இலங்கையா னிளையா னிலக்கமே ராமன்
ராமனார் பாதம் ரஸனைசவ் வீரம்
சவ்வீரம் சவ்வாது சார்ந்துவரும் கோக்கன்
கோக்களிடைக் குன்றேறும் கோமகனாம் பாலன்
பாலனவன் பாடியதோ காலமி லவங்கம்
லவங்கமுறு லங்கணமின் சங்கமணி வேனன்
ன்னென்னும் முடியேறி மண்மகிழ ஊதே
ilangaiyaa nilaiyaa nilakkame raman
ramanar paatham rasanisaiv veeram
savveeram savvaathu saarnthuvarum kokkan
kokkalidaik kundraerum komaganaam paalan
paalanavan paadiyatho kaalami lavangam
lavangamuru langanamin sangamani vaenan
nnennum mudiyaeri manmakizha oothe.
“The younger one of Lanka—his aim itself is Rama.
At Rama’s feet: rasa; (and) the ‘sav-vīram’.
That sav-vīram, not decaying, (as) the kokkan comes clinging/arriving.
Among the kokkals, the prince who climbs the hill is (that) child.
Was what that child sang: time—(and) ilavaṅgam (clove)?
With clove attained; without ‘laṅgaṇam’/‘laṅghanam’, (he is) the king with the confluence-jewel.
Saying ‘nn-ennum’, mounting to the topknot/crown, he blows—so that the earth rejoices.”
The verse can be read as an inner Ramayana coded into yogic–alchemical language: the “younger one of Lanka” (the discerning force that turns away from Ravana-like ego) fixes Rama (right order, pure awareness) as the sole target. At Rama’s “feet” (the foundational base) lies “rasa”—which may be both nectar/essence and mercury—together with “vīram,” hinting at a mineral agent used in Siddha rasavāda.
The “kokkan” (crane/heron, or the mind–breath that stands poised and still) does not rot or waver; attached to that essence, it “comes” and then “climbs the hill” (the spinal axis/inner mountain). The “child prince” is the rising inner potency—prāṇa/kundalinī/bindu—ascending through the inner peaks. Its “song” is about Time (kāla): either measuring it precisely through breath-retention or transcending it. “Clove” (ilavaṅgam) suggests the sharp, preservative heat/fragrance of ripened practice and medicine.
Without mere external ‘laṅghanam’ (fasting) or by truly completing the required discipline, the practitioner becomes the “king” bearing the “confluence-jewel” (a secret ‘maṇi’ at the meeting-point—often read as bindu/nectar at ājñā–sahasrāra). The repeated sound (“en… en…/nn-ennum”) and the ascent to the crown indicate the final raising to the head-center; the “blowing” points to controlled breath (or nāda) that makes the embodied earth (the body itself) rejoice in stabilized bliss.
1) Ramayana as inner allegory: “Lanka” commonly stands for a fortified, sense-bound embodiment; its “younger one” can signify the capacity for discrimination and surrender (often mapped to Vibhīṣaṇa in later readings). “Rama” then is dharma/awareness, the true “mark” (ilakkam) of practice.
2) Feet/base symbolism: “Rama’s feet” can mean refuge, but in yogic coding it also implies the foundation (mūlādhāra / the ground of practice). Siddhar verses often place the ‘medicine’ at the “feet,” i.e., at the base where transformation begins.
3) Rasa–vīram language: “rasa” can mean taste/tongue, essence/nectar, or mercury (rasam). “vīram” can mean valor, potency, or a specific mineral/chemical agent in Siddha pharmacy and alchemy. Their pairing strongly invites a rasavāda reading: a compound/operation that becomes “non-decaying” (sāvātu / does not spoil), echoing the Siddha aim of stabilizing body and consciousness.
4) Crane (kokkan) imagery: A crane stands motionless on one leg; Siddhar idiom uses such birds to indicate steadiness, vigilance, and the poised, selective mind. It may also encode prāṇa held in kumbhaka—still, alert, and “clinging” to the essence.
5) Hill-climbing: “Kundru” (hill) regularly functions as a metaphor for the inner mountain/spine; “climbing” implies upward movement of prāṇa/kundalinī through subtle centers.
6) Child–prince motif: The “child” (bālan) in Siddhar poetry can be (a) the inner embryo of realization, (b) kundalinī as a young royal force, or (c) the jīva that becomes sovereign when it reaches the crown. The princehood (kōmakan) marks rightful rule—mastery over senses.
7) Kāla and fragrance/heat: “Time” (kālam) is both the life-span measured by breath and the cosmic devourer to be overcome. “Clove” (ilavaṅgam) can indicate pungent medicinal heat, preservation, and fragrance—signs of ripening and stabilization, while also remaining intentionally cryptic.
8) Crown/topknot: “Mudi” signals sahasrāra or the summit of the subtle body. Reaching it suggests union (sangam) of currents, emergence of bindu/nectar (“maṇi”), and embodied joy (“earth rejoices”). “Blowing” indicates breath-technique, inner sound, or the final outward manifestation of an inward attainment—left deliberately double-edged.