ஓமம்மம் மமிர்தேஸ்யை நம ஓம் ஓம்
ஓமாமா மானந்தின் யை நம ஓம் ஓம்
ஓ மிம் மிம் மிந்த்ராண்யை நம ஓம் ஓம்
ஓ மீ மீம் ஈஸான்யை நம ஓம் ஓம்
ஓ மும் மும் உமா தேவ்யை நம ஓம் ஓம்
ஓ மூ மூம் ஊர்த்வகேஸ் யைநம ஓம் ஓம்
ஓம் ரும் ரும் ருத்திதா யைநம ஓம ஓம்
ஓம் ரூம் ரூம் ரூஷாண்யை நம் ஓம் ஓம்
Omammam mamirthesyair nama om om
Omama mananthin yair nama om om
O mim mim minthraanyair nama om om
O mee meem eesaan'yair nama om om
O mum mum umaa devyair nama om om
O moo moom oorthvakes yainama om om
Om rum rum rutthithaa yainama oma om
Om room room rooshaanyair nam om om
1) “Om aṃ aṃ—salutations to Amṛteśī/Amṛteśvarī; Om, Om.”
2) “Om āṃ āṃ—salutations to Ānandini; Om, Om.”
3) “Om iṃ iṃ—salutations to Indrāṇī; Om, Om.”
4) “Om īṃ īṃ—salutations to Īśānī; Om, Om.”
5) “Om uṃ uṃ—salutations to Umā Devī; Om, Om.”
6) “Om ūṃ ūṃ—salutations to Ūrdhvakeśī; Om, Om.”
7) “Om ṛṃ ṛṃ—salutations to Ṛddhitā/Ṛddhidā; Om, Om.”
8) “Om ṝṃ ṝṃ—salutations to (Ṛṣāṇī / Rūṣāṇī); Om, Om.”
A sequence of seed-sounds (nasalized vowels) is offered as worship to eight feminine powers. Each vowel-syllable is treated as a Śakti in sound-form: nectar, bliss, sovereignty, auspicious lordship, Umā’s power, the upward-rising force, prosperity/siddhi, and a final enigmatic power linked to the last vocalic sound. The verse functions less as narrative poetry and more as a phonetic rite: by voicing the vowels as bīja, the practitioner salutes and awakens the corresponding inner energies.
This text reads like a Siddhar/Tantric “sound-liturgy” where letters (varṇa/mātṛkā) are not mere phonemes but living potencies. The ordering strongly follows the vowel-series a, ā, i, ī, u, ū, ṛ, ṝ, with each vowel nasalized (…ṃ) and paired with a goddess-name in the dative (“…-yai namaḥ”).
Literal-level function: a mantra-list of salutations (namaḥ) framed by Om, employing bīja-like syllables (aṃ/āṃ/…/ṝṃ) before each deity.
Symbolic/yogic level: vowels are “life-current” sounds—closest to breath (prāṇa) and therefore to consciousness itself. Reciting them can be read as mātṛkā-japa or a form of nyāsa-by-sound: placing vibratory powers through the subtle body. The named goddesses then indicate qualities that arise when the sonic current is refined: - Amṛteśī suggests inner “nectar” (amṛta/soma)—often a yogic sign linked to head-centers and the cooling/immortalizing current. - Ānandini indicates the affective fruition of practice: bliss (ānanda) as a stabilizing sign, not mere emotion. - Indrāṇī can imply governing power over the senses (Indra as lordship), i.e., mastery rather than dispersal. - Īśānī suggests īśa/īśāna—lordly orientation toward the higher, sometimes also the “northeast” (subtle ascendant direction) in Tantric mapping. - Umā Devī can signify the stabilizing Śakti behind austerity/tapas and the mother-power that consolidates practice. - Ūrdhvakeśī (“she whose hair is upward”) is a classic image of upward movement: an emblem for kuṇḍalinī’s ascent, the reversal of the downward-pulling tendencies, and the “rising” of vital force. - Ṛddhi- (Ṛddhitā/Ṛddhidā) points to increase, prosperity, attainment—often read in Siddhar contexts as siddhi that must be subordinated to liberation. - The final name (Ṛṣāṇī/Rūṣāṇī) remains cryptic; it may indicate a seer-linked power (ṛṣi- resonance) or a fierce/rough (rūṣ-) quality—suggesting the last vowel’s Śakti is intentionally veiled.
Alchemical/medical resonance (Siddhar style): “amṛta” is not only metaphorical but can point to a felt inner secretion/cooling current; “ṛddhi” can suggest bodily increase/strength and the risk of attachment to powers; the entire set implies sonic medicine—using vibration and breath-linked phonemes to tune the vāyu (winds), stabilize mind, and transmute ordinary speech into mantra (vāk-śuddhi).