Chinese
向左移动，向右拉回。在“啊哇”时，抬起左脚并接住，进入舞蹈的节奏。蓝色的勇士，拥有光芒的坛城。向拥有光辉和荣耀者致敬。这也重复了之前的两种音调。然后，光芒聚集如浓密的云朵。以威猛可怖的姿态舒展和收缩。像吞噬的劫火般燃烧。将所有邪恶引入金刚之口。露出令人恐惧的咬牙切齿的嘴。准备吞噬三界，发出喉咙的响声。以日月般燃烧的愤怒之眼。焚烧七军，我向您致敬。这两句诗偈融入了神之舞步的根本音调。在“光芒聚集”这句的中间，左腿伸展，双手合十。在“如云”时，伴随着上身的摇动，右脚向右移动。在“聚集”时，左脚拖动，双手向右伸展。在“啦啊”时，抬起左脚，放下“伊呀”的姿势。在“啊哇”的“诶呀”时，保持原位不动。以“威猛可怖”的姿态，单脚交替手脚，向左伸展。以这种方式左右交替，第一句诗偈结束时，在最后的“诶呀”时，右脚向右移动，从接住的姿势开始，以左脚开始的四步舞进入返回的方向，在“三四”时，双手向上合十，指向广阔的莲花。对于“令人恐惧的牙齿”等，音调与其他之前一样，但首先向左伸展，最后从右边开始，以四步舞绕着行进的方向旋转，最后双手向上合十。三种毒的增长是：食人肉比糌粑更美味。愚痴的供养是无上的。请享用这无上的供养。祈求赐予身之成就。食人血比酒更美味。贪欲的供养是无上的。请享用这无上的供养。祈求赐予语之成就。食人骨比酥油更美味。嗔恨的供养是无上的。请享用这无上的供养。祈求赐予意之成就。这三句诗偈，每一句都向右、左、中移动。如果喜欢简略的，那么将三种毒、降伏敌人的血肉骨等诗偈合为一句。
English
Move to the left and pull back to the right. At "Ah Wa," lift the left foot and catch it, entering the rhythm of the dance. The blue warrior, possessing a mandala of light. I prostrate to the one who blazes with glory and splendor. This also repeats the previous two tones. Then, the mass of light gathers like dense clouds. Residing in a fierce and terrifying posture of stretching and contracting. Burning like the fire of a consuming eon. Leading all evil into the mouth of the Vajra. Revealing a fearsome mouth with gnashing teeth. Preparing to devour the three realms, making a sound in the throat. With eyes of rage blazing like the sun and moon. Burning the seven armies, I prostrate to you. These two shlokas are infused with the root tones of the divine dance steps. In the middle of the phrase "mass of light gathers," the left leg is extended and the hands are joined. At "like clouds," accompanied by the swaying of the upper body, the right foot moves to the right. At "gathers," the left foot is dragged and the hands are extended to the right. At "La Ah," the left foot is lifted and the posture of "I Ya" is lowered. At "Ah Wa's" "Eh Ya," remain still in place. In the posture of "fierce and terrifying," alternate the legs and hands on one foot, extending to the left. In this way, alternating left and right, at the end of the first shloka, at the final "Eh Ya," the right foot moves to the right, starting from the catching posture, enter the returning direction with a four-step dance starting with the left foot, at "three four," join the hands upwards, pointing to the vast lotus. For "fearsome teeth," etc., the tone is the same as before, but first extend to the left, and finally starting from the right, rotate around the direction of travel with a four-step dance, and finally join the hands upwards. The increase of the three poisons is: Eating human flesh is more delicious than tsampa. The offering of ignorance is supreme. Please accept this supreme offering. I pray for the granting of the accomplishment of the body. Drinking human blood is more delicious than alcohol. The offering of desire is supreme. Please accept this supreme offering. I pray for the granting of the accomplishment of speech. Eating human bones is more delicious than butter. The offering of hatred is supreme. Please accept this supreme offering. I pray for the granting of the accomplishment of the mind. These three shlokas, each one moves to the right, left, and center. If you prefer a condensed version, then combine the shlokas of the three poisons, subduing enemies, flesh, blood, bones, etc., into one.
Chinese
以被称为“三跺”的根本旋律和根本曲调覆盖，从吽字上抬起左腿开始。了解在所有诗句下方抬起右腿向各个方向转动的方式。双手做出跺步的姿势，左右交替，双脚左右交替抬起和放下，以被称为“摇摆步”的方式，第一句诗走向前方，第二句诗走向远方，第三句诗走向尸陀林的后方，第四句诗走向中央。这些被称为金刚罗刹的跺步舞。然后，在末尾的旋律“祈请”处，抬起左腿开始，以“啪”（藏文：ཕཊ，梵文天城体：फट्，梵文罗马拟音：phaṭ，汉语字面意思：啪）字转变。以金刚半步三次和黑蛇盘旋步的方式，逐渐进入法衣间，这就是根本舞的跳法。这里，有些随意说话的人说：根本舞和成就舞是金刚橛的舞蹈，因此与幻化等结合是不合理的。这样说是仅仅显示了各自的视野和智慧狭小。原因是幻化饮血尊的舞蹈，从手势的大小到逐渐颤抖而降临。按照法王索南坚的教言，以智慧之光忍受道路的艰辛，前往颤抖者的面前，精通地学习了这种方式。之后，传授给法王艾旺等，并且在金刚橛法中，也做了两次幻化忿怒尊的根本舞的实践，之后转变为金刚橛舞，这是从身幻显现中得知的。我获得了上师的允许，按照教言前往难行之地，按照意愿找到了殊胜的导师，如法地勤奋学习了此义，如愿以偿地获得了身幻，献给法王观看，法王认可说完全正确，传授给了包括法眷在内的众人，对此进行了两次实践。之后，添加了五大元素血供和骷髅宫殿等，以及卡日僧哈的舞蹈方式，将手印和细微的手势转变为手势。对此进行了多次实践。如是说，因此，在此与幻化忿怒尊结合，是自己享用自己的财产，所以非常合理和恰当。因此，此法的口传传承，是从国王匝（藏文：ཛཿ）传给三位智者，然后传到西藏。
English
Covered by what is known as the root melody and root tune of the "Three Stomps," starting with raising the left leg at Hūṃ. Understand how to lift the right leg under each verse, turning in different directions. With hands making the stomping gesture, alternating left and right, and feet alternately lifting and lowering left and right, in what is known as the "swaying step," the first verse goes forward, the second goes away, the third goes to the back of the charnel ground, and the fourth goes to the center. These are called the Vajra Rakshasa Stomping Dance. Then, at the end of the melody, at the "supplication," starting with raising the left leg, transform with the syllable "Phaṭ" (Tibetan: ཕཊ, Sanskrit Devanagari: फट्, Sanskrit Romanization: phaṭ, Literal Chinese meaning: Phaṭ). The way to gradually enter the Dharma garment room with three Vajra half-steps and the Black Snake Coiling Step is just like the root dance. Here, some who speak carelessly say: The root dance and the accomplished dance are the dances of Vajrakīla, so it is not reasonable to combine them with illusion, etc. To say this only shows that one's own vision and wisdom are small. The reason is that the practice of the illusion of the Blood-Drinking One's dance, from the size of the gestures to gradually trembling and descending, according to the words of Dharma Lord Sonam Gyenpa, enduring the hardships of the path with the light of wisdom, went to the presence of the Trembler and skillfully studied this method. Afterwards, he taught it to Dharma Lord Ewam and others in succession, and in the Vajrakīla practice, he also performed the practice of the root dance of the illusion of the Wrathful One twice, and later transformed it into the Vajrakīla dance, which is known from the Body Transformation Appearance. I received the permission of the Lama, went to the difficult place according to the command, found the excellent teacher according to the intention, diligently studied this meaning according to the method, obtained the Body Transformation as desired, offered it to the Dharma Lord for viewing, and the Dharma Lord approved it as completely correct, and taught it to all including the Dharma retinue, and performed this practice twice. Afterwards, the five elements of Rakta and the Skeleton Palace, etc., and the dance methods of Kāri Siṃha were added, and the hand gestures and subtle gestures were transformed into mudras. This was practiced many times. As it is said, therefore, here, combining it with the illusion of the Wrathful One is like using one's own wealth for oneself, so it is very reasonable and appropriate. Therefore, the oral transmission lineage of this practice is from King Jaḥ (Tibetan: ཛཿ) to the three wise men, and then to Tibet.
Chinese
吉洛钦玛聂、努钦雅瑟、祖琼瓦、兰曲瓦巴、嘉瓦嘉、贡普巴、达顿珠嘉、东森嘉波、达顿协尼、达秋旺、巴达南尼和卓顿拉丹巴。达顿仁嘉、秋隆瓦索南贝、洛本扎多杰巴、秋索尼、秋嘉扎巴炯内、嘎提巴秋旺，他，念诵咒语的昂旺扎巴、人王比杂亚、嘎提巴衮炯、堪布洛桑饶丹，我们也在他们面前，将至尊上师的教言顶戴于头，在这个邬金敏珠林大寺中如法修习，略微懂了一些。此外，还见到了森嘉喀瓦，索隆瓦的饮血根本舞，祖扬本的护法神舞，稍微理解了一些舞蹈方式的要点。这文字主要依据达的旧文字和身姿变化显现中的五十八忿怒尊的手印变化方式等，也详细考察了色和若的文字等，写成清晰易懂的文字。 吉祥饮血幻化金刚之舞， 普贤尊胜嬉戏之游乐， 清晰显现此乃妙僧嘎提巴， 达玛师利撰写成笔记。 由此所获善妙之善根， 依仗金刚身之殊胜行， 令诸众生事业与成就增， 愿我等皆能享此妙善缘。 吉祥圆满！一切世界！ 饮血忿怒尊之舞的笔记，普贤尊胜嬉戏之游乐。达玛师利。
English
Kyi Lo Chen Ma Nyak, Nub Chen Yabse, Zur Chungwa, Len Chu Wapa, Gyalwa Gya, Gom Phukpa, Dar Ton Drupgyal, Tongsum Gyalpo, Dar Ton Che Nyi, Dar Cho Wang, Pa Dar Nam Nyi and Dro Ton Ladanpa. Dar Ton Ringyal, Cholongwa Sonam Pal, Lobpon Drak Dorjepa, Cho So Nyi, Choegyal Drakpa Jungne, Gartikpa Cho Wang, he, the mantra holder Ngawang Drakpa, the human king Bijaya, Gartikpa Kunjong, Khenpo Lobsang Rabten, in front of them, we also placed the words of the supreme guru on our heads, and practiced diligently in this great temple of Orgyen Mindroling, and understood a little. In addition, we also saw Seng Gya Kharwa, the blood-drinking root dance of Solungwa, the protector dance of Zur Yangben, and understood some of the key points of the dance style. This text is mainly based on the old script of Dar and the hand gestures of the fifty-eight wrathful deities in the manifestation of body transformation, and also examined the letters of Se and Rok in detail, and wrote it into clear and easy-to-understand text. Glorious dance of the Heruka Vajrakilaya, The play of Samantabhadra's victorious delight, Clearly manifested, this is the Gartikpa of the wondrous monk, Dharma Shri wrote it as a note. May whatever merit is obtained from this, Through the extraordinary conduct of the Vajra body, Increase the actions and accomplishments of all beings, May we all experience this wonderful and good fortune. May it be auspicious! All the worlds! The notes on the dance of the Heruka wrathful deities, the play of Samantabhadra's victorious delight. Dharma Shri.