சோகமடா சோகமெலாம் தீரும் தீரும்
சாகமடா சாகாத தலைமைக் கேகும்
போகமடா சிவபோகம் சக்தி யோகம்
போதாந்த வேதாந்தம் புதுவை போகம்
யோகமடா ஊமத்தா னுமையாள் யோகம்
உன்மணியின் சைய்யோக மூமை யோகம்
ஏகமடா ஏகாந்தத் தேறி யீசன்
இன்பமடா அஜபாவி னியல்பைச் சொன்னேன்
Sookamadaa sookamelaam theerum theerum
Saagamadaa saagaatha thalaimaik keagum
Pookamadaa sivapookam sakthi yogam
Pothaantha vedhaantham pudhuvai pookam
Yogamadaa oomaththaa numaiyaal yogam
Unmaṇiyin saiyyoga moomai yogam
Eekamadaa eekaanthath theri yeesan
Inbamadaa ajapaavi niyalpaich sonnaen
“Sorrow, man—sorrow will all be ended, ended.
Death, man—(you) will reach the leadership/state that does not die.
Enjoyment, man—the divine enjoyment of Śiva; the yoga of Śakti.
Bodhānta and Vedānta; a ‘Puduvai’ (new/Puducherry) enjoyment.
Yoga, man—the yoga of Ūmattāṉ (datura/‘the mute one’) and the yoga with Umā.
The yoga of ‘sai-yoga’ of your inner gem; the yoga of muteness/silence.
Oneness, man—rising in solitude, (you reach) Īśan (the Lord).
Bliss, man—I have spoken the nature of Ajapā.”
All grief is said to dissolve through yogic attainment; the verse points toward a deathless condition (possibly the ‘head/crown’ state) reached by inner discipline. It links liberation not to ordinary pleasures but to “Śiva-bhoga” (divine enjoyment), achieved through Śakti-yoga and through the Śiva–Umā (consciousness–power) union. The speaker gestures to multiple doctrinal lenses—(Bodhānta?) and Vedānta—while also hinting at an alternative or ‘new’ mode of fruition (“puduvai”). The cryptic references to Ūmattāṉ (datura/“the mute one”) and to “mute/silent yoga” suggest either herbal/iatro-alchemical aids used in Siddha practice or the deliberate sealing of speech (mouna) and secrecy (ūmai). Culminating in ekānta (solitary absorption), the practitioner realizes Īśa, and the core method implied is Ajapā—the spontaneously continuous mantra of the breath (often understood as so’ham / haṁsa), whose “nature” the poet claims to have revealed.
1) From sorrow to ‘deathlessness’: The opening couplet reads like assurance: suffering (śoka) and the fear of death (śāka/śāgam) are not final; they “end” through a shift of state. “Sākādā talamai” can be read as (a) a deathless ‘supreme rank’ (liberative attainment), or (b) the ‘head-state’—a yogic allusion to ascent to the crown (sahasrāra), where the ordinary cycles of decay are transcended in experience.
2) ‘Bhoga’ as spiritual fruition: “Śiva-bhoga” is not sensual indulgence but the siddha notion of tasting consciousness itself—abiding as Śiva. Coupling this with “Śakti-yoga” points to a non-dual or integrative path: liberation is not by rejecting power/energy, but by yoking it so it reveals Śiva.
3) Doctrinal pointers (Bodhānta/Vedānta) and ‘puduvai’: “Vedānta” is explicit. “Bodhānta” is less clear: it may be a variant term implying ‘the end of bodha (knowledge/awakening)’, a school-label, or a siddhar’s playful shorthand for a realization beyond discursive knowing. “Puduvai” can be read literally as a place-name (Puducherry/Puduvai, relevant to certain siddha lineages) or adjectivally as ‘new/renewed’; either way, it signals an additional “bhoga”—a distinct mode of fruition beyond standard categories.
4) Ūmattāṉ / ‘ūmai’ (mute) motifs: secrecy, silence, and siddha pharmacology: Ūmattai (datura) is a known siddha herb: potent, dangerous, and often tied (in lore) to altered states and to certain ritual/medical preparations. The text’s pairing of “Ūmattāṉ” with “Umāyāḷ” allows multiple layers: a plant-based reference, a coded name for a practitioner/adept, and the theme of “ūmai” (mute, silent, cryptic speech). Siddhar verses frequently use “ūmai” to signal esoteric instruction that must be ‘heard’ inwardly rather than publicly spoken.
5) The ‘inner gem’ and union-yoga: “Un maṇi” (your gem) is a common siddha image for the indwelling essence—jīva-light, bindu, or the subtle elixir. “Saiyoga” can suggest “sāyujya” (intimate union), or a state of merging/settling. The sequence implies: find the inner essence, enter the union-state, and guard it through silence/innerness.
6) Ekānta and Ajapā: Ekānta (solitude/one-pointed aloneness) is the contemplative condition in which Īśa is realized. The closing claim—“I told the nature of Ajapā”—frames Ajapā as the practical key: the unceasing mantra that rides the breath without deliberate repetition. In siddha-yoga, this is both a method (attention to the breath-mantra) and a sign (spontaneous continuity indicating stabilized practice).