The verse is built like a mantra: heavy reduplication (“here-here / there-there,” “soft-soft”) functions less as ordinary description and more as an insistence on pervasion and subtle movement. The speaker addresses a single ‘sister’ through multiple epithets, implying one reality appearing in many registers.

1) Omnipresence and non-dual pervasion: The repeated “everywhere” language suggests the Siddhar’s core intuition that the sought principle is not confined to one shrine, place, or experience. The line about “standing as everywhere” points to a non-dual reading: the power is not merely located in things; it is the way things are.

2) “Gold” as perfection / siddha-alchemical code: “Thangam” (gold) in Siddha discourse often connotes a perfected, incorruptible state—either of a metal in rasavāda (alchemy) or of the body-mind when transformed (an “imperishable” state). Calling the principle “golden-sister” can therefore be read as naming the power that ripens/transmutes.

3) “Ganga” as river, nāḍī, or amṛta-flow: “Ganga” can remain literal (a sacred river), but Siddhar symbolism frequently uses river-imagery for inner currents—prāṇa-flow, nāḍīs, or the descending/ascending ambrosial essence (amṛta). The ‘softly, gently’ phrasing fits an inner-current reading: subtle movement rather than gross force.

4) Fivefold structure (“five arrows”): “Anj-” typically signals a ‘five’: five senses, five elements, five vāyus, etc. “Five arrows” is also a classical image for desire (Kāma’s arrows), which in yogic interpretation can mean sense-impulses that bind, or—when mastered—energies redirected upward. The second fivefold term is textually unclear, so the verse preserves a deliberate cipher: a ‘fivefold’ mechanism through which the power operates.

5) “Vangam” as ship/sea-world or as tin (alchemy): “Vangam” can mean a vessel/ship or relate to the sea-world of trade; but in Siddha alchemical registers, “vangam” is also used for the metal tin. The line can thus be read two ways: (a) she is present in worldly movement and commerce (ships), or (b) she is the operative śakti within metallurgical transformation (tin and its processing). The verb-like “vangitta” is ambiguous: it may suggest ‘taken/boarded/obtained/refined’ depending on the intended register.

6) “Skies holding fish”: Literally it evokes a sky with fish—poetically, stars moving like fish, or the zodiac sign Meenam (Pisces). Esoterically, it may point to “Ākāśa-Gangā” (the Milky Way, the ‘celestial Ganga’), linking outer cosmos and inner flow: the same ‘river’ appears above as a luminous band and within as a subtle current.

7) Inner culmination: The final line—“within all, my inner being swells”—frames realization as an internal surge (pongu), which can indicate devotional rapture, prāṇic rise, kuṇḍalinī stirring, or the expansion of consciousness. The verse does not force a single mapping; it layers them.