So Dar – The Door of the Divine in Japji Sahib (Paurī 27)

Based on Maskeen Ji’s Discourse on Japji Sahib

Introduction

Among the most profound compositions of Japji Sahib is the So Dar paurī. This passage also forms part of Rehrās Sahib and is recited in Āsā Rāg. The phrase So Dar means “That Door” — referring to the Supreme Abode where Akāl Purakh sits and sustains all of creation. Guru Nanak Dev Ji, through this paurī, poses a question that pierces through worldly existence: Where is that Door? What is that House, where the Divine sits and manages the vast universe?

The paurī not only raises the question but also paints an extraordinary picture of the glory and vastness of creation, where every element — from nature to deities, from sages to warriors — sings the praises of the Divine. Ultimately, Guru Ji reveals the true essence of spiritual life: remaining in harmony with Divine Will (hukam).

The Search for the Divine Door

Guru Nanak Dev Ji asks:

So dar kehā, so ghar kehā, jit bahi sarab samāle?
“O Akāl Purakh, what is that Door, what is that Home, where You sit and sustain all beings?”

This is no ordinary question. It is a question born of deep spiritual yearning, one that emerges only after a seeker becomes uparām — detached from the illusions of the world. As long as a person is attached to the worldly door — chasing wealth, pleasures, and temporary gains — the longing for the Divine Door does not awaken. Saints and devotees, realizing the futility of worldly pursuits, turned inward and sought that Door. They discovered that beyond the fleeting satisfactions of the world lies the Home of God, where there is complete fulfillment and endless joy.

Detachment here does not mean abandoning life in despair. It is not the detachment of frustration but of wisdom. The wise seeker understands that the world, by its nature, cannot offer ultimate satisfaction. This realization turns him toward the Eternal Door.

The Music of the Divine Abode

Guru Ji then describes the glory of that Door through the language of sound:

Vāje nād anek asaṅkhā, kete vāvaṇhāre.
“At that Door, countless musical instruments play, and countless musicians bring forth their sounds.”

Music is not incidental — it is central to the spiritual description of the Divine Abode. The ancient sages knew the power of sound. That is why, even today, when entering temples, one rings a bell or strikes a gong. This act is symbolic: access to God is through nāda — sound, vibration, resonance. The reverberation awakens the mind, focuses attention, and creates an atmosphere of devotion.

Domes in old temples were designed for this very purpose — to echo sound, to let the vibrations return to the ear, drawing the mind inward. Guru Nanak Dev Ji, beginning the description of So Dar with sound, emphasizes that divine music resounds endlessly at the Door of God.

Throughout history, saints have used music as a medium of devotion. Mīrābāī strummed the ektārā, Nārada sang with his vīṇā, Krishna enchanted the world with his flute, Shiva resounded the ḍamarū, Bhai Mardana accompanied Guru Nanak Dev Ji with his rabāb, and Guru Arjan Dev Ji composed hymns to the melody of the sarandā. Each instrument, born in devotion, has been used not merely for entertainment but as a vessel of praise.

Kete rāg parī siu kahīan, kete gāvaṇhāre.
“Countless are the rāgas with their families, and countless are those who sing them.”

Music organizes sound into rāgas, each with families and lineages. The Rāgamālā included in Guru Granth Sahib catalogues these families — Bhairav, with its five rāginīs and numerous descendants, is considered the foremost rāga in North India, while in South India, Śrī Rāga holds that place. Guru Granth Sahib embraces both, reflecting the vastness of spiritual music across traditions. Thus, countless rāgas and countless singers are all engaged in divine praise.

Nature’s Song of Praise

The paurī expands from human music to the natural elements themselves:

Gāvah tuhaṇo pauṇ pāṇī baisantar, gāvai rājā dharam duāre.
“The wind sings to You, the water sings to You, the fire sings to You, and Dharamrāj sings Your praises.”

How do the elements sing? Guru Nanak Dev Ji explains that they glorify God by obeying His Will. Fire cannot choose to become cold; water must flow downwards; air moves freely as ordained. Their obedience is their hymn. Nature, by following its Divine Order, becomes a song of praise.

When a devotee contemplates rivers, winds, or flames, he perceives God’s majesty in them. Thus, they sing both in their essence and in the eyes of the seeker. Even Dharamrāj — the Lord of Justice who judges beings after death — operates only within God’s Hukam. His very existence becomes an act of divine glorification.

Gāvah cit gupat likh jāṇeh, likh likh dharam vīcāre.
“The unseen recorders of deeds sing to You, and Dharamrāj reflects upon those records.”

Every thought, word, and deed is etched within us as impressions. This invisible account, recorded by citragupta, is not seen by physical eyes but experienced through the soul. This system too is established by God’s command, and by existing, it sings His praise.

The Praise of Deities and Saints

Gāvah īsar barmā devī, sohan sadā savāre.
“Shiva sings to You, Brahmā sings to You, the goddesses — ever adorned — all sing to You.”

Even the great deities worshipped in scriptures are creations of God. Their beauty and power are but reflections of His artistry. By existing, they too glorify Him.

Gāvah ind idāsaṇ baiṭhe, devatiā dar nāle.
“Indra, seated on his throne with other gods, sings to You.”

The phenomena of rain, thunder, and heavens, symbolized by Indra, operate only within Hukam and therefore become hymns of Divine praise.

Gāvah sidh samādhī andar, gāvan sādh vīcāre.
“The Siddhas sing in deep samādhi, and the saints sing through contemplation.”

The Siddhas praise in silence through meditation, while saints glorify through thoughtful reflection on holy scriptures. Guru Arjan Dev Ji exemplified this when he endured torture on the hot plate yet remained absorbed in sweet acceptance of Divine Will. This was samādhi not as escape, but as complete alignment with God.

Human Virtues as Songs

Gāvan jatī satī santokhī, gāvah vīr karāre.
“The disciplined, the charitable, the contented, and the brave sing to You.”

• Jatīs sing through controlling their senses.
• Satīs sing through acts of charity and sacrifice.
• Santokhīs sing by accepting all that comes as God’s gift.
• The vīr, true warriors, sing through courage in righteousness.

Gāvan paṇḍit paṛan rakhīsar, jug jug vedā nāle.
“Scholars and sages, with the Vedas on their lips for ages, sing to You.”

From ancient times, learned souls have recited sacred scriptures as a form of glorification. Even beauty, jewels, and pilgrimages become instruments of praise when recognized as gifts of the Divine.

The Cosmic Choir

Gāvah mohaṇīā man mohan, surgā machh païāle.
“Enchanting beauties who captivate beings in heavens, earth, and the underworld sing to You.”

True beauty becomes divine when acknowledged as God’s artistry.

Gāvan ratan upāe tere, aṭhasaṭh tīrath nāle.
“The jewels You created and the sixty-eight pilgrimages sing to You.”

The brilliance of diamonds, pearls, and rubies is but God’s light shining through them. Pilgrimage sites are sanctified by the presence and sacrifice of saints, and thus, they too sing His glory.

Gāvan jodh mahābal sūrā, gāvah khāṇī cāre.
“Warriors, mighty heroes, and the four sources of life sing to You.”

Life emerges from eggs (andaj), wombs (jīraj), moisture (setaj), and earth (udbhij). Every form of life glorifies the Creator by its very existence.

Gāvah khaṇḍ maṇḍal varbhaṇḍā, kar kar rakhe dhāre.
“The galaxies, solar systems, and universes — created and sustained by You — sing to You.”

From the smallest speck of dust to the vast cosmos, everything resounds with Divine music.

The True Singers

Yet Guru Ji clarifies:

Seī tuḍhuno gāvah jo tuḍh bhāvan, rate tere bhagat rasāle.
“Yet truly, only those sing to You whom You accept — Your devotees, drenched in the nectar of Your Name.”

Infinite beings sing in countless ways, but the essence of true praise lies in the devotee’s song. The rasāl bhagat tastes the sweetness of God’s Name as naturally as the tongue savors food. When ego and desire cloud the heart, the Name feels tasteless; but when the heart is pure, remembrance overflows with nectar. These are the true singers in the Divine Court.

Beyond Human Comprehension

Hor kete gāvan, se mai cit na āvan, Nānak kiā vīcāre.
“There are so many more who sing to You, but they do not even come to my mind. What can Nanak possibly say?”

Guru Nanak Dev Ji humbly admits the limitation of human comprehension. God’s glory is infinite, beyond the capacity of memory or speech.

The Eternal Truth

The paurī concludes with affirmation of God’s eternity:

Soī soī sadā sacu sāhib, sācā sācī nāī.
“That Lord alone is forever True, His Name is the truest of truths.”

Hai bhī hosī, jāi na jāsī, racnā jin racāī.
“He exists now, He shall always exist, never coming nor going, the One who created all creation.”

Jo tis bhāvai soī karsī, hukam na karaṇā jāī.
“What pleases Him, that alone He does; none can command Him.”

So pātisāhu sāhā pātisāhib, Nānak rahaṇ rajāī.
“He is the King of kings, the Supreme Sovereign. Nanak says: to remain in His Will is the only way.”

Conclusion

The So Dar paurī presents a cosmic vision: every aspect of creation, from elements to deities, from sages to warriors, from galaxies to jewels, sings the glory of God. Yet the highest form of praise comes from the devotees who taste the sweetness of His Name. Guru Nanak Dev Ji’s final teaching is clear: do not attempt to command the Divine. Instead, surrender, pray, and live in harmony with His Hukam. In acceptance of Divine Will lies peace, fulfillment, and union with the Eternal.