ரும் ரூம்சா முண்டியவள் ரூடி யாய்ந்து
லும் லூம்கௌ மாரியவள் லூட்டி யேய்ந்து
எம் மேம் அப ராஜிதை யினின்ப மோர்ந்து
ஓம் ஓமென வாராஹீக் குறுமால் பாய்ந்து
அம்மாமஹ: நாரஸிம்மி யருளிற் தோய்ந்து
எம் ஏம் ஹ்ரீம் க்லீம் சாமுண் டாயை வீச்சே
ஸிம் ஸ்ரீம் ஸ்ரீம் மகாலெக்ஷ்மி பீடஞ் சேர்ந்து
ஹம் ஹங்கா மகாலத்னி யவளைச் சார்ந்து
rum rūmcā muṇḍiyavaḷ rūḍi yāyntu
lum lūmkaṉ mār iyavaḷ lūṭṭi yēyntu
em mēm apa rājitai yin inpa mōrntu
ōm ōmena vārāhīk kuṟumāl pāyntu
ammāmaha: nārasimmi yaruḷiṟ tōyntu
em ēm hrīm klīm cāmuṇ ṭāyai vīccē
sim srīm srīm mahālekṣmi pīṭañ cērntu
ham haṅkā mahālatni yavaḷaic cārntu
“With ‘rum rूमsā’, the woman (goddess) Mundiyavaḷ (Mūṇḍi/Chāmuṇḍā) is ‘rūḍi’-examined/established.
With ‘lum lूमkau’, the woman Kāriyavaḷ (Kauṁārī) is joined/leaning into ‘lūṭṭi’.
With ‘em mem’, the unconquered one (Aparājitā) tastes/enters into sweetness (inbam).
Saying ‘om om’, Vārāhī—the boar(-Vishnu) form—leaps/floods forth.
With ‘ammāmaha:’, Narasiṁmī is soaked in grace (arul).
With ‘em aim hrīm klīm’, to Chāmuṇḍāyai—‘vichche’.
With ‘sim srīm srīm’, reaching/entering the seat (pīṭha) of Mahālakṣmī.
With ‘ham haṅgā’, approaching/attaching to the one called Mahālatni.”
A chain of seed-syllables (bīja) is recited as a coded ascent through distinct śakti-forms: Mūṇḍi/Chāmuṇḍā, Kauṁārī, Aparājitā, Vārāhī, Narasiṁmī, then the famed Navārṇa mantra segment (“…aiṁ hrīṁ klīṁ chāmuṇḍāyai vichche”), culminating in entry into Mahālakṣmī’s “seat/pedestal,” and finally taking refuge in (or uniting with) a supreme “great jewel/essence” figure named Mahālatni. The verse reads like a ritual (external or internal) in which mantra-sounds ‘place’ or ‘activate’ goddesses—moving from fierce protective powers toward auspicious plenitude and a final stabilizing union.
This is predominantly a mantric/śākta passage rather than narrative Tamil: it strings together (1) bīja-syllables, (2) names of Devī-forms (many aligned with the Mātṛkā/śakti families), and (3) verbs of entering, soaking, joining, or reaching—suggesting an initiation-like sequence.
Literal-level function: it instructs/records recitation—each line “keys” a goddess through her sound-body (mantra). The presence of “aiṁ hrīṁ klīṁ … vichche” anchors the text in the Navārṇa/Chāmuṇḍā mantra tradition, commonly used for protection, conquest of obstacles, and śakti-awakening.
Inner/yogic reading (kept tentative): Siddhar works often internalize temple-ritual into body-ritual. The repeated imagery of ‘entering/soaking/seat’ can be read as nyāsa (placing mantra-power into loci), or as a staged arousal and stabilization of śakti within the subtle body (nāḍi-cakra system). Fierce forms (Chāmuṇḍā, Vārāhī, Narasiṁmī) can signify protective/transformative forces that “cut” impurities; Mahālakṣmī can signify consolidation into harmony, vitality, and auspicious fullness after the fiercer purifications.
Medical/alchemical resonance (also tentative): In Siddha idiom, mantras are not merely devotional; they are technologies that reorder vāyu (breath), heat, and “essences” (ojas/veerya) to produce steadiness of mind and body. The progression from fierce to auspicious may encode a movement from disruptive detoxifying force to a stable, nourishing elixir-state. The final ‘Mahālatni’ (possibly ‘Mahāratni’, “great jewel”) can be read as the crystallized “jewel” of perfected essence—whether as siddhi, awakened śakti, or stabilized consciousness.