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So Dar - Meanings

Ishna

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May 9, 2006
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Sat Sri Akal Ji

Every morning I read a version of the shabad So Dar in Japji Sahib, and every evening I read it again in Rehras Sahib, and I would like to hear what this cyber sangat has to say about the meaning of this shabad. It appears 3 times in Sri Guru Granth Sahib Ji, and twice in nitnem bania. So I would like to foster a deeper understanding about it.

My initial reaction to this shabad is that it paints a picture of the whole of creation being a symphony created by Waheguru, it seems to speak of massive variety in creation and unity at the same time.

I'm curious about what is meant by 'singing' since obviously constellations don't "sing" as such.

Please share your thoughts.

Here's the version in Japji Sahib using Dr Sant Singh Khalsa's translation:


ਸੋ ਦਰੁ ਕੇਹਾ ਸੋ ਘਰੁ ਕੇਹਾ ਜਿਤੁ ਬਹਿ ਸਰਬ ਸਮਾਲੇ
So ḏar kehā so gẖar kehā jiṯ bahi sarab samāle.
Where is that Gate, and where is that Dwelling, in which You sit and take care of all?

ਵਾਜੇ ਨਾਦ ਅਨੇਕ ਅਸੰਖਾ ਕੇਤੇ ਵਾਵਣਹਾਰੇ
vāje nāḏ anek asankẖā keṯe vāvaṇhāre.
The Sound-current of the Naad vibrates there, and countless musicians play on all sorts of instruments there.

ਕੇਤੇ ਰਾਗ ਪਰੀ ਸਿਉ ਕਹੀਅਨਿ ਕੇਤੇ ਗਾਵਣਹਾਰੇ
Keṯe rāg parī si▫o kahī▫an keṯe gāvaṇhāre.
So many Ragas, so many musicians singing there.

ਗਾਵਹਿ ਤੁਹਨੋ ਪਉਣੁ ਪਾਣੀ ਬੈਸੰਤਰੁ ਗਾਵੈ ਰਾਜਾ ਧਰਮੁ ਦੁਆਰੇ
Gāvahi ṯuhno pa▫uṇ pāṇī baisanṯar gāvai rājā ḏẖaram ḏu▫āre.
The praanic wind, water and fire sing; the Righteous Judge of Dharma sings at Your Door.

ਗਾਵਹਿ ਚਿਤੁ ਗੁਪਤੁ ਲਿਖਿ ਜਾਣਹਿ ਲਿਖਿ ਲਿਖਿ ਧਰਮੁ ਵੀਚਾਰੇ
Gāvahi cẖiṯ gupaṯ likẖ jāṇėh likẖ likẖ ḏẖaram vīcẖāre.
Chitr and Gupt, the angels of the conscious and the subconscious who record actions, and the Righteous Judge of Dharma who judges this record sing.

ਗਾਵਹਿ ਈਸਰੁ ਬਰਮਾ ਦੇਵੀ ਸੋਹਨਿ ਸਦਾ ਸਵਾਰੇ
Gāvahi īsar barmā ḏevī sohan saḏā savāre.
Shiva, Brahma and the Goddess of Beauty, ever adorned, sing.

ਗਾਵਹਿ ਇੰਦ ਇਦਾਸਣਿ ਬੈਠੇ ਦੇਵਤਿਆ ਦਰਿ ਨਾਲੇ
Gāvahi inḏ iḏāsaṇ baiṯẖe ḏeviṯi▫ā ḏar nāle.
Indra, seated upon His Throne, sings with the deities at Your Door.

ਗਾਵਹਿ ਸਿਧ ਸਮਾਧੀ ਅੰਦਰਿ ਗਾਵਨਿ ਸਾਧ ਵਿਚਾਰੇ
Gāvahi siḏẖ samāḏẖī anḏar gāvan sāḏẖ vicẖāre.
The Siddhas in Samaadhi sing; the Saadhus sing in contemplation.

ਗਾਵਨਿ ਜਤੀ ਸਤੀ ਸੰਤੋਖੀ ਗਾਵਹਿ ਵੀਰ ਕਰਾਰੇ
Gāvan jaṯī saṯī sanṯokẖī gāvahi vīr karāre.
The celibates, the fanatics, the peacefully accepting and the fearless warriors sing.

ਗਾਵਨਿ ਪੰਡਿਤ ਪੜਨਿ ਰਖੀਸਰ ਜੁਗੁ ਜੁਗੁ ਵੇਦਾ ਨਾਲੇ
Gāvan pandiṯ paṛan rakẖīsar jug jug veḏā nāle.
The Pandits, the religious scholars who recite the Vedas, with the supreme sages of all the ages, sing.

ਗਾਵਹਿ ਮੋਹਣੀਆ ਮਨੁ ਮੋਹਨਿ ਸੁਰਗਾ ਮਛ ਪਇਆਲੇ
Gāvahi mohṇī▫ā man mohan surgā macẖẖ pa▫i▫āle.
The Mohinis, the enchanting heavenly beauties who entice hearts in this world, in paradise, and in the underworld of the subconscious sing.

ਗਾਵਨਿ ਰਤਨ ਉਪਾਏ ਤੇਰੇ ਅਠਸਠਿ ਤੀਰਥ ਨਾਲੇ
Gāvan raṯan upā▫e ṯere aṯẖsaṯẖ ṯirath nāle.
The celestial jewels created by You, and the sixty-eight holy places of pilgrimage sing.

ਗਾਵਹਿ ਜੋਧ ਮਹਾਬਲ ਸੂਰਾ ਗਾਵਹਿ ਖਾਣੀ ਚਾਰੇ
Gāvahi joḏẖ mahābal sūrā gāvahi kẖāṇī cẖāre.
The brave and mighty warriors sing; the spiritual heroes and the four sources of creation sing.

ਗਾਵਹਿ ਖੰਡ ਮੰਡਲ ਵਰਭੰਡਾ ਕਰਿ ਕਰਿ ਰਖੇ ਧਾਰੇ
Gāvahi kẖand mandal varbẖandā kar kar rakẖe ḏẖāre.
The planets, solar systems and galaxies, created and arranged by Your Hand, sing.

ਸੇਈ ਤੁਧੁਨੋ ਗਾਵਹਿ ਜੋ ਤੁਧੁ ਭਾਵਨਿ ਰਤੇ ਤੇਰੇ ਭਗਤ ਰਸਾਲੇ
Se▫ī ṯuḏẖuno gāvahi jo ṯuḏẖ bẖāvan raṯe ṯere bẖagaṯ rasāle.
They alone sing, who are pleasing to Your Will. Your devotees are imbued with the Nectar of Your Essence.

ਹੋਰਿ ਕੇਤੇ ਗਾਵਨਿ ਸੇ ਮੈ ਚਿਤਿ ਆਵਨਿ ਨਾਨਕੁ ਕਿਆ ਵੀਚਾਰੇ
Hor keṯe gāvan se mai cẖiṯ na āvan Nānak ki▫ā vīcẖāre.
So many others sing, they do not come to mind. O Nanak, how can I consider them all?

ਸੋਈ ਸੋਈ ਸਦਾ ਸਚੁ ਸਾਹਿਬੁ ਸਾਚਾ ਸਾਚੀ ਨਾਈ
So▫ī so▫ī saḏā sacẖ sāhib sācẖā sācẖī nā▫ī.
That True Lord is True, Forever True, and True is His Name.

ਹੈ ਭੀ ਹੋਸੀ ਜਾਇ ਜਾਸੀ ਰਚਨਾ ਜਿਨਿ ਰਚਾਈ
Hai bẖī hosī jā▫e na jāsī racẖnā jin racẖā▫ī.
He is, and shall always be. He shall not depart, even when this Universe which He has created departs.

ਰੰਗੀ ਰੰਗੀ ਭਾਤੀ ਕਰਿ ਕਰਿ ਜਿਨਸੀ ਮਾਇਆ ਜਿਨਿ ਉਪਾਈ
Rangī rangī bẖāṯī kar kar jinsī mā▫i▫ā jin upā▫ī.
He created the world, with its various colors, species of beings, and the variety of Maya.

ਕਰਿ ਕਰਿ ਵੇਖੈ ਕੀਤਾ ਆਪਣਾ ਜਿਵ ਤਿਸ ਦੀ ਵਡਿਆਈ
Kar kar vekẖai kīṯā āpṇā jiv ṯis ḏī vadi▫ā▫ī.
Having created the creation, He watches over it Himself, by His Greatness.

ਜੋ ਤਿਸੁ ਭਾਵੈ ਸੋਈ ਕਰਸੀ ਹੁਕਮੁ ਕਰਣਾ ਜਾਈ
Jo ṯis bẖāvai so▫ī karsī hukam na karṇā jā▫ī.
He does whatever He pleases. No order can be issued to Him.

ਸੋ ਪਾਤਿਸਾਹੁ ਸਾਹਾ ਪਾਤਿਸਾਹਿਬੁ ਨਾਨਕ ਰਹਣੁ ਰਜਾਈ ॥੨੭॥
So pāṯisāhu sāhā pāṯisāhib Nānak rahaṇ rajā▫ī. ||27||
He is the King, the King of kings, the Supreme Lord and Master of kings. Nanak remains subject to His Will. ||27||
And here is the version from Rehras, again the Dr's translation:

ਸੋ ਦਰੁ ਰਾਗੁ ਆਸਾ ਮਹਲਾ
So ḏar rāg āsā mėhlā 1
So Dar ~ That Door. Raag Aasaa, First Mehl:

ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ
Ik▫oaʼnkār saṯgur parsāḏ.
One Universal Creator God. By The Grace Of The True Guru:

ਸੋ ਦਰੁ ਤੇਰਾ ਕੇਹਾ ਸੋ ਘਰੁ ਕੇਹਾ ਜਿਤੁ ਬਹਿ ਸਰਬ ਸਮਾਲੇ
So ḏar ṯerā kehā so gẖar kehā jiṯ bahi sarab samāle.
Where is That Door of Yours and where is That Home, in which You sit and take care of all?

ਵਾਜੇ ਤੇਰੇ ਨਾਦ ਅਨੇਕ ਅਸੰਖਾ ਕੇਤੇ ਤੇਰੇ ਵਾਵਣਹਾਰੇ
vāje ṯere nāḏ anek asankẖā keṯe ṯere vāvaṇhāre.
The Sound-current of the Naad vibrates there for You, and countless musicians play all sorts of instruments there for You.

ਕੇਤੇ ਤੇਰੇ ਰਾਗ ਪਰੀ ਸਿਉ ਕਹੀਅਹਿ ਕੇਤੇ ਤੇਰੇ ਗਾਵਣਹਾਰੇ
Keṯe ṯere rāg parī si▫o kahī▫ahi keṯe ṯere gāvaṇhāre.
There are so many Ragas and musical harmonies to You; so many minstrels sing hymns of You.

ਗਾਵਨਿ ਤੁਧਨੋ ਪਵਣੁ ਪਾਣੀ ਬੈਸੰਤਰੁ ਗਾਵੈ ਰਾਜਾ ਧਰਮੁ ਦੁਆਰੇ
Gāvan ṯuḏẖno pavaṇ pāṇī baisanṯar gāvai rājā ḏẖaram ḏu▫āre.
Wind, water and fire sing of You. The Righteous Judge of Dharma sings at Your Door.

ਗਾਵਨਿ ਤੁਧਨੋ ਚਿਤੁ ਗੁਪਤੁ ਲਿਖਿ ਜਾਣਨਿ ਲਿਖਿ ਲਿਖਿ ਧਰਮੁ ਬੀਚਾਰੇ
Gāvan ṯuḏẖno cẖiṯ gupaṯ likẖ jāṇan likẖ likẖ ḏẖaram bīcẖāre.
Chitr and Gupt, the angels of the conscious and the subconscious who keep the record of actions, and the Righteous Judge of Dharma who reads this record, sing of You.

ਗਾਵਨਿ ਤੁਧਨੋ ਈਸਰੁ ਬ੍ਰਹਮਾ ਦੇਵੀ ਸੋਹਨਿ ਤੇਰੇ ਸਦਾ ਸਵਾਰੇ
Gāvan ṯuḏẖno īsar barahmā ḏevī sohan ṯere saḏā savāre.
Shiva, Brahma and the Goddess of Beauty, ever adorned by You, sing of You.

ਗਾਵਨਿ ਤੁਧਨੋ ਇੰਦ੍ਰ ਇੰਦ੍ਰਾਸਣਿ ਬੈਠੇ ਦੇਵਤਿਆ ਦਰਿ ਨਾਲੇ
Gāvan ṯuḏẖno inḏar inḏarāsaṇ baiṯẖe ḏeviṯi▫ā ḏar nāle.
Indra, seated on His Throne, sings of You, with the deities at Your Door.

ਗਾਵਨਿ ਤੁਧਨੋ ਸਿਧ ਸਮਾਧੀ ਅੰਦਰਿ ਗਾਵਨਿ ਤੁਧਨੋ ਸਾਧ ਬੀਚਾਰੇ
Gāvan ṯuḏẖno siḏẖ samāḏẖī anḏar gāvan ṯuḏẖno sāḏẖ bīcẖāre.
The Siddhas in Samaadhi sing of You; the Saadhus sing of You in contemplation.
ਗਾਵਨਿ ਤੁਧਨੋ ਜਤੀ ਸਤੀ ਸੰਤੋਖੀ ਗਾਵਨਿ ਤੁਧਨੋ ਵੀਰ ਕਰਾਰੇ
Gāvan ṯuḏẖno jaṯī saṯī sanṯokẖī gāvan ṯuḏẖno vīr karāre.
The celibates, the fanatics, and the peacefully accepting sing of You; the fearless warriors sing of You.

ਗਾਵਨਿ ਤੁਧਨੋ ਪੰਡਿਤ ਪੜਨਿ ਰਖੀਸੁਰ ਜੁਗੁ ਜੁਗੁ ਵੇਦਾ ਨਾਲੇ
Gāvan ṯuḏẖno pandiṯ paṛan rakẖīsur jug jug veḏā nāle.
The Pandits, the religious scholars who recite the Vedas, with the supreme sages of all the ages, sing of You.

ਗਾਵਨਿ ਤੁਧਨੋ ਮੋਹਣੀਆ ਮਨੁ ਮੋਹਨਿ ਸੁਰਗੁ ਮਛੁ ਪਇਆਲੇ
Gāvan ṯuḏẖno mohṇī▫ā man mohan surag macẖẖ pa▫i▫āle.
The Mohinis, the enchanting heavenly beauties who entice hearts in paradise, in this world, and in the underworld of the subconscious, sing of You.

ਗਾਵਨਿ ਤੁਧਨੋ ਰਤਨ ਉਪਾਏ ਤੇਰੇ ਅਠਸਠਿ ਤੀਰਥ ਨਾਲੇ
Gāvan ṯuḏẖno raṯan upā▫e ṯere aṯẖsaṯẖ ṯirath nāle.
The celestial jewels created by You, and the sixty-eight sacred shrines of pilgrimage, sing of You.

ਗਾਵਨਿ ਤੁਧਨੋ ਜੋਧ ਮਹਾਬਲ ਸੂਰਾ ਗਾਵਨਿ ਤੁਧਨੋ ਖਾਣੀ ਚਾਰੇ
Gāvan ṯuḏẖno joḏẖ mahābal sūrā gāvan ṯuḏẖno kẖāṇī cẖāre.
The brave and mighty warriors sing of You. The spiritual heroes and the four sources of creation sing of You.

ਗਾਵਨਿ ਤੁਧਨੋ ਖੰਡ ਮੰਡਲ ਬ੍ਰਹਮੰਡਾ ਕਰਿ ਕਰਿ ਰਖੇ ਤੇਰੇ ਧਾਰੇ
Gāvan ṯuḏẖno kẖand mandal barahmandā kar kar rakẖe ṯere ḏẖāre.
The worlds, solar systems and galaxies, created and arranged by Your Hand, sing of You.

ਸੇਈ ਤੁਧਨੋ ਗਾਵਨਿ ਜੋ ਤੁਧੁ ਭਾਵਨਿ ਰਤੇ ਤੇਰੇ ਭਗਤ ਰਸਾਲੇ
Se▫ī ṯuḏẖno gāvan jo ṯuḏẖ bẖāvan raṯe ṯere bẖagaṯ rasāle.
They alone sing of You, who are pleasing to Your Will. Your devotees are imbued with Your Sublime Essence.

ਹੋਰਿ ਕੇਤੇ ਤੁਧਨੋ ਗਾਵਨਿ ਸੇ ਮੈ ਚਿਤਿ ਆਵਨਿ ਨਾਨਕੁ ਕਿਆ ਬੀਚਾਰੇ
Hor keṯe ṯuḏẖno gāvan se mai cẖiṯ na āvan Nānak ki▫ā bīcẖāre.
So many others sing of You, they do not come to mind. O Nanak, how can I think of them all?

ਸੋਈ ਸੋਈ ਸਦਾ ਸਚੁ ਸਾਹਿਬੁ ਸਾਚਾ ਸਾਚੀ ਨਾਈ
So▫ī so▫ī saḏā sacẖ sāhib sācẖā sācẖī nā▫ī.
That True Lord is True, forever True, and True is His Name.

ਹੈ ਭੀ ਹੋਸੀ ਜਾਇ ਜਾਸੀ ਰਚਨਾ ਜਿਨਿ ਰਚਾਈ
Hai bẖī hosī jā▫e na jāsī racẖnā jin racẖā▫ī.
He is, and shall always be. He shall not depart, even when this Universe which He has created departs.

ਰੰਗੀ ਰੰਗੀ ਭਾਤੀ ਕਰਿ ਕਰਿ ਜਿਨਸੀ ਮਾਇਆ ਜਿਨਿ ਉਪਾਈ
Rangī rangī bẖāṯī kar kar jinsī mā▫i▫ā jin upā▫ī.
He created the world, with its various colors, species of beings, and the variety of Maya.

ਕਰਿ ਕਰਿ ਦੇਖੈ ਕੀਤਾ ਆਪਣਾ ਜਿਉ ਤਿਸ ਦੀ ਵਡਿਆਈ
Kar kar ḏekẖai kīṯā āpṇā ji▫o ṯis ḏī vadi▫ā▫ī.
Having created the creation, He watches over it Himself, by His Greatness.

ਜੋ ਤਿਸੁ ਭਾਵੈ ਸੋਈ ਕਰਸੀ ਫਿਰਿ ਹੁਕਮੁ ਕਰਣਾ ਜਾਈ
Jo ṯis bẖāvai so▫ī karsī fir hukam na karṇā jā▫ī.
He does whatever He pleases. No one can issue any order to Him.

ਸੋ ਪਾਤਿਸਾਹੁ ਸਾਹਾ ਪਤਿਸਾਹਿਬੁ ਨਾਨਕ ਰਹਣੁ ਰਜਾਈ ॥੧॥
So pāṯisāhu sāhā paṯisāhib Nānak rahaṇ rajā▫ī. ||1||
He is the King, the King of kings, the Supreme Lord and Master of kings. Nanak remains subject to His Will. ||1||
 
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spnadmin

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re: So Dar: Meanings

It is a reference to the "naad" or cosmic musical vibration that holds the creation together.

Gurbani is many things. One of those things is poetry. When you read poetry, to get the most from it, reading one line at a time, at first will not help. Look for the big metaphor that creates the context for all the verses taken together as a whole, and verses and words together. In So Dar the metaphor is speaking to the current or vibration - "singing" - that is a mystical representation of a transcendent process. As a metaphor every level of creation is participating in that "song." As a metaphor all of creation engages in a kind of kirtan. This is the vibration that passes through al, devotion (baghati), that holds the universe together.

ਵਾਜੇ ਤੇਰੇ ਨਾਦ ਅਨੇਕ ਅਸੰਖਾ ਕੇਤੇ ਤੇਰੇ ਵਾਵਣਹਾਰੇ ॥
vāje ṯere nāḏ anek asankẖā keṯe ṯere vāvaṇhāre.
The Sound-current of the Naad vibrates there for You, and countless musicians play all sorts of instruments there for You.

Sometimes we get a hint. The northern lights actually do sing on a winter's night. Of course this shabad is about much more.
 
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RamanS

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Re: So Dar: Meanings

http://www.sikhphilosophy.net/jap-ji-sahib/737-japji-sahib-pauri-27th.html

Sat Sri Akal,

I have been wondering about this shabad too and I like Amarpal's understanding of So Dar. IMHO I think singing stands for a vibration or an effort to connect with The Sat. In the first line, I like to think of the house as everything around us that we can think of - this world,universe,nature, etc. I like to think of the gate/door as our minds as we interpret everything we see and experience through our minds. Then the shabad goes on to describe the many ways humans have attempted to describe or to reach this Sat. The shabad ends in telling us that after all the constructions of the mind, there is only the One who is Eternal. Even if all the things described earlier existed they were all created by the One Sat and therefore we should abandon all these other methods and focus instead on the One Sat.

Sorry if I said anything wrong, but these are just my thoughts and understanding so far. I appreciate any feedback on what I have said. Thanks.
 

Ishna

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Re: So Dar: Meanings

Thank you both for your replies. I did read Amarpal's post a little while ago and should probably have posed my question there. I'm not sure I agree 100% with Amarpal's interpretation but that could just be due to my own lack of understanding gurbani. Amarpal ji seems to be saying that the examples given about who sings are actually describing ways people have tried to connect to Waheguru and in reflective of plurality. I tend to view the shabad in reverse - to me it's like Guruji is saying we are immersed in this creation which is (I agree with you here RamanS ji) the doorway the god. It's generates in my mind a wonderful image of the variety of creation as it is like an orchestra created by god, so I get a vibe of unity from the shabad and not pluralism. I could be misunderstanding though, I mean no disrespect.

One line which is translated differently by the dr and Amarpal's source is the line just after the constellations sing. Sorry I'm on my iPod and can't copy/paste just at the minute). The dr says that which is pleasing to god sings, but Amarpal says only they sing who do it correctly - I'm confused by thatbecause the first part of the shabdgives examples of what is singing - and I wouldn't say they're all "doing it right" per sikhi but certainly "doing it right" as being god's creation. Another division being created between the Sikh and the rest of creation, I think. Obviously there is a difference between a gursikh and the restof creation as they seek to sing in tune with hukam, but you can't get a better example of something singing in tune with hukam than a solar system!

I appreciate any further thought about this reoccuring shabad.

Ish
 

Gyani Jarnail Singh

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Re: So Dar: Meanings

WE..I mean most of us..always FORGET that HIS MEHR is the over riding consideration. NO MEHR..ZILCH. period. AS guru nanak ji has said in japji itself..one tongue reciting/singing..a million tongues doing it..He is NOT attained..until its HIS MEHR.

1.Guur nanak ji met with the Sidhs and Yogis. There is nothing for miles around except one solitary tree of the REETHA FRUIT which is very bitter and used to make soap in the old days. The Yogis tell Guru Ji..feed us a something sweet. Guru Ji looks at Bhai mardana and tells him..climb that reetha tree. Bhai mardana doesnt ask why ?? He simply climbs up...and then awaits Guru jsi next Command. Guru Ji commands..SHAKE the branches...and bitter reethas fall to the ground. Guru ji tells Mardana to coem down, collect the reethas on the GROUND and feed the Yogis. They of course KNOW reethas are bitter and politley refuse Bhai mardana..until one yogi decides..why NOT ?? so he takes one reetha from mardana Ji...peels off a tiny bit and puts it in his mouth..the sweetness is so great he goes into a blissful eye closing samadhi....tasting the amrit..when he opens his eyes..he asks Mardana Ji to give him ALL the reethas..and they are all sweet !! Seeing this..the other Yogis also rush to the tree and shake it..more reethas fall to the ground..BUT when tasted they are ALL BITTER !!
Whats the difference ??
The earlier reethas have the "MEHR"....the subsequent reethas are by the WISH of the Yogis...but dont have the MEHR of Guru nanak. When WE DECIDE we WANT to PLEASE HIM..He is NOT PLEASED...unless HE has decided to be pleased !! His MEHR.PERIOD.
 

Ambarsaria

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Re: So Dar: Meanings

Sat Sri Akal a humble submission based on Professor Sahib Singh ji's Guru Granth Darpan,

Essence of Pauri 27th, Japji Sahib per Ambarsaria

  • Guru Ji poses a question, what kind of a house and what entrance defines this house that the creator resides in while taking care of all of the creation?
  • Guru Ji says it feels like it is a symphony of limitless elements that constitute the writers, the singers and many a musical accompaniments that are all in unison.
  • In the middle of this Pauri, Guru Ji then gives commonly identifiable examples that people would be familiar with in their understanding of the day. These are the gathering that makes the symphony, the choir and the writers that are in unison.

  • Guru ji names elements like,
      • Primary Earth, wind and fire
      • The places and temples of worship
      • The sun, moon and earth
      • The stars and rest of the universe
      • The elements and diamonds and the mines these are dug out of


  • Guru ji exemplifies without identifying exclusivity of the ways such act in the humanity and living like,
      • Hermits of wisdom
      • The benevolent
      • The warrior and mighty
      • The Brahmins/Pandits

  • Guru ji also flags such existing beliefs of the times and mythology characters without classifying any such as the creator or the supreme including,
      • Chitr and Gupt, the so called characters who keep track of everyone’s good and bad deeds
      • Dharamraj, the decision maker of fates
      • Many Goddesses and Gods of mythology like Shiva, Brahma, Inders, etc.
      • The concubines of heaven that entice
  • Guru ji then qualifies that only participants taking part in such symphony of unison and praise are the one’s that creator loves
    • Guru ji says that he cannot complete the list of all even with due consideration
      • There being infinite others


  • Guru ji concludes:
    • The true creator of all creation based on truth is,
      • Ever and Omni-present
      • The creator can be best described as one who creates and watches the so created
      • Creator does what pleases and is not sub-servient to any
      • The creator is above all and Nanak says we should live in consonance with the creation
Any comments appreciated and I welcome any corrections and errors are mine.

Sat Sri Akal.
 

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Re: So Dar: Meanings

I think Ishna ji was asking about the metaphor of "singing" or how the creation sings.
 

Ishna

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Re: So Dar: Meanings

Thank you Ambarsaria ji for your valuable contribution!! My question was about meaning of So Dar in general but I got myself hung up on the 'singing' part. Sorry SPNadmin!

I think I like So Dar very much as a foundational Sikh concept bani - that all of creation is a symphony.

Now I've just got to figure out how to sing in tune...
 

Ambarsaria

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Re: So Dar: Meanings

I think Ishna ji was asking about the metaphor of "singing" or how the creation sings.
spnadmin ji thanks for the flag on Ishna ji's request. I add a comment below as it was for me a kind of metaphor that required no elaboration.

Metaphorical Singing Elaboration in Pauri 27 of Japji Sahib ji

For me the terms used in the this composition related to this metaphor are the following,
ਗਾਵਹਿ “gāvahi”
ਗਾਵਨਿ gāvan”

These are literally "singular" and "plural" forms for singing and as used in this "Pauri" are the metaphor of "expressing" or "expression".


So what is meant then by these in the context of the Pauri,


Example:



  • The usage for human like association is to "say", "sing", "contemplate without sound in your mind" like we hum in our mind a song or the like without making a sound.
    • Contemplate without sound is also a statement of developing understanding
  • For other objects this translates into expressible attributes like,
    • motion of air
    • motion of light
      • diamonds as if shining/shimmering light
    • motion of planets
Note: I do not believe Guru ji meant motion and expression of singing as in quantum mechanics motion of sub-atomic particles and energy but then again who am I mundahug​
spnadmin ji I hope above helps.

Ishna ji I was too far down writing the above so I am posting even though you have clarified. For me singing in tune is to "develop understanding". Singing in tune by (japposatnamwaheguru: :mundabhangra: :mundaviolin: :tablakudi: ) itself is of little value even though many will attest to its cosmic effects lol mundahug.

To each its own, as is said.

Sat Sri Akal.

Note: Just a suggestion to try. Understand this "Pauri" and then "hum silently internally" in your mind. I believe it creates a kind of peacefulness and illustrates what is "in consonance" in terms of creation and harmony there in! Kind of a soundless harmonium inside!
 

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Re: So Dar: Meanings

Yes I also thought the focus was on the singing part and my own response dealt solely with that concept.

But it is a good question regardless because the "sound current" is a common image throughout Gurbani and is one of those that ties the entire Shabad together here on earth and "out there" lol as an aspect of the nirankaar.
 

Ishna

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I was reading Ang 506 last night and came across this passage, which sounded kind of familiar, particularly from pauri 4...:

ਗੂਜਰੀ ਮਹਲਾ ਘਰੁ
Gūjrī mėhlā 3 gẖar 1
Goojaree, Third Mehl, First House:

ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ
Ik▫oaʼnkār saṯgur parsāḏ.
One Universal Creator God. By The Grace Of The True Guru:

ਨਿਰਤਿ ਕਰੀ ਇਹੁ ਮਨੁ ਨਚਾਈ
Niraṯ karī ih man nacẖā▫ī.
I dance, and make this mind dance as well.

ਗੁਰ ਪਰਸਾਦੀ ਆਪੁ ਗਵਾਈ
Gur parsādī āp gavā▫ī.
By Guru's Grace, I eliminate my self-conceit.

ਚਿਤੁ ਥਿਰੁ ਰਾਖੈ ਸੋ ਮੁਕਤਿ ਹੋਵੈ ਜੋ ਇਛੀ ਸੋਈ ਫਲੁ ਪਾਈ ॥੧॥
Cẖiṯ thir rākẖai so mukaṯ hovai jo icẖẖī so▫ī fal pā▫ī. ||1||
One who keeps his consciousness focused on the Lord is liberated; he obtains the fruits of his desires. ||1||

ਨਾਚੁ ਰੇ ਮਨ ਗੁਰ ਕੈ ਆਗੈ
Nācẖ re man gur kai āgai.
So dance, O mind, before your Guru.

ਗੁਰ ਕੈ ਭਾਣੈ ਨਾਚਹਿ ਤਾ ਸੁਖੁ ਪਾਵਹਿ ਅੰਤੇ ਜਮ ਭਉ ਭਾਗੈ ਰਹਾਉ
Gur kai bẖāṇai nācẖėh ṯā sukẖ pāvahi anṯe jam bẖa▫o bẖāgai. Rahā▫o.
If you dance according to the Guru's Will, you shall obtain peace, and in the end, the fear of death shall leave you. ||Pause||

ਆਪਿ ਨਚਾਏ ਸੋ ਭਗਤੁ ਕਹੀਐ ਆਪਣਾ ਪਿਆਰੁ ਆਪਿ ਲਾਏ
Āp nacẖā▫e so bẖagaṯ kahī▫ai āpṇā pi▫ār āp lā▫e.
One whom the Lord Himself causes to dance, is called a devotee. He Himself links us to His Love.

ਆਪੇ ਗਾਵੈ ਆਪਿ ਸੁਣਾਵੈ ਇਸੁ ਮਨ ਅੰਧੇ ਕਉ ਮਾਰਗਿ ਪਾਏ ॥੨॥
Āpe gāvai āp suṇāvai is man anḏẖe ka▫o mārag pā▫e. ||2||
He Himself sings, He Himself listens, and He puts this blind mind on the right path. ||2||

ਅਨਦਿਨੁ ਨਾਚੈ ਸਕਤਿ ਨਿਵਾਰੈ ਸਿਵ ਘਰਿ ਨੀਦ ਹੋਈ
An▫ḏin nācẖai sakaṯ nivārai siv gẖar nīḏ na ho▫ī.
One who dances night and day, and banishes Shakti's Maya, enters the House of the Lord Shiva, where there is no sleep.

ਸਕਤੀ ਘਰਿ ਜਗਤੁ ਸੂਤਾ ਨਾਚੈ ਟਾਪੈ ਅਵਰੋ ਗਾਵੈ ਮਨਮੁਖਿ ਭਗਤਿ ਹੋਈ ॥੩॥
Sakṯī gẖar jagaṯ sūṯā nācẖai tāpai avro gāvai manmukẖ bẖagaṯ na ho▫ī. ||3||
The world is asleep in Maya, the house of Shakti; it dances, jumps and sings in duality. The self-willed manmukh has no devotion. ||3||

ਸੁਰਿ ਨਰ ਵਿਰਤਿ ਪਖਿ ਕਰਮੀ ਨਾਚੇ ਮੁਨਿ ਜਨ ਗਿਆਨ ਬੀਚਾਰੀ
Sur nar viraṯ pakẖ karmī nācẖe mun jan gi▫ān bīcẖārī.
The angels, mortals, renunciates, ritualists, silent sages and beings of spiritual wisdom dance.

ਸਿਧ ਸਾਧਿਕ ਲਿਵ ਲਾਗੀ ਨਾਚੇ ਜਿਨ ਗੁਰਮੁਖਿ ਬੁਧਿ ਵੀਚਾਰੀ ॥੪॥
Siḏẖ sāḏẖik liv lāgī nācẖe jin gurmukẖ buḏẖ vīcẖārī. ||4||
The Siddhas and seekers, lovingly focused on the Lord, dance, as do the Gurmukhs, whose minds dwell in reflective meditation. ||4||

ਖੰਡ ਬ੍ਰਹਮੰਡ ਤ੍ਰੈ ਗੁਣ ਨਾਚੇ ਜਿਨ ਲਾਗੀ ਹਰਿ ਲਿਵ ਤੁਮਾਰੀ
Kẖand barahmand ṯarai guṇ nācẖe jin lāgī har liv ṯumārī.
The planets and solar systems dance in the three qualities, as do those who bear love for You, Lord.

ਜੀਅ ਜੰਤ ਸਭੇ ਹੀ ਨਾਚੇ ਨਾਚਹਿ ਖਾਣੀ ਚਾਰੀ ॥੫॥
Jī▫a janṯ sabẖe hī nācẖe nācẖėh kẖāṇī cẖārī. ||5||
The beings and creatures all dance, and the four sources of creation dance. ||5||

ਜੋ ਤੁਧੁ ਭਾਵਹਿ ਸੇਈ ਨਾਚਹਿ ਜਿਨ ਗੁਰਮੁਖਿ ਸਬਦਿ ਲਿਵ ਲਾਏ
Jo ṯuḏẖ bẖāvėh se▫ī nācẖėh jin gurmukẖ sabaḏ liv lā▫e.
They alone dance, who are pleasing to You, and who, as Gurmukhs, embrace love for the Word of the Shabad.

ਸੇ ਭਗਤ ਸੇ ਤਤੁ ਗਿਆਨੀ ਜਿਨ ਕਉ ਹੁਕਮੁ ਮਨਾਏ ॥੬॥
Se bẖagaṯ se ṯaṯ gi▫ānī jin ka▫o hukam manā▫e. ||6||
They are devotees, with the essence of spiritual wisdom, who obey the Hukam of His Command. ||6||

ਏਹਾ ਭਗਤਿ ਸਚੇ ਸਿਉ ਲਿਵ ਲਾਗੈ ਬਿਨੁ ਸੇਵਾ ਭਗਤਿ ਹੋਈ
Ėhā bẖagaṯ sacẖe si▫o liv lāgai bin sevā bẖagaṯ na ho▫ī.
This is devotional worship, that one loves the True Lord; without service, one cannot be a devotee.

ਜੀਵਤੁ ਮਰੈ ਤਾ ਸਬਦੁ ਬੀਚਾਰੈ ਤਾ ਸਚੁ ਪਾਵੈ ਕੋਈ ॥੭॥
Jīvaṯ marai ṯā sabaḏ bīcẖārai ṯā sacẖ pāvai ko▫ī. ||7||
If one remains dead while yet alive, he reflects upon the Shabad, and then, he obtains the True Lord. ||7||

ਮਾਇਆ ਕੈ ਅਰਥਿ ਬਹੁਤੁ ਲੋਕ ਨਾਚੇ ਕੋ ਵਿਰਲਾ ਤਤੁ ਬੀਚਾਰੀ
Mā▫i▫ā kai arath bahuṯ lok nācẖe ko virlā ṯaṯ bīcẖārī.
So many people dance for the sake of Maya; how rare are those who contemplate reality.

ਗੁਰ ਪਰਸਾਦੀ ਸੋਈ ਜਨੁ ਪਾਏ ਜਿਨ ਕਉ ਕ੍ਰਿਪਾ ਤੁਮਾਰੀ ॥੮॥
Gur parsādī so▫ī jan pā▫e jin ka▫o kirpā ṯumārī. ||8||
By Guru's Grace, that humble being obtains You, Lord, upon whom You show Mercy. ||8||

ਇਕੁ ਦਮੁ ਸਾਚਾ ਵੀਸਰੈ ਸਾ ਵੇਲਾ ਬਿਰਥਾ ਜਾਇ
Ik ḏam sācẖā vīsrai sā velā birthā jā▫e.
If I forget the True Lord, even for an instant, that time passes in vain.

ਸਾਹਿ ਸਾਹਿ ਸਦਾ ਸਮਾਲੀਐ ਆਪੇ ਬਖਸੇ ਕਰੇ ਰਜਾਇ ॥੯॥
Sāhi sāhi saḏā samālī▫ai āpe bakẖse kare rajā▫e. ||9||
With each and every breath, constantly remember the Lord; He Himself shall forgive you, according to His Will. ||9||

ਸੇਈ ਨਾਚਹਿ ਜੋ ਤੁਧੁ ਭਾਵਹਿ ਜਿ ਗੁਰਮੁਖਿ ਸਬਦੁ ਵੀਚਾਰੀ
Se▫ī nācẖėh jo ṯuḏẖ bẖāvėh jė gurmukẖ sabaḏ vīcẖārī.
They alone dance, who are pleasing to Your Will, and who, as Gurmukhs, contemplate the Word of the Shabad.

ਕਹੁ ਨਾਨਕ ਸੇ ਸਹਜ ਸੁਖੁ ਪਾਵਹਿ ਜਿਨ ਕਉ ਨਦਰਿ ਤੁਮਾਰੀ ॥੧੦॥੧॥੬॥
Kaho Nānak se sahj sukẖ pāvahi jin ka▫o naḏar ṯumārī. ||10||1||6||
Says Nanak, they alone find celestial peace, whom You bless with Your Grace. ||10||1||6||

It's amazing we don't have a Sikh sect who dance at every opportunity! Akhand Dancing Jatha... teehee


:mundabhangra::tablakudi::singhbhangra:japposatnamwaheguru:

Or maybe there is, but it's called Sufism! :shockedkudi:
 

Gyani Jarnail Singh

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The "DANCING" in Gurbani context is the MANN...and the Ultimate AIM of Gurbani is to STILL the MANN..make it STOP Dancing..flirting about like a butterfly..always RESTLESS..
GURBANI is NOT about the "TANN..or Physical BODY,,,,Sufis and others dance with their BODIES...Tann.... so the connection with Sufism Ishana Ji makes/tries to make is INVALID...NO GURMUKH well qualified in GURMATT taught in GURBANI would ever shake his BODY about in a dance..wild or not so wild....no standing up..no swaying..no arms up in the air..whooping or bhnaggrraing...no such things at all...in fact even NO CLAPPING !! or CHEERING....no cheerleaders allowed in presence of SGGS...lollollollollol
 

Ishna

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Gyani ji

The dancing referred to in the above shabad seems to me a positive thing, like the singing in So Dar. I have seen some of the references where dancing is negative as in monkey-mind and useless dancing about in Maya, however the above shabad doesn't indicate that to me unless I am misunderstanding.

There is this line about Maya:
ਮਾਇਆ ਕੈ ਅਰਥਿ ਬਹੁਤੁ ਲੋਕ ਨਾਚੇ ਕੋ ਵਿਰਲਾ ਤਤੁ ਬੀਚਾਰੀ
Mā▫i▫ā kai arath bahuṯ lok nācẖe ko virlā ṯaṯ bīcẖārī.
So many people dance for the sake of Maya; how rare are those who contemplate reality.


But then there is also this:
ਜੋ ਤੁਧੁ ਭਾਵਹਿ ਸੇਈ ਨਾਚਹਿ ਜਿਨ ਗੁਰਮੁਖਿ ਸਬਦਿ ਲਿਵ ਲਾਏ
Jo ṯuḏẖ bẖāvėh se▫ī nācẖėh jin gurmukẖ sabaḏ liv lā▫e.
They alone dance, who are pleasing to You, and who, as Gurmukhs, embrace love for the Word of the Shabad.

And my comment about an akhand dancing jatha and sufis was tounge-in-cheek. :grinningkaur: I appreciate the reference to dancing is metaphorical and not literal, like the singing in So Dar... or maybe not, ie. akhand kirtani jatha.

I am perhaps not understanding this shabad in the proper context, but it stood out to me that dancing was being used at the expression similar to how singing is in So Dar.

The mann is going to dance regardless, so make sure it dances in Hukam? I dunno...
 

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its a metaphor..like..Manmohan Singh is............
"Dancing to the tune"....of Sonia Gandhi.........Many do "dance" to the tune of Maya..

To say Mr Manmohan is being twisted around the little finger of Sonia it doesnt have to be done physically as nobody has a little finger that big and strong.

MAYA...controls many and makes them dance to her tune..and whims...thats why even a son will murder his mother/fatehr in cold blood...a wife will stab her sleeping husband..and a doctor will steal a kidney from a poor patient ..NONE of these people will actually "dance" as in A Daler Mehndi Bhangra/Elvis Presley/Whacko jacko/ dirty dancing of travolta while doing their "dancing"...the Doc will be very appropriately dressed as surgeon in an operating theatre...taking out the kidney and shipping it off to hsi welathy client who will bank in the half million in advance !!
 

Ishna

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Thanks for the extrapolation Gyani ji.

Did you know, if you feed your monkey-mind Gurbananas, it will dance to the tune of Waheguru ji?

lol
 

aristotle

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It's like John Milton attempting imagery with the muse before finally beginning the story of fall of Man. Guru Nanak Sahib's creations have always enchanted me. For anyone who wants to understand how scriptures can change societies and viewpoints, 'So Dar' is an example, It certainly is a poetry of some higher realm.
 

spnadmin

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You know I read the shabad again tonight after reading your comments aristotle ji. And suddenly I was struck at the brilliance contained in the poetic form. The shabad is constructed by design to spark something a mere speech could not accomplish. Guru ji has done something very remarkable when he places these lines where he does.
Mā▫i▫ā kai arath bahuṯ lok nācẖe ko virlā ṯaṯ bīcẖārī.
So many people dance for the sake of Maya; how rare are those who contemplate reality.

ਗੁਰ ਪਰਸਾਦੀ ਸੋਈ ਜਨੁ ਪਾਏ ਜਿਨ ਕਉ ਕ੍ਰਿਪਾ ਤੁਮਾਰੀ ॥੮॥
Gur parsādī so▫ī jan pā▫e jin ka▫o kirpā ṯumārī. ||8||
By Guru's Grace, that humble being obtains You, Lord, upon whom You show Mercy. ||8||

ਇਕੁ ਦਮੁ ਸਾਚਾ ਵੀਸਰੈ ਸਾ ਵੇਲਾ ਬਿਰਥਾ ਜਾਇ ॥

Ik ḏam sācẖā vīsrai sā velā birthā jā▫e.
If I forget the True Lord, even for an instant, that time passes in vain.

ਸਾਹਿ ਸਾਹਿ ਸਦਾ ਸਮਾਲੀਐ ਆਪੇ ਬਖਸੇ ਕਰੇ ਰਜਾਇ ॥੯॥
Sāhi sāhi saḏā samālī▫ai āpe bakẖse kare rajā▫e. ||9||
With each and every breath, constantly remember the Lord; He Himself shall forgive you, according to His Will. ||9||

ਸੇਈ ਨਾਚਹਿ ਜੋ ਤੁਧੁ ਭਾਵਹਿ ਜਿ ਗੁਰਮੁਖਿ ਸਬਦੁ ਵੀਚਾਰੀ ॥
Se▫ī nācẖėh jo ṯuḏẖ bẖāvėh jė gurmukẖ sabaḏ vīcẖārī.
They alone dance, who are pleasing to Your Will, and who, as Gurmukhs, contemplate the Word of the Shabad.

ਕਹੁ ਨਾਨਕ ਸੇ ਸਹਜ ਸੁਖੁ ਪਾਵਹਿ ਜਿਨ ਕਉ ਨਦਰਿ ਤੁਮਾਰੀ ॥੧੦॥੧॥੬॥
Kaho Nānak se sahj sukẖ pāvahi jin ka▫o naḏar ṯumārī. ||10||1||6||
Says Nanak, they alone find celestial peace, whom You bless with Your Grace. ||10||1||6||
Something remarkable happens in these line.
 

spnadmin

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In the spirit of the thread, I found this blog entry to be very interesting. It is by blogger Rawel Singh ji, and am posting it.
Sri Guru Granth Sahib Ji p 347 Raag Aasa M: 1, Sodar.




ੴ ਸਤਿ ਨਾਮੁ ਕਰਤਾ ਪੁਰਖੁ ਨਿਰਭਉ ਨਿਰਵੈਰੁ ਅਕਾਲ ਮੂਰਤਿ ਅਜੂਨੀ ਸੈਭੰ ਗੁਰ ਪ੍ਰਸਾਦਿ ॥
Ik▫oaʼnkār saṯ nām karṯā purakẖ nirbẖa▫o nirvair akāl mūraṯ ajūnī saibẖaʼn gur parsāḏ.

(1 Oankaar) One all pervasive (sat naam) Universal Truth i.e with eternal virtues, (karta purakh) Creator, (nirbhau) beyond fear (nir-vair = without enmity) or jealousy, (akaal moorat) timeless and deathless, (ajooni) unborn, (sai-bhan) self existent, who may be known (gurprasaadi) with the Guru ‘s grace.

ਰਾਗੁ ਆਸਾ ਮਹਲਾ ੧ ਘਰੁ ੧ ਸੋ ਦਰੁ ॥
Rāg āsā mėhlā 1 gẖar 1 so ḏar.

Bani of the first Guru in Raag Aasa to be sung to the first beat, the composition Sodar.

Note: This Shabad brings out the harmony in all that exists in nature with all components performing their functions in a mutually supporting manner. The starting verses describe the harmony in nature using a musical group in which different musical instruments and singers perform in unison, as metaphor. The director of this show (the Creator) is unseen, so the Guru asks:

ਸੋ ਦਰੁ ਤੇਰਾ ਕੇਹਾ ਸੋ ਘਰੁ ਕੇਹਾ ਜਿਤੁ ਬਹਿ ਸਰਬ ਸਮਾਲੇ ॥
ਵਾਜੇ ਤੇਰੇ ਨਾਦ ਅਨੇਕ ਅਸੰਖਾ ਕੇਤੇ ਤੇਰੇ ਵਾਵਣਹਾਰੇ ॥
ਕੇਤੇ ਤੇਰੇ ਰਾਗ ਪਰੀ ਸਿਉ ਕਹੀਅਹਿ ਕੇਤੇ ਤੇਰੇ ਗਾਵਣਹਾਰੇ ॥
So ḏar ṯerā kehā so gẖar kehā jiṯ bahi sarab samāle. vāje ṯere nāḏ anek asankẖā keṯe ṯere vāvaṇhāre. Keṯe ṯere rāg parī si▫o kahī▫ahi keṯe ṯere gāvaṇhāre.

(K-eha = how) which is that (dar) gate and (ghar = house) place where You (beh) sit and (samaal-e = take care) direct all activity and watch, o Creator?
(t-er-e) Your (an-ek) numerous (vaaj-e) musical instruments give (naad) musical notes and (asankha) innumerable are (t-er-e) Your (vaavan-haar-e) players -playing them;
(k-et-e) numerous are the (raag) musical measures, their (pari) tunes and (gaava-haar-e) the singers.
Message: The whole universe functions in harmony like the components of a musical group play in unison. You occupy the position of the Master/Director which is acknowledged by all.

Note: The verses below show that worship or singing praises is the other name for performing the allotted roles given to every one and every thing that has been created. For example the way elements like air, water and fire do what they are meant to do human beings should carry out their duties.

Note: Dharam Rai mentioned in the verse below is the metaphorical presenter in the Divine Court and describes our deeds. ‘Chitra Gupt’ the unseen metaphorical recorders keep record of the deeds which Dharam Rai considers and presents. This means every one is judged by the Creator based on his or her deeds. Let see how some of the entities, some physical and some metaphorical are described:

ਗਾਵਨਿ ਤੁਧਨੋ ਪਵਣੁ ਪਾਣੀ ਬੈਸੰਤਰੁ ਗਾਵੈ ਰਾਜਾ ਧਰਮੁ ਦੁਆਰੇ ॥
ਗਾਵਨਿ ਤੁਧਨੋ ਚਿਤੁ ਗੁਪਤੁ ਲਿਖਿ ਜਾਣਨਿ ਲਿਖਿ ਲਿਖਿ ਧਰਮੁ ਬੀਚਾਰੇ ॥
Gāvan ṯuḏẖno pavaṇ pāṇī baisanṯar gāvai rājā ḏẖaram ḏu▫āre. Gāvan ṯuḏẖno cẖiṯ gupaṯ likẖ jāṇan likẖ likẖ ḏẖaram bīcẖāre.

O Creator, (pavan) air, (paani) water and (baisantar) fire (gaavan = sing) praise You(gaavai = sings) does Dharam Rai the metaphorical presenter in Your court.
Chitra Gupt who write (jaanan) knowing what they are to write i.e. are aware of the deeds of all; they (likh likh) keep writing and the recordings (beechar-e) are considered by Dharam Rai; they all (gaavab = sing) praise/acknowledge You.

Note: It would be noticed that whereas with all other entities ‘Gaavan’ meaning ‘they sing’ has been used it is ‘Gaavai’ meaning ‘sings’ in the case of ‘Dharam’. That is because Dharam Rai is one and hence a singular term is used.

Note: The next set of entities is those of the Hindu gods and goddesses, who are not on the earth but up somewhere believed to be doing God’s bidding. The Hindu beliefs revolve round these entities. Their inclusion here shows that while the mortals worship them they themselves acknowledge Akal Purakh. This means their perceived roles are being performed as directed by the Creator.

ਗਾਵਨਿ ਤੁਧਨੋ ਈਸਰੁ ਬ੍ਰਹਮਾ ਦੇਵੀ ਸੋਹਨਿ ਤੇਰੇ ਸਦਾ ਸਵਾਰੇ ॥
ਗਾਵਨਿ 0ਤੁਧਨੋ ਇੰਦ੍ਰ ਇੰਦ੍ਰਾਸਣਿ ਬੈਠੇ ਦੇਵਤਿਆ ਦਰਿ ਨਾਲੇ ॥

Gāvan ṯuḏẖno īsar barahmā ḏevī sohan ṯere saḏā savāre. Gāvan ṯuḏẖno inḏar inḏarāsaṇ baiṯẖe ḏeviṯi▫ā ḏar nāle.

Ishar, Brahma and (d-evi) the goddess (gaavan = sing) acknowledge owing their existence to You; they (sohan = look good) are respected because they have been (savaar-e) adorned by You i.e. their concepts are created by You;
Sitting on (indra-asan) the Indra throne, Indras (gaavan) praise You (naal-e) along-with all the gods (dari) on your gate i.e. acknowledge You.

Note: Ishar is some times erroneously called Shiva which actually stands for Parmatma or Akal Purakh. The Indra throne shows that Indra is the king of the gods.

All those who are respected on the earth also owe their positions to the Divine. This is described next:

ਗਾਵਨਿ ਤੁਧਨੋ ਸਿਧ ਸਮਾਧੀ ਅੰਦਰਿ ਗਾਵਨਿ ਤੁਧਨੋ ਸਾਧ ਬੀਚਾਰੇ ॥
Gāvan ṯuḏẖno siḏẖ samāḏẖī anḏar gāvan ṯuḏẖno sāḏẖ bīcẖāre.

(Siddh) the accomplished saints sitting (andar) in (samaadhi) meditation acknowledge You as do (saadh) the seekers.

ਗਾਵਨਿ ਤੁਧਨੋ ਜਤੀ ਸਤੀ ਸੰਤੋਖੀ ਗਾਵਨਿ ਤੁਧਨੋ ਵੀਰ ਕਰਾਰੇ ॥
Gāvan ṯuḏẖno jaṯī saṯī sanṯokẖī gāvan ṯuḏẖno vīr karāre.


(Jati) the celibates, (sati) the charity givers, (santokhi) the contented ones and (karaar-e) the great (veer) warriors acknowledge You i.e. they have been given these roles by You.

ਗਾਵਨਿ ਤੁਧਨੋ ਪੰਡਿਤ ਪੜਨਿ ਰਖੀਸੁਰ ਜੁਗੁ ਜੁਗੁ ਵੇਦਾ ਨਾਲੇ ॥
Gāvan ṯuḏẖno pandiṯ paṛan rakẖīsur jug jug veḏā nāle.

(Pandit) the Learned scholars (paran) reading scriptures and (rakheesur) the great sages (gaavan) praise You (jug jug = age after age) for ever (naal-e = with) according to (v-eda) the teachings of the Vedas.

ਗਾਵਨਿ ਤੁਧਨੋ ਮੋਹਣੀਆ ਮਨੁ ਮੋਹਨਿ ਸੁਰਗੁ ਮਛੁ ਪਇਆਲੇ ॥
Gāvan ṯuḏẖno mohṇī▫ā man mohan surag macẖẖ pa▫i▫āle.

(Mohnia) captivating beautiful ladies who (mohan) fascinate (man) the mind acknowledge You; as do (surag) heaven, (machh) the world and (paiaal-e) the nether regions;

Note*: According to Hindu mythology the gods and demons together churned the ocean which brought out fourteen jewels, things of great value. Also the Hindus believe there are sixty eight pilgrim centers as sacred for bath. These are referred to in the next line:

ਗਾਵਨਿ ਤੁਧਨੋ ਰਤਨ ਉਪਾਏ ਤੇਰੇ ਅਠਸਠਿ ਤੀਰਥ ਨਾਲੇ ॥
Gāvan ṯuḏẖno raṯan upā▫e ṯere aṯẖsaṯẖ ṯirath nāle.

The mythological fourteen (ratan) jewels and (atth-satth) the sixty eight (teerath) places of Hindu Pilgrimage acknowledge You - i.e. people believe You created them

Note: The story about churning the ocean appears in the Bhagavata Purana, the Mahabharata and the Vishnu Purana and like all Puraanic stories is metaphorical. The fourteen rattans or jewels were as follows:

1. Chandra’ (Moon)
2. ‘Parijat’ , a tree in the Paradise of Lord Indra
3. ‘Airavat’ , a multi-tusked elephant for again Lord indr
4. ‘Kamadhenu’ , a cow which provides desired objects
5. ‘Uchchaihsravas’ - the white horse for Lord Indra
6. ‘Sankha’ the conch of Lord Vishnu used for victory
7. ‘Gada’
8. ‘Laxmi’, the goddess of wealth
9. ‘Rambha’, the apsara (celestial beauty) in heaven.
10. ‘Ratnas’, (gems and jewels).
11. ‘Kalpavriksha, a tree fulfilling one’s wishes.
12. ‘Dhanwantari’, the physician for all Gods.
13. ‘Mada, a goddess.
14. ‘Amrit’ (the nectar drinking which one becomes immortal) in a golden chalice (Kumbha).
(Source: Web page Samudra Manthan and 14 Ratnas).

There are minor variations from Purana to Purana.

ਗਾਵਨਿ ਤੁਧਨੋ ਜੋਧ ਮਹਾਬਲ ਸੂਰਾ ਗਾਵਨਿ ਤੁਧਨੋ ਖਾਣੀ ਚਾਰੇ ॥
Gāvan ṯuḏẖno joḏẖ mahābal sūrā gāvan ṯuḏẖno kẖāṇī cẖāre.

All the (mahabal = poweful) great (jodh) warriors and (soora) the brave ones acknowledge You as do all (chaar) the four (khaani) life forms.

Note*: The four life forms are Andaj – born from the egg, j-eraj - born
from the womb, s-etaj – born as a result of sweat (heat and humidity),
and utbhuj - born in the soil.

The next set of entities are those held in space by the Creator:

ਗਾਵਨਿ ਤੁਧਨੋ ਖੰਡ ਮੰਡਲ ਬ੍ਰਹਮੰਡਾ ਕਰਿ ਕਰਿ ਰਖੇ ਤੇਰੇ ਧਾਰੇ ॥
Gāvan ṯuḏẖno kẖand mandal barahmandā kar kar rakẖe ṯere ḏẖāre.

(Khand) the planets, (mandal) galaxies and universes created and
supported in space acknowledge You.

Note*: As may be seen not only the earth but other galaxies and universes
have been mentioned.

The above verses mention how every one and every thing acknowledges
the Creator. An important statement next mentions which humans sing
God’s praises:

ਸੇਈ ਤੁਧਨੋ ਗਾਵਨਿ ਜੋ ਤੁਧੁ ਭਾਵਨਿ ਰਤੇ ਤੇਰੇ ਭਗਤ ਰਸਾਲੇ ॥
ਹੋਰਿ ਕੇਤੇ ਤੁਧਨੋ ਗਾਵਨਿ ਸੇ ਮੈ ਚਿਤਿ ਨ ਆਵਨਿ ਨਾਨਕੁ ਕਿਆ ਬੀਚਾਰੇ ॥
Se▫ī ṯuḏẖno gāvan jo ṯuḏẖ bẖāvan raṯe ṯere bẖagaṯ rasāle.
Hor keṯe ṯuḏẖno gāvan se mai cẖiṯ na āvan Nānak ki▫ā bīcẖāre

(S-e-i) only those (jo) whom (tudh bhaavan) You love, (gaavan = sing)
praise You; they are (ra-t-e) imbued in your love and (rasaal-e) relish
it;
(k-et-e) how many (hor) more who (gaavan) praise You but (s-e) they do
not (aavan) come (chit) mind i.e. they are beyond count and Nanak (kia beechaar-e) cannot think of them.

This means that remembrance of Divine virtues comes by Divine grace
and every one is entitled to it.

All entities mentioned above are perishable, but the Creator is not:

ਸੋਈ ਸੋਈ ਸਦਾ ਸਚੁ ਸਾਹਿਬੁ ਸਾਚਾ ਸਾਚੀ ਨਾਈ ॥
ਹੈ ਭੀ ਹੋਸੀ ਜਾਇ ਨ ਜਾਸੀ ਰਚਨਾ ਜਿਨਿ ਰਚਾਈ ॥
So▫ī so▫ī saḏā sacẖ sāhib sācẖā sācẖī nā▫ī.
Hai bẖī hosī jā▫e na jāsī racẖnā jin racẖā▫ī.

(Soi soi = only that) there is (sadaa) ever only one (sach) eternal Master,
(saacha) the Eternal Truth with (saacha naai) eternal virtues;
the creation is perishable but the Creator who (rachaai) made it (hai) is present now, (bhi hosi) shall also be and (jaa-e na jaasi) shall not perish i.e. is eternal.

ਰੰਗੀ ਰੰਗੀ ਭਾਤੀ ਕਰਿ ਕਰਿ ਜਿਨਸੀ ਮਾਇਆ ਜਿਨਿ ਉਪਾਈ ॥
ਕਰਿ ਕਰਿ ਦੇਖੈ ਕੀਤਾ ਆਪਣਾ ਜਿਉ ਤਿਸ ਦੀ ਵਡਿਆਈ ॥
Rangī rangī bẖāṯī kar kar jinsī mā▫i▫ā jin upā▫ī.
Kar kar ḏekẖai kīṯā āpṇā ji▫o ṯis ḏī vadi▫ā▫ī.

It is the Creator (jin) who (kari kari) made (rachna) the creation (rangi rangi) of different hues and in numerous (bhaati) forms;
IT (kari kari) created and having created, (d-ekhai) watches the
creation; this is (tis di) God’s (vadiaai) virtue - i.e. IT is both the Creator
and Sustainer.

ਜੋ ਤਿਸੁ ਭਾਵੈ ਸੋਈ ਕਰਸੀ ਫਿਰਿ ਹੁਕਮੁ ਨ ਕਰਣਾ ਜਾਈ ॥
ਸੋ ਪਾਤਿਸਾਹੁ ਸਾਹਾ ਪਤਿਸਾਹਿਬੁ ਨਾਨਕ ਰਹਣੁ ਰਜਾਈ ॥੧॥
Jo ṯis bẖāvai so▫ī karsī fir hukam na karṇā jā▫ī.
So pāṯisāhu sāhā paṯisāhib Nānak rahaṇ rajā▫ī. ||1||

The Creator (karsi) does as (tis) IT (bhaavai) pleases; (na karna) does
not do (hukam) on orders from any one i.e. is just;
IT is (saahu) the king, (paatsaahu) the great Emperor; every one and
every thing (rahan) lives/goes (rajaai) by IT’s will - the laws of nature. 1.
http://www.sadhsangat.com/2011/06/Sri Guru Granth Sahib Ji-p-347-raag-aasa-m-1-sodar.html
 

spnadmin

1947-2014 (Archived)
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Jun 17, 2004
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Ishna ji

I think you will enjoy the entire blog. It started out to enhance interfaith dialog from a Sikh perspective. But it seems that Rawel Singh has taken on the incredible effort of translating every page of Sri Guru Granth Sahib Ji with reference to the darpan of Professor Sahib Singh ji. I could be wrong.
 

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