கணபதிக்கு வல்லபையாய்ப் புத்தி சித்திக்
கன்னியராம் கணபத்ய மானா என்னை
குணநிதியாங் குமரனுக்கு வள்ளிதேவ
குஞ்சரியாங் கௌமாரி யானா என்னை
வணமுகப்புப் பிரமனுடை நாவில் நின்றே
வாணியென வேதத்தைப் படைத்தா என்னை
பணமுகப்பிற் பள்ளிகொண்டான் மாலின் நெஞ்சப்
பதுமத்தில் வைணவியாய் நின்றா என்னை
Kaṇapatikku vallapaiyāyp putti citti
kaṉṉiyarām Kaṇapatya māṉā eṉṉai
Kuṇanidhiyāṅ kumaraṉukku Vaḷḷitēva
Kuñcariyāṅ kau māri yāṉā eṉṉai
Vaṇamukappup piramaṉuṭai nāvil niṉṟē
Vāṇiyeṉa vētattaip paṭaittā eṉṉai
Paṇamukappiṟ paḷḷikoṇṭāṉ Māliṉ neñcap
patumattil Vaiṇaviyāy niṉṟā eṉṉai.
As (Ganapati’s) Vallabai—Buddhi and Siddhi—
(as) the maiden called Ganapatyā, I am.
As Valli-devī for the treasure of virtues, Kumaran,
(as) Kunjari, as Kaumārī, I am.
Standing upon the tongue of the four-faced Brahmā,
(as) Vāṇī, I created the Veda—(thus) I am.
In the lotus of the heart of Māl (Viṣṇu),
who reclines upon the many-hooded (serpent),
(as) Vaiṣṇavī, I stood—(thus) I am.
The speaking voice identifies a single feminine power that appears in different divine households and functions: as Ganapati’s paired powers of intelligence and attainment; as Murugan/Kumara’s Valli (the sought, “creeper-like” beloved); as Brahma’s speech/learning that gives rise to Vedic revelation; and as the Vaishnavi presence established in Vishnu’s heart-lotus while he rests on the cosmic serpent. The refrain “I am” asserts one Shakti taking multiple names, roles, and locations.
1) Unity of Śakti behind sectarian forms: The verse lists four classical associations—Buddhi–Siddhi (with Gaṇeśa), Valli (with Kumāra/Murugan), Vāṇī/Sarasvatī (with Brahmā), and Vaiṣṇavī/Śrī (with Viṣṇu). Rather than treating these as separate goddesses, the speaker claims them as expressions of one underlying power.
2) Faculties rather than mere mythology: Each pairing can be read as a psychological–yogic function. Buddhi and Siddhi point to discernment and “accomplishment” (siddhi as attainment, not merely miracles). Valli suggests devotion/desire that binds and leads the seeker (also “vallī” as a creeper/vine, readily symbolizing a rising, entwining inner force). Vāṇī on Brahmā’s tongue points to mantra, speech, and revealed knowledge—the creative power of sound. Vaiṣṇavī in the heart-lotus points to sustaining harmony, bhakti, and the sattvic steadiness associated with Viṣṇu.
3) Siddhar-style inner mapping (possible): Siddhar texts often relocate deities into the subtle body. Gaṇeśa is frequently linked with foundational stability (lower centers), Murugan with dynamic yogic fire and ascent, Sarasvatī with articulation/mantra and subtle knowledge, and Viṣṇu with the heart (anāhata) as the seat of sustaining grace. The verse can thus be read as an internal cartography of one energy appearing at successive “stations” (speech/tongue, heart-lotus, etc.), without stating the mapping explicitly.
4) Alchemical/medical undertone (kept ambiguous): “Siddhi” can mean both spiritual attainment and perfected efficacy (including bodily perfection). “Vāṇī created the Veda” hints that the ‘substance’ of liberation is sonic/phonetic (nāda, mantra). The serpent-bed image can also resonate with kuṇḍalinī symbolism (serpentine power) while remaining, on the surface, orthodox Purāṇic imagery.