1) Mantra as ontology rather than mere sound: The verse is largely composed of bīja (seed) syllables (aiṃ, hrīṃ, śrīṃ, klīṃ, sauṃ, krīṃ, etc.). In Śākta–Siddhar usage, such bījas are not simply devotional utterances; they are treated as condensed “addresses” of powers (śaktis) and as psycho-energetic keys. The “meaning” is therefore partly non-discursive: the syllable is the sign and also the invoked force.

2) Tripurā and the “nine”: “Tripurā” can be read as (a) the Goddess who transcends the three cities/three realms, (b) the power that integrates the triads (past–present–future; waking–dream–deep sleep; iḍā–piṅgalā–suṣumṇā; knower–known–knowing). “Nine-fold salutation” may allude to a ninefold division of worship (nine enclosures/levels, nine śaktis, nine modes of approach), or a yogic mapping to nine openings/doors of embodiment—suggesting that devotion is simultaneously a discipline of sensory withdrawal and inner ascent.

3) Ucchiṣṭa Bālāmbikā (cryptic, deliberately paradoxical): “Ucchiṣṭa” literally refers to “what remains after eating/offerings,” and in Tantra it can signal what is socially ‘impure’ yet ritually potent when transmuted by knowledge. “Bālāmbikā” is the ‘Girl/Maiden Mother,’ the youthful form of the Goddess. Together they point to a siddhar-style reversal: the rejected remainder becomes the very entry-point for realization—i.e., the practitioner recognizes śakti not only in the purified, but in what remains, what is leftover, what is ordinarily excluded.

4) The “kram/krīm/kruṃ…” ladder and inner alchemy: The rolling sequence of “kra/krī/kru/krō/krau…” can be heard as a graded activation across subtle centers (cakras) or elements, but the text refuses to pin a single map. Siddhar transmission often uses such sequences as oral/initiatic cues: the sound-pattern is the instruction. In a medical–alchemical reading, it may also indicate a process of ‘heating, churning, and distilling’ internal winds (vāyu) and essences—transforming ordinary vitality into a refined bliss-current.

5) “Ūrdhva-mukha parā-ahantā” and “ānanda-kanda”: “Ahantā” (I-sense) is usually a bondage when contracted; here it is “parā” (supreme), implying an I-sense expanded into pure awareness rather than egoic limitation. “Ūrdhva-mukha” (upward-facing) indicates reversal of outward flow: desire and attention return upward/inward. “Ānanda-kanda” is classically a subtle ‘bulb/root’ associated with heart-region mysticism in some yogic traditions; in Siddhar idiom it can also denote a secret nexus where breath, mind, and essence meet—experienced as fragrance-like bliss (“gandha” is hinted by the sound-play with kandam/gandham), yet kept intentionally non-definitive.

Overall, the verse functions as an encoded sādhana: it gestures toward a goddess-centered nondual realization where mantra, body, and consciousness are one continuous alchemical field.