சும்மாத்தான் அம்மாத்தான் சுகத்தே நின்றாள்
சொக்கிவிழக் கம்மாக்கள் பலவே கண்டீர்
உம்மாத்தான் உம்மாச்சி உறங்குகின்றான்
உலகத்துக் குதவாதே அவன்றன் தூக்கம்
எம்மாத்தான் எம்மாவைக் கேட்டா லுந்தான்
ஏதுரைப்பாள் வாய்மூடி யிருப்பாள் வாளாய்
பொம்மாத்தான் பொம்மக்காள் புவன மெல்லாம்
பொம்மையவள் ரூபமடா பணிந்து கொள்ளே
Summaaththaan ammaaththaan sugaththe nindraாள்
Sokkivizhak kammaakkal palavE kandheer
Ummaaththaan ummaachchi urangugindraan
Ulagaththuk kuthavaathE avandran thookkam
Emmaaththaan emmaavaik kettaa lundhaan
Ethuraippaal vaaymoodi yiruppaal vaaLaay
Pommaaththaan pommakkaaL buvana mellaam
PommaiyavaL roopamadaa paNinthu koLLE.
“The ‘Summa’-one, the Mother, stood firm in bliss.
You have seen many ‘kammā’ ones that make (one) swoon and fall.
The ‘Umma’-one, the ‘Ummācci’, is sleeping;
his sleep is of no use to the world.
If you ask our mother—our ‘Emmā’—then,
whatever she might say, she will shut her mouth and remain, sword-like.
The ‘Pomma’-one, the ‘Pomma-kāl’, (is) all the worlds;
it is her doll-form indeed—bow and take (this in).”
In the state of “summa” (still, effortless abiding), the Supreme Mother stands as bliss itself. Yet beings repeatedly “swoon and fall” for the many manifestations of karmic/desire-binding forces. The principle that ought to awaken and help the world remains asleep—its sleep does not serve liberation. When one questions the inner Mother, her instruction is often silence: a wordless, sharp, cutting clarity that leaves nothing to argue with. All realms are her puppet-play—forms like dolls animated by Śakti/Māyā—therefore recognise her agency and bow (with discernment).
This verse is built from a deliberately repetitive word-play on “ammā/ummā/emmā/pommā,” which can be read as a Siddhar’s cryptic teaching rather than ordinary family terms.
1) “Summa…sukaththē ninrāl” — “summa” in Siddhar usage frequently points to mauna (inner stillness), sahaja (effortless state), or the non-doing awareness in which bliss (sukham) is stable. Calling it “Mother” aligns with Śakti as the ground of experience and the support of realization.
2) “Sokki vizha…kammākkal” — the image of “swooning/falling” suggests fascination, infatuation, or the loss of discrimination. “Kammākkal” is intentionally unclear: it can point toward (a) kāma (desire) as seducers, or (b) kamma/karma as binding forces producing repeated falls into embodiment and confusion. The line warns that many such ‘agents’ are seen in the field of experience.
3) “Ummā…urangugindrān” — “sleep” here is not ordinary rest but a symbol for spiritual unawareness (avidyā) or yogic-nidrā-like latency: the light that could guide remains unmanifest. The poet’s critique—“of no use to the world”—targets a state/principle that is inert for liberation when it stays ‘asleep’.
4) “If you ask our Mother…she closes her mouth” — the teaching method shifts from speech to silence. The Mother’s ‘answer’ is mauna: the kind of instruction Siddhars often consider superior to discourse. “Sword-like” implies incisive, non-negotiable clarity (silence that cuts through mental proliferation), not mere muteness.
5) “All worlds are her doll-form” — the cosmos is compared to dolls/puppets (pommāy), a common Indic metaphor for māyā: forms appear animated and independent, yet move by an unseen power. Bowing here can mean devotion to Śakti as the operative reality, but it can also mean acknowledging her role so that one stops being deceived by the puppet-show.
Overall, the verse juxtaposes (i) the Mother as blissful stillness, (ii) the multitude of binding attractions (desire/karma), (iii) the ‘sleep’ of liberative awareness, and (iv) silence as the Mother’s ultimate instruction, culminating in the māyā–puppet metaphor for the universe.