ஓமம்க்லம் க்லாம் எனவரியிட் டழைக்குங் காலை
உற்றருள்வாள்ட காம்யமுகம் கனிந்த ஆத்யா
ஓம் ஹுஹுஹும் ஓம் த்ரம் த்ராம் ஓம் ப்ரம் ப்ராம்
ஓம் ஓம் ஓம் எனவருவாள் மகா கணேசி
ஓம் க்ரீம் க்லீம் ஹும் ஹும் ஹும் ஸ்ரீம் சௌம் ஸ்ரீம்
ஓம் நமஓ மென வருவாள் கௌமா ரித்தாய்
ஓம் முதலா ஓம் வரையா யுறுபல் பீஜம்
உற்ற சிவ சக்திமிது னத்தைக் காணே
Oamamklam klaam enavariyit dalhaikkung kaalai
utrarulvaalda kaamyamukam kaninda aathyaa
om huhuhum om thram thraam om pram praam
om om om enavaruvaal mahaa ganesi
om kreem kleem hum hum hum sreem saum sreem
om namao mena varuvaal kaumaa ritthaai
om mudalaa om varaiyaa yurupal beejam
utra siva sakthimithu naththaik kaane
When (one) calls, arranging/reciting the syllables “Oṃ aṅ/ạṃ-klaṃ, klāṃ” in order,
that Primordial One (Ādyā)—whose wish-fulfilling face has ripened/blossomed—who bestows fitting grace, will come.
“Oṃ hu-hu-huṃ; Oṃ traṃ, trāṃ; Oṃ braṃ, brāṃ;
Oṃ Oṃ Oṃ”—so comes Mahā Gaṇeśī.
“Oṃ krīm, klīm; huṃ huṃ huṃ; śrīm; sauṃ; śrīm;
Oṃ namo”—so comes the Mother Kaumāri.
From the first “Oṃ” up to the last “Oṃ” are many seed-syllables (bīja).
Know/see: this is the nāda/mantra of the united Śiva–Śakti.
By invoking through a chain of bīja-sounds—beginning with forms like “Oṃ … klaṃ/klāṃ”—the Siddhar indicates that the primordial Śakti, the “Ādyā,” becomes present as grace itself. Further sequences of bījas are then given as the sonic signatures by which Gaṇeśī and Kaumāri are “arrived at” (i.e., made manifest in mantra and in the practitioner’s subtle body). The closing claim is doctrinal: all these bīja-forms, from the first Oṃ to the last, are ultimately one current of nāda—the inseparable power of Śiva united with Śakti.
1) Mantra as “calling” and “arrival” (varuvāḷ): In Siddhar/Tantric idiom, a deity “comes” not as a physical travel-event but as a shift in presence: attention, prāṇa, and inner sound (nāda) align with a specific śakti-pattern. Hence the text repeatedly frames bīja-recitation as an invocation.
2) Bīja-syllables as micro-forms of power: The verse is largely a catalogue of bījas (kl(a)ṃ/klāṃ, huṃ, traṃ/trāṃ, braṃ/brāṃ, krīm, klīm, śrīm, sauṃ). Siddhar usage often treats such syllables as alchemical “seeds”: concentrated phonetic atoms that precipitate changes in the subtle body (nāḍī, cakra, vāyu). The claim “many bījas from the first Oṃ to the last Oṃ” suggests that mantra is a spectrum—numerous discrete seeds—yet rooted in a single source-sound.
3) Deity-logic (why these forms appear): - Gaṇeśī (not Gaṇeśa) may indicate a Śākta reading: the obstacle-removing, threshold-opening power is presented in feminine form, or as the śakti-aspect of Gaṇapati. In practice this can mark the “gatekeeper” function in sādhana: the path is cleared before higher forces are stabilized. - Kaumāri-thāy (“Mother Kaumāri”) evokes the Kaumāri of the Saptamātṛkā-s (the power of Kumāra/Skanda), or the “virginal” warrior-śakti. This can signify disciplined force, protection, and the capacity to pierce through inner inertia. - Ādyā (“Primordial One”) frames the whole sequence: all named deities are expressions of the first Śakti.
4) Śiva–Śakti non-duality via nāda: The closing line (“this is the nāda/mantra of united Śiva-Śakti”) reads as a metaphysical compression: diverse mantric forms are not separate gods competing for reality, but differentiated modes of the same absolute power. Nāda here functions as the bridging concept between theology (deities) and yogic physiology (inner vibration).