This verse is structured as a mantra-chain: (1) “Om” opens the field of sound-consciousness (nāda), (2) a repeated bīja-syllable concentrates a specific vibration, (3) a feminine dative name ending in “-yai” directs that vibration toward a śakti-aspect of the Goddess, and (4) “namaḥ” (here shortened as “nam”) yields the ego’s claim over the force being invoked; the closing “Om om” functions like a seal.

Siddhar traditions often treat letters and sounds not as mere symbols but as operative medicines: sonic alchemy that refines the inner body. The listed names read less like separate mythic persons and more like “installed qualities” of a single Śakti manifesting in multiple modes. In yogic terms, the repeated bījas can be read as attempts to tune different strata of the subtle body—some syllables resemble common chakra/bhūta bījas (lam/vam/ram/yam), suggesting a progressive activation of embodied elements (earth, water, fire, air) while the remaining syllables (pam/sam/śam) may indicate higher or auxiliary centers, protective sheathes, or specific goddess-keys outside the standard modern chakra list.

The concluding address to Sarasvatī frames the entire sequence as ultimately oriented toward purified vāk (speech): not just eloquence, but the clarity of knowing that arises when inner impurities (tāmasa dullness, rājas restless desire) are tempered by śrī (ordered abundance), varadā (grace), and even śaṇḍikā’s fierce cutting power (the capacity to sever delusion). Thus the mantra can be read as a practical inner regimen: auspicious alignment → social/inner radiance (fame) → joy → beauty/rightness of form → receiving boons (siddhi) → stable prosperity → protective severity → wisdom-speech.