கோணமுனைச் சூலத்து முகமைந்தாகக்
கோடிட்டே யைந்தெழுத்தோ டோமிணைத்த
தாணுவினை நேர்நிரையாய் மாற்றிப்போட்டு
தன்மனையா ளுடன்கோப தாபம் நீங்கி
வேணுமடா கோதான முடன்பல் தானம்
விரைந்தாறா மறுபதுக்கும் வேறு வேறாய்ப்
பேணுமடா கோவிந்த னெழுத்தெட்டுக்கும்
பெம்மானாங் குமரனுடை யெழுத்தாறுக்கும்
kONamunai-c cUlatthu mukamaintAkak
kODiTTE yaintEzhuttO TOmiNaitta
tANuvinai nErniraiyAy mARRippOTTu
tanmanaiyA LuDan-kOpa tApam nIngi
vENumaDA kOtAna muDanpal tAnam
viraintARA maRupatukkum vERu vERAy-p
pENumaDA kOvindan-ezhutt-eTTukkum
pem-mAnAng kumaran-uDai yezhutt-ARukkum
In the trident whose tip is an angled point, (set it) as five faces;
Draw the lines and join the five letters with OṂ.
Taking “Tāṇu,” rearrange it into a straight sequence and place it;
With his own lady, anger and burning heat depart.
If you wish, (there will be) cow-gift and many other gifts;
Swiftly, for the other ten also—each in a different way.
Revere likewise the eight letters of Govinda,
And also the six letters of the great Lord Kumaran.
Construct (or contemplate) a trident/triangular yantra with a “five-faced” (pañca-mukha) ordering. Inscribe the Śaiva five-syllable mantra (the “five letters,” i.e., namaśivāya) and unite it with OṂ, arranging the syllables in their correct, straight (non-confused) sequence. When Śiva (“Tāṇu,” the Immovable) is thus properly “set” together with his Śakti/consort, the practitioner’s fiery afflictions—anger and inner heat—are pacified. The merit is spoken of in the idiom of dāna (cow-gift and many charities), and the procedure is extended to further groupings (“another ten”), each with its own distinct placement. In the same spirit, cherish the Vaiṣṇava aṣṭākṣarī (Govinda’s ‘eight letters,’ commonly oṁ namo nārāyaṇāya) and the Kaumāra ṣaḍakṣarī (Kumaran’s ‘six letters,’ commonly saravaṇabhava), treating them as allied powers rather than rival sectarian formulae.
This verse reads like a siddhar-style manual line disguised as devotion: it describes mantra-geometry (yantra) and mantra-sequencing as a technology for transforming the practitioner.
1) Trident / angled point / “five faces”: The “sūlam” (trident) can be taken both outwardly (a drawn emblem/yantra) and inwardly (a yogic symbol). The trident frequently encodes triads—iḍā, piṅgalā, suṣumṇā; or sattva, rajas, tamas; or the three fires—while “five faces” suggests pañca-mukha Śiva and/or the five elements (earth, water, fire, air, ether) that constitute body and cosmos. Siddhars often map letters (akṣara) onto these elemental layers.
2) “Five letters” + OṂ: The panchākṣarī (namaśivāya) is a core Śaiva mantra. “Uniting with OṂ” implies either (a) prefixing OṂ to empower the mantra, or (b) fusing Śiva’s seed-sound with the primordial vibration, i.e., moving from a sectarian name-form to a more universal phonetic principle.
3) Rearrangement into a straight sequence: Correct order is not mere grammar here—it is the claim that sound, when properly placed, becomes a subtle alchemy. “Tāṇu” (a Śiva epithet meaning the still/immovable one) can also hint at “tanu” (body). Thus “straightening” can indicate aligning (i) syllables in a yantra, and (ii) the body-breath axis in yoga—placing the mantra along a “straight line” that resembles the central channel.
4) Removal of anger and heat: “Kōpa” (anger) and “tāpam” (heat/burning/fever) are both moral-psychological and medical (pitta/tejas) symptoms. Siddhar medicine regularly treats excessive inner heat as the fuel of agitation, disease, and dispersal of vital essence. The verse suggests that mantra united with Śakti (the “lady/consort”) cools and stabilizes that heat—an inner homeostasis, not merely a pious mood.
5) Dāna language as inner offering: “Cow-gift” and “many gifts” can be read literally (ritual merit) but also as coded yogic ethics: the practitioner “gives away” (offers) sense-impulses, ego-claims, and heated reactions. In siddhar idiom, external charity often mirrors an internal renunciation that frees and refines life-force.
6) Non-sectarian synthesis: The final two lines explicitly place together the aṣṭākṣarī of Viṣṇu (Govinda) and the ṣaḍakṣarī of Murugan (Kumaran) alongside the Śaiva panchākṣarī. Philosophically, this points to a siddhar tendency: deities and mantras are different “interfaces” to a single transformative sound-power (śabda/naadam), and the work is to harmonize them within the practitioner’s body-mind laboratory.