That Me is a famous work by Cang Yang Jia Cuo. Described a beautiful love and the feeling of missing your lover. The original is:
That night, I listened to Brahma sing all night, not for enlightenment, but for you.
That January, I turned all the prayer tubes not to cross over, but to touch your fingerprints.
That year, I kowtowed and hugged the dust, not for the Buddha, but for your warmth.
At that time, I crossed hundreds of mountains, not to repair the afterlife, but to meet you on the road.
At that moment, I ascended to heaven and became immortal, not to live forever, but to protect your happiness and safety.
That day, I closed my eyes in the fragrant fog of the temple and suddenly heard the truth in your eulogy.
In January of that year, I shook all the prayer wheels, not to cross over, but to touch your fingertips.
That year, I kowtowed to climb the mountain, not to see you, but to stick to your warmth.
At that time, I went over the mountains and over the water stupa, not to repair the afterlife, but to meet you on the road.
Extended data
The literary achievements of Cang Yang Jia CuO's poems such as Ina.
Harmonious musical beauty. Cangyang Jiacuo's poems use the rhythm of the language itself and the characteristics of Tibetan "harmonious" folk songs, which makes the poems have a strong sense of rhythm and present a harmonious musical beauty, which is catchy and melodious to read. Mainly manifested in: First, using the characteristics of folk songs "harmonious body" and the cadence of sound to reflect the beauty of rhythm.
The beauty of distant artistic conception. Cangyang Jiacuo's poems use metaphors, puns and other techniques to set off the atmosphere, create a distinctive artistic image, create a distant artistic realm, and achieve perfect artistic effects.
Cangyang Jiacuo is a master of lyricism with images, and various images abound in his poems. In fact, the richness of images has become one of the remarkable features of Cangyang Jiacuo's poems.
Popular natural beauty. In the era in which Cangyang Jiacuo lived, the literati were mostly influenced by the poetic style of "reciting Ah", advocating elegance and profundity, and stressing the style of rhetoric. But he insisted on writing popular language into poems, making the language of "love songs" simple, simple, natural, smooth, soft and euphemistic.
Baidu Encyclopedia-Ina
What is "That Day" by Cangyang Jiacuo?
"That Day" is widely rumored on the Internet as a poem by Cangyang Jiacuo, which was actually written by a modern Han nationality, but was mistaken by most people for Cangyang Jiacuo's work. This poem expresses the poet's combination of symbol of true love and persistent belief, and praises the pure land in his heart. Perhaps because the style is very similar, he was mistaken for him by the world.
Original text:
On that day, I closed my eyes in the fragrant fog of the temple and suddenly heard the truth in your chanting; That January, I shook all the prayer tubes, not to cross, but to touch your fingertips; That year, I kowtowed and crawled on the mountain road, not to see, but to keep your warmth; At that time, I turned the landscape into a stupa, not to repair the afterlife, but to meet you on the road; At that moment, I raised my horse, not to pray, but to wait for your arrival; At that moment, I floated into immortality, not seeking immortality, but wishing you a peaceful smile. That night, I listened to Sanskrit all night, not to understand, but to find a trace of your breath. On that day, I built the Mani Pile, not for Xiu De, but to throw stones at the Heart Lake. At that time, I crossed hundreds of mountains, not to repair the afterlife, but to meet you on the road. However, on that night, I forgot everything, gave up my faith and gave up my reincarnation. Just because the rose that once cried in front of the Buddha has long lost its former glory.
Cangyang Gyatso is the sixth Dalai Lama, a Memba, and a famous figure in Tibetan history. 1683 was born in a serf family in Wujianlin Village, Xiayusong District, Nala Mountain, southern Tibet. His father is Tashi Tenzin and his mother is Tsewang Ram. This family has believed in Ma Ning Buddhism for generations.
1697 was recognized as the reincarnation of the Fifth Dalai Lama by the then Regent of Tibet, Bharti Sanjay Gyatso. In the same year, a ceremony was held in Potala Palace under the auspices of Sanjay Gyatso. 1705 was abandoned, and 1706 died during the escort. Cangyang Jiacuo is a versatile folk poet who wrote many delicate and sincere love songs. The most classic Tibetan woodcut in Lhasa, Love Song of Cangyang Gyatso, is beautifully written, simple and vivid. It has collected more than 60 love poems of Cangyang Gyatso, and now it has been translated into more than 20 languages, almost all over the world. His poetry transcends nationality, time and space and national boundaries, and becomes a valuable cultural heritage. The most famous sentence is "I used to worry about the loss of Sanskrit, and I was afraid to leave the whole city when I entered the mountain." The world is safe and steady, and it does not bear the burden of Tathagata. "
The Correct Version of "That Day" by Cangyang Jiacuo
On that day,
I closed my eyes and was in the fragrant fog of the temple.
I suddenly heard the truth in your hymn;
In January of that year,
I shake all the curved pipes,
Not to cross over,
Just to touch your fingertips;
That year,
Kowtow and climb the mountain,
Not for the audience,
Just to stick to your warmth;
At that time,
Put mountains, water and pagodas,
Not for the afterlife,
Just to meet you on the road.
Extended data
Cangyang Jiacuo's poems use the rhythm of the language itself and the characteristics of Tibetan "harmonious" folk songs, which makes the poems have a strong sense of rhythm and present a harmonious musical beauty, which is catchy and melodious to read. Mainly manifested in: First, using the characteristics of folk songs "harmonious body" and the cadence of sound to reflect the beauty of rhythm.
Cang's poems are mostly composed of four sentences, each with six syllables and neat syntax, each with a "dun" and three "dun", that is, "four sentences, six tones and three meals". Coupled with one or three "yang" and two or four "descent" ending sentences, the rhythm is clear, ups and downs, short and powerful, forming a kind of beauty.
Refer to Baidu Encyclopedia-Cangyang Jiacuo
Poems by Cangyang Jiacuo ~ that day
I hope it helps you: the original text is in Tibetan.
They all have many translated versions.
That night, I listened to Sanskrit singing all night, not to understand, but to find a trace of your breath.
That January, I turned all the meridians, not to cross, but to touch your fingerprints.
That year, I kowtowed and held dust, not to worship Buddha, but to keep your warmth.
At that time, I crossed hundreds of mountains, not to repair the afterlife, but to meet you on the road.
At that moment, I soared to immortality, not for immortality, but for your peace and happiness.
On that day, I closed my eyes in the fragrant fog of the temple and suddenly heard the truth in your eulogy.
That January, I shook all the prayer wheels, not to cross, but to touch your fingertips.
That year, I kowtowed on the mountain road, not to see you, but to stick to your warmth.
At that time, I turned the landscape into a stupa, not to repair the afterlife, but to meet you on the road.
At that moment, I raised my horse, not to beg for happiness, but to wait for your arrival.
On that day, the Mani Pile was built not for Xiu De, but to throw stones at the Heart Lake.
That January, I shook all the prayer tubes, not to cross over, but to touch your fingertips.
That year, I kowtowed on the mountain road, not to see you, but to stick to your warmth.
In this life, climbing mountains and mountains is not for reincarnation, but for meeting you on the road.