வாணியென வேவேதன் வாக்கில் நிற்பாள்
வானமெலாம் வையமெலாம் படைப்பாளன்னை
ராணியென வேமாயன் மார்பில் நிற்பாள்
ரக்ஷைதரும் லக்ஷிமியாய் ரக்ஷிப் பாளே
வேணியெனச் சிவனிடத்தே பாகங் கொண்டாள்
வேதாந்த மோனத்தின் வியப்பாய் நிற்பாள்
மாணியெனும் லிங்கத்தை யணைந்து தாங்கி
மாணிக்க மணிப்பீடச் சோதி யன்னை
vāṇiyena vēvētaṉ vākkil niṟpāḷ
vāṉamelām vaiyamelām paṭaippāḷaṉṉai
rāṇiyena vēmāyaṉ mārpil niṟpāḷ
rakṣaitarum lakṣimiyāy rakṣip pāḷē
vēṇiyenaś civaniṭattē pākaṅ koṇṭāḷ
vētānta mōṉattiṉ viyappāy niṟpāḷ
māṇiyenum liṅkattai yaṇaindu tāṅki
māṇikka maṇippīṭaś cōti yaṉṉai
As Vāṇi, she stands within the speech of the Veda-knower (the Veda-maker).
As the Mother who creates—she is the maker of all the sky and all the earth.
As Queen, she stands upon Māyan’s (Viṣṇu’s) chest.
As Lakṣmī who grants protection, she protects.
As Veṇi (the braid/consort), she took a share (a half) with Śiva.
She stands as the marvel of Vedānta’s silence.
Embracing and bearing the liṅga called “Māṇi,”
She stands—the Mother, the radiant Light on the ruby/jewel pedestal.
One Mother is praised through her multiple stations: as Speech (Vāṇi) in the creative utterance, as the power that brings forth cosmos and earth, as the auspicious presence on Viṣṇu’s heart that safeguards, as Śiva’s own share in non-separate union, and as the wonder of the Vedāntic stillness where words end. Holding the inner liṅga—named Māṇi (jewel/Manonmanī/precious seed)—she abides as the luminous Mother, enthroned as pure radiance on a “jewel-seat.”
The verse compresses a pan-Indic theological map into a Siddhar-style pointer: the many goddess-names are not separate deities but one Śakti seen through different functions.
1) Vāṇi in the creator’s speech: “Vāṇi” (Sarasvatī) signifies vāk (sound/speech), mantra, and the intelligible ordering of experience. Creation is presented as issuing through speech/utterance—an idea that can be read cosmologically (world-creation) and yogically (mantra, nāda, and the arising of thought).
2) Lakṣmī on Viṣṇu’s chest: Lakṣmī traditionally dwells on Nārāyaṇa’s chest, marking protection, sustenance, auspiciousness, and the heart-seat of preservation. In an inner reading, this points to a stabilizing power at the heart (hṛdaya)—the capacity that “protects” life-force, wellbeing, and continuity.
3) Śiva’s share (ardha-bhāga): “took a share with Śiva” evokes Ardhanārīśvara (half-male/half-female). Philosophically this indicates non-duality of consciousness (Śiva) and power (Śakti): liberation is not flight from embodiment but recognition that awareness and its dynamic display are one.
4) Vedānta’s silence: The line about “the marvel of Vedānta’s silence” turns from named forms to the apophatic end of inquiry—where speech cannot capture the Real. The same Mother who is vāk is also what dissolves vāk. This paradox is central: Śakti is both expression and the cessation of expression.
5) Bearing the liṅga called “Māṇi” and the “jewel pedestal”: Siddhar diction often relocates temple imagery into the body. The liṅga can indicate the subtle sign/seed (bindu), the axis of inner worship, or the stabilized center of consciousness. “Māṇi” (jewel) suggests a precious, concentrated essence (seed/ojas/bindu) and also hints at “Manonmanī” (a Goddess-name associated with the transcendence of mind), keeping the referent intentionally open. “Maṇippīṭa” (jewel-seat) can be read as the sanctum-throne in a shrine and, yogically, as an inner seat (heart, ājñā, or sahasrāra) where radiance (joti) is directly known.
Overall, the verse is a unity-claim: the same Mother is word, world, wealth, protection, union, and silence—culminating in the inner liṅga/light realization rather than mere external mythology.