ஹ்ரீம் ஹ்ரீம் ஹ்ரீம் பரமாயா மந்த்ரம் யந்த்ரம்
ஹ்ரீம் சிம் ஸ்ரீம் ஸிவலஹரீம் சிவனார் கேந்த்ரம்
ஹ்ரீம் ஸ்ரீம் ஸ்ரீம் ஸிவவைஷ்ண வீயின் தந்த்ரம்
ஹ்ரீம் ஸ்ரீம் க்லீம் ஸிவநாரா யணியின் சந்தம்
ஹ்ரீம் ஸ்ரீம் க்ரீம் ஸிவகாளி மாதா விந்தம்
ஹ்ரீம் க்ரீம் க்ரீம் பரகாளி காவினந்தம்
ஹ்ரீம் ஐம் க்ரீம் பரப்ராஹ்ம ணிக்குச் சொந்தம்
ஹ்ரீம் ஹௌஸுப் பரப்ரேதப் பரம ரந்த்ரம்
hrīṁ hrīṁ hrīṁ paramāyā manthram yanthram
hrīṁ sim srīṁ sivalaharīṁ sivanār kēnthram
hrīṁ srīṁ srīṁ sivavaiṣhṇa vīyin thanthram
hrīṁ srīṁ klīṁ sivanārā yaṇiyin santham
hrīṁ srīṁ krīṁ sivakāḷi māthā vintham
hrīṁ krīṁ krīṁ parakāḷi kāvinantham
hrīṁ aim krīṁ parabhrāhma ṇikkuch chontham
hrīṁ hausup parabhrēthap parama ranthram
“Hrīm hrīm hrīm — the mantra and the yantra of the Supreme Māyā.
Hrīm siṃ srīm śiva-laharīm — Śiva’s center (kendra).
Hrīm srīm srīm — the tantra of the Śiva–Vaiṣṇava power/stream.
Hrīm srīm klīm — the chandas (rhythmic meter) of Śiva-Nārāyaṇī.
Hrīm srīm krīm — the bindu (seed-point) of Mother Śiva-Kālī.
Hrīm krīm krīm — the bliss/delight (ānanda) of Para-Kālī.
Hrīm aiṃ krīm — belonging to the Para-Brahman.
Hrīm ‘hausub’ — the supreme randhra (aperture/secret passage) of the ‘para-preta/para-bheda’ (reading uncertain).”
A garland of seed-syllables is being presented as a map of inner worship: beginning with Hrīm (the veil and power of Māyā), moving through combined Śaiva–Vaiṣṇava–Śākta formulae (Srīm, Klīm, Krīm, Aiṃ, etc.), and culminating in a “supreme randhra”—a final opening or secret passage—suggestive of the crown-aperture (brahma-randhra) where the yogin’s energy pierces beyond Māyā into Para-Brahman. The verse compresses multiple lineages into one cryptic technology: mantra (sound), yantra (diagram/body), tantra (method), chandas (vibrational rhythm), bindu (seed-point), and ānanda (realization).
1) Mantra–Yantra identity (sound = form): The opening “mantram yantram” treats the seed Hrīm not merely as a word to repeat but as an operative principle that simultaneously functions as mantra (vibration) and yantra (structure). In Siddhar usage, the “yantra” can be both an external diagram and the subtle-body itself (nāḍi–cakra field).
2) Hrīm as Māyā and as the key to transcend Māyā: “Paramāyā” can be read two ways without forcing a single choice: (a) Māyā as the supreme cosmic power (Śakti) by which the One appears as many; (b) the “supreme Māyā” as the subtlest veil to be penetrated. Hrīm commonly encodes Śakti, concealment/revelation, and the turning of mind inward.
3) Kendra (center) as a yogic locus: Calling something “Śivanār kendram” points to a central station—either a temple-center, a yantra’s bindu-center, or a bodily cakra. Siddhar texts often keep all three in play: the deity’s “center” outside mirrors the “center” inside.
4) Śiva–Vaiṣṇava fusion: “Śiva–Vaiṣṇava” suggests a non-sectarian synthesis: Śiva (stillness, dissolution, inner witness) and Viṣṇu (pervasion, preservation, sustaining intelligence) are treated as mutually implicative rather than opposed. The verse frames this as “tantra”—a method/loom that weaves the powers together.
5) Chandas as vibration-technology: “Chandas” is not only poetic meter; in mantra-science it is the regulated rhythm that locks breath, attention, and sound into a single current. Thus “Śiva-Nārāyaṇīyin chandas” may indicate a specific cadence for recitation that tunes the practitioner to a composite deity-form (Śiva + Nārāyaṇī).
6) Bindu and Kāḷī: “Bindu” is the seed-point where multiplicity collapses into potency: a dot in a yantra, the seed of mantra, and in yoga a subtle essence (often linked to seminal/nectar symbolism) that must be conserved and sublimated. Kāḷī’s presence (Krīm) adds the transformational edge: time, cutting-through, death-to-ego, alchemical “burning” of impurities.
7) Ānanda as confirmation of siddhi: “Para-Kālī ānanda” suggests that when the fierce transformative current is correctly integrated, the experiential signature is not terror but bliss—an ānanda that arises when fear of time/death is metabolized.
8) Para-Brahman as ownership/source: “Belonging to Para-Brahman” places all these deity-specific codes within a non-dual horizon: the various śaktis and names are functional gateways, not final absolutes.
9) The “supreme randhra”: “Randhra” can mean hole, opening, or secret passage; yogically it strongly evokes brahma-randhra (crown aperture), the exit/opening through which kuṇḍalinī culminates and liberation is sealed. The last line’s obscurity (“hausub”, “parabredhap/paraprethap”) is typical Siddhar cryptography: it may encode additional bīja(s) (haum, suḥ) associated with Śiva/fire/breath, and/or point to a corpse-transcending (preta) or division-transcending (bheda) threshold—i.e., the final passage beyond mortality and differentiation.