விந்துவுடன் நாதமதும் சேர்ந்த வேதை
விந்தையதே வாதம்செய் வித்தை யாகும்
கந்தமுறும் வாலைரஸம் வாதத் திற்காம்
கட்டுடைய தாதுரஸம் யோகத் திற்காம்
பந்தமறப் பூநாக லவணச் சுன்னம்
பரிதிமதி வன்னியெனும் முப்பூக் கூட்டிச்
சிந்தையுற வங்கமென்றும் சிங்க மென்றும்
சிவவாசி தளைதனையடக்கிச் சுழூணை நாட்டே
Vinthuvudan naathamathum serntha vethai
Vinthaiyathe vaathamsai viththai yaagum
Kanthamurum vaalairasam vaathath thirkaam
Kattudaiya thaathurasam yogath thirkaam
Panthamaraa poonaaga lavanach sunnam
Parithimathi vanniyenum muppook koottich
Sinthaiyura vangamentrum singa mentrum
Sivavaasi thalaithanaiyadakkich suzhoonai naatte
The “Veda/knowing” that joins with bindu (drop/seed) and with nāda (sound) —
that wonder itself becomes the art/technique that makes vādam (vāta/wind; also disputation) act.
The fragrant vāla-rasam is suitable for vāta;
the “bound” dhātu-rasam (mineral/metal essence) is suitable for yoga.
To remove bondage, (use) pūnāga-lavaṇa cūṇṇam (powdered salt/preparation);
combine the “three flowers” called pariti (sun), mati (moon), and vanni.
When the mind is made to be firm, (there is) “vaṅgam” and also “siṅgam”;
subdue the “Śiva-breath” at the head and establish it in the suṣumnā (central channel).
When the practitioner fuses bindu (life-essence) with nāda (inner sound/mantric vibration), the hidden “true knowing” arises; this becomes the operative skill by which vāta/prāṇa is made to function in a governed way rather than scattering.
To support that work, specific rasas (juices/essences) are prescribed: one suited to pacifying vāta (a fragrant “vāla-rasam”), and a “bound” mineral/metal essence (dhātu-rasa) suited to yogic stabilization—suggesting an alchemical fixation that renders the body a steadier vessel.
Bondage (attachment, karmic binding, and/or physiological constriction) is loosened by a coded salt-preparation (pūnāga-lavaṇa cūṇṇam) and by combining a triad termed “sun–moon–vanni,” pointing to a harmonization of solar and lunar currents with a third fiery/transformative principle.
With concentrated mind, the practitioner performs the veiled operations named “vaṅgam” and “siṅgam” (likely coded substances and/or stages of transmutation), then arrests and contains the ‘Śiva-breath’ at the crown and redirects it into the suṣumnā—turning dispersed prāṇa into a centralized ascent.
This verse speaks in the characteristic Siddhar double-register: (1) external rasavāda (alchemy/medicine) and (2) internal yoga (nāḍī-prāṇa discipline).
1) Bindu–Nāda union: In Siddhar yoga, bindu is not merely sexual fluid; it is the conserved life-essence whose dissipation equals decline. Nāda is the subtle inner sound (often linked to mantra and to the vibration that gathers the mind). Their “joining” indicates an inner integration where desire-energy is refined into awareness-energy. This is presented as “vedai/vētai”—a word that can carry “Veda-like knowing” or “true method/secret.”
2) Vāta as both physiology and prāṇa: “Vādam” can mean the bodily vāta-doṣa (wind principle) and, by extension, prāṇa’s restless movement. The ‘skill that makes vādam act’ is thus the capacity to govern breath and winds so they become instruments rather than disturbances.
3) Rasa prescriptions as body-preparation: The text lists rasas and a salt-powder (lavaṇa cūṇṇam). In Siddha medicine, salts and rasas are not only remedies; they are also preparatory agents to make the body fit for kuṇḍalinī work—reducing vāta-derangement, stabilizing digestion/fire, and “binding” (kattu) volatile substances. “Bound dhātu-rasa” suggests a fixed, processed mineral/metal essence—an alchemical metaphor for stabilizing what is otherwise volatile (both substance and mind).
4) “Three flowers”: Naming them as sun (pariti) and moon (mati) strongly implies iḍā and piṅgalā harmonization. The third (vanni) is plausibly the balancing/transmuting factor—often read as agni (fire) or a third current/center that allows suṣumnā entry. Siddhar poems frequently call energetic principles “flowers,” preserving secrecy while indicating a triadic conjunction.
5) Final yogic instruction: The closing line is explicitly internal: restrain the ‘Śiva-breath’ at the head and place it in suṣumnā. “Śiva” here can indicate the still, witnessing pole of consciousness; “vāsi” can indicate breath-movement. The aim is to prevent prāṇa from dispersing through the senses and to channel it centrally—classically the prerequisite for higher states (samādhi) and for “deathlessness” motifs in Siddhar literature.
Overall, the verse frames liberation and bodily perfection as a combined operation: medicinal/alchemical stabilizations on the outside, and a precise redirection of prāṇa and awareness on the inside.