போட்டகஜ புடமதையே புரட்டிப் போடு
பொட்டெனவே சுண்ணமது பொன்போற் பொங்கும்
வாட்டமறப் பொசுக்கியதோர் செம்பே ழுக்கே
வகையொன்றாய்ப் பொருத்திடவே வாதம் காணும்
வேட்டமுற வெள்ளியாம்பின் பொன்னாம் வேதை
வேறுள்ள வேதையெல்லாம் வீணாம் வேதை
ஆட்டமுற வாசியென்னும் பூநா கத்தை
ஆட்டிவிடப் பாரெல்லாம் ஆடும் பாரே
pōṭṭakaja puṭamataiyē puraṭṭip pōṭu
poṭṭenavē suṇṇamatu poṉpōṟ poṅkum
vāṭṭamaṟap posukkiyatōr sempē ḻukkē
vakaiyoṉṟāyp poruttitavē vātam kāṇum
vēṭṭamuṟa veḷḷiyāmbiṉ poṉṉām vētai
vēṟuḷḷa vētaiyellām vīṇām vētai
āṭṭamuṟa
“Flip over the pottakaja-putam (the calcination/furnace setup) and set it down.
At once the chunnam (calcined powder/‘lime/ash’) swells up like gold.
A copper-*ēḻukku* (copper ‘rust/slag/oxide’-state) that has been roasted so that no dampness remains—
when you fit it together into a single mode, you will see ‘vādam’.
With keen pursuit: the ‘gold of the silver-arrow’—this is the true *vētai* (knowledge/‘veda’).
All other vētai/vedas, different from this, are useless vētai.
The flower-serpent (*pū-nāgam*) called ‘vāsi’—
if you set it dancing, look: the whole world dances.”
Reverse the working (turn it over): in the sealed heat of transformation, what appears as mere white ash becomes gold-like. Dry out all “moisture” and roast the copper-state until only the essential remains. When the ingredients (or inner forces) are made to agree as a single system, the sign of vādam—movement, wind, breath, or the vāta-principle—becomes evident.
The real “scripture/knowledge” is the art by which the silver (or the mind’s sharp ‘arrow’) yields gold; other doctrines are declared secondary. When the ‘vāsi’—breath/control—awakens the serpent-force (pū-nāgam), and you make that force “dance” under mastery, then phenomena itself seems to move to your rhythm: the world “dances.”
This verse reads like a dual manual: (1) outward *rasavāda* / metallurgical-alchemical instruction, and (2) an inward yogic allegory.
On the outward level, terms like *putam* (sealed calcination/furnace), *chunnam* (a calcined medicinal ash/powder), copper-states (oxide/slag), silver, and gold point to a transmutation sequence: heating, inversion/turning of the vessel, drying off moisture, and “fitting” or proportioning substances into a single correct method (*vagai ondrāy poruttudal*). The “gold-like swelling” of chunnam suggests a stage where a white calcined product gains a golden sheen or potency—common Siddha imagery for a perfected ash/essence.
On the inward level, the same vocabulary becomes body-yoga. “Flip the putam” can mean reversing ordinary outward orientation (turning awareness inward) or reversing the flow (a hallmark of haṭha/tantric language: upward reversal of downward tendencies). “Moisture” can be read as residual desire/instability; “roasting until no dampness remains” becomes tapas that dries up compulsions. “Vādam” then is not merely an argument but the vāta/wind principle: the prāṇic motion that becomes perceptible when inner processes are correctly aligned.
The climactic pivot is *vāsi*: in Siddhar diction it can indicate breath, breath-retention, or a particular mode of prāṇa-governance. The “serpent” (*nāgam*) is simultaneously a metal-name in Indian alchemical code and a yogic emblem for kuṇḍalinī/inner power. By making the vāsi-serpent “dance,” the adept gains mastery over the movements that normally drag the mind/world; thus the rhetorical claim: when the inner force dances under command, the ‘world’ (senses, thoughts, fate-like appearances) dances—i.e., becomes pliable, synchronized, or non-binding.
The dismissal of “other vedas/knowledges” is a typical Siddhar stance: experiential mastery (alchemy+yoga as lived technique) is elevated over discursive learning. Yet the text stays deliberately cryptic, letting the same instructions serve both laboratory and inner-laboratory.