This passage functions less as narrative verse and more as a mantra-nyāsa style litany: repeated “Om” frames the recitation, while the doubled bīja-like syllables (“tam tam…”, “nam nam…”, “bam bam…”) act as sonic keys. In Siddhar and Śākta logic, the deity is not merely addressed by sound; the sound is the deity’s operant form.

Several names point to an internal yogic-body reading. “Nādini/Nāḍini” can be heard as (1) nāda—inner sound-current, or (2) nāḍī—subtle channels; either way it aligns mantra with prāṇa-flow. “Bandhinī” evokes the binding/sealing function familiar in yogic physiology (granthi-bheda and bandha imagery), where Śakti both binds the dispersed life-force and can also ‘bind’ the mind into one-pointedness. “Dhātrī” is the sustainer (earth/mother/support), implying a grounding or supporting layer of the practice.

The final invocation, “Majjā,” is especially medical-alchemical in resonance: majjā is one of the classical bodily dhātus (marrow), often treated as an interior ‘essence’ substrate connected with vitality, unctuousness, and deep strength. Placing a mantra-name upon “Majjā” can imply that mantra is being installed not only in the mind but in the deepest tissues—an alchemical hint that transformation is meant to become somatic.

“Paṭkāriṇī” plausibly represents “Phat-kāriṇī,” the power of the syllable phaṭ used to split, cut, or shatter obstacles; if so, the litany alternates between nurturing/supporting aspects (Dayā, Dhātrī, Pārvatī) and forceful operative aspects (Phat-kāriṇī, Bandhinī), mapping a complete Śakti: compassionate, sustaining, channeling, stabilizing, cutting, sealing, and finally ‘condensing’ into essence.