English
Recite various intonations. In between, say Phat and rest. This eliminates the habits of speech in samsara. The practice of transcending suffering is to recite whatever dharanis and mantra essences the Buddhas and Bodhisattvas have in their minds. Again, say Phat and rest. After that, there is the outer and inner blessing of speech, the outer and inner practice, and the gentle search and integration into the path. First, the blessing of the outer appearance: Recite "Hum Hum" in the mouth, with the strength, weakness, slowness, haste, and appropriateness of the sound. Visualize that one or two blue Hums emanate from your mouth and nose, first filling the inside of the house. Then, gradually visualize that the entire realm of appearance is filled with Hum, and focus on it for one session. Again, the blessing of the inner aggregates: Recite Hum in the mouth as before, and all the outer Hums gather back. They enter from your mouth and nose, filling the entire inside of your abdomen, and focus on the fact that not a single Hum remains outside. Draw in the lower breath and press down on the upper breath in segments. Then, there are two types of practice: outer and inner. The practice of the outer appearance: Recite Hum with vigor and speed in the mouth, and the way the Hum emanates from the mouth and nose is the same as before. That Hum has four characteristics: sharp like a razor, fierce like a great arrow, fast like the wind, and hot like fire. All the outer appearances are completely pierced, like a spark of fire rising on paper, or like hot iron falling on butter, so that all appearances become like a sieve, becoming empty and dissolving. Then, the practice of the inner aggregates is also that the Hum returns inward and strikes your own body, piercing outward, piercing inward, piercing upward, and piercing downward. Think that whether this body exists or not, it becomes empty and dissolves, and practice that. Then, the gentle search: Recite Hum in the mouth, gently and for a long time, and visualize that a reed or twig is erected in front of you. From your mouth, a Hum connects to another Hum, like a taut string, making a "na ra ra" sound, winding upwards on the twig, and resting when it reaches the top. Also rest when unwinding downwards. Wind and unwind many times, and finally wind and unwind upwards and downwards on mountains, tall houses, trees, stones, and so on, to the extent that they can be wound. Integrating into the path: Sing the song of Hum in the mouth, and from your front, like the trail of a silkworm.
Chinese
进入弯弯曲曲的绘画中。把自己变成相当于（藏文：ཧཱུྃ，梵文天城体：हूं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字大小，进入那条道路然后出来。然后又依次进入道路，像没有行走一样，去往以前去过的所有地方。做了上下道路的转弯处，水上架桥等。再次从先前去过的道路返回，观想回到自己居住的地方，同时拉长悠扬的（藏文：ཧཱུྃ，梵文天城体：हूं，梵文罗马拟音：hūṃ，汉语字面意思：吽）字之歌。最终，山谷朝向西北方向，狭窄的峡谷里湍急的河流流淌。左右两边的山陡峭耸立，生长着森林。进入一条极其漫长的追逐河流的道路，去往没有到达时间的地方。期间在河边和令人愉悦的绿洲休息。洗澡。又在那些地方与各自的祖先、朋友、过去去世的人们相遇，互相交谈片刻。又各自告别离去。再次回到原来的足迹，反复观想回到居住的地方。第十三，区分心与轮回涅槃：经中说：心最初生于何处，中间住于何处，最终去往何处。像这样对三者进行观察，就能调伏心，了解心的实相。如是说。最初，所谓的心，就是念念不忘、觉知觉察。这个感受一切、做一切的，最初从哪里产生？有产生的地方吗？没有吗？如果有，是什么样的？观察存在的理由。观察者自己又是什么样的？从哪里产生？同样地，中间的住处和最终的去处存在吗？如果存在，是什么样的？如果不存在，那么其中的理由等等，不是随便猜测，而是要追寻到根源彻底断绝为止，并做出明确的判断。在那之后，观察佛的自性和众生的自性。此外，烦恼和智慧，药物和毒药，梦境和显现，五大，六识的各自对境的所有好坏，都不是相状，而是将唯一的实性本质直接投射到觉知上进行观察。观察后，如果本质上有差别，是什么样的？如果没有差别，就确定没有差别的理由和来源。对此做出决断。第十四，介绍：最初，心没有产生的地方是法身，中间没有住的地方是报身，最终没有去的地方是化身，即生处、住处、去处三者
English
Entering into the crooked drawing. Transforming oneself into the size of the syllable (Tibetan: ཧཱུྃ, Devanagari: हूं, Romanized Sanskrit: hūṃ, Literal Chinese meaning: Hum), entering that path and then exiting. Then, again, gradually entering the path, as if not walking, going to all the places one has gone before. Making turns on the uphill and downhill paths, building bridges over rivers, and so on. Again, returning from the path one had previously taken, visualizing arriving back at one's own dwelling place, while drawing out a melodious and long song of (Tibetan: ཧཱུྃ, Devanagari: हूं, Romanized Sanskrit: hūṃ, Literal Chinese meaning: Hum). Finally, a valley facing northwest, a narrow gorge with a strong river flowing. Steep mountains on the left and right, covered with forests. Entering a path that pursues a very long river, going to a place where there is no time to arrive. In between, resting by the riverbank and in pleasant oases. Bathing. Also, in those places, meeting one's own ancestors, friends, and those who have passed away, having brief conversations with each other. Then, parting ways and leaving. Again, returning to the original footprints, repeatedly visualizing returning to one's dwelling place. Thirteenth, distinguishing between mind, samsara, and nirvana: From the tantra: "The mind, where does it first arise? Where does it dwell in the middle? And where does it go in the end? By examining these three, one tames the mind and understands the nature of the mind." As it is said. First, the so-called mind, the constant remembering and knowing. This one who feels everything and does everything, where does it first arise from? Is there a place of arising? Or is there not? If there is, what is it like? Look at the reason for its existence. What is the observer himself like? Where does he come from? Similarly, is there a place of dwelling in the middle and a place of going in the end? If there is, what is it like? If there is not, then the reasons for it, etc., not just guessing, but searching until the root is completely severed, and making a clear judgment. After that, look at the nature of the Buddha and the nature of sentient beings. Furthermore, afflictions and wisdom, medicine and poison, dreams and direct perception, the five elements, all the good and bad of the respective objects of the six consciousnesses, are not appearances, but directly project the single essence of reality onto awareness and observe it. After observing, if there is a difference in the essence, what is it like? If there is no difference, then determine the reason and source for why there is no difference. Make a decision on this. Fourteenth, introduction: Initially, the mind has no place of arising, which is the Dharmakaya. In the middle, there is no place of dwelling, which is the Sambhogakaya. In the end, there is no place of going, which is the Nirmanakaya, that is, the three: place of arising, place of dwelling, and place of going.
Tibetan
་དང་ཆོས་ཐམས་ཅད་ཀྱི་ངོ་བོ་མེད་པར་ཐག་གཅད། དེ་ལྟར་ཐག་བཅད་པ་དེ་སྐུ་གསུམ་དུ་ངོ་སྤྲད་པ་ནི། རང་གིས་བསྒོམས་ཤིང་མཐོང་བ་དང་། བླ་མས་གསུངས་པ་གཉིས་ཏིག་ཐོག་ཏུ་ཏིག་ཁེལ་བར་བྱའོ། །བཅོ་ལྔ་པ་རྣལ་དུ་ཕབ་པ་ནི། གནས་བརྟན་གྲོལ་བའི་གདེང་ཐོབ་ནས། །ཕྱི་ནང་བྱ་བ་དགུ་ཕྲུགས་གཏང་། །ཞེས་པས་སྒོ་གསུམ་གྱི་ཕྱི་ནང་གསང་བའི་བྱ་བ་མཐའ་དག་བཏང་བས་བྱ་བཏང་གི་རྣལ་འབྱོར་པ་ཞེས་བྱའོ། །དེ་ལྟར་རྣལ་དུ་དབབ་པ་ལ་སེམས་མི་གནས་པ་གནས་པར་བྱ་བ་ཉན་ཐོས་ཀྱི་འདུག་སྟངས། གནས་པ་བརྟན་པར་བྱ་བ་ལོངས་སྤྱོད་རྫོགས་སྐུའི་བཞུགས་སྟངས་རྣམ་སྣང་ཆོས་བདུན། བརྟན་པ་གྲོལ་བར་བྱེད་པ་ཁྲོ་བོའི་སྟངས་སྟབས་ཞེས་དྲང་སྲོང་ཙོག་པུ་དང་། ཆོས་བདུན་དང་། དོར་སྟབས། མཆོང་རྒྱུག །འཁྲབ་ཅིང་ལྡིང་བ་སོགས་བྱ་ཞིང་། སེམས་ངོ་བོ་ངོས་གཟུང་དགག་སྒྲུབ་བླང་དོར་ཐམས་ཅད་བྲལ་བ་ཁོ་ན་ལས་བསྒྱུར་བ་ཁ་གང་མེད་དོ། །བཅུ་དྲུག་པ་རང་གྲོལ་གྱི་ཁྲིད་ནི། གོང་གི་གཞག་ཐབས་དེའི་རྒྱབ་ཆོས་ཡིན་ཞིང་། དེ་ལ་དབྱེ་ན་རང་གྲོལ། ཡེ་གྲོལ། ཅེར་གྲོལ། ཡོངས་གྲོལ་ཏེ་བཞི་ཡིན་ཏེ། རྒྱུད་ལས། རང་གྲོལ་ཡིན་པས་གཉེན་པོ་མེད། །ཡེ་གྲོལ་ཡིན་པས་བསྐྱར་མི་དགོས། །ཅེར་གྱིས་གྲོལ་བས་མཐོང་སར་ཡལ། །ཡོངས་ཀྱིས་གྲོལ་བས་འབད་རྩོལ་མེད། །ཅེས་སོ། །བཅུ་བདུན་པ་ཐོད་རྒལ་གྱི་ཁྲིད་ནི། དེ་ལྟར་སེམས་ངོ་ལེགས་པར་མཐོང་ནས་ལམ་ཉམས་སུ་བླང་ཚུལ་རྫོགས་པ་ཆེན་པོའི་ཟབ་ཁྱད་ཐོད་རྒལ་བསྒོམ་པར་བྱ་བ་ནི། དེ་ཡང་སྒོ་དང་ཡུལ་དང་ནི། །རླུང་དང་རིག་པའི་གནད་དག་བསྟུན། །ཞེས་པས། ཡེ་ཤེས་འཆར་བའི་སྒོ་མིག་ཡིན་པས་མིག་གཟིགས་སྟངས་གསུམ་ལས་མ་གཡོས་པ། ཡུལ་ནམ་མཁའ་རྐྱེན་དང་བྲལ་བ། རླུང་ཤིན་ཏུ་དལ་བ། རིག་པ་དབྱིངས་ལ་གཏད་ཅིང་རང་བབས་སུ་གཡོ་བ་མེད་པར་ཉམས་སུ་བླངས་པས་སྣང་བ་བཞི་རིམ་པར་འཆར་ཏེ། དང་པོ་ཐིག་ལེ་ཐིག་ཕྲན་རྨ་བྱའི་མདོངས་ལྟ་བུ་དང་། ཟ་འོག་བཀྲམ་པ་ལྟ་བུ། གྱེན་སྒྲེང་། རྩིབས་ཤར། སྦ་ཕུབ། མཆོད་རྟེན་རིས་སོགས་ཇེ་ཆེར་འཆར་བ་ཆོས་ཉིད་མངོན་སུམ། དེ་དག་གི་ནང་དུ་སྐུར་འཆར་བ་ཉམས་གོང་འཕེལ། ཐིག་ལེ་རེ་རེ་ཡང་ཚོམ་བུའི་དཀྱིལ་འཁོར་ལྔ་ཚན་སོགས་འཆར་བ་རིག་པ་ཚད་ཕེབས། མཐར་བཟང་ངན་གང་གི་ཡང་རྟོག་པ་དག་ནས་རྒྱ་མཚོ་ལ་ཆུ་བོ་ཐིམ་པ་ལྟ་བུའམ། སྦྲའི་ཆོན་ཐག་བསྡུས་པ་ལྟར་དབྱིངས་སུ་ཐིམ་ཞིང་ཁྱབ་གདལ་ཆེན་པོར་བྱང་ཆུབ་པ་ནི་ཆོས་ཉིད་ཟད་པ་སྟེ། དེ་དག་གི་རྟགས་ལུས་ངག་ཡིད་གསུམ་ལ་འ
Chinese
，并且断定一切法皆无自性。如此断定之后，将此认知引介至三身，即需将自己修习和见到的，与上师所说的，如滴水入滴般契合。第十五，放下自在：获得安住解脱之确信后，舍弃内外九种杂务。因此，舍弃身语意内外秘密一切事务，被称为舍弃事务之瑜伽士。如此放下自在，对于心不住者，令其安住，是为声闻之住法；令安住者稳固，是为报身之住法，即毗卢七法坐；令稳固者解脱，是为忿怒尊之姿态，如仙人跏趺坐，以及七法坐，抛掷姿势，跳跃奔跑，舞蹈摇曳等，皆可行之。心的自性，在于断绝一切执取、破立、取舍，除此之外，别无他法。第十六，自解脱之引导：此为上述安住方法的后盾。若细分之，则有自解脱、本解脱、直解脱、总解脱四种。如经云：自解脱故，无有对治。本解脱故，无需重复。直视解脱故，于所见处消失。总解脱故，无有勤作。第十七，顿超之引导：如是，在彻底认识心性之后，修持道之方法，即是大圆满之甚深精要，应修持顿超。即如经云：门与境，风与觉性，皆应顺应。因此，作为生起智慧之门的眼睛，不离三种观视之法；境为空旷无碍；风极度缓慢；觉性安住于法界，于自性中无动摇地修持，则四种显现次第生起。首先，显现明点细点，如孔雀翎毛之色；如铺开之丝绸；向上竖立；光芒四射；如气泡；如佛塔之图案等，逐渐增大，是为法性现量。于彼等之中显现身相，是为觉受增上。每一个明点，也显现五部坛城等，是为智慧圆满。最终，无论善恶之念皆得清净，如江河汇入大海，或如收拢帐篷之绳索般，融入法界，证得广大之觉悟，是为法性穷尽。彼等之证相，于身语意三门
English
and determine that all dharmas are without essence. Having thus determined, introducing this recognition to the three kayas is to make one's own meditation and seeing, and the lama's words, coincide like a drop falling on a drop. Fifteenth, Letting Go Freely: Having obtained the confidence of abiding in liberation, abandon the ninefold entanglements of outer and inner activities. Therefore, abandoning all outer, inner, and secret activities of body, speech, and mind is called a yogi who abandons activities. Thus, to let go freely, for the mind that does not abide, to make it abide is the way of abiding of the Shravakas; to make the abiding stable is the way of abiding of the Sambhogakaya, the seven-point posture of Vairochana; to liberate the stable is the posture of the wrathful deities, such as the sage's lotus posture, as well as the seven-point posture, throwing posture, jumping and running, dancing and swaying, etc., all of which can be done. The nature of the mind lies in cutting off all grasping, affirmation and negation, acceptance and rejection; there is no other method besides this. Sixteenth, the guidance of self-liberation: This is the support for the above-mentioned method of abiding. If divided, there are four types: self-liberation, original liberation, direct liberation, and total liberation. As the tantra says: Because of self-liberation, there is no antidote. Because of original liberation, there is no need to repeat. Because of direct liberation, it vanishes in the place of seeing. Because of total liberation, there is no effort. Seventeenth, the guidance of Tögal: Thus, after thoroughly recognizing the nature of mind, the method of practicing the path, which is the profound essence of Dzogchen, is to practice Tögal. That is, as the scripture says: The door and the object, the wind and the awareness, should all be aligned. Therefore, as the eye, which is the door for the arising of wisdom, does not deviate from the three ways of seeing; the object is space, free from obstacles; the wind is extremely slow; the awareness is fixed in the Dharmadhatu, and practiced without wavering in its own nature, then the four visions arise in sequence. First, the thigle and fine dots appear, like the colors of a peacock's feathers; like a spread-out silk; standing upright; radiating light; like bubbles; like the patterns of stupas, etc., gradually increasing in size, which is the manifestation of Dharmata. Within these, the appearance of forms is the increase of experience. Each thigle also manifests mandalas of the five families, etc., which is the perfection of wisdom. Finally, all thoughts of good and bad are purified, like rivers merging into the ocean, or like the ropes of a tent being gathered, dissolving into the Dharmadhatu, and realizing vast enlightenment, which is the exhaustion of Dharmata. The signs of these, in the three doors of body, speech, and mind,