷ་," that is, add it to it. Take the thirty-third letter "ཧ་" counted from "ཀ་" completely, and the fifteenth letter "ཨཾ" counted from "ཨ་." (Tibetan: ཨཾ, Devanagari: अं, Romanized Sanskrit: aṃ, Literal meaning: ཨཾ). Because it expresses the meaning of the letter "ཨ་," it is removed. After "ཧ་," add a bindu and a nada, which is "ཧཾ་." (Tibetan: ཧཾ, Devanagari: हं, Romanized Sanskrit: haṃ, Literal meaning: ཧཾ). It is combined with the fifth vowel "ཨུ་," which is "ཧུཾ་." (Tibetan: ཧུཾ, Devanagari: हुं, Romanized Sanskrit: huṃ, Literal meaning: ཧུཾ). This is considered the pinnacle of beauty, which is the first line of the mantra. The second line is: Take the nineteenth letter "ག་" counted from "ཨ་," and combine it completely with the son of fire, that is, "ར་," which is written as "བྲི." Differentiate it with the third short "ཨི་" of the vowel table, which is "བྲི." The "ཡ་" group, that is, the eighth seed syllable "ཧ་" counted from the "ཡ་" of the "ཡ་" group, is completely combined with the thirty-sixth letter "ན་" counted from "ཨ་," and the resulting letter is "ན་" added to "ཧ་." Again, repeating the word "གྲིཧྞ" is to accomplish all manifest desires. Then there is self-arising, that is, taking "ཧ་," from the table, that is, combining it with the fifth letter "ཨུ་" from the table, which is "ཧུ." Adding a bindu and nada to its top, which is "ཧཱུཾ་." (Tibetan: ཧཱུཾ, Devanagari: हूं, Romanized Sanskrit: hūṃ, Literal meaning: ཧཱུཾ). It is said that this is the second line of the mantra that accomplishes all desires. The third line is: The nineteenth letter "ག་" counted from "ཨ་," is differentiated by the twenty-seventh letter "ར་" counted from "ཀ་," which is "གྲ." It is completely combined with the third vowel "ཨི་," which is written as "བྲི." Some Tibetans think that the "གྲི་" in the second and third lines is: When extracting, the combination of "ར་" and "ཨི་" is extracted. After the extraction is completed, "རྀ" is added to "ནག་," which appears in most Chinese versions. Therefore, it should be known that the vowel "རྀ" is added to "ག་." Although they say so, fundamentally, "ར་" and "ཨི་" are extracted separately, and it is explained like this in the commentary as well, so it is better to follow what was said in the previous fifth chapter. Take the thirty-third letter "ཧ་" counted from "ག་" well, and combine it with the second long "ཨཱ་" of the vowel table. Completely combine it with the twentieth letter "ན་" counted from "ཀ་," that is, add "ན་" to "ཧ་." This is considered the most beautiful pinnacle of letters.