ஓம் ஹம் ஹம் ஹம்ஸவத்யை நம ஓம் ஓம்
ஓம் ளம் ளம் ளாகின்யை நம ஓம் ஓம்
ஓம் க்ஷம் க்ஷம் க்ஷமாவத்யை நம ஓம் ஓம்
ஓம் நமவென் றேநிறுத்தி யுயிர்ப்பு வீங்கி
ஓமென்றே மாத்ருகையை உள்ளே வாங்கி
ஓமென்றே பதச்சிரமா மாறி மாறி
ஓமோமோ மென்றைந் தொன்பானே நாமம்
உற்று வர மாத்ருகைகள் சித்தி சித்தி
Om ham ham hamsavadyai nama Om Om
Om lam lam laakinyai nama Om Om
Om ksham ksham kshamaavadyai nama Om Om
Om namaven rēnirutti yuyirppu vīngi
Omendrē maathrugaiyai ullē vaangi
Omendrē padachchiramaa maari maari
Omomomo mendrain thonbaanē naamam
utru vara maathrugaigal siddhi siddhi
“Om ham ham—salutations to Hamsavatī—om, om.
Om lam lam—salutations to Lākinī—om, om.
Om kṣam kṣam—salutations to Kṣamāvatī—om, om.
Fix it by saying ‘nam’ (or ‘nama’) and, with the breath held, let the life‑breath swell.
Saying ‘Om’ itself, draw the ‘mātṛkā’ into the interior.
Saying ‘Om’ itself, become ‘pada‑śirama’ (foot–head / word–head) again and again.
‘Om‑om‑om’—the name of five and nine.
When it comes to be attained, the mātṛkās (grant) siddhi, siddhi.”
The verse first invokes three mantra‑powers—HAM, LAM, and KṢAM—addressed as feminine presences (Hamsavatī, Lākinī, Kṣamāvatī). Then it gives a practice-instruction: arrest the outgoing movement of breath with the closing sound “nam/nama,” retain the breath until prāṇa “swells,” and, through continuous “Om,” internalize the mātṛkā (the matrix of sacred phonemes / mother‑energies). By repeatedly shifting the “Om” through a polarity described cryptically as “pada–śirama” (foot–head; or word–head), one realizes the “name of five and nine” (a coded count or classification). When this ripens, mastery of the mātṛkās—i.e., siddhi through sound—arises.
1) Mantra as śakti rather than mere word: The opening invocations treat the bīja-sounds (HAM, LAM, KṢAM) as living feminine agencies. In Siddhar usage, such names can indicate (a) specific śakti-devīs linked to inner centers, (b) personifications of phonemic powers, or (c) veiled references to physiological loci.
2) Breath-retention and “swelling” of prāṇa: “Holding” (kumbhaka-like) and “prāṇa swelling” suggests deliberately building internal pressure/heat/charge. This can be read yogically (prāṇāyāma, kuṇḍalinī pressure) and also medically/alchemically (concentration of vāyu, ignition of inner fire) without forcing a single interpretation.
3) Mātṛkā inward: In Tantra, mātṛkās are the “mothers” and also the phoneme-matrix (letters) from which mantra and creation unfold. “Drawing the mātṛkā inside” implies reversing external speech into inner sound (parā/paśyantī), turning articulation into interior realization. The text’s insistence “by ‘Om’ itself” frames Om as both vehicle and container of all phonemes.
4) ‘Pada–śirama’ as coded circulation: The phrase is intentionally cryptic. It can indicate moving the mantra-current between extremities (foot ↔ head), or between “pada” (word/step/foot) and “śiras” (head/crown), i.e., circulating sound-energy along a vertical axis. It might also hint at alternating placements/attentions (“again and again”)—a rhythmic oscillation that stabilizes absorption.
5) “Five and nine” as esoteric numbering: “The name of five and nine” may encode a japa count, a grouping of powers/letters, or a referent to sets used in Siddhar/Tantric schemata (e.g., tattva groupings, vāyu divisions, nāḍī/cakra counts, or a mnemonic for a specific mantra-form). The verse does not resolve it plainly; it functions as a key for initiates.
6) Siddhi through phoneme-mastery: “Mātṛkā-siddhi” can mean command over sound (vāksiddhi), inner stabilization of mind through the phonemic matrix, or the awakening of the ‘mother’ powers that govern body and cosmos. The doubled “siddhi, siddhi” underscores fruition but also keeps the claim open-ended—spiritual attainment and/or extraordinary capacities.