காட்டுநவ பாஷாணச் சரக்குக் கூட்டி
கனசாரங் கட்டிநவா சாரம் தூக்கிப்
பாட்டியவ ளைச்சுட்ட கனியின் பைந்தாட்
பச்சிலையைத் தானரைத்துக் கவசஞ் செய்து
கூட்டியுடன் வெங்காரத் தைல மிட்டு
கொப்பான வேதைசெயக் கொழித்துப் பொங்கி
நீட்டியதோர் செம்பினிடைத் தோட்டி யுள்ளே
நிறையொளியாம் பாட்டிக்கே சொந்த மாகும்
kaattunava baashaanach charakkuk kootti
kanasaarang kattinavaa saaram thookki
paattiyav laichchutta kaniyin paindaad
pachilaiyai thaanaraiththuk kavasanj seythu
koottiyudan vengaarath thaila mittu
koppaana vethaiseiyak kozhiththup pongi
neettiyathor chembinidaith thotti yullae
niraiyoliyaam paattikkae sontha maagum.
“Gather together the stock of the nine ‘pāṣāṇam’ (poison/mineral) materials.
Bind the ‘kanasāram’, and lift out (separate/retain) the nine essences.
Take the tender ‘green foot/stalk’ of a fruit that has been roasted,
Grind green leaves themselves and make a protective coating (kavacam).
Along with what has been combined, add ‘veṅkāram’ oil,
Carry out the foaming ‘vētai’ (heating/cooking) so that it boils up and rises.
In an elongated copper vessel, within the trough/container,
It becomes the radiant fullness—belonging to (or becoming) the ‘pāṭṭi’.”
The verse reads like a Siddha-alchemical recipe: combine the “nine pāṣāṇam” (a notorious set of potent/poisonous mineral substances), “bind” and stabilize a key essence (kanasāram), then encapsulate the mass with a herbal “armor” made from ground green leaves. Process the sealed mass with a specific medicated oil (veṅkārat-taiylam) and apply controlled heating (“vētai”) until it froths and surges—signaling an active transformation. When this is done in/through a copper apparatus (a long copper vessel set within a holding container), the product becomes “full of light”: a perfected preparation identified cryptically as “pāṭṭi” (either a named formulation, a vessel-state, or a personified ‘owner’ of the result).
Siddhar language often fuses laboratory instruction with inner-yoga symbolism. On the material level, the verse points to a classic Siddha aim: converting “pāṣāṇam” (dangerous, sharp, toxic mineral powers) into a usable medicinal/alchemical essence through binding, coating, and graded heat. The “kavacam” (armor/coating) is both a practical technique (sealing/coating a bolus for calcination/processing) and a metaphor for containment: powerful forces become beneficial only when ethically and methodically “covered” and disciplined.
The repeated imagery of boiling, swelling, and foaming (“koḻittu-p-poṅgi”) suggests an intended moment of activation—when latent potency becomes mobile, but must be held inside the correct vessel and protocol. The copper setting can be read practically (a specific reactive/heat-conducting metal used in apparatus) and symbolically (the body as a conductive vessel; the channels/nāḍi system through which heat/energy is guided). “Nirai oḷi” (fullness of light) implies completion/purification: poison transmuted to radiance—an emblem of transforming tamas (inertia/toxicity) into tejas (luminous power).