This song praises the beauty of the natural environment, while structurally it incorporates phonetic ornaments at the end of every line. Such phonetic ornaments are thought to have been introduced in the second transmission from India, when The Mirror of Poetics (Wylie: snyan ngag me long) was translated into Tibetan. However, such phonetic ornamentation is also claimed to have existed before that time in Tibetan folk songs. Supporters of this hypothesis point to the phonetic ornaments used after every sentence--such as dal la la, su le le, gor ro ro, and ldem me ldem--as proof.