Chinese
就像教法一样。诗学的论著就像檀丁的《诗镜》。其中，从前的学者们将诗歌的所有主题都归纳为两种法，即实现愿望的意义，以及使分段、散文和混合三种文体优美的特殊结合。如《诗镜》所说：“它们完全阐述了诗歌的身体和装饰。身体暂时是愿望的意义，词语的排列。它也存在于分段、散文和混合三种形式中。”以及“使诗歌优美的法被称为装饰。”就像所说的那样。如果区分装饰，则有非共同的装饰和共同的装饰两种区分方式。在共同的装饰中，也有如实描述、比喻等三十五种意义装饰，以及双关语、难句的特点，以及音韵等确定的难句，有多种分类。如上所述，有语音装饰和十六种隐喻装饰。韵律学的论著就像寂天论师的《宝源》。一般来说，关于韵律学的基础，法主萨迦班智达遵循名为《韵律学总集》的著作，认为不以连续的诗节划分也是可以的，这与《宝源》不符。然而，《诗镜》中说：“表达是词语的本质，这滋养了散文。在诗节中，只有南方人接受这种观点。其中，轻和重交替，多和少交替，高低贵贱等形式在表达等方面都能看到。”我怀疑这是否与他的意图一致。有人说：“这种形式的诗歌原则在这里没有提到。”这也似乎是进行研究的基础。在《宝源》中说的是，只考虑诗节的韵律学。如果那样的话，韵律学的基础就是诗节。如果区分，则分为Pṛtta（藏文：པྲྀཏྟ་，梵文天城体：वृत्त，梵文罗马拟音：Vṛtta，汉语字面意思：圆形）和Jāti（藏文：ཛཱ་ཏི་，梵文天城体：जाति，梵文罗马拟音：Jāti，汉语字面意思：种姓）两种。同样，四句诗节也分为Pṛtta（藏文：པྲྀཏྟ་，梵文天城体：वृत्त，梵文罗马拟音：Vṛtta，汉语字面意思：圆形）和Jāti（藏文：ཛཱ་ཏི་，梵文天城体：जाति，梵文罗马拟音：Jāti，汉语字面意思：种姓）两种。计算音节是Pṛtta（藏文：པྲྀཏྟ་，梵文天城体：वृत्त，梵文罗马拟音：Vṛtta，汉语字面意思：圆形），计算节拍则变为Jāti（藏文：ཛཱ་ཏི་，梵文天城体：जाति，梵文罗马拟音：Jāti，汉语字面意思：种姓）。”， "english_translation": "Like the teachings. Treatises on poetics are like Dandin's Mirror of Poetry. In that, former scholars summarized all the subjects of poetry into two dharmas: achieving the desired meaning, and the special combination that beautifies the three styles of verse, prose, and mixed. As stated in the Mirror of Poetry: "They fully explain the body and ornaments of poetry. The body is temporarily the desired meaning, the arrangement of words. It also exists in the three forms of verse, prose, and mixed." And "The dharmas that beautify poetry are called ornaments." As it is said. If ornaments are distinguished, there are two types of distinctions: uncommon ornaments and common ornaments. Among the common ornaments, there are also thirty-five types of meaning ornaments such as literal descriptions and metaphors, as well as the characteristics of puns and difficult sentences, and determined difficult sentences such as phonetics, with many classifications. As mentioned above, there are sound ornaments and sixteen types of riddle ornaments. The treatise on prosody is like Shantipa's Jewel Mine. Generally, regarding the basis of what prosody is, Dharma Lord Sakya Pandita, following the work called "Compendium of Prosody," also considered that not dividing by continuous feet is acceptable, which is inconsistent with the Jewel Mine. However, the Mirror of Poetry states: "Expression is the essence of words, which nourishes prose. In verses, only the southerners accept this view. Among them, light and heavy alternate, and many and few alternate. Forms such as high and low can be seen in expression and so on." I wonder if this is consistent with his intention. Someone said, "This kind of poetic form is not mentioned in this text." This also seems to be a basis for further investigation. What is said in the Jewel Mine is that it only considers the prosody of verses. If that is the case, it must be understood that the basis of prosody is verse. If distinguished, it is divided into Pṛtta (藏文：པྲྀཏྟ་，梵文天城体：वृत्त，梵文罗马拟音：Vṛtta，汉语字面意思：Circle) and Jāti (藏文：ཛཱ་ཏི་，梵文天城体：जाति，梵文罗马拟音：Jāti，汉语字面意思：Caste). Similarly, a four-line verse is also divided into Pṛtta (藏文：པྲྀཏྟ་，梵文天城体：वृत्त，梵文罗马拟音：Vṛtta，汉语字面意思：Circle) and Jāti (藏文：ཛཱ་ཏི་，梵文天城体：जाति，梵文罗马拟音：Jāti，汉语字面意思：Caste). Counting syllables is Pṛtta (藏文：པྲྀཏྟ་，梵文天城体：वृत्त，梵文罗马拟音：Vṛtta，汉语字面意思：Circle), and counting morae becomes Jāti (藏文：ཛཱ་ཏི་，梵文天城体：जाति，梵文罗马拟音：Jāti，汉语字面意思：Caste).
English
Like the teachings. Treatises on poetics are like Dandin's Mirror of Poetry. In that, former scholars summarized all the subjects of poetry into two dharmas: achieving the desired meaning, and the special combination that beautifies the three styles of verse, prose, and mixed. As stated in the Mirror of Poetry: "They fully explain the body and ornaments of poetry. The body is temporarily the desired meaning, the arrangement of words. It also exists in the three forms of verse, prose, and mixed." And "The dharmas that beautify poetry are called ornaments." As it is said. If ornaments are distinguished, there are two types of distinctions: uncommon ornaments and common ornaments. Among the common ornaments, there are also thirty-five types of meaning ornaments such as literal descriptions and metaphors, as well as the characteristics of puns and difficult sentences, and determined difficult sentences such as phonetics, with many classifications. As mentioned above, there are sound ornaments and sixteen types of riddle ornaments. The treatise on prosody is like Shantipa's Jewel Mine. Generally, regarding the basis of what prosody is, Dharma Lord Sakya Pandita, following the work called "Compendium of Prosody," also considered that not dividing by continuous feet is acceptable, which is inconsistent with the Jewel Mine. However, the Mirror of Poetry states: "Expression is the essence of words, which nourishes prose. In verses, only the southerners accept this view. Among them, light and heavy alternate, and many and few alternate. Forms such as high and low can be seen in expression and so on." I wonder if this is consistent with his intention. Someone said, "This kind of poetic form is not mentioned in this text." This also seems to be a basis for further investigation. What is said in the Jewel Mine is that it only considers the prosody of verses. If that is the case, it must be understood that the basis of prosody is verse. If distinguished, it is divided into Pṛtta (藏文：པྲྀཏྟ་，梵文天城体：वृत्त，梵文罗马拟音：Vṛtta，汉语字面意思：Circle) and Jāti (藏文：ཛཱ་ཏི་，梵文天城体：जाति，梵文罗马拟音：Jāti，汉语字面意思：Caste). Similarly, a four-line verse is also divided into Pṛtta (藏文：པྲྀཏྟ་，梵文天城体：वृत्त，梵文罗马拟音：Vṛtta，汉语字面意思：Circle) and Jāti (藏文：ཛཱ་ཏི་，梵文天城体：जाति，梵文罗马拟音：Jāti，汉语字面意思：Caste). Counting syllables is Pṛtta (藏文：པྲྀཏྟ་，梵文天城体：वृत्त，梵文罗马拟音：Vṛtta，汉语字面意思：Circle), and counting morae becomes Jāti (藏文：ཛཱ་ཏི་，梵文天城体：जाति，梵文罗马拟音：Jāti，汉语字面意思：Caste).
Chinese
此外，韵律也有三种：相等、半相等和不相等。种姓也有三种：高贵、低贱和相等。关于词典的论著，如《不朽词库》等。其中，一个词有多种含义，如“go sgra”（藏文，梵文天城体，梵文罗马拟音，汉语：语声）一词；一个含义有多个名称，如太阳有绿马者、热光者等一百多个名称。如是说：一个名称用于多种含义，如“go sgra”（藏文，梵文天城体，梵文罗马拟音，汉语：语声）用于方向、光芒和十种牲畜。一个含义有多个名称，如太阳有绿马者、热光者、天空的宝珠、莲花的亲友等。如是说。关于戏剧的论著，如《婆罗多》和《龙族皆喜》等。其含义是以诗歌和散文混合的形式存在，并通过混合四种语言来展示。其中，连接的组成部分有门等五种，词语等四种，以及分为十六种的极度显现等，具有进入的组成部分，包括七种音调等。还有装饰分析和字母组合等三十六种特征，以及妩媚、花环和其他连接的组成部分等艺术类型。第二种是展示事物本性的论著，如主要确立二无我的中观论著。第三种是展示获得解脱和一切智的方法的论著，如《菩萨地》和《入菩萨行论》。那么，创作这些论著的学者的特征是什么呢？最好的是见到法性真理的学者，如圣龙树和圣无著。中等的是获得本尊神亲自赐予的学者，如陈那和旃陀罗·伽弥。最差的也是精通五明，并拥有上师传承口诀的学者，如学者吉祥友和释迦智。其中，拥有传承口诀的是：在《释量论》中说：那些想要解释经部的人，我将给予口诀。对此，口诀是：解释时要包括必要性的总结、词义、问答和连接的赞颂。
English
Furthermore, there are three types of meter (pṛtta): equal, half-equal, and unequal. There are also three types of caste (jāti): noble, base, and equal. Treatises on lexicography, such as the Amarakosha (Immortal Treasury). In these, one word has multiple meanings, like the word "go sgra" (藏文, देवनागरी, go sgra, meaning: sound); and one meaning has multiple names, like the sun having over a hundred names such as the one with green horses and the one with hot rays. As it is said: One name applies to multiple meanings, like "go sgra" (藏文, देवनागरी, go sgra, meaning: sound) applying to direction, rays, and ten kinds of livestock. One meaning has multiple names, like the sun having the one with green horses, the one with hot rays, the jewel of the sky, the friend of the lotus, and so on. So it is said. Treatises on drama, such as the Bharata and the Naga Kuntigandha. Its meaning is that it exists in a mixture of verse and prose, and it is shown through mixing four languages. Among these, the connecting elements include five such as the door, four such as the word, and sixteen such as the highly illuminating, which are divided into the elements of entry, including the seven tones and so on. There are also thirty-six characteristics such as the analysis of ornaments and the combination of letters, and types of art such as coquetry, garlands, and other connecting elements. The second is the treatise that shows how things are, such as the Madhyamaka treatises that mainly establish the two selflessnesses. The third is the treatise that shows the means of attaining liberation and omniscience, such as the Bodhisattvabhumi and the Bodhicaryavatara. What are the characteristics of the teachers who compose such treatises? The best are the teachers who have seen the truth of the nature of reality, such as the noble Nagarjuna and the noble Asanga. The middling are the teachers who have received direct blessings from their tutelary deity, such as Dignaga and Chandra Gomin. The lowest are those who are skilled in the five sciences and have the oral instructions of the lineage of gurus, such as the teacher Shri Spas and Shakya Lodrö. Among these, having the oral instructions of the lineage is: In the Commentary on Valid Cognition, it says: Those who wish to explain the sutras, I will give oral instructions. For this, the oral instruction is: When explaining, include the summary of the necessity, the meaning of the words, the questions and answers, and the connecting praise.
Chinese
如是五种口诀，或者在《灯明论》中，这部续的名字是什么？为了谁的利益而造？谁是作者？这部续的必要是什么？如是宣说了五个提问，为了与此相符，将以五种理门的方式进行解说。如是也宣说了。《前译金刚乘教法宝藏善说光明喜宴》中，总的来说，是对轮涅之法进行认定，并确定其体性的部分，这是第一品。如是分别认定轮涅之法，并总的说了一下圣法的粗略分类。那么，为了阐述这殊胜深奥之法所生之根源，即三身佛陀的教法分类，共有四点：原始怙主显现证悟法身之理；其幻化身金刚持于此刹土详细证悟之理；由此显现语身二化身之理；区分因果乘之身与智慧之差别。第一点是：总的来说，小乘行者认为，我们的导师也是像这样，在无数三大阿僧祇劫中积累了解脱之因，在最后一生中，于菩提树下的金刚座上，夜晚降伏魔众，中午以四禅的实修生起加行道，黎明时分，在启明星出现的一刹那，现证六度而成佛，成为法身和色身之自性。他们不承认从全知到极喜之间转法轮等圆满三身的分类。而在大乘经典中所说的三身，以及密咒中的内外五现证菩提，因果金刚持，身力化身，语风报身，意界甘露法身，心髓智慧风自性身等，都只是为了调伏根器利钝的所化众生和道者的意乐而如此宣说而已。在此，如果按照无上大圆满光明金刚藏不共的教言来讲解，那么轮回与涅槃二者不作任何区分，在一切之前就已自在轮涅。
English
Thus, five oral instructions, or in the "Lamp Illuminating," what is the name of this tantra? For whose benefit was it made? Who is the author? What is the necessity of this tantra? Thus, in accordance with the five questions that were spoken, it will be explained through the five doors of reasoning. Thus it was also said. From the "A Good Explanation of the Precious System of the Early Translation Vajrayana Teachings, A Feast of Light," in general, it is the section on identifying the phenomena of samsara and nirvana and establishing their characteristics, this is the first chapter. Thus, having separately identified the phenomena of samsara and nirvana, and having generally mentioned the rough classification of the holy Dharma, then, in order to explain the basis from which that profound and sacred Dharma arose, which is the teaching system of the Trikaya Buddhas, there are four points: how the primordial protector manifested enlightenment as the Dharmakaya; how its emanation, Vajradhara, thoroughly realized it in this realm; how the two emanations of speech and body appeared from that; and distinguishing the differences between the bodies and wisdom of the cause and effect vehicles. The first is: In general, the Hinayana practitioners believe that our teacher is also like this, accumulating the causes of liberation in countless three immeasurable kalpas, and in the last life, at the Vajra Throne under the Bodhi tree, subduing the maras at night, generating the path of application in the continuum with the actual practice of the four dhyanas at noon, and at the moment when the morning star appears at dawn, manifesting the six paramitas and becoming enlightened as the self-nature of Dharmakaya and Rupakaya. They do not accept the complete classification of the Trikaya, such as the turning of the wheel of Dharma from omniscience to the most excellent. And the Trikaya spoken of in the Mahayana sutras, as well as the inner and outer five Abhisambodhis in the Mantras, the cause and effect Vajradhara, the body-force Nirmanakaya, the speech-wind Sambhogakaya, the mind-element nectar Dharmakaya, the heart-essence wisdom-wind Svabhavikakaya, etc., are only taught in that way according to the dispositions of the disciples with sharp or dull faculties and the inclinations of the yogis on the path. Here, if we explain according to the uncommon teachings of the supreme, unsurpassed Atiyoga, the luminous Vajra Essence, then samsara and nirvana are not differentiated in any way, and before everything, there is mastery over all of samsara and peace.