அந்தங்க ரும்பள்ளி யம்படச்சி
அதனோடு பாசாங் குசத்திமச்சி
விந்தமலை வேட ச்சி யாடகச்சி
விண்ணிமய மாமலைம லைச்சியச்சி
சந்தப் பறச்சி வான்பம்பரச்சி
சப்பரச் சதுரச்சி பப்பரச்சி
அந்தரத் தம்பரத் தாசரிச்சி
அப்பிச்சி குப்பிச்சி சுப்பிச்சியே
anthangka rumpaḷḷi yampaṭacchi
athanoḍu pāsāṅ kusathimacchi
vinthamalai vēṭa cchi yāṭakacchi
viṇṇimaya māmalai ma laicchiyacchi
santhaʾ paṟacchi vānpamparacchi
sapparacʾ sathuracchi papparacchi
antharath thamparath thāsaricchi
appicchi kuppicchi suppicchiyē.
“That secret (inner) sugarcane-hamlet ‘Ampaṭacci’;
with it, the one of the pāśa–aṅkuśa (noose and goad), ‘Kusatti-macci’;
Vindhya-mountain ‘Vēṭacci’ (huntress/tribal woman), ‘Yāṭakacci’;
sky-like, great-mountain ‘Malai-cci-yacci’ (hill-woman);
fragrant ‘Paracci’ (Parai-woman/outcaste woman), sky-spinning-top ‘Pambaracci’;
‘Capparacci’, ‘Caturacci’ (square-one), ‘Papparacci’;
‘Antarat-’ (inner), ‘Ambarat-’ (ether/sky/cloth), ‘Tācaricci’;
‘Appicci’, ‘Kuppicci’, ‘Suppicci’.”
A litany of feminine figures—huntress, hill-woman, Parai-woman, spinning-top woman—are invoked as shifting masks of one power (Śakti / kuṇḍalinī / inner force). Alongside them appears the “noose and goad” motif (pāśa–aṅkuśa), implying binding and directing: restraint of the senses and the spur that drives the life-force upward. The later cluster of sound-words (“appicci–kuppicci–suppicci”) reads like intentionally coded, oral/ritual syllables—either marking stages of an operation (mixing/bottling/sipping; sealing/fermenting/distilling) or breath-and-prāṇa manipulations—kept ambiguous by design.
This verse functions less as narrative and more as a mantra-like catalog. Siddhar speech often hides yogic and alchemical instruction in (1) social/ethnographic images (parai/vedar/malai peoples), (2) landscape (Vindhya, mountains, sky/ether), and (3) tools and shapes (noose–goad; square/circle-like hints).
• Feminine types (vēṭacci, malai-cci, paracci, etc.) can be read literally as “women of different habitats/castes,” but philosophically they frequently stand for modalities of one energy: instinctual force (huntress), raw mountain-force (hill-woman), socially ‘outside’ purity codes (parai-woman), and ecstatic motion (spinning-top).
• Pāśa–aṅkuśa is a classic emblem of governance of mind and prāṇa: the noose binds dispersal; the goad directs the animal-force inward/upward. In Siddhar yoga this matches the discipline of senses and the steering of kuṇḍalinī through subtle channels.
• References to “inner/ether/cloth” (antar/ambaram) can point simultaneously to interior space (cavity of the body), subtle space (ākāśa-tattva), and the ‘garment’ as concealment—mirroring how the teaching itself is “clothed” in sound.
• The final nonsense-like syllables likely serve as veiled technical markers (process steps, breath cues, or mnemonic seals). Siddhar compositions often preserve such phonetic clusters because efficacy is tied to sound while meaning is kept purposely indeterminate.