The Nācciyār Tirumozhi (literally, 'The Sacred Utterance of the Lady') is the second of Āndaḷ's two prabandhams in the Nālāyira Divya Prabandham and the longer of the two, comprising 143 pāsurams arranged in fourteen tirumozhis (decads). Whereas the Tiruppāvai is a communal hymn set in the context of Mārgazhi vrataṃ, the Nācciyār Tirumozhi is intensely personal — Āndaḷ speaks in the first person as a young woman consumed by love for Bhagavān Viṣṇu, adopting the akam (interior) genre of classical Tamil Sangam poetry to convey the ātmā's longing for its divine bridegroom.
Several sections of this prabandham have become especially celebrated within the sampradāya. The Kuyil Pāṭal (fifth tirumozhi, pāsurams 41–50) is a deeply moving ode in which Āndaḷ entreats the koel bird to carry her message of longing to the Lord of Tiruvengaḍam (Tirupati). In the Venkatapathi tirumozhis, she addresses Bhagavān directly as Venkaṭapati, the Lord who stands on the sacred hill, pleading for union. The prabandham also contains a vision of her dream-marriage to Viṣṇu (fifth tirumozhi), rendered with extraordinary poetic force. The famous Varaṇam āyiram passage (thirteenth tirumozhi, pāsurams 121–130) describes in rapturous imagery a royal wedding procession of a thousand elephants, symbolising the soul's union with Bhagavān at the moment of liberation.
Within Śrī Vaiṣṇava hermeneutics, the Nācciyār Tirumozhi is understood as the supreme expression of para-bhakti — the highest degree of love in which the ātmā can no longer endure separation from Bhagavān. Āndaḷ's unique voice as a woman — in the tradition of the nāyikā-nāyaka (heroine-hero) devotional mode — is interpreted by the Āchāryas as the truest representation of the ātmā's relationship to Bhagavān: the soul is always the beloved (nāyikā) seeking the Lord (nāyaka). Piḷḷai Lōkācāryar and Maṇavāḷa Māmunigaḷ both cite passages from the Nācciyār Tirumozhi to illustrate the deepest truths of prapatti and the urgency of surrender.