There are no battered Seth poems or streams

Acoustics is also associated with five common phenomena common to the world. In the five-point vibration, there are all the fuzzy and descriptive of the phantom, the, theo, the, the, the, the, the, the. This is also common in letters. The ancient Isizi (the Philosopher) stated that they were formed by their words, by words, and by the systematic synthesis of the good and the bad. Accordingly, poetry is called essay writing. It is known as the Mystical Prose. There are many other forms of communion. Meanwhile, the number of senior officers too is pre-eminent.

It should also be mentioned that there is no need to make a lot of sad songs or poems. In the proper use of this classy feature, the core roots of the roots are in particular the Origin and Usage Name. Accordingly, all the letters, kin, vagina, cycle of cycles, five benthic cycles, and sesame angles are examined and an amazingly powerful poem is written. That is why it is called the Amazing poetic system. All these sections should be mentioned in detail. The purpose of this article is to provide a simple explanation of the active power used in Seth poetry. Or the introduction of seth poems.

The introduction of the five spirited energies of the letters was initially mentioned. Here, there are the main forces behind the vowel, a, u, g, a, o. The power of everything in the world is contained. But there is also a dominant power, or much more power. Hence, a tone has a special significance for one power, but every power has its own power. They can be much lower. It’s the same with scientific theory. It is true that the earth is the root of all earth. It is known as the soil because it contains the soil most abundantly. But there are other fragments of the soil. It is not difficult to explain this allegation in the same way. This basic law is used in the creation of a set of poetry based on one’s family name and name. Since this method should be applied, it is more appropriate to refer to the rule.

Seth’s poem should be composed on the same day as the person concerned is born. And there should be an existing poetry writer that day. If this is to be made clearer, the relationship between the respective national writer and the author is also maintained. This test is similar to that of the Spirituality theory. If it explains it furthermore, performance will interfere with the performance of the five-dimensional parts between the two parts.

This method is similar with normal life. Therefore, the ability to test the demise properties between the Nakathi mainly and strengthen the relationship between opposing the temples is strengthened. It is also clear that this is also how it is fashioned according to the pattern. From resignation to the ‘Mujissahawa’, the Fowl. From now on, The next section is starting from Watrapal. It was the Visakha Visa until the 5th Thege Bhutthiyas. Then the anecdotes from the Neckta to the Sunnah are augmented by the sixth winds, and the last of the five summits belong to the dome. This is also a pattern. Five, six, five, six, five, five, and five. That is, the Rajayata Bird, the Second Nakek and the Naked Bird. The next thing to see is the bird of the bird. Then the bird has six notes. The last of the Naet and the Five Maya birds. This is indicated by the appearance of any pananganga bird in a cycle like a vagina.

The secrets of the aquarium, the bird, and the mysterious stratagem show.

According to this cycle, it is clearly understood that birds or demons are identical, that is, the same thing, that is, introduced the same thing. Wickedness is the main virtue. In other words, this too is also related to the vowel soil, but one part is bound up with only one part of the same group. Therefore, the “a” tone includes the phantom and the birds, the “e” tone, the baroque and the pigla bird, the “A” tone the bayonet and the bird, the “E” tone of the air and the hook bird, “o” Birds, however, have the same idea as the same thing. Also, it is stated that the real spirit is only friendly with the other demonic elements. Hence, in Seth’s essay writing, one must first focus on the features to be first tested. Pchana bird’s reverberation also varies from party and caste groups. I do not mention here the bird names that come into the party and its members within the party. Especially attention should be paid since birds die during dying deaths.

It is mentioned here that the Feast or the soil is the main energy. If water is involved, water is the best water. Water or God is called the demon part. Water flows to the soil as if it were fertile. The dexterous relic part of the funnel is the jejocoon. What power is there when it is polluted and burnt? It’s a disaster. Damage. On the other hand, there is almost no good enough for digging the fire. Therefore, this application is carefree.

Water or an aroma, gas or air does not strengthen. In contrast, this application is not good. The lack of relume with the cosmic limb is not contrary. This can be applied with any witch in the same way as and when needed. The related vocabulary and the birds do likewise. In a letter, there is a volume connected to a tone. Therefore, by replacing letters mentioned above with glowing energy, the substitution will be stronger. There are demonic properties in the letters.

For example, the letter “The” belongs to the “Bhavitharana”. This letter is also written in combination. There is no strength or power when the “D” is separated. The tone “a” gives strength. This photocurrent “B” letter is replaced by “e” by “d”. It is clear, then, that two reservoirs were mixed here. That is, the flute and cavity. The surface of the soil and the water is very low. Suggests fertility. A good appetite for good. But only if it suits the birth and name.

The words of the epic poetry have to match in the name of the person and the name of the person. The magnetic quality of the note should also be checked and used indefinitely. The tone of the vocal “a” can be a problem when the tone of the name “G” is passed. Fluffy and Thejeo’s oppression. This will have to change this appendix. Since the letters of the name can not be changed, the tone of the poetic initiality must be changed and placed in the right way. A letter of the name or (g) may be used with a letter that does not conflict with it. If the spatial properties are often expressed, the problem is solved. But the word has a good message and a good object. It strengthens the work. Sometimes you need to protect between the letters and the vocals. All of this should be linked to all other aspects.

jyedtiṣayen tora vū set kavi hō vas kavi nomæta

akṣara vidyāva hevat śabda śāstrīya viṣayayada lova siyallaṭama podu vū paṁca bhūtātmaka śaktin samaga sambandha vūvaki. paṭhavi, āpō, tējō, vāyō, ākāśa yana ema pas vædǣrum śaktin sectanika hā aectanika siyallehima pavatī. akṣarayanṭa da meya poduva tibē. ēvā saṁyōga vīmen iṭu aniṭu vacanada, vacana saṁyōga tuḷin gaṇada ehi kramānukūla saṁyōgayen iṭu (hon̆da), aniṭu (naraka) palada udāvana bava pæræṇi isivarun hevat dārśanikayan visin san̆dahan karanu læbiṇa. mē anuva prabandha karana padyakaraṇaya set hā vas kavi karaṇaya yanuven hæn̆dinvē. gupta vidyātmaka padya racanā vaśayenudu hæn̆dinvē. mē san̆dahā tavat śāstra vidhi ræsak sambandha vē. mē atara jyedatiṣayada pramukhava yedē.

jyedatiṣayen tora vū set kavi hō vas kavi karaṇayak novana bava pæhædilivama san̆dahan kaḷa yuttaki. ema śāstrīya aṁga samūhaya nisi ayurin yodā gænīmē dī adāḷa ayagē janma patraya viśēṣayenma janma nækata saha bhāvita nāmaya mūlika vē. ē anuva akṣara, gaṇa, yōni, siddha cakra, paṁca bhūta cakra, ṣaḍ kōṇa cakra ādī siyalla parīkṣā kara yōgyākārayen liyǣvena kaviyaka vismita balayak udāvē. vismita padya kramaya vaśayen hæn̆dinvennē da ebævini. mema koṭas siyalla vistarātmakava san̆dahan kaḷa yuttaki. mē lipiyehi aramuṇa set kaviyehi dī śakti gænvena ema balaya kriyākārīva yodā gannā ayuru piḷiban̆dava sarala vigrahayak kirīmaya. nætahot set kavi man̆ga piḷiban̆da hæn̆dinvīmak kirīmaya.

akṣarayanhi paṁca bhūta śakti jananaya vana bæv mehi muladīma san̆dahan viya. mehidī “a, i, u, ē, o” yana svara pasa pradhānama balavēgayanva tibē. lova pavatnā ōnǣma deyaka bala pasa aḍaṁgu vē. ehet pradhāna vaśayen ra1 pavatnā bala hevat væḍi vaśayen gænvū balayak da pavatī. ebævin yam svarayak ek balayak venuven viśēṣatvayak darā ætat, yam pramāṇayakin sǣma balayakma darannēya. ēvā aḍu væḍi vaśayen viya hækiya. vidyātmaka siddhānta anuvada eya esēmaya. pṛthiviya (poḷova) siyallehima mūla bava satyayaki. eya paṭhavi vaśayen han̆dunvanuyē bahulavama pasa æti bævini. ehet pasa tuḷa anek dhātu koṭasda pavatī. sesu bhūta koṭas piḷiban̆davada mema san̆dahan kirīma samāna bæv pahadā gænīmaṭa apahasuvak novē. yamekugē janma nækata saha nāmaya mūlika karagena set kaviyak nirmāṇaya kirīmēdī mema mūlika nītiya upayōgī vē. mema kramayama yediya yutuma bævin rītiya yǣyi san̆dahan kirīma vaḍā ucita yǣyi hæn̆gē.

adāḷa tænættāgē janma nækataṭa sīhena nækatat yedena dinayakadīma set kaviya racanā kaḷa yutuya. tavada edina pavatina nækata kavi racakayāṭada sīhennak viya yutuya. meya tavat pæhædiliva san̆dahan karanne nam adāḷa ayat racakayāt atara sambandhatāvak pavatvā gænīmak vænna. bhūta guṇa nyāya anuva mema parīkṣāva samāna vē. eya tavaduraṭat pæhædili karannē nam paṁca bhūta koṭas atara ekinekaṭa viruddha koṭas æti bava nisā kārya sādhanayaṭa bādhāvan yedena bævini.

sāmānya jīvitaya samaga da mema kramaya samāna bæv pæhædiliya. ebævin pradhāna vaśayenma nækat atara æti bhūta guṇa parīkṣā kara viruddha bhūta nækat sambandhaya vaḷakvā gænīmen kārya sādhanayaṭa śaktiyak læbē. meyada raṭāvak anuva nirmāṇava pavatina ayuru pæhædili vē. asvida siṭa muvasirasa dakvā nækat paha paṭhavi bhūtayi. ada siṭa puvapal dakvā nækat haya āpō bhūtayi. īḷan̆ga koṭasa utrapal nækatin æræm̆bē. eya visā nækata tek vū tējō bhūta nækat pahaki. inpasu anura nækata siṭa suvaṇa dakvā nækat haya vāyō bhūta vana atara, denaṭa nækata siṭa rēvatī dakvā vū avasan nækat paha ayat vannē ākāśa bhūtayāṭaya. meyada raṭāvakaṭa yedī æta. paha, haya, paha, haya, paha yana ayurin yedena nækat koṭasvalaṭa himi pakṣīnda ē ayurinma yedē. enam mul nækat paha rājāḷi pakṣiyāṭada, devæni nækat haya piṁgala (bakamuhuṇu) pakṣiyaṭada ayat vē. īḷan̆ga nækat paha ayat vannē kāka pakṣiyāṭaya. inpasu kukkuṭa pakṣiyāṭa nækat hayaki. avasan nækat paha mayura pakṣiyāṭada ayat vē. ōnǣma paṁcāṁga litaka dækvena nækæt gaṇa yōni ādī cakrayaka meya san̆dahan vana bava penē.

nækat, pakṣi, bhūta atara pavatina saturu mituru tattva vaguven dækvē.

mema cakrayaṭa anuva pæhædiliva ma tērum gata hæki vannē pakṣi hō bhūta hō vaśayen hæn̆dinvuvada samāna tattvayak hevat ekama guṇayak, ekama deyak han̆dunvā æti bavaki. enam bhūta guṇayama pradhāna vīmayi. tavat ayurakin dækvennē meyada svara pasa āśritavada pavatina ekama koṭasakaṭa koṭas kīpayak bæn̆dī siṭina sæṭiyaki. eheyin “a”svaraya paṭhavi bhūta hā rājāḷi pakṣiyā da, “i” svaraya āpō bhūta hā piṁgala pakṣiyāda, “u” svaraya tējō pakṣiyā hā kāka pakṣiyāda, “e” svaraya vāyō bhūta hā kukkuṭa pakṣiyāda, “o” svaraya ākāśa bhūta hā mayura pakṣida vaśayen dækvuvada ekama adahasak menma ekama deyak han̆dunvā æti bavaki. esēma ākāśa bhūta guṇaya pamaṇak sesu bhūta koṭas satara samaga sǣma viṭama mitratvayen siṭina bavak san̆dahan vē. mē anuva set kavi racanayē dī mulinma parīkṣā kaḷa yutu aṁga kīpaya kerehi mænavin yomuviya yutuya. pañca pakṣīn gē cārayada pura hā ava pakṣa kula venas vē. pura pakṣaya tuḷadīt ava pakṣaya tuḷadīt mara bavaṭa pæmiṇena pakṣi nāmayan pañcāṁga lithi san̆dahan vana bævin mehi san̆dahan nokarami. pakṣīn mara dinayanhi set kavi sādhanayaṭa ayōgya bævin meya viśēṣayen avadhānaya yediya yuttaki.

paṭhavi hō pasa yanu pradhāna śaktiya bava mehi san̆dahan vē. bhūmiya yanuvenudu yede.a īṭa sambandha vuvahot hon̆dinma pala darannē jalayayi. jalaya hō āpō vaśayenda ema bhūta koṭasa hæn̆dinvē. pasaṭa jalaya læbīmen sarusāra bava æti vannāk men kārya siddhiya æti vē. paṭhavi dhātuvaṭa narakama dhātu koṭasa tējō dhātuvayi. pasat, ginnat ætivū viṭa kavara nam śaktiyakda? etæna vināśayaki. hāniyaki. anek ataṭa ginna nivīmaṭa pas taram hon̆da deyakda næti taramya. mē nisā mema yeduma kalpanākārīva kaḷa yuttaki.

jala hō āpō dhātuvat, vāyu hō vātayat ekvū viṭa śaktiyak noræn̆dē. prativiruddha vū mema yedumada hitakara novē. ākāśa dhātuva samaga kisidu dhātu koṭasak viruddha novē. meya ōnǣma bhūta koṭasakma samaga avaśyatāvayē hā avasthāvē ākārayaṭa yediya hækiya. mē hā sambandha svarada, pakṣīnda ema ayurinma yedena bævin ven vaśayen vistara nokerē. akṣarayaka pavatinnē svarayak sambandha vū śabdayaki. ebævin ihata dækvū paridi bhūta śakti gænvī æti akṣarayanṭa ādēśa vīmen śakti gænvenu æta. akṣara tuḷada bhūta guṇa pavatī.

nidasunakin dækvennē nam “da” akṣaraya “paṭhavi” dhātuvaṭa ayat ya. mē akṣaraya da + a ekvīmen nirmāṇaya vē. “d” venva tibena viṭa śaktiyak hō balayak næta. “a” svaraya gænvīmenma śaktiyak læbē. mema paṭhavi dhātu guṇa “d” akṣarayaṭa “i” yana svaraya ādēśa vīmen “di” yanna sǣdē. eviṭa mehi dhātu guṇa dekak miśra vū bava pæhædiliya. enam paṭhavi saha āpō dhātunya. pasat jalayat ban̆duya. sarusāra bavak han̆gavayi. yahapat dēkaṭa aganā yedumaki. ehet janma nækata hā nāmayaṭa gælapē nam pamaṇaki.

set kaviyaka vacana bhāvitayē dī adāḷa ayagē janma nækataṭa menma namaṭada sīhum viya yutuya. esēma nækatē svaraya hā namē svaraya atara pavatina bhūta guṇa tattvaya da parīkṣā kara aviruddha sē yodā gata yutuya. nækatē svaraya “a” yanna vī namē svaraya “u” yanna vū viṭa gæṭaluvak viya hækiya. paṭhavi hā tējō guṇa viruddhava tibīmayi. eviṭa mema yeduma venas kirīmaṭa sidu vē. nāmayē akṣarayan svarayak venas kaḷa nohæki bævin, kāvyaya ārambhaka akṣarayē svaraya venas kara yōgyākārayen tæbiya yutuya. enam nāmayē svaraya himi hō (u) īṭa viruddha novana bhūta guṇayaka akurak bhāvitā kaḷa hækiya. bohō viṭama ākāśa bhūta guṇa svarayak gænvē nam, mē gæṭaluva visæn̆dē. ehet vacanaya suba śabdayak, suba vastuvak sahita yedumak vīmen kāryayaṭa śaktiyak udāvē. ætæm viṭa mul vacanayē yedena akṣara atarat svara atarat sambandhaya da ræka gænīma avaśyaya. mē siyalla anek siyalu aṁga samaga sambandha viya yutuya.