It makes you regret and sar dets a few tips for the correct Seth poet

740

සිංහල මුල් පිටපතේ අනුවාදනය මෙතනින් වස්‌ දොස්‌ නිවාරණයි සව් සෙත් උදා කරයි නිවැරදි සෙත් කවියට උපදෙස්‌ කිහිපයක්‌

The poem is supposed to be a weapon. The Great Spirit of the Sinhalese. Therefore, it has become an important communication channel from long ago. Poetry is a powerful poetry and poetry poetry. The work is done with good performance as well as bad. There is a feeling that there is a double-edged weapon, but not an offense. The purpose of this article is to mention here some of the basic principles that make up the Sath of Mawanella.

The name of the originator of poetry is the name of the person. The poet’s poetry is also powerful poet who wrote the poem at an appropriate date. This is a unique classical component. Not only are the birthdays, but also those who do not know the date of birth. Then there will be a problem if Seth poems are not writable. Similarly, the good poetry writer is well-suited to such needs. Since Seth is in trouble, Seth poems should not be reversed. If you do not have a birth certificate, you can configure a momentary hub by the time you arrive, and you can get a certain amount about the job as well as the one that came. It seems that these academic subjects have been developed to a wide extent. A temporal method can be examined according to mathematics, mathematics, mathematics, and related methods. Depending on the academic part of the program, the needs of those concerned should be met. Accordingly, all sattukys are fit to fit in. At the time, information is followed according to the information. It is not an obstacle to the strength and the result of Seth Pee. This means that there is a good way to create a poem for anyone who does not know what is happening. Also, the main point should be given when using the day.

The party itself is versatile for writing and singing. On the day of writing, the birthday of the poem and the day of the poem should be carefully analyzed with the existing duckness and be carefully examined using the non-evil qualities. From the Aswada Naskatha to the ReWaththi Nekatra, there are twenty-five varieties of earthenware. Any cycle of peculiarities is included in the cycle of rabbit, fetus, vagina, tree, etc. It is sufficient to quote it briefly. From resignation to Moorsiya, five Fathers. Thereafter, today, from the auspicious time to the night, there were six beautiful pods demons. From the matron to the house of Visso, Thereafter, the demise of the six-waves belonged to Anura. From the last, to the Rebawi, the five temples belong to the spirit tree. It appears that the five, six, five, six, and five rhythms are arranged in a pattern. There are many such characteristics in these forms of instruction. The universe is also based on balance. Balancing is a cause of devastation or difficulties, as well as difficulties. The design and the life of the living are the same. Aibwa Valandu is also subjected to this doctrine. Now, the temples associated with these spirits, and the other type of circle, have been mentioned. Mainly the vortex is also connected to this magnetic properties. Also, there are five birds associated with it. A, a, a, a, a, a, a, a, it is always powerful. This vow should be substituted for any alphanumeric algorithm. The five Uketheth parts belonged to the five bodied properties. In the above cycle, the “A” is a part of the original auspices. Then the ukate has six “e” tones. Thereafter, the “U” sounds in the tone, then the six “A” tone, and the final auspices are connected to the “O” tone. “A” is earned by an eagle or a bird band, “e” pingala, or “bakram” bird, and “b” bird bird. “E” is a hook or a maid belonging to the maura. The brave qualities of the Nakathaya, Bird, and the Vow are called A, but the same thing is clear. That is, the properties of wax or reservoir. At the very beginning, it is clear that aka template should be checked to see if a single portion is indicated in other names. Hence, the demon, bird. Vowels should be connected with each other in a non-disruptive manner. According to the Five-Pyramid cycle, it clearly states:

Enemy the belligerent friends

The bird of demonic bird

1. Photogravure Pearls and Pigments

2. It’s the air of the hooks

3. The great king hookups

4. Let’s play baton the creaky hooks

5. Air Dragon – – –

Throughout the cycle, the characteristic rivalry between the demonic elements is clear. Where the spirit room is shown only with all the other demons.

At the beginning of a set poem, attention should be paid to these stocks. Also, Pura is a mastermind of the bastions of the marauding birds. Making a poem is a futile act on bird day. This is also the type of badges. These properties are also in the name of someone’s birthplace. There are five demons in the same person. But the main part of the plot is dominant. Accordingly, the birth of the child is main. In the new ways, such as resources, oasis, factors, Maithree, and Supra Maitreya should be used in one’s own way, such as ghosts, resources and disasters. If it is not appropriate for the physical properties, it should not be used for the epic poem.

The soil of the earth is known as Panthivu. Potatoes are water, water, and water. The Heavenly Fire, Heat, Heat. Wind air, wind. The air is called air and the asteroid indicates the sky, the space, the place of the space.

The addition of phantasm and corsets is a very good fit. There is a relationship between the “a” and “e” in a loud or vowel. Water is like water in the soil. It’s fertile. If “a” is added to the “A”, then there is a cause for disaster. “A” is the “Fatvi” or soil, and “B” is a fire, indicating heat. Due to the soil and fire, it becomes hot and frozen. Otherwise, the fire too is caused by the soil. Avoid burning. These two substances are not allowed to grow, by uniting. Combining two unbalanced substances or properties does not create a happening. Also, the sounds of incompatible sounds can cause harm. A, B, O, B, B, A, B, A, B, A The vocal is also a-gh. Accordingly, this method rests all over the place. These characteristics are common in all things in the universe. There are many and many of these strengths that will lead to harmful effects. The functions of the demon part in the five-benthic cycle show the actions that occur when they unite other demonic properties. They are unnecessary to describe one another.

If the wax or other reservoir is otherwise mentioned, there are a number of groups of crows. It is necessary to use the letters in the chanting. Such a check should be applied using the proper characters and the words with the gifted greeting. Especially the original word thus applying is required. The words of the poet, vagaries, and so on are not as good as regards the vowel. That is why it is necessary to eliminate slander first. The first tone of the first tune and the name of the first circle and the subsequent tone must be free of the sound.

A and g

B and it

And that’s it

The direction of play is indicated by the e and the o, respectively. The rest of the tones are unreliable.

Completed – In the Theory of Laws (Good – bad) letters, there are differences between some teachers’ caste. The letter may also be greeting the standard letter with a badge. Therefore, it has to be used in relation to the relevant people.

There are no works of art such as “Sidat Magazine, Kawmine Naway”, Sanskrit scriptures, and the perceptual attitudes of the performed-atype. It begins with the Sidath magazine starting with the letter “M”.

“Smile and shake up …”

When examining the Sinhala poetry, it is clear that from the time of the Anuradhapura period, it was also used with the letter of two centimeters. This is the method used in Seth’s poetry tradition. Only fourteen letters were used, and it has been classified into four categories: Brahman, Raja, Vaishya and Shudra. At the same time, it is the non-precious characters.

Hg, J, Ch, D, De, and Ang are alphabets. But these letters are known to exist for poetry from ancient times. Vidagamage and Siddhartha magazines are distinguished from the variants of the grammatical creations performed. In addition, a number of special characters used for Seth poetry are also shown in the Secret Teacher Vest. Some of these teachers’ vocabulary can be found in the set poetry system.

If a word that has been started with a bad start, then the next letter is also effective. These characters should be used according to the nature of the character. In the same place, the five-mantle spirit is a cause of strength. When examining how spelling is used with words, a particular word has to be used when another word or poem has the meaning of the term. Then, the tone of the expression, the alphanumeric properties, the flax, the vagina are suited, it is desirable for Seth. This is easier if the dictionary is developed. It is appropriate to use a similar word for one word. This is called WordPrint. Suppose that the idea of ​​the Moon is an inconvenient occasion. Then the term “moon” belongs to this idea. When the name does not match either the name or the part of the vagina, one has to check on another name that is used by the moon. For example, the “moon” in the word opposes the owner of the law. Or its origin can be opposed. It is obvious that the moon can not be used when the name Edmund. The letter “s” is represented by the letters “E, D, Y”. The letters A, B, B, and B are contradicted. Sometimes it is clear that the apex is not compatible with the Seamine Test. According to the five-world cycle, “E” airy. “S” arose demons. These wizard properties do not produce power. Indifferent. The second “The” font is Fool’s. The same relationship is also known. There is no fruition. The inferiority can then be verified by its vagina.

Edmund = E-D-m-A-r-nd 6 3 3 6 4 3 = Total = 25

When 25 is divided, 25/8 = 3 is 1.

The remaining one is the stool.

The word “moon” should also be checked.

Moon = d-a-d-a

3 6 6 6 = Total 21

If 21 is divided, then 21/8 = 2. The rest is 5.

The rest of the remaining five.

The term “moon” has been misquoted by the term “moon” given to Edmund, a gurgling moon. This is a bad thing. One way too bad

In this regard, special mention should be taken not only of the vagina, but also of the vaginal vagina, for examining as the classical method. Accordingly, the term “moon” should be changed and another application of that idea should be checked. Accordingly, “E” is only the witch’s “Tharindu” which starts with a spirit letter. The glossy second character “R” is also good. But “Tharindu” means “Leave” wave. “KALANI” is going to the moon and its “hot” winds. Thieves tame. A nice app. It appears that the two letters must be inverted, and the slimy voice of the Thege and the Edmunds. An excellent application. Its second letter, “The”, is then converted into an unwritten letter. The “art” of the moon is also an expression of tung vole. Paying attention to the appropriateness of other applications as well as incorrectly using Daya Karuna in the correct use of art (although difficult).

vas dos nivāraṇayi sav set udā karayi niværadi set kaviyaṭa upades kihipayak

kaviya aviyak vænnæyi yanuvenudu san̆dahan kara tibē. virita siṁhala kaviyē ātmayayi. ē anuva balana viṭa durātītayē siṭama prabala sannivēdana mārgayakda vī tibenu pæhædiliya. kaviya aviyak nam set hā vas kavi prabala aviyaki. aviyen hon̆da væḍa menma narakada sidu vē. depætta kæpena aviyak yǣyi hæn̆gī giyada varadak novē. san̆dasa guru koṭa ganu labana set kaviyaṭa pādaka vana mūlika karuṇu kīpayak mehi san̆dahan kirīma mema lipiyē aramuṇayi.

kaviyen pala læbīmaṭa adahas karannāgē janma nækata, nāmaya pradhāna vē. esēma kavi racakayāgē janma nækatada yōgya dinayakadī racanaya vana kaviyaṭa balavat vē. mē suviśēṣī śāstrīya aṁgayaki. janma nækata pamaṇak nova, upata læbū dinaya, velāva nodannā ayada siṭiti. eviṭa set kavi liviya nohækida yana gæṭaluvak æti vē. hon̆da set kavi racakayā hon̆da jyedatiṣyavēdiyakuda vannē yǣyi san̆dahan kara tibennēda mevæni avaśyatāvayan sambandhayeni. gæṭaluvakaṭa patvū bævin set kavi liviya nohæki yǣyi āpasu haravā yǣviya yutu næta. janma patraya næti viṭa pæmiṇi velāva anuva tatkāla kēndrayak sækasīmenda kāryayaṭa adāḷa dē menma pæmiṇi tænættā piḷiban̆davada yam pramāṇayaka hæn̆dinīmak labāgata hækiyi. mema śāstrīya viṣayayan kīpa ayurakin bhāvita kirīma dakvā diyuṇu karana lada bava penē. tatkāla kramaya, nimiti śāstraya, dvākṣa væni gaṇitaya da āśrita krama ādiya anuvada parīkṣā kaḷa hækiya. kinam vū śāstrīya koṭasak anuva adāḷa ayagē avaśyatāvaṭa pihiṭa sælasiya yutuya. ē anuva set kaviyaṭa sudusu siyalu koṭas sambandha karaganu læbē. ehidī tat kālayē toraturu anuva yōgya nækata anugamanaya kirīma sidu vē. eya set kaviyē śaktiyaṭa menma pratiphalayaṭada bādhāvak novē. meyin adahas vannē janma nækæta nodannā kenakuṭa vuvada set kaviyak nirmāṇaya kirīmaṭa sudusu kramayak æti bavayi. emenma dina yodā gænīmēdī pradhāna sthānaya diya yutu karuṇak da san̆dahan vē.

pura pakṣayama set kavi racanayaṭat, gāyanayaṭat sudusuya. janma nækata saha kaviya racanā karana dinayē dī pavatina nækata samaga paṁcabhūta guṇaya sasa1 balā bhūta guṇayan viruddha novana sē yodā gænīma viśēṣayen parīkṣā kaḷa yutuya. asvida nækata siṭa rēvatī nækata dakvā nækæt visihata paṁca bhūta koṭas anuvada varga vē. ōnǣma pañcāṁga litaka nækæt, gaṇa, yōni, vṛkṣa ādiya san̆dahan cakrayak ætuḷat kara tibē. eya luhun̆ḍin mesē dækvīma pramāṇavat yǣyi han̆gimi. asvida siṭa muvasirasa dakvā nækæt paha paṭhavi bhūtayi. inpasu ada nækata siṭa puvasal dakvā nækæt haya āpō bhūtayi. utrasalaya siṭa visā dakvā nækæt paha ayat tējō bhūtayāṭaya. ikbitiva anura nækatin æræm̆bī suvaṇa dakvā æti nækæt haya vāyō bhūtayāṭa ayat vē. avasan vaśayen denaṭa siṭa rēvatī dakvā æti nækæt paha ayat vannē ākāśa bhūtayāṭaya. paha, haya, paha, haya, paha yana ridma raṭāvakaṭa anuva sakas vī æti bava penē. mema śāstra vidhi tuḷa meban̆du lakṣaṇa behevin pavatī. viśvayada nirmāṇaya vī pavatinnē samabaratāvak anuvaya. samabara bava gilihīma nisā vināśaya hō asīrutā menma gæṭalu bādhakada æti vē. jīvīngē nirmāṇaya, pævætma vuvada īṭa samānaya. ajīva vastūnda mema dharmatāvaṭa natu vē. dæn mema bhūta koṭas anuva sambandha nækætda, īṭa himi akṣarada dækvū tavat cakrayak pañcāṁga lithi san̆dahanva æti bava penē. pradhāna vaśayen svara pasada mema bhūta guṇa samaga sambandha vē. emenma ē samaga pakṣīn pasdenakuda ēvāṭa sambandha kara tibē. a, i, u, e, o yana svara sǣma viṭama balavatya. ōnǣma akṣarayak paṇa gænvīmaṭa mema svara ādēśa viya yutumaya. nækæt koṭas paha samaga bhūta hevat dhātu guṇa pahada īṭama ayat kara æta. ihata cakraya anuva mul nækæt pahaṭa ayat “a” svarayi. inpasu nækæt haya “i” svaraya ayat ya. ikbitiva “u” svarayaṭa nækæt pahakda nævata nækæt hayak “e” svaraya samagada, avasāna nækæt paha “o” svarayaṭa da sambandha vē. “a” rājāli hevat bhēruṇḍa pakṣiyāṭada, “i” piṁgala hevat bakamuhuṇā pakṣiyāṭada, “u” kāka pakṣiyāṭada himivē. “e” kukkuṭa hevat kukuḷāṭa ayat vana atara “o” mayurayāṭa ayat ya. nækat bhūta guṇa, pakṣi, svara yana koṭas ē nam vaśayen hæn̆dinvuvada ekama dē hæn̆gavena ayuru pæhædiliya. enam bhūta guṇa hō dhātu guṇama bavaya. nækæt parīkṣā kaḷa yutu bava muladī san̆dahan kirīmenda pæhædili vanuyē ekama koṭasak venat venat namvalin dakvā æti bavayi. ebævin bhūta nækæt, pakṣi. svara yanu sǣma koṭasak samaga sambandha kaḷa yutu vannē viruddha novana ayurini. paṁca bhūta cakraya anuva eya pæhædiliva mesē dækvē.

bhūta pakṣi mituru mituru saturu saturu

pakṣi bhūta pakṣi bhūta

1.Êpaṭhavi bhērun̆ḍa piṁgala āpō kāka tējō

2.Êāpō piṁgala bhērun̆ḍa paṭhavi kukkuṭa vāyō

3.Êtējō kāka kukkuṭa vāyō bhērun̆ḍa paṭhavi

4.Êvāyō kukkuṭa kāka tējō piṁgala āpō

5.Êākāśa mayura – – –

cakraya tuḷin bhūta koṭas atara pavatina mituru saturu guṇa svarūpaya pæhædili vē. ehidī ākāśa bhūta koṭasa pamaṇak anya sǣma bhūta koṭasak samagama mituru bava dækvē.

set kaviyak ārambhayē dīma mema koṭas piḷiban̆dava avadhānaya dækvīmaṭa siduvē. esēma pura – ava pakṣavaladī pakṣīngē raja mara bhēdayakda vē. pakṣi mara dinayakadī set kaviyak sǣdīma niṣphala kriyāvaki. meyada pañcāṁga litvala dækvē. yamakugē janma nækata, nāmākṣaraya tuḷada mema guṇa pavatī. esēma bhūta guṇa pahama ema tænættā tuḷa æta. ehet væḍi vaśayen bala pævætvena bhūta koṭasama pradhāna vē. ē anuva janma nækata pradhāna karagænē. bhūta, pakṣi ādiya anuva janma, sampat, vipat ādī nava vidha kramayē dī sampat, kṣēma, sādhaka, maitrī, parama maitrī yana nækæt atarin ekakma yodā gata yutumaya. eya bhūta guṇayaṭada yōgya novē nam set kaviyaṭa noyediya yutuya.

paṭhavi yanuven poḷova pasa yanna hæn̆dinvē. āpō yanu jalaya, vatura, diya yanuyi. tējō ginna, raśmiya, tāpayayi. vāyō vātaya, suḷan̆ga. vāyuva yanuven han̆dunvana atara ākāśa yanu ahasa, avakāśaya, iḍa æti sthānaya yana adahas han̆gavayi.

paṭhavi saha āpō dhātu ekvīma itā hon̆da gæḷapīmaki. śabda vaśayen hō svara vaśayen “a” saha “i” atara ema sambandhaya pavatī. pasaṭa jalaya meni. sarusāra bava æti vīmaki. yam heyakin “a” śabdayaṭa “u” ek vuvahot etæna vināśayakaṭa hētuvaki. “a” paṭhavi hevat pasa vana atara “u” ginna, tāpaya han̆gavayi. pasa saha ginna ekvīma nisā rat vī nisaru bavaṭa patvē. venat ayurakin san̆dahan karannē nam ginna nivīmada pasa nisā sidu vē. gini æviḷīma væḷakē. mema dravya deka vardhanayak æti kirīmaṭa iḍa novannē ekvīmeni. nogæḷapena dravya hō guṇa dekak ekvīmen suba siddhiyak janita novē. emenma ē hētuven nogæḷapena śabda ekvīmenda anarthayak haṭaganī. a, o, ta, la cakrayaṭa anuvada, “u”, “a” samaga viruddhaya. svara vēdayē dī da, a-u viruddhayi. mē anuva mema kramaya siyaluma tæna ræn̆dī tibē. viśvayē pavatina siyallehima meban̆du gati lakṣaṇa sulabaya. ven venva pavatina viṭa æti śaktīnhi adhika bava menma ema śaktīn ekva anarthayan siduvana bavada sæmadēkama pavatī. paṁca bhūta cakrayē dækvena bhūta koṭashi svabhāvayan magin sesu bhūta guṇa ekvū viṭa ætivana kriyākāritvayan pæhædili vē. ēvā ekineka vistara kirīma anavaśyaya.

bhūta hevat dhātu guṇa tavat ayurin san̆dahan vannē nam, śakti samūhayaki. set kavi karaṇayē dī akṣara yediya yutu vannē eya mulkara genaya. janma nækataṭa menma namaṭa da sīhum vana sē evæni parīkṣāvak kara itāma sudusu akṣara bhāvita kara suba gaṇa subavastu san̆dahan vacana yediya yutuya. viśēṣayen mul vacanaya mē anuva yedīma atyavaśyaya. svara atara pavatina virōdhatāva nosælakīmen kaviyehi vacana gaṇa, yōni ādiya kotaram subava ætat in yahapatak salasā gata nohækiya. mulinma svara virōdhaya duru kaḷa yutu yǣyi san̆dahan vannē ebævini. set kavehi mul svaraya saha nāmayehi mul svarayat, īṭa pasu yedena svarayat, svara vēdayen toraviya yutuya.

a saha u da

ā saha ū da

i saha e, ē da

ī saha o, ō da yana piḷiveḷin svara vēdhatāvaya dækvē. sesu svara nirvēdhayi.

iṭu – aniṭu (suba – asuba) akṣara piḷiban̆da nyāyayē dī ætæm guru kula atara venaskam pavatī. esēma nāmākṣaraya anuva suba akurak asuba vīmaṭada suba yǣyi sammata akurak suba vīmaṭada iḍa tibē. ebævin eya adāḷa aya sambandhava yodā gænīmaṭa sidu vē.

“sidat san̆garāva, kavmiṇi mālaya” væni kṛtīnhida, saṁskṛta alaṁkārita grantha æsurinda, iṭu-aniṭu kramayehi piḷigat matayak daknaṭa nolæbē. sidat san̆garāva “ma” akṣarayen ārambha kirīmen eya pæhædili vē.

“ma hada gan̆da kiḷi kæra…” ādī vaśayeni.

siṁhala padya vaṁśaya parīkṣā karana viṭa pæhædili vannē anurapura yugayē siṭama akuru detisak samaga biṁduvada yodā gannā lada bavaki. set kavi sampradāyayē dī da mema kramayama yedē. ehidī eyin akuru visipahak pamaṇak yodāgat atara eya brāhmaṇa, rāja, vaiśya, śudra yana koṭas hatarakaṭa varga kara tibē. ē atara vaṁśa rahita akṣarada vē.

ga, ja, ca, ḍa, da, ya, aṁ yana akṣarayi. ehet mema akṣara set kavi san̆dahā yedena bava atītayē siṭama daknaṭa læbē. vīdāgama saha sidat san̆garā guru kula atara iṭu aniṭu akṣara varga kirīmē venaskam daknaṭa æta. emenma set kavi san̆dahā mænævæyi bhāvita karana lada suviśēṣī akṣara samūhayakda rahasya guru muṣṭi kramayanhi san̆dahan vē. mevæni guru kula yedum kīpayakma set kavi kramayē dī bhāvita karana lada ayuru daknaṭa læbē.

yam heyakin asuba akurakin ārambha karana lada vacanayak noliyāma bæri vū avasthāvakadī īḷan̆gaṭa yedena akuru suba vīmenda phaladāyaka bavaṭa patvē. mehidī nāmākṣarayē svabhāvaya anuva ema akṣara bhāvitayaṭa gata yutuya. etænadīt paṁca bhūta śaktiya mul kara gænīma kaviyē śaktiyaṭa hētuvaki. vacana bhāvitaya samaga akṣara yedena ayuru parīkṣā karana viṭa yam vacanayaka adahasama æti venat vacanayak hō kaviyak æti viṭa yōgya vacanaya yedīmaṭa sidu vē. eviṭa ema yedumē svaraya, akṣara paṁca bhūta guṇayada, gaṇa, yōnida subadāyakava pavatī nam set kaviyaṭa yōgyaya. śabda kōṣaya diyuṇu nam meya pahasuya. ek vacanayak san̆dahā samāna vacanayak bhāvita kirīma sudusuya. meya paryāya vacana namin hæn̆dinvē. candrayā yana adahasa yediya yutu vū viṭa noyodāma apahasu vū avasthāvak ætæyi sitamu. eviṭa ema adahasa ayat “san̆da” yanna sihi vē. meya nāmākṣarayaṭa nækætaṭa hō yōni ādī koṭasvalaṭa hō in ekakaṭa nogæḷapena viṭa, candrayāṭa bhāvita vana venat nāmayak piḷiban̆dava parīkṣā kirīmaṭa sidu vē. nidasunak vaśayen “san̆da” yana vacanayehi æti nāga yōniya, guruḷu yōniya himiyakuṭa viruddhaya. nætahot ehi mulakura viruddha viya hækiya. eḍmanḍ yana nāmaya æti viṭa san̆da yanu yediya nohæki bava pæhædiliya. “sa” akuraṭa “e, ḍa, ya” yana akuru tunama viruddha bava a, m̆ba, ta, la cakrayehi dækvē. ætæm viṭa nækæt sīhuma parīkṣāvē dī da nogæḷapena bava pæhædili viya hækiya. paṁca bhūta cakrayaṭa anuva “e” vāyō bhūtaya. “sa” āpō bhūtayi. mema bhūta guṇa ekvīmen balayak upadinnē næta. udāsīnayi. devæni “da” akṣaraya paṭhavi bhūtayi. ema sambandhaya da udāsīnaya. kisidu pala udāvak novē. tavaduraṭat ehi yōni parīkṣā kirīmen mehi nisaru bava pratyakṣa vē.

“eḍmanḍ = e-ḍ-m-a-n-ḍ 6 3 3 6 4 3 = ekatuva = 25 yi

25 aṭen bedū viṭa 25/8 = 3 itiri 1 yi.

ehi itiri eka guruḷu yōniyayi.

san̆da yana vacanayada parīkṣā kaḷa yutuya.

san̆da = s-a-d-a

3 6 6 6 = ekatuva 21

21 aṭen bedū viṭa 21/ 8 = 2 yi. itiri 5 yi.

mehi itiri paha nāga yōniyi.

guruḷu yōniya himi “eḍmanḍ” ṭa nāga yōniyē “san̆da” yana yeduma kīpa ayurakinma ayōgya vī tibenu pæhædiliya. meya napuruma yedumaki. ek kramayakin vuvada nosudusumaya.

mehidī viśēṣayen san̆dahan kaḷa yutta, gaṇa himi yōni pamaṇak nova vacana himi yōnida, parīkṣā kirīma śāstrīya kramaya bavaya. ē anuva “san̆da” yana yeduma venas kara, ē adahasa æti venat yedumak parīkṣā kaḷa yutuya. ē anuva “e” yana vāyō bhūta akṣarayakin ārambha vana “tarin̆du” bhūta guṇaya pamaṇak subaya. devæni akṣarayē “ri” yana tējō guṇayada subayi. ehet “tarin̆du” yanu “nāga” yōniya hæra dæmīmaṭa sidu vē. “kalāni”Êyanuda san̆daṭa yedē ehi “ka” vāyō bhūtayi. yōniya vyāghrayi. suba yedumaki. akṣara dekakma viya yutuma nam “in̆du” yanuda tējō bhūta “i” saha “eḍmanḍ” namaṭa himi guruḷu yōniya ma bava penē. viśiṣṭa yedumaki. ehi devæni akṣaraya “da” vuvada inpasu aviruddha akṣarayak yedū viṭa sudusu bavaṭa patvē. candrayāṭa “kalā” yanu da vyāghra yōniya ayat yedumaki. mevæni tavat yedum æti bævin sudussak yedīmaṭa avadhānaya yomukara parahitakāmīva dayā karuṇā guṇayen śāstraya niværædiva bhāvita kirīma (duṣkara kāryayak vuvada) væḍadāyakaya.

This is a Google word to word translation of a article publised on Divaina on 2012/01/06.