Golden Lay Verses

Verse 115 (மை வைப்பு)

தமிழ் பாடல்

ஆறிவிட்ட கணமதிலே சரக்கைச் சொல்வேன்

அருஞ்சிலையின் வீரரசக் கெந்த லிங்கம்

கீறிவிட்ட வராகனெடைச் சமமாய்த் தூவிக்

கிளறிவிட்ட சாம்பனுடைப் பிராணிதாக்கி

ஏறிவிட்ட ரவியதிலே உலர்த்தி விட்டே

எட்டிரண்டு நாட்கழித்தே எடுத்தி டாயே

கூறிவிட்டேன் கருந்துளசிப் பேயின் தும்பைப்

குருக்கிடவே குப்பையுடை மேனிச் சாறு

வீறிவிட்ட குருத்தொட்டி வேருங் கூட்டி

விரிந்திட்ட செம்பருத்தி யதையுஞ் சேர்த்து

Transliteration

Āṟiviṭṭa kaṇamatilē sarakkaic colvēṉ

Aruñcilaiyiṉ vīraracak kenta liṅkam

Kīṟiviṭṭa varākaṉeṭaic camamāyt tūvik

Kiḷaṟiviṭṭa cāmpaṉuṭaip pirāṇitākki

Ēṟiviṭṭa raviyatilē ulartti viṭṭē

Eṭṭiraṇṭu nāṭkaḻittē eṭutti ṭāyē

Kūṟiviṭṭēṉ karuntuḷacip pēyiṉ tumbai

Kurukkiṭavē kuppaiyuṭai mēṉic cāṟu

Vīṟiviṭṭa kuruttōṭṭi vēruṅ kūṭṭ

Literal Translation

“At the very moment it becomes settled/clear, I will state the ingredients.

The ‘liṅga’ of the vīra-rasa of the rare bow—

Having slit/cut, sprinkle the ‘varākan’ measure equally,

Stir it well and make it into the ‘prāṇi’ of the sāmban.

Dry it in the sun that has risen high,

After eight-and-two days have passed, take it out.

I have stated: the dark (black) tulasi, the pey-thumbai,

To be mixed in—the bodily juice of kuppai.

Add also the root of the kuruthotti that has become vigorous,

And include that too—the fully spread (blossomed) hibiscus.”

Interpretive Translation

A coded Siddha pharmaco-alchemical instruction is being given.

When the mixture “settles/clarifies,” the speaker reveals the recipe: take a substance named in emblematic terms as a “liṅga” of “vīra-rasa” (often suggestive of a potent mineral essence in Siddha jargon), cut/prepare it, and sprinkle in an equal measure of another item called “varākan.” Stir thoroughly, convert it into a “living/activated” form (prāṇi), then dry it under strong sunlight. After sixteen days of maturation, remove it and incorporate specific botanicals/juices: black tulasi, pey-thumbai, kuppaimeni (given as “body-juice/expressed juice”), along with kuruthotti root and the fully opened hibiscus flower.

Philosophical Explanation

This passage reads like a Siddhar’s “concealed recipe,” where ordinary botanical names sit beside deliberately opaque identifiers (vīra-rasa, liṅga, sāmban, prāṇi). On one level it is practical: preparing a compound by cutting, equal-measuring, thorough mixing, solar drying, and timed maturation (sixteen days). On another level, the operations mirror Siddha transformation doctrine: - “Settling/clearing” hints at a stage of stabilization—both in medicine (clarification of a decoction/paste) and in inner practice (mind and breath becoming steady). - “Liṅga” can indicate a formed pellet/marking-core of a substance (or the generative principle itself), implying a concentrated seed of potency. - “Making it prāṇi” suggests ‘animating’ or ‘activating’ the preparation—language that can refer to an infused vitality (prāṇa) rather than mere mixing. - Drying in “ravi” (the sun) is not only dehydration but solar “cooking” (tāpa/tapas), a classic alchemical move where heat and time ripen a medicine. - The sixteen-day interval can be read plainly as a curing period, and also symbolically as a half-lunar cycle—an encoded timing principle used in Siddha and tantric-alchemical traditions. Thus the verse can function simultaneously as (1) a literal pharmacological protocol and (2) an allegory of inner ripening: equalization of forces, activation of life-energy, and maturation under the ‘sun’ of disciplined heat.

Key Concepts

  • Siddha materia medica (herbs and possibly mineral essences)
  • Coded terminology: vīra-rasa, liṅga, prāṇi
  • Equal proportioning (samam)
  • Solar drying / tapas (ravi)
  • Timed maturation period (sixteen days)
  • Plant identifications: karun tulasi (black tulasi), pey-thumbai, kuppaimeni/kuppai juice, kuruthotti root, sembaruthi (hibiscus)

Ambiguities or Multiple Readings

  • “அருஞ்சிலையின் வீரரசக் கெந்த லிங்கம்” is highly cryptic: it may point to a specific mineral compound (e.g., a processed ‘essence’ formed into a pellet/mark), or it may be an esoteric epithet rather than a literal ‘bow.’
  • “வராகனெடை” can be read as a named ingredient, a weight/measure (like ‘a varākan’s measure’), or a metaphor; the exact referent is uncertain without the text’s internal glossary/tradition.
  • “சாம்பன்” may mean an entity/personage (e.g., a Shaiva epithet), ‘ash/ashen’ quality, or a coded substance; likewise “சாம்பனுடைப் பிராணி” could mean ‘activated form belonging to/associated with sāmban’ rather than an actual ‘animal.’
  • “பேயின் தும்பை” (pey-thumbai) is ambiguous: it may denote a specific herb-variety known in Siddha circles, or function as a veiled code-name for a property (pungency/bitterness/ghostly—i.e., subtle/volatile).
  • “குப்பையுடை மேனிச் சாறு” could be parsed as ‘the juice of kuppai’s body’ (i.e., expressed sap of a plant such as kuppaimeni) or as a metaphor for extracting the ‘essence’ of something considered low/refuse-like (‘kuppai’).
  • The entire passage can be read as an outer medical/alchemical recipe, or as an inner-yogic instruction mapping ingredients and steps onto channels/energies, where ‘sun-drying’ and ‘sixteen days’ become contemplative timing and energetic maturation.