பொங்கி வரும் பூரணமா லிங்கந் தன்னில்
போந்துறையும் வாலைரஸம் தன்னை வாங்கப்
பங்கமுண்டு பன்னிருகை வேலோன் பாதம்
பணிந்துதுணை யாக்கொண்டு பங்கம் நீங்கிச்
சங்குகொண்டே தாரையதில் ஊதிக் கொள்ளச்
சர்வலோ கங்களெலாம் வசிய மாகும்
தங்கமுறத் தடையில்லை என்றா லுந்தான்
தாரணியி லிதைச்செய்து முடிப்பா ருண்டோ!
pongi varum pūraṇamā liṅgan tannil
pōnturaiyum vālairasam tannai vāṅgap
paṅgam uṇḍu pannirukai vēlōn pādam
paṇintu tuṇai yākkonḍu paṅgam nīṅgic
caṅgukoṇḍē tāraiyatil ūtik koḷḷac
carvalō kaṅgaḷelām vaciya māgum
taṅgamuṟat taṭaiyillai eṉṟā luntān
tāraṇiyi litai cceytu muṭippā ruṇḍō!
In the swelling, complete (pūrṇa) liṅga itself,
—to take/receive the vālai-rasam that comes and resides there—
there is defect/impurity (pankam).
Bowing to the feet of Vēlōn of the twelve hands,
taking him as supporting help, with the defect removed,
if, holding a conch, one blows into the tārai,
then all the worlds become subject to one’s control.
If you say there is no obstruction for it to become gold,
who on this earth is there that can do this and bring it to completion?
Within the “pūrṇa-liṅga” where a force/essence rises and swells, a subtle “vālai-rasam” (a coded “essence,” possibly a final extract) is obtainable, but it is mixed with flaw/impurity and risk. Therefore one must first seek refuge at the feet of Vēlōn (Murukaṉ, the spear-bearing one with twelve hands), taking divine/guru support so that the “defect” is removed. Then, by the act signified as “taking the conch and blowing into the tārai” (whether breath-work/mantra in the inner body, or an operation with an apparatus/pipe in an outer alchemical working), mastery or “vasiya” over the spheres/worlds is said to arise. Yet the poet turns sharply: even if one claims there is no barrier to making ‘gold’ (literal transmutation or the ‘golden’ perfected body/state), who, in practice, can truly accomplish and complete it?
The verse layers devotion, yoga, and rasavāda (Siddha alchemy) in a single code.
1) Purification before power: “pankam” (mud/defect/impurity) appears exactly at the point where the sought essence is to be “taken.” This mirrors a recurring Siddhar warning: siddhi-claims and rasa-operations fail or corrupt when attempted with impurity—whether moral, bodily, or procedural.
2) Vēlōn as initiatory principle: Murukaṉ (six-faced, twelve-handed) is not only a deity of battle but a Siddha emblem of disciplined force: spear (vēl) as discriminating penetration, cutting delusion; devotion as the stabilizing “tuning” that makes dangerous knowledge workable. “Bowing to the feet” is simultaneously bhakti and submission to lineage/guru-method.
3) “Conch” and “tārai” as inner/outer technology: The conch traditionally signals sacred vibration (Oṁ), breath, and proclamation. “Blowing” hints at prāṇa regulation, mantra resonance, or directing air/fire in an operation. “Tārai” can be read as an instrument/pipe/duct/stream; thus the line can map to (a) yogic channels and breath-driven awakening, or (b) a furnace/apparatus in which air is fed to complete a transformation.
4) Vashyam and the ethical check: “Sarva-lokam vasiya” (making all worlds subject) evokes siddhis of influence and command. The closing rhetorical question undercuts easy triumphalism: even if the doctrine says “no obstacle” to ‘gold,’ actual attainment is rare. This functions as both humility and a critique of boastful alchemical or yogic claims.
Overall, the verse treats “gold” as a double sign: the literal metallurgical goal and the emblem of an incorruptible, perfected state. The poet keeps the promise intact while stressing the difficulty, the necessity of guidance, and the ever-present danger of impurity.