English
Like this, there is no fault: That poor woman, overwhelmed by the suffering of the non-body born, and devoured by the cruel times, I saw. What expectations do I have for you? Here, the meaning of "non-body born" is: ནངྒ་ཛ་ཧ། (Tibetan, Sanskrit Devanagari, Sanskrit Roman transliteration, Chinese literal meaning). If understood from one aspect: ཨངྒ་ (Tibetan, Sanskrit Devanagari, Sanskrit Roman transliteration, limb) ལུས་ (Tibetan, Sanskrit Devanagari, Sanskrit Roman transliteration, body) ཛ་ཏ་ (Tibetan, Sanskrit Devanagari, Sanskrit Roman transliteration, born), ན་ (Tibetan, Sanskrit Devanagari, Sanskrit Roman transliteration, negation) as a negation, then "non-body born" refers not to lust born of the body, but to being tormented by fever. Or, if understood as "suffering born of the bodiless," then it refers to being tormented by the lust produced by the god of love, thus creating doubt. In either of these two cases, being overwhelmed by suffering and devoured by such cruel times, what expectations do I have for you, man? Because that extremely pitiful, extremely beautiful woman has become such a state. Whether the beauty who sends the messenger is tormented by desire or by fever, both of these statements are uncertain. In order to calm the confused mind born of play, the messenger, as an intermediary, spoke thus. The fifth fault is the fault of disordered sequence: First, briefly indicate with a name, and then, correspondingly, if its meaning is not subsequently elaborated, then this is said to be the obvious fault of disordered sequence. For example: The abode of beings and, the cause of emanation and destruction, the unborn, the source of happiness, the desireless one, the lotus, may the one with the birthplace protect you. Here it is said that the cause of the production of beings is Brahma, the cause of the abode is Vishnu, and the cause of destruction is Shiva. But here, first is the cause of emanation or birth, and last is the cause of destruction, and in the middle is the cause of the abode, whose own essence is not produced from other causes, but is the self-born Shiva, the desireless son Vishnu, and Brahma, the birthplace of the lotus. If arranged according to the order of before and after, then the cause of production becomes Shiva, the cause of destruction becomes Vishnu, and the cause of the abode becomes Brahma, thus there is a fault of disordered sequence. In order to clearly understand the connection between before and after, in any case, if effort is made to use words that can indicate this, then even if the sequence is disordered, there is no fault, the wise ones
Chinese
譬如说：嫁女、舍弃身体和舍弃家园这三者中，第一个和最后一个痛苦长久，中间的痛苦只是一瞬间。这里虽然说中间的是舍弃身体，但舍弃身体的痛苦是短暂的，而其他两者的痛苦是长久的，了解这种关联后这样说就没有过失。第六个是语音低劣的过失，即对于所要表达的言语组合，没有体现出语法规则或方式。也就是说，不符合语法规则的词语组合，是语言大师所不喜欢的。一般来说，虽然看起来像语音低劣，但特殊情况下，贤哲们认为可以这样使用，这并不是语音低劣的过失。例如：大地以海洋为腰带，伟大的君王啊，手臂守护着你。像这样的话语，因为没有想要了解或了解的能力，所以这个词语没有令人愉悦的韵味。这里“伟大的君王”本应是第六格，却用了第四格的结尾；“手臂”本应是第三格，却用了第一格的结尾。像这样，即使是藏语自身也能理解，所以关于这方面的词语，如果详细说明格和词缀是如何使用的，那就太多了，所以不再赘述。一般来说，虽然看起来像语音低劣，但并非语音低劣的特殊情况是：从南方的山中吹来的风，吸吮着芒果树的根，以嬉戏的姿态摇曳，使得珊瑚色的嫩芽美丽而充满生机。像这样的大论典，对于那些沉迷于神灵的人来说，虽然看起来像语音低劣，但实际上并没有失去吉祥。也就是说，从南方的山中吹来的风，吸吮着芒果树的根，以嬉戏的姿态摇曳，使得珊瑚色的嫩芽美丽而充满生机。这里“南方的山”一般来说应该用第二格或第七格，但这里用作来源的第四格，是因为它是从那座山出发或吹拂的，所以后者更为重要。像这样，即使稍微了解一些语法的普通规则，但对于那些沉迷于阅读伟大论典的人来说……
English
For example: In the three cases of giving away a daughter in marriage, abandoning the body, and abandoning one's homeland, the first and last cause prolonged suffering, while the middle one causes suffering only for a moment. Here, although it is said that the middle one is abandoning the body, the suffering of abandoning the body is short-lived, while the suffering of the other two is long-lasting. Understanding this connection, there is no fault in speaking in this way. The sixth fault is that of inferior sound, which means that the grammatical rules or methods are not expressed in the speech combination that is to be expressed. That is, a word combination that does not conform to grammatical rules is not liked by the master of language. Generally speaking, although it seems like inferior sound, in special cases, the wise consider it appropriate to use it in this way, and this is not the fault of inferior sound. For example: The earth has the ocean as its belt, O great king, the arms protect you. Such words, because they lack the ability to want to understand or to understand, do not have a pleasing charm. Here, "great king" should be in the sixth case, but it is used with the ending of the fourth case; "arms" should be in the third case, but it is used with the ending of the first case. Like this, even Tibetan itself can understand, so regarding the words in this regard, if I were to explain in detail how the cases and suffixes are used, it would be too much, so I will not elaborate further. Generally speaking, although it seems like inferior sound, the special case where it is not inferior sound is: The wind blowing from the southern mountains, sucking on the roots of the mango tree, swaying in a playful manner, makes the coral-colored shoots beautiful and full of life. Such great treatises, for those who are absorbed in the deities, although it seems like inferior sound, in reality it does not lose auspiciousness. That is, the wind blowing from the southern mountains, sucking on the roots of the mango tree, swaying in a playful manner, makes the coral-colored shoots beautiful and full of life. Here, "southern mountain" should generally be in the second or seventh case, but here it is used as the fourth case of origin, because it is departing or blowing from that mountain, so the latter is more important. Like this, even if one knows a little about the ordinary rules of grammar, but for those who are absorbed in reading great treatises...
Chinese
雖然看起來像是聲音的缺失，但在講述特殊獲得方式的偉大語法論著中，說過要那樣組合，因此並非捨棄具備語法特徵的幸運。第七，停頓或休息的缺失是：在詩節等之中，指示四等確定的停留處，詞的停頓被認為是休息之處。如果沒有像所說的那樣成為休息之處，缺失就是停頓缺失，因為沒有觸及前後詞語之間的停頓，因此會產生聽者不悅。例如：『在此，婦女們正確吟誦的儀軌沒有韻味缺失，與殊勝者們交往，這位太陽種姓的君主，觀看等有過失。』這樣說，這必須從漢語來理解，從翻譯成藏語的這上面無法顯示休息缺失的方式。其中，這兩句的漢語是十七個字，其組合是慢行，因為說過『ma va na su ra ra va 諸字，海洋時間世間是慢行』。因此，必須在第四、第六、第七處休息，但在此，正確吟誦的梵語是samgita（梵文天城體：संगीत，梵文羅馬擬音：saṃgīta，漢語字面意思：善歌），在ga（梵文天城體：ग，梵文羅馬擬音：ga，漢語字面意思：歌）上觸及第四個休息，因此在詞的中間休息，然後第六個休息觸及太陽的梵語āditya（梵文天城體：आदित्य，梵文羅馬擬音：āditya，漢語字面意思：太陽）的開頭等，像這樣的休息缺失就是休息缺失的過失。所謂的『沒有韻味缺失』，是強調沒有嬌媚等姿態豐富的缺失，有些人認為是強調沒有那樣的韻味。正確吟誦的儀軌是歌舞等。另外，看起來像是休息缺失但不成為過失的是：『鳥與非鳥沒有不完整的，聖教本身在觀看，這位君主的權力所及是大地』，這樣組合。觀看一切取捨，是如聖教所說的那樣做。其他容易理解。這裡也與之前的組合相似，在鳥與非鳥的梵語akarna（梵文天城體：अकर्ण，梵文羅馬擬音：akarṇa，漢語字面意思：無耳）的ya上觸及，因此ya剩下。對於沒有不完整者們，梵語avikālanyā（梵文天城體：अविकालन्या，梵文羅馬擬音：avikālanyā，漢語字面意思：無時）的la上停留，因此ya
English
Although it seems like a loss of sound, in the great grammatical treatises that explain the special ways of attainment, it is said to combine in that way, so it is not abandoning the good fortune of possessing grammatical characteristics. Seventh, the loss of pauses or rests is: in verses and so on, indicating the definite places of rest such as four, the pauses of words are to be understood as places of rest. If it does not become a place of rest as stated, the loss is the loss of pauses, because the pauses between the preceding and following words are not touched, thus creating displeasure for the listener. For example: 'Here, the ritual of correct recitation by women has no loss of flavor, associating with the excellent ones, this monarch of the solar lineage has faults such as viewing.' This must be understood from the Chinese, and the way of showing the loss of rest cannot be shown from this translation into Tibetan. Among them, the Chinese of these two lines is seventeen characters, and its combination is slow-paced, because it is said that 'the letters ma va na su ra ra va, the ocean time world are slow-paced.' Therefore, it is necessary to rest at the fourth, sixth, and seventh places, but here, the Sanskrit for correct recitation is samgita (संगीत, saṃgīta, good song), touching the fourth rest on ga (ग, ga, song), thus resting in the middle of the word, and then the sixth rest touches the beginning of the Sanskrit āditya (आदित्य, āditya, sun) for sun, etc., such loss of rest is the fault of loss of rest. The so-called 'no loss of flavor' emphasizes that there is no loss of abundant charm such as coquetry, and some think it emphasizes that there is no such flavor. The ritual of correct recitation is song and dance, etc. Also, what seems like a loss of rest but does not become a fault is: 'Birds and non-birds have no incompleteness, the scripture itself is watching, this lord's power is the earth,' it is combined in that way. Viewing all that is to be taken and abandoned is doing as the scripture says. Others are easy to understand. Here also, it is similar to the previous combination, touching ya on the Sanskrit akarna (अकर्ण, akarṇa, earless) of birds and non-birds, so ya remains. For those without incompleteness, staying on la of the Sanskrit avikālanyā (अविकालन्या, avikālanyā, timeless), so ya