வந்தனை யும்வழி பாடுகளும்
வாகுற வேமுன் னும்பலவே
சிந்தனை யேசுழி முனைநாடி
சேர்ந்திட வேமுக் கண்ணாடும்
vandanai yumvazhi paadugalum
vaagura vēmum mun numbalavē
sintanai yēsuzhi munainaadi
sērndida vēmuk kaṇṇāḍum
Salutations, and the disciplines of the path—
Many even in earlier times have spoken (of them).
By thought (meditation) seek the tip/edge of the whirl (suzhi),
So that, upon joining/merging, the Three‑Eyed One dances (or: the three eyes move).
Reverence the tradition of worship and yogic observances taught by the elders. Turn the mind inward to locate the subtle “spiral-point”—the turning-junction where the currents of breath, mind, and vital force coil and reverse. When awareness merges at that point, the inner “three-eyed” vision (Śiva-consciousness/third-eye awakening) manifests as ecstatic movement—an inner dance of realization.
The verse places two strands side by side: (1) external forms—"vandanai" (devotional salutations) and "vazhipāḍu" (ordered disciplines, observances, methods); and (2) an internal, technical directive—"cintanai" (focused contemplation) applied to a subtle anatomical-symbolic locus called "suzhi munai".
In Siddhar idiom, "suzhi" (whirl/spiral) commonly signals cyclic or coiling dynamics: the spiral of prāṇa in nāḍīs, the coiled kuṇḍalinī power, or the vortex-like movement of breath and attention. "Munai" (tip/edge/point) hints at a precise, almost surgical “point” where the spiral resolves into stillness—often the bindu-like nexus where dual currents are gathered into a single channel, or the experiential ‘turning point’ where mind and breath become one-pointed.
The final image—"mukkaṇ āḍum"—keeps Siddhar ambiguity: it can mean Śiva (the Three-Eyed Lord) dancing, or the “three eyes” (two outer + one inner) becoming active/moving in perception. Either way, it signifies a transition from practice-as-method to realization-as-presence: when the seeker ‘joins’ (cērndiṭa) at the subtle junction, the divine principle is no longer merely worshipped outwardly but appears inwardly as living, dynamic awareness. The “dance” is thus a marker of nondual integration: egoic fixity dissolves, and consciousness is experienced as rhythmic, self-luminous, and spontaneously expressive.