English
Eh! It is easy to read like the changed sound of camphor, etc., and there is no difference in understanding the meaning. Like saying "The king should always bathe," and like what is said in the Suhrllekha, "Whether the wise of the world have attained or not," etc., if it is not understood as a vocative, the meaning will be mistaken. If the true meaning of the ancient vocative is not understood, it may sometimes fit the meaning by just going through the motions, but sometimes it does not fit, so a deep understanding will not arise. Mostly, it is because of not understanding the meaning and not knowing the usage of words that many mistakes arise. Like this treatise, the standard Tibetan orthography is a teaching that students must learn. Detailed content should be learned in the great treatises of grammar. These are to slightly explain the order of words needed in the field of phonetics. ༈ The branches of phonetics are prosody, vocabulary, and poetics. Therefore, among the words needed in these fields, the first is the words needed in the field of poetics. kāvya (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) poetics. vācālaṃkāra (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) figures of speech. That is the style of poetics: padyaṃ (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) verse. gadyaṃ (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) prose. miśrākaṃmāṇi (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) mixed, that is, a verse is four lines. Prose is not divided into sentences. daṇḍikaḥ (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) continuous, so it is said. The ornaments of poetics have ten guṇas (Sanskrit, गुण, guṇa, merit/quality): śceṣaḥ (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) and ściṣṭa (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) combination. prasāda (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) clarity. samatā (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) equality. madhura (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) sweetness. sukumāratā (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) very young. artha vyakti (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) clear meaning. dudāra (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) vast. ojaḥ (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) majesty. kānti (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) beauty. samādhi (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) samadhi. So it is said. The guṇa (Sanskrit, गुण, guṇa, merit/quality) of combination is the letters śithilam (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) and śca thaṃ (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) relaxation, that is, not touching. The name of relaxation: komalaṃ (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) is also called soft. The guṇa (Sanskrit, गुण, guṇa, merit/quality) of clarity is having a widely known meaning and being easy to understand. The guṇa (Sanskrit, गुण, guṇa, merit/quality) of equality is that the softness and hardness of letters are not uneven, but an intermediate state where neither side dominates. Among them, the letter mṛdu (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) is soft. sphuṭa (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) and paruṣyaṃ (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) and niṣṭhu (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) all mean rough. The guṇa (Sanskrit, गुण, guṇa, merit/quality) of sweetness is having a pleasing flavor. rasa (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) flavor, so it is said. It and the expressing words and the meaning of the expressed things also have a pleasing flavor. In words, grāma vāca (Tibetan, Devanagari, Roman transliteration, literal meaning in Chinese) is a village word, that is, not mixed with this, anupa
Chinese
དྲ་ས། རྗེས་ཁྲིད་དང་ལྡན་པ་རྣམས་མཛེས་སོ། །ཤིན་ཏུ་གཞོན་པའི་ཡོན་ཏན་ནི་རྩུབ་པོའི་སྐྱེ་གནས་ཅན་གྱི་ཡི་གེ་མིན་པ་མང་བའོ། །ཡི་གེ་ཐམས་ཅད་མཉན་པ་ཡིན་ན་ཝཀྤནྡྷ་ངག་གི་སྦྱོར་བ་ལྷོད་པའི་སྐྱོན་དུ་འགྱུར་རོ། །དོན་གསལ་བའི་ཡོན་ཏན་ནི། དོན་བརྟག་མི་དགོས་པར་གསལ་ཞིང་ནག་ནོག་མེད་པ་མེ་ལོང་དང་པ་ལྟ་བུའོ། །རྒྱ་ཆེ་བའི་ཡོན་ཏན་ནི། ཨུཏྐརྵ། （梵文天城体：उत्कर्ष，梵文罗马转写：utkarṣa，汉语字面意思：卓越）。 ཁྱད་འཕགས་ཏེ་དེ་ལྟ་བུའི་ཡོན་ཏན་བརྗོད་པའོ། །བརྗིད་པ་ནི་ཚིག་གི་ཕྲད་སོགས་ཅི་རིགས་སུ་བསྡུས་པས་ཚིག་ཉོ བ་བྲལ་ཏེ་དངོས་གཙང་བ་འདི་ཚིག་ལྷུག་ལ་གསོས་ལྟ་བུ་ཡིན་ཞིང་ཚིགས་བཅད་ལ་ཡང་རྒྱ་གར་ཤར་ཕྱོགས་པས་གཙོ་བོར་བཞེད། མཛེས་པའི་ཡོན་ཏན་འཇིག་རྟེན་པའི་དོན་ལས་མ་བརྒལ་བར་རྣ་བར་འབབ་པ་ལྟ་བུར་བརྗོད་པ་ནི་མཁས་རྨོངས་ཀུན་ལ་འཐད་ཅིང་། འཇིག་རྟེན་གྱི་ཚུལ་ལུགས་ལས་བརྒལ་བ་ལྟ་བུ་ཧ་ཅང་བརྗོད་འདོད་ཀྱིས་ཕུལ་བྱུང་གི་རྒྱན་ལྟ་བུར་བརྗོད་པའང་མཁས་པ་མཛེས་པའི་སྐབས་ཀྱང་ཡོད་དེ་མདོར་ན་གཞན་པའི་རྣ་བར་འབབ་པའི་ཚིག་གོ། ཏིང་འཛིན་གྱི་ཡོན་ཏན་ནི། ཆོས་གཞན་པའི་བྱ་བ་སོགས་ཆོས་གཞན་ལ་སྦྱར་ཏེ་བརྗོད་ཀྱང་འཇིག་རྟེན་གྲགས་པ་དང་མཐུན་པར་དོན་གོ་བ་སྟེ། དཔེར་ན་ཀུ་མུ་དའི་མིག་འཛུམ། པདྨ་དག་མིག་འབྱེད་ལྟ་བུ་སྟེ། འདི་ལ་ཚིག་སྦྱོར་ཚུལ་གྱི་མི་མཛེས་པ་སྤང་སྟེ་མཛེས་པ་བརྗོད་དགོས་སོ། །དེ་ལྟར་ཡོན་ཏན་བཅུ་པོ་འདི་རྒྱ་གར་ལྷོ་ཕྱོགས་བཻ་དརྦྷའི་སྙན་ངག་གི་ལམ་གྱི་སྲོག་ཏུ་བཤད་པ། འདི་དག་ཕལ་ཆེར་བཟློག་པས་ཤར་ཕྱོགས་གཽ་ཌ་བའི་ལམ་མཚོན་པར་བྱེད་པ་སྙན་དངགས་མེ་ལོང་མའི་གཞུང་གི་དཔེ་བརྗོད་ཀྱིས་ཤེས་པར་བྱའོ། །སྙན་པའི་ཡོན་ཏན་གྱི་བྱེ་བྲག་རྒྱས་བཤད་འཕྲོས་དོན་བཅས་ལེའུ་བར་ཐ་གཉིས་ཡིན་ལ། བར་མ་དོན་རྒྱན་སོ་ལྔ་སྟེ། སྭ་བྷཱ་བཱ་ཁྱ་ནཾ། རང་བཞིན་བརྗོད་པ། ཨུ་པ་མཱ། དཔེ། རཱུ་པ་ཀཾ （梵文天城体：रूपक，梵文罗马转写：rūpaka，汉语字面意思： रूपक） གཟུགས་ ཅན། དྭི་པ་ཀཱ། གསལ་བྱེད། བྲྀ་ཏཱི། བསྐོར་བ། ཨ་ཀྵེ་པཱ། འགོག་པ། ཨརྠཱནྟ་ར་ནྱཱ་ས། དོན་གཞན་བཀོད་པ། བྱ་ཏི་རེ་ཀཱ ལྡོག་པ་ཅན། བི་བྷཱ་བ་ནཱ། སྲིད་པ་ཅན། ས་མཱཿ བསྡུས་པ། ཨ་ཏི་ཤ་ཡ། ཕུལ་བྱུང་། ཨུཏྤྲེཀྵོ། རབ་བརྟགས། ཧེ་ཏུཿ རྒྱུ། སཱུཀྵྨ། ཕྲ་མོ། ཨུ་ལ་བཿ ཆ། ཀྲ་མཿ རིམ་པ། པྲེ་ཡོ་དང་། པྲི་ཡཿ དགའ་བ། ར་ས་བཏ྄། ཉམས་ལྡན། ཨཱུརྫྫ་སི། གཟི་བརྗིད་ཅན། པཪྻཱ་ཡོཀྟཾ། རྣམ་གྲངས་བརྗོད། ས་མཱ་ཧི་ཏཾ། ཀུན་ཕན། ཨུ་དཱཏྟཱ། རྒྱ་ཆེ། ཨ་པ་ཧྣུ་ཏི། བསྙོན་དོར། ཤྩིཥྚཿ སྦྱར་བ། བི་ཤེ་ཥ། ཁྱད་པར། ཏུ
English
Traasa. Those endowed with subsequent guidance are beautiful. The quality of being very young is having many letters that are not of a rough nature. If all the letters are listened to, it will become a fault of looseness in the verbal composition of Vakbandha. The quality of clear meaning is being clear without needing to investigate the meaning, and being without obscurity, like a mirror. The quality of vastness is Utkarsha (Sanskrit: उत्कर्ष, Romanization: utkarṣa, literal meaning: excellence). It is the expression of such qualities. Majesty is when words are condensed in various ways, such as with particles, so that the words are free from confusion and the essence is pure. This is like nourishment for prose, and in verse, it is mainly accepted by the eastern Indians. The quality of beauty is pleasing to both the wise and the foolish when expressed in a way that does not go beyond worldly matters and is pleasing to the ear. However, expressing something that goes beyond worldly customs as an extraordinary ornament due to excessive desire for expression can also be beautiful to the wise. In short, it is a word that is pleasing to the ears of others. The quality of Tingdzin (Samadhi) is that even if other things, such as the actions of other dharmas, are applied to other dharmas and expressed, the meaning is understood in accordance with worldly fame. For example, the closing of the eyes of the kumuda flower and the opening of the eyes of the lotus flower. In this, one must abandon the unbeautiful aspects of verbal composition and express beauty. Thus, these ten qualities are said to be the life of the southern Indian Vaidarbha school of poetry. It is to be understood through the examples in the Mirror of Poetry that reversing most of these qualities represents the eastern Gauda school. The detailed explanation of the distinctions of the quality of sweetness, along with additional points, constitutes the second intermediate chapter. The intermediate section contains thirty-five embellishments of meaning: Svabhavakhyanam (expressing nature), Upama (example), Rupakam (Sanskrit: रूपक, Romanization: rūpaka, literal meaning: image), Dvipaka (clarifier), Vriti (circumference), Akshepa (prevention), Arthanantaranyasa (statement of another meaning), Vyatireka (having opposition), Vibhavana (having existence), Sama (condensed), Atishaya (excellence), Utpreksho (supposition), Hetu (cause), Sukshma (subtle), Ulaba (part), Krama (order), Preyo and Priya (joy), Rasavat (having taste), Urjasi (splendor), Paryayoktam (statement of synonyms), Samahitam (benefiting all), Udatta (vast), Apahnuti (denial), Shlishta (joined), Vishesha (distinction), Tu