Karai Siddhar compresses several traditional layers into the vocabulary of “letters” and “essences.” “Akṣara” can mean both a literal syllable and the imperishable, mantra-root (often implied as OṂ or the unstruck inner sound). The phrase “three languages” need not be ordinary spoken tongues; in Siddhar usage it can cryptically point to three modes/levels of speech (e.g., differentiated speech vs. subtle speech) or three internal currents by which sound and meaning manifest within the body. “Word-essence/nectar” (sor-sāram / soch-churam) implies that the true ‘juice’ of mantra is not in rhetorical display but in the yogic interior where sound becomes a direct means of knowledge.

The second half shifts from external speech to internal yoga: the “messenger” commonly signifies prāṇa (breath) moving as an envoy between outer awareness and inner realization. “True essence/letter” versus “inner essence/letter” suggests a progression—first aligning with what is real/essential (mey—truth), then entering the interior locus where the syllable is no longer heard as articulated sound but as subtle vibration (nāda). Addressing the listener as “Yakṣa” and “Vajra” preserves Siddhar ambiguity: a Yakṣa can be a guardian of hidden treasure (here, the guarded inner secret/nectar), while “Vajra” can indicate an adamantine disciple-body, stabilized mind, or the indestructible attainment that results from inner fixation. The overall teaching: linguistic mastery and poetic prowess are secondary; the Siddhar points to an inward, breath-led entry into the imperishable sound where the ‘nectar’ of realization is tasted/seen.