Collected writings on Sanskrit grammar. All translations are my own. More content will be added over time.
A good English-language resource on Sanskrit grammar is learnsanskrit.org, and a good Tibetan-language resource on Sanskrit grammar is ལེགས་སྦྱར་བརྡ་སྤྲོད་རིག་པར་འཇུག་པའི་སྒོ།.
Sections:
1. How to Recite Mantras
This section contains excerpts from Narthang Lotsawa’s སྔགས་ཀྱི་ཀླག་ཐབས་བསྡུས་པ། (“An Abridged Guide on How to Recite Mantras”) along with its commentary སྔགས་ཀྱི་ཀླག་ཐབས་བསྡུས་པའི་འགྲེལ་པ་མཐོང་བ་དོན་གསལ། (“A Commentary on the Abridged Guide on How to Recite Mantras, called Clarifying the Meaning at a Glance.”). The Tibetan text can be found here. The root text is shown in bold.
Second, the entry into the actual composition, has two parts: the questions, and the answers. The first is:
As for that, in this way you may ask, “What are the identities of letters? By what elemental nature (ཁམས་) are they encapsulated, and in what way do they arise? What is the way that they should be read?”
i.e., as for how to recite, in this way of teaching through questions and answers, three questions are arranged: you may ask, “What are the various identities of the various letters? By which various elements are those letters encapsulated, and in what way do they arise? In what way should those letters be read?”
The second, the answers, includes the answer to the first question, the answer to the second, and the answer to the third.
As for the first:
Their identities are āli and kāli, consisting of the three: male, female, and neuter.
The identities of letters are āli and kāli, in which āli are the 14: a ā, i ī, u ū, ṛ ṝ, ḷ ḹ, e ai, o au; and kāli are 33 in number: ka kha ga gha ṅa, ca cha ja jha ña, ṭa ṭha ḍa ḍha ṇa, ta tha da dha na, pa pha ba bha ma, ya ra la va, śa ṣa sa ha. If analyzed, they consist of male, female, and neuter letters, in which the male letters are the consonant letters except for the five of ṅa ña ṇa na ma; the female letters are the vowel letters except for the four of ṛ ṝ, ḷ ḹ; and the neuter letters are the nine of ṅa ña ṇa na ma, ṛ ṝ, ḷ ḹ.
These three letters indicate the union of method and wisdom, for as a tantra says, “Male is that which has great method, and female is expressed as the wisdom-mother. Emptiness is my land.” And as is said in the Two Sections [i.e. the Hevajra tantra]: “It is explained having been condensed into method and wisdom, with āli as wisdom and kāli as method.”
In the second, the second response to the questions, there is the actual response and the ancillary section. In the first, there is the tradition of the greater elements and the tradition of the lesser elements. The first is taught as follows:
A ku ha xka are the elemental nature of space; they arise from the place of the throat. I cu ya śa are the elemental nature of wind; they arise from the tip of the tongue, the teeth, and the palate. Ṛ ṭu ra ṣa are the elemental nature of fire; they arise from the crown. U pu wa fpa are the elemental nature of water; they arise from the place of the lips. Ḷ tu la sa are the elemental nature of earth; they arise from the tip of the tongue and the teeth.
Here, the “a” of “aku” indicates the two vowels a and ā, and “ku” indicates ka, kha, ga, gha, and ṅa. It indicates the ka set (ཀ་སྡེ་) because, as the Candrapa says, “together with the set of ut;” and likewise, the rest have been indicated in the same way.
[Note: The visarga has two allomorphs: the jihvāmūlīya before voiceless velar stops, and the upadhmānīya before voiceless labial stops. ྈྐ་ “xka” is the jihvāmūlīya, and ྉྤ་ “fpa” is the upadhmānīya, both in conjunct with their homorganic voiceless unaspirated stop. In Tibetan these can be pronounced as ཨག་ “ak” and ཨབ་ “ap” respectively according to this source.]
Therefore, these nine — the aforementioned a and ā; ka, kha, ga, gha, and ṅa; and ha and xka — are the nature of space, and their manner of arising is that they arise from the place of the throat. In other words, just like how space is free from any impediment of an object of contact (རེག་), the modulation of the voice emerges from the place of the throat very cleanly, without the tongue contacting anything.
They act as the antidote of that which is to be discarded, anger; and ultimately, they act as the cause of the arising of the mirror-like gnosis.
Similarly, these nine — the i and ī indicated by “i” and the ca, cha, ja, jha, and ña indicated by “cu” and ya and śa — are the elemental nature of wind. Their manner of arising is that they arise from the joining (dag — cf. rnams in Sumchupa) of the tip of the tongue, the teeth and the palate, and they emerge from the manner of a light and motile tongue, because wind has the identity of being light and motile.
They act as the antidote of that which is to be discarded, pride; and ultimately they act as the cause of the arising of the gnosis of equality.
The nine — out of “ṛ ṭu”, the ṛ and ṝ indicated by “ṛ”, and the ṭa, ṭha, ḍa, ḍha, and ṇa indicated by “ṭu”, and ra and ṣa — are the elemental nature of fire, and their manner of arising is that that they arise from the crown accompanied by the tube consisting of the tip of the tongue being bent at the top and joined to the edge of the palate, because fire has the nature of burning upwards.
They destroy that which is to be discarded, dullness; and ultimately they act as the cause of the arising of the gnosis of the dharmadhātu.
Nine are the elemental nature of water: of “u pu”, the u and ū indicated by “u”, and the pa, pha, ba, bha, and ma indicated by “pu”, and wa and fpa. Their manner of arising is that they arise from the downward exit of wind-force at the place where the two lips meet, because water has the nature of descending downwards.
They destroy that which is to be discarded, envy; and ultimately they act as the cause of the gnosis that accomplishes tasks.
Nine are the elemental nature of earth: the ḷ and ḹ indicated by the “ḷ” of “ḷ tu”, and the ta, tha, da, dha, and na indicated by the “tu”, and la and sa. Their manner of arising is that they originate from the tip of the tongue and the teeth, and emerge in the manner of a solid tongue, because the nature of earth is to be hard and solid.
They act as the antidote of that which is to be discarded, desire; and ultimately they act as the cause of the individually discriminating gnosis.
The vowels e and au have the same elemental nature as i and ī, and o and au have the same elemental nature as u and ū.
The second, the tradition of the lesser elements, is taught as follows:
As for the lesser elements, the five sets’ / ka, ca, ṭa, ta, and pa are earth, / kha and so on are water, ga and so on are fire, / gha and so on are wind, ṅa and so on are space.
In other words, regarding the lesser elements, the first of the five rows, i.e. ka, ca, ṭa, ta, and pa, are letters of earth; the second beginning with kha, including cha, ṭha, tha, and pha, are letters of water; the third, i.e. ga, ja, ḍa, da, and ba, are letters of fire; the fourth, i.e. gha, jha, ḍha, dha, and bha, are letters of wind; and the fifth, i.e. ṅa, ña, ṇa, na, and ma, are letters of the elemental nature of space.
Thus, regarding the distinction of the greater and lesser elements, the greater elements are greater because they count all vowels and consonants, and the lesser elements are lesser because they only count five sets and do not count the others. Also, the cakra of the greater and lesser elements can be known from this 65-part grid:
[Note: the labels for the teeth and lips in the bottom-right of the table seem to be flipped. The second-last row of consonants arise from the lips, and the last row of consonants arise from the teeth.]
[…]
(p. 24)
As for the first: ṣa is recited like kha, from the back of the palate, emptily. Ṣa is recited somewhat similarly to the sound of the Tibetan kha, from the back of the palate, in an unclear manner, emptily. It is not clear like the Tibetan kha.
As for the second, the manner of reading kṣa: kṣa is more or less like khya. The manner of reading kṣa is to read it more or less like the Tibetan khya, from the back of the palate, emptily. It comes from the mūrdhan.
As for the third, the manner of reading jña: ja plus ña is འགྱ་ or གཉའ་. The jña of ja plus ña is read as ‘gya by those from eastern India, and as gnya’ by the Kashmiris, so it is similar to wherever it’s read.
[…]
(p. 29)
As for the second, the specific: oṃ and hūṃ are ma and nga; they do not depend on the auxiliaries. The circle of oṃ is always read like ma, and the circle of hūṃ is always read like ng. They are not dependent on the auxiliaries above and below.
Why is that? Not only do oṃ, hūṃ, phaṭ and svāhā work as ornaments of the beginning and end of mantras, they dwell independently without connecting to any preceding or following letters, as if they were cut off by a shad [a Tibetan punctuation mark used before a pause], so they should be considered in and of themselves. Therefore, m is matched to oṃ and ng is matched to hūṃ. It is also like that in Nāgārjuna’s Mantrasya Paṭhopāya.
[Note: compare how the maṇi mantra on the Stele of Sulaiman is transcribed in Old Uyghur script as oom mani badme xung, and in Phakpa script as om mani padme hung. In both cases, m is used on oṃ, and ng is used on hūṃ.]
[…]
2. The Flower that Bears Fruit
A complete translation of Sakya Pandita’s mantra recitation guide titled The Flower that Bears Fruit (འབྲས་བུ་འབྱུང་བའི་མེ་ཏོག). Very tentative lines in the translation are marked with a (?). This text needs further study before a more definitive translation can be produced.
The sources used for the Tibetan text are this and this.
༄། །སྔགས་ཀྱི་ཀློག་ཐབས་འབྲས་བུ་འབྱུང་བའི་མེ་ཏོག་བཞུགས།
The Guide to Mantra Recitation called The Flower that Bears Fruit.
༄༅༅། །ༀ་སྭ་སྟི་སི་དྡྷཾ། འཇམ་པའི་དབྱངས་ལ་ཕྱག་འཚལ་ལོ། །རིག་སྔགས་བཟློག་པར་བཟླས་གྱུར་ན། །དད་མེད་རྣམས་ལ་འདོད་དོན་མེད། །དད་པ་ཡོད་ཀྱང་དངོས་གྲུབ་རིང་། །དེ་ལ་ཀློག་ཐབས་མདོར་བསྡུ་ན། །ཨཱ་ལི་ཀཱ་ལི་གུག་སྐྱེད་བཅས། །དེ་ལ་སློབ་དཔོན་ངག་བཞིན་དུ། །ཁ་མིག་འདྲིས་པར་ཡུན་རིང་བསླབ། །ཀློག་ཐབས་རིམ་བཞིན་མ་སློབ་པར། །སྔགས་འབྲུ་རྣམས་ལ་འདི་ཅི་ཞེས། །ཟེར་བའི་རྒྱུ་མེད་འབྲས་འདོད་པ། །རྨོངས་རྣམས་ཡུན་རིང་དོན་མེད་འགྱུར། །
Om swāsti siddham. Homage to Mañjughoṣa. If a vidyāmantra is recited improperly(?), then the faithless will not have their desired goal, and even if someone has faith, the siddhis will be far away. Here, if the manner of recitation is taught in brief, you should study the āli, kāli, and vowel marks for a long time, with your eyes and mouth becoming accustomed in accordance with the speech of an ācārya.
ཨ་ཨཱ།ཨི་ཨཱི།ཨུ་ཨཱུ།རྀ་རཱྀ།ལྀ་ལཱྀ།ཨེ་ཨཻ།ཨོ་ཨཽ།ཨཾ་ཨཿ། དབྱངས་ཡིག་བཅུ་དྲུག་གོ། །
The 16 vowels are: a ā, i ī, u ū, ṛ ṝ, ḷ ḹ, e ai, o au, aṃ aḥ.
ཀ་ཁ་ག་གྷ་ང་། ཙ་ཚ་ཛ་ཛྷ་ཉ། ཊ་ཋ་ཌ་ཌྷ་ཎ། ཏ་ཐ་ད་དཧ་ན། པ་ཕ་བ་བྷ་མ། ཡ་ར་ལ་ཝ། ཤ་ཥ་ས་ཧ་ཀྵ། གསལ་བྱེད་སུམ་ཅུ་རྩ་བཞིའོ། །
The 34 consonants are: ka kha ga gha ṅa, ca cha ja jha ña, ṭa ṭha ḍa ḍha ṇa, ta tha da dha na, pa pha ba bha ma, ya ra la va, śa ṣa sa ha kṣa.
ཐོག་མར་དབྱངས་ཡིག་བཅུ་དྲུག་ལ། །ཨ་ནི་དྲང་པོ་ཨི་བཀུག་བ། །ཨུ་ནི་སྨད་པ་ཞེས་བྱ་སྟེ། །དེ་དག་རིང་ཐུང་གཉིས་གཉིས་ཡོད། །རྀ་རཱྀ་ལྀ་ལཱྀ་ཞེས་བྱ་བ། །མ་ནིང་གི་ནི་ཡི་གེ་བཞི། །དེ་ལ་རིང་ཐུང་གཉིས་གཉིས་ཡོད། །ཨེ་ནི་བསྒྲེང་བའི་ང་རོ་སྟེ། །ཨཻ་ནི་བསྒྲེང་ཞིང་བཀུག་པ་ཡིན། །ཨོ་ནི་བསྟོད་པ་ཞེས་བྱ་སྟེ། །ཨཽ་ནི་བསྟོད་དེ་སྨད་པ་ཡིན། །ཨཾ་ནི་སྣ་ལྡན་ཞེས་བྱ་སྟེ། །ཨཿ་ནི་རྣམ་པར་བཅད་པའོ།།
To start with, of the 16 vowels, a is straight, i is bent, and u is abased. Those have two each: long and short. Ṛ ṝ ḷ ḹ are the four neuter letters. Those have two each: long and short. E is the raised svara, and ai is raised and bent. O is uplifted, and au is uplifted and abased. Aṃ is nasal, and aḥ is the visarga.
ང་རོ་དྲང་པོ་ལས་བྱུང་བ། །ཀ་ནས་བརྩམས་ཏེ་ཀྵ་ཡི་བར། །གསལ་བྱེད་ཡི་གེ་སུམ་ཅུ་བཞི། །
The ones that come from the straight svara are the 34 consonants from ka to kṣa.
སྐད་གདངས་ཡུལ་གྱི་སྐད་ཀྱིས་དབྱུང་། །གལ་ཏེ་སྐད་གདངས་བཅོས་པ་ན། །རྣར་མི་སྙན་ཅིང་བརྗོད་ནོར་འབྱུང་། །
The pronunciation should be produced by a regional dialect; if the pronunciation is artificial, then it will sound bad to the ear and errors of speech will arise.
རྒྱ་སྐད་ཕལ་ཆེར་ལྕེ་རྩེ་ལས། །འབྱུང་ཞིང་བརྗོད་པར་རབ་ཏུ་མྱུར། །སྐད་གདངས་མགྲིན་པ་ཕྲ་ཞིང་སྙན། །
Indian speech is mostly produced from the tip of the tongue, and spoken very quickly. The pronunciation is with a narrow throat, and is pleasing to hear.
བོད་སྐད་ཕལ་ཆེར་ལྕེ་དབུས་ལས། །འབྱུང་ཞིང་བརྗོད་པ་དལ་བ་ཡིན། །མགྲིན་པ་སྦོམ་གྱུར་ཁ་ཆེ་དང་། ཨུ་རླན་ཡུལ་ཡང་དེ་དང་འདྲ། །
Tibetan speech is mostly produced from the middle of the tongue, and is spoken slowly, with a wide throat like in Kashmir and Uddiyana.
བོད་ནི་ཁྱད་པར་སྐད་ཐུང་ཞིང་། །རིང་ཐུང་ཁྱད་པར་འགའ་ཡང་མེད། །དེ་ལ་འ་མེད་ཐུང་བ་སྟེ། །ཐུང་དང་དྲག་པོ་ནོར་མི་བྱ། །
Tibet in particular has short speech, and does not have the distinction of short and long [vowels]. Without འ་, it is shorter, but short and strong are not to be mistaken (?).
ཨཻ་ཨེའིར་བཀླག་པ་སྟེ། །བསྒྲེང་ཞིང་བཀུག་པ་ཡིན་ཕྱིར་རོ། །ཨཽ་ཨོའུ་གང་དུ་བྲིས་ཀྱང་རུང་། །ཨོའུར་བརྗོད་དེ་བསྟོད་སྨད་ཕྱིར། །སྣ་ལྡན་རྣམ་པར་བཅད་པ་ཡང། །རིང་བར་སྒྲར་ནི་བརྗོད་པར་བྱ། །
Ai is read as ei, because it is raised and bent. Whether written au or ou, it is pronounced as ou, because it is uplifted and abased. The nasal and visarga are spoken long as a sound.
ཊ་ཋ་ཌ་ཌྷ་ཎ་ཥ་དྲུག །གྷ་ཛྷ་དྷ་བྷ་ཀྵ་སྟེ་ལྔ། །དེ་ལྟར་ཡི་གེ་བཅུ་གཅིག་པོ། །བོད་ལ་གཏན་ནས་མེད་པ་ཡིན། །རྒྱ་གར་བ་ལའང་དེ་དག་ལ། །ཡི་གེ་ལོག་དང་ཧ་བཏགས་མེད། །འོན་ཀྱང་བོད་ཀྱིས་བརྗོད་ཤེས་ཕྱིར། །སྔོན་གྱི་བྱང་ཆུབ་སེམས་དཔས་མཛད། །
The six of ṭa ṭha ḍa ḍha ṇa ṣa and the five of gha jha dha bha kṣa make eleven letters. In Tibet, these don’t exist at all; and for Indians, they don’t have reversed letters and letters with a subscribed “h”. However, in order for Tibetans to know how to pronounce them, they were created by a past bodhisatva.
དེ་ལྟར་ཏ་ཐ་ད་ན་ཤ །ལྕེ་རྣལ་ལས་འབྱུང་དེ་དག་ལ། །ལྕེ་རྩེ་བཟློག་སྟེ་བརྗོད་པ་ཡིས། །ཊ་ཋ་ཌ་ཎ་ཥ་རྣམས་འབྱུང། །
Thus, ta tha da na śa are produced from a neutral tongue, and by pronouncing them with the tip of the tongue turned back, you produce ṭa ṭha ḍa ḍha ṇa ṣa.
གྷ་སོགས་ཧ་བཏགས་ཡི་གེ་ལྔ། །ག་ཛ་ཌ་ད་བ་ལྔ་ལ། །ཧ་སྒྲ་ཅུང་ཟད་འབྱུང་བ་ལ། །དགོངས་ཏེ་ཧ་བཏགས་ཡི་གེ་མཛད། །གྷ་ལ་འཁའ་འདྲ་ཛྷ་འཚའ་འདྲ། །ཌྷ་ནི་འཋའ་འདྲ་དྷ་འཐའ་འདྲ། །བྷ་ནི་འཕའ་དང་འདྲ་བར་བཀླག། །ཧ་སྒྲ་མི་གསལ་ཅུང་ཟད་ལྡན། །ཀྵ་ནི་ཀ་ཥ་ཡིན་མོད་ཀྱི། །མི་ཤེས་རྣམས་ཀྱིས་ཁྱ་འབྲར་[འདྲར་]བཀླག །
Gha and so on, the five letters with a subscribed “h”, are considered to be the five letters ga ja ḍa da ba produced with a slight “h” sound, and so the letters with a subscribed “h” were made. Gha is read like འཁའ་, jha like འཚའ་, ḍha like འཋའ་, dha like འཐའ་, and bha like འཕའ་. They have a little unclear “h” sound. Kṣa is kaṣa, but ignorant people read it like khya.
ཤ་ཥ་ས་ཡི་ཡི་གེ་གསུམ། །སྐབས་ཀྱིས་ལྕེ་ལ་གང་བདེར་བཀླག །
The three letters śa, ṣa and sa are read according to the occasion in whatever way feels good to the tongue.
ཀ་ཚན་གྱི་ནི་ཀླད་ཀོར་ང་། །ཙ་ཚན་ཉ་ཡིན་ཊ་ཚན་ཎ། །ཏ་ཚན་ན་ཡིན་དེ་གསུམ་ཀ །བོད་ཀྱིས་ནར་བརྗོད་པ་ཚན་མ། །ཨ་དང་ཀྵ་ཡི་ཀླད་ཀོར་རྣམས། །ངར་བཀླག་བ་ནི་མཆོག་ཡིན་ནོ། །
The zero [i.e. anusvara] of the ka set is pronounced as ṅ, and of the ca set as ñ, and of the ṭa set as ṇ, and of the ta set as n (all three of those being pronounced like n by Tibetans), and of the pa set as m. It is best to read the zero of a and kṣa as ṅ.
ད་ནི་བརྩེགས་པ་བརྗོད་པར་བྱ། །དཔེར་ན་ཏིཥྛ་ཏིས་ཐྲ་བཞིན། །གུག་སྐྱེད་ཅན་གཅིག་བྱུང་གྱུར་ན། །ཕྲལ་ཏེ་གུག་སྐྱེད་ཀུན་ལ་སྦྱར། །དཔེར་ན་ཏྱུ་ལ་ཏུ་ཡུ་འམ། །ཥྛི་ལ་ཥི་ཐྲི་ཇི་བཞིན་ནོ། །
Now the stacked [letters] will be explained. For example, tiṣṭha is read as tis-thra. If there is a single [letter] with a vowel mark, it is separated and joined to all [letters]. For example, tyu is read as tu-yu, or ṣṭhi as ṣi-thri.
གལ་ཏེ་ཕྲལ་ཏེ་ཀློག་པས་ན། །ཅི་ཕྱིར་ཕྲལ་ནས་མི་འདྲི་ཞེས། །རྒོལ་ན་བོད་སྐད་ཀྱང་མཚུངས་ཞེས། །དེ་གཉིས་ཁྱད་པར་མེད་པར་བསྒྲེ། །
You may object, “If they are read separately, then why are they not written separately?” but Tibetan speech is the same way; the two are equivalent, with no difference.
གསང་སྔགས་ཀྱི་ནི་རྒྱུད་རྣམས་ལས། །ཡི་གེ་མང་པོ་བརྩེགས་པ་ཡོད། །དེ་ནི་ས་བོན་ཡིན་པའི་ཕྱིར། །དུས་གཅིག་མི་བརྗོད་བྲལ་ཏེ་བརྗོད། །
In the tantras of Mantra there are many letters that are stacked, because they are seeds. They are not pronounced at the same time, but rather are pronounced separately.
ཙ་ཚ་ཛ་ལ་ཡ་ལྟ་བཏགས། །བོད་ཀྱིས་ཅ་ཆ་ཇ་བཞིན་བཀླག །གུག་སྐྱེད་ཅན་ཡང་དེ་བཞིན་ཏེ། །དཔེར་ན་ཙྱཻ་ཙ་ཡི་བཞིན། །
If a subscribed “ya” [note: lta is an old suffix for subscribed vowels] is subscribed to ཙ་ཚ་ཛ་, they are read like how Tibetans say ca, cha, and ja; and those with vowel marks are also the same way. For example, cyai is read as tsa-yi.
ཏ་ཐ་ད་སོགས་ཡ་སྟ་[sic.]བྱུང་། །ཨེ་སྒྲ་ལྡན་པར་ཕྲལ་ཞིང་བཀླག །དཔེར་ན་ཏྱཻ་ནི་ཏེ་ཡི་བཞིན། །ཐྱཻ་ལ་ཐེ་ཡི་ཇི་བཞིན་ནོ། །
If a subscribed “ya” occurs with ta, tha, da and so on, they are read separately, with an “e” sound. For example, tyai is read as te-yi, and thyai is read as the-yi.
ཛྙཱ་ཞེས་བྱ་བའི་ཡི་གེ་ལ། །བོད་ཀྱིས་གཉའ་ཞེས་བྱ་བར་བཀླག །
The letter jñā is read like how Tibetans say གཉའ་ (g)nya.
ཥྞ་ཥྚ་ཥྛ་ཞེས་བྱ་བ་ལ། །ཤ་ལོག་ཤ་རྣལ་གང་བྱུང་ཡང་། །ས་དང་འདྲ་བར་བྱ་བ་སྟེ། །སྣྲ་སྟྲ་སྠྲ་ཞེས་བརྗོད་པས་འགྲུབ། །སྟྲཻ་ཡཱ་དྷྭ་ལྟ་བུ་ལ། །སྟྲེའི་ཡཱ་དྷྭ་རུ་བཀླག་པས་འགྲུབ། །
Ṣṇa, ṣṭa, and ṣṭha, whether there’s a reversed ཤ་ or a neutral ཤ་, are to be made similar to sa, and are rendered by saying snra, stra, or sthra. Straiyādhva is rendered by saying it as strei-yā-dhva.
དེ་ལ་སོགས་པ་བསམ་མི་ཁྱབ། །སྔར་གྱི་ཀློག་ཐབས་མ་ཤེས་ན། །འདིར་མང་བྲིས་པས་ཅི་ཞིག་ཕན། །དེ་བས་སྔར་བརྗོད་ཐབས་ལ་འབད། །
If you don’t know that and the other inconceivable previous recitation methods, then what benefit is brought by writing much here? Therefore, make effort in the aforementioned guide.
སྔགས་ཀྱི་ཀློག་ཐབས་འབྲས་བུ་འབྱུང་བའི་མེ་ཏོག་ཅེས་བྱ་བ་ལོ་ཙཱ་བ་ཀུན་དགའ་རྒྱལ་མཚན་གྱིས་སྦྱར་རྫོགས་སོ།། ༎
The Guide to Mantra Recitation called The Flower that Bears Fruit, composed by the lotsāwa Kunga Gyaltsen, is complete.
