றகரத்தின் வரிசையெலாம் கூபம் யூபம்
னகரத்தின் வரிசையெலாம் னன்னன் னாமம்
ஷகரத்தின் வரிசையெலாம் ஷட்ஜம் சக்ஷ
ஸகரத்தின் வரிசையெலாம் ஸம்ஸம் ஸாம்பம்
க்ஷகரத்தின் வரிசையெலாம் க்ஷரா க்ஷரந்தான்
ஹகரத்தின் வரிசையெலாம் சிவமாம் சீவன்
ருகாத்தே ரூகாரம் ரம்மோங் காரம்
லுகரத்தின் லூகாரம் லூட்யொட் யாணம்
Rakaraththin varisaiyelām kūpam yūpam
Nakaraththin varisaiyelām nannan nāmam
Shakaraththin varisaiyelām shaṭjam saksha
Sakaraththin varisaiyelām samsam sāmpam
Kshakaraththin varisaiyelām ksharā ksharanthān
Hakaraththin varisaiyelām sivamām sīvan
Rukāththē rūkāram rammoṅ kāram
Lukaraththin lūkāram lūṭyoṭ yāṇam
“All the (syllabic) series of the letter ‘ra’ are: kūpam, yūpam.
All the (syllabic) series of the letter ‘na’ are: nannan, nāmam.
All the (syllabic) series of the letter ‘ṣa/sha’ are: ṣaḍjam, sakṣa.
All the (syllabic) series of the letter ‘sa’ are: saṃsaṃ, sāmpaṃ.
All the (syllabic) series of the letter ‘kṣa’ are: kṣarā, kṣarantān.
All the (syllabic) series of the letter ‘ha’ are: it is Śivam, (and) jīvan.
Do not fear: (it is) the ‘ru’-sound (rūkāram), the ‘ram–oṃ’-sound (rammōṅkāram).
The ‘lu’-letter’s ‘lū’-sound (lūkāram): lūṭ-yoṭ yāṇam.”
He lists phoneme-clusters (akṣara-varisai) as more than mere letters: each consonant-series is a code-word pointing to a yogic and ritual/alchemical function.
The ‘ra’ series is spoken as “kūpam / yūpam”—images of a “well/pit” and a “sacrificial post,” suggesting a contained receptacle and an axis/pillar: the two supports of inner practice (vessel + vertical channel).
The ‘na’ series becomes “nannan / nāmam”—auspiciousness and “name,” implying right designation (mantric naming) and ethical/mental purification.
The ‘ṣa’ series becomes “ṣaḍjam / sakṣa”—the primal musical tonic (nāda’s base) and “witness/presence,” implying that sound (nāda) and awareness (sākṣin) are paired.
The ‘sa’ series becomes “saṃsaṃ / sāmpaṃ”—bīja-like murmurs that can be read as breath-syllables (saṃ/sāṃ), hinting at regulated vibration in prāṇa.
The ‘kṣa’ series becomes “kṣarā / kṣarantān”—the perishing and the “that-which-flows/decays,” pointing to impermanence and the alchemical ‘dripping/flow’ of bodily essences that must be reversed or refined.
The ‘ha’ series becomes “Śivam / jīvan”—the identity or linkage between the absolute (Śiva) and the embodied life (jīva).
Finally, he cautions “do not fear” the ru-/lu- sounds: ru (and ram–oṃ) and lu are to be handled as potent sonic tools—cryptically pointing to specific mantric pronunciations and a “knowledge/vehicle (yāṇam)” connected with lūṭ/yoṭ (unclear, possibly an instrument, a method, or a coded technical term).
1) Akṣara as operative power (not mere grammar): The repeated frame “X-karaththin varisaiyellām …” (“all the series of the letter X …”) resembles a primer, yet in Siddhar usage “letters” are often “bīja” powers. A ‘series’ can mean the consonant with its vowel-variants (ra, rā, ri, rī, ru, rū, re, rai, ro, rau, etc.), i.e., a spectrum of sonic energy.
2) Ritual images reinterpreted as inner-yoga anatomy: - kūpam (“well/pit”) can indicate a receptacle: the body as a vat, a hidden cavity, or the store of vital fluid/essence. - yūpam (“sacrificial post/pillar”) is the ritual axis; yogically it can echo the spinal channel/central pillar (suṣumnā) or the stabilizing ‘stake’ of vow and posture. Together they can form a pair: containment (kūpam) and elevation/axis (yūpam)—the ‘vessel’ and the ‘pillar’ needed for inner alchemy.
3) Nāda (sound) and sākṣin (witness): ṣaḍjam is the tonic note (sa) in the classical scale and is a common marker for the ground-tone of nāda. Pairing it with something like “sakṣa/sākṣa” invites a reading that true yogic sound is inseparable from witnessing awareness.
4) Kṣara (perishable) as bodily flow and metaphysics: “Kṣarā / kṣarantān” can be read in two intertwined ways: - Philosophical: kṣara = perishable (as opposed to akṣara = imperishable). - Alchemical/medical: “that which leaks/flows” (kṣar-) evokes loss of vitality through downward flow; Siddhar and haṭha traditions frequently aim to “seal,” “reverse,” or “cook” such flows.
5) Śiva–jīva relation: By saying the ha-series is “Śivamām jīvan” (Śiva itself (is) life / life is Śiva), the verse points to non-dual identity or at least an intended union: the embodied practitioner is not separate from the absolute principle.
6) Ru-/lu- syllables as technical mantric phonetics: The closing lines treat ru and lu as special sounds (rūkāram, lūkāram) and mention “ram–oṃ-kāram,” indicating a deliberate sound-sequence or coupling of bījas (RAM + OṂ). The admonition “do not fear” suggests they are powerful, possibly dangerous if misused, or simply difficult to pronounce/activate. The final “lūṭ-yoṭ yāṇam” remains intentionally coded, implying a ‘vehicle/method’ linked to that lu-vibration.
Overall, the verse functions like an esoteric phonetic key: it compresses instruction on mantra-sound, inner ritual (yajña reimagined), and the metaphysics of perishing/imperishable and Śiva/jīva identity.