கருவச்சி மனைமச்சின் மாடிக்கு ளத்தமுதின்
உருவச்சி யருவச்சி ஊமைக்கும் அத்தையவள்
மருமச்சி மருகச்சி வானுற்ற மித்தையுடன் - வருவாளே
குருமச்சி களபச்சி மாகற்ப வித்தையவள்
குமரச்சி யமரச்சி வேலுற்ற சக்தியவள்
அருவிச்சை யயனிச்சை ஞானத்தின் வித்துமவள் - கலைவாணி
பருவச்சி திருமெய்ச்சி மாலுக்க கத்தியெழில்
சிரநச்சி சிவனுச்சி மேலுற்ற ணைத்தநதி
பரதமச்சி பரமத்தை பாகத்தி ணைத்தசிவை – அபிராமி
கருமச்சி கலையுச்சி காலக் கணக்குதவும்
கருவச்சி வருமச்சி சாமத்தி சைத்தஅனை
கருநொச்சி கவசச்சி காமுற்ற பொற்புதவும் – எமதாயி
karuvachchi manaimachchin maadikku laththamuthin
uruvachchi yaruvachchi oomai(k)kum aththaiyaval
marumachchi marukachchi vaanutRa miththaiyudan - varuvaaLee
kurumachchi kalapachchi maakarpa viththaiyaval
kumarachchi yamarachchi veelutRa sakthiyaval
aruvichchai yayanichchai gnaanaththin viththumaval - kalaivaaNi
paruvachchi thirumeychchi maalukka kaththiyezhil
siranachchi sivanuchchi meelutRa Naiththanathi
barathamachchi paramaththai paagaththi Naiththasivai – abiraami
karum
“Karuvacchi—within the upper room/loft of the household—(she is) the nectar in the ‘eight’ (attamutu / eightfold-nectar).
Uruvacchi, Aruvacchi—she who is even an ‘aunt/mother’ to the mute.
Marumacchi, Marukacchi—with the ‘celestial’/sky-reaching ‘miththai’ (a power/skill/illusion), she will come.
Gurumacchi, Kalapacchi—she who possesses the ‘makarpa’/makaram art (viththai).
Kumaracchi, Amaracchi—she whose power is lodged in the spear (vēl).
Aruvicchai, Ayanicchai—she who is the very seed of gnosis/knowledge; (she is) Kalai-vāṇi.
Paruvacchi, Tirumeycchi—for Māl (Viṣṇu), the beauty of the sword.
Siranacchi, Sivanucchi—the river that has joined/merged upon the summit of Śiva’s head.
Parathamacchi—Śivai who is joined as a ‘portion/half’ to the Supreme (paramam); (she is) Abirāmi.
Karumacchi, Kalaiyucchi—she who helps the reckoning of time.
Karuvacchi, Varumacchi—the mother who fashioned the sāma(m) (watch of time / sāma-chant).
Karunocchi, Kavasacchi—she who bestows the gold-like splendor desired by Kāma; (she is) our mother.”
The verse strings together many cryptic “-acchi” epithets for the Divine Feminine—at once mother, mistress, aunt, and inner power. She is praised as:
- the amṛta/nectar hidden in the “loft” (the uppermost interior), suggesting the secret nectar experienced at the crown in yogic ascent;
- the one who gives voice even to the mute (awakening speech, mantra, insight);
- the one who arrives with sky-reaching siddhi and with arts/techniques (viththai) that include alchemical, astrological, and ritual competencies;
- the spear-embedded power (Śakti as piercing/awakening force, also echoing Murukaṉ/Skanda’s vēl);
- the seed of jñāna itself—identified with Kalai-vāṇi (Sarasvatī as knowledge and the arts);
- the beauty that becomes a weapon for Viṣṇu (protective, dharmic cutting-through);
- the “river” that merges at Śiva’s head-top (the inner Gaṅgā: nāḍī-flows converging at the cranial summit);
- Abirāmi, the Śakti joined as Śiva’s half—non-dual union of Consciousness and Power;
- the measurer of time (kāla-gaṇakku)—the subtle intelligence behind cycles, timing, and maturation;
- the protective sheath (kavacam) and the medicinal/herbal force (karunocchi), granting both protection and the luminous “gold-like” attainment that desire seeks, but transmuted into higher radiance.
Overall, the poem is less a simple hymn than a coded map: the Goddess is simultaneously devotional deity, yogic kuṇḍalinī, and siddha-śakti governing medicine, mantra, time, and inner alchemy.
1) One Goddess, many operational names The repeated “-acchi” (a Tamil honorific for a woman of authority—mother/mistress) frames the Divine Feminine as the single agency behind multiple functions: speech, knowledge, protection, timing, transformation. Siddhar diction often multiplies names not to multiply entities, but to show one Śakti acting through many registers.
2) Yogic anatomy encoded as household and landscape “Upper room/loft” and “nectar” commonly point to the crown (ūrttva-mārga) where amṛta is said to drip/flow when the inner channels are purified. “River joined on Śiva’s head-top” resonates with the image of Gaṅgā on Śiva, and yogically with nāḍī-currents (iḍā–piṅgalā–suṣumṇā) converging and stabilizing at the cranial summit.
3) Knowledge (Sarasvatī), power (Vēl), and protection (Kavacam) By naming Kalai-vāṇi (Sarasvatī) and also invoking the spear-bearing power, the verse links jñāna-śakti (illumining intelligence) with kriyā/śakti (piercing activation). “Kavasacchi” foregrounds the protective, boundary-making aspect—essential in siddha practice where energies and substances must be contained and sealed.
4) Siddha “viththai”: arts that are simultaneously spiritual and technical “Viththai” in Siddhar usage can mean mantra-technology, yogic method, medical craft, alchemical processing, and even coded instruction. The poem’s catalogue suggests that the same Śakti is the hidden intelligence inside all these methods.
5) Time as a spiritual instrument “She who helps the reckoning of time” can be read as: (a) practical jyotiṣa/auspicious timing, (b) the maturation of practice (pakkuvam), and (c) Kāla as Śakti—time itself as the transforming fire that ripens body and mind, and in alchemy ‘cooks’ substances to a higher state.
6) Desire transmuted The closing gesture—granting the “gold-like splendor” desired by Kāma—can be read as either worldly prosperity or, more characteristically for Siddhars, the transmutation of desire into tejas (radiance) and sādhana-fruit (a stable luminous attainment).