SODARU or SO DARU, lit. “That Door,” implying the entrance to the Lord’s presence, is a hymn by Guru Nanak that appears—with slight orthographical variations—in three different places in the Guru Granth Sahib. It forms part of the Japu (pauri 27), the morning prayer; of the Rahrasi, recited at sunset; and appears independently in the Asa musical measure. Read in these three contexts, the hymn unfolds three different dimensions of spiritual experience. In the Japu—which is repeated by the Sikhs as part of their morning devotion—So Daru becomes a means of internal meditation; in the Rahrasi the inward God Consciousness is transformed into a shared experience; and when sung in Raga Asa, it evokes feelings of elation and ecstasy. The poem, through a variety of images, sings of the splendour of the Divine Threshold.
Countless musicians and heavenly deities such as Brahma, Vishnu, and Indra sit at His door and recite His praises. Likewise, myriads of siddhas, yogis, and celibates constantly contemplate upon His Name. Sages and seraphs proclaim His glory, as do the heroes and mighty warriors. The entire creation—the continents, the worlds, and the solar systems—chants the excellences of the Supreme Being who is Timeless and whose Name is everlasting. He is the creator as well as the preserver of all, and His will prevails everywhere.
The recurring use of the word gavahi (i.e. “are singing”) in the hymn indicates the emphasis laid on the recitation of God’s praise. This is what one is urged to follow. The Timeless Being is proclaimed to be self-existent. He is transcendent as well as immanent. He is nirankar (i.e. without form), yet He manifests Himself in His creation.
Thus, creation acquires a divine aspect and does not remain mere maya. To comprehend Him, one must be free from ego, which is possible only when one realizes one’s insignificance in relation to His creation. So Daru, which shows all existence in obeisance at His Threshold, harmonizes man with the mystical rhythm of the cosmos, awakening within him a consciousness of the Divine. The metre and rhyme of So Daru resemble those of chhant and var, and the language is mainly Punjabi, with some admixture of words—in both tatsam and tadbhav forms—from Sanskrit, Persian, and Braj.
References:
- Sabadarth Sri Guru Granth Sahib. Amritsar, 1959
- Solian Singh, The Seeker’s Path. Calcutta, 1959
- Macauliffe, Max Arthur, The Sikh Religion: Its Gurus, Sacred Writings and Authors. Oxford, 1909
So Daru—the Divine Hymn that serves as an “entrance” to the Lord’s presence in Sikh Scripture. This hymn, composed by Guru Nanak, unfolds a rich tapestry of spiritual insight, musical nuance, and symbolic imagery, inviting the devotee to approach the Divine with both personal meditation and communal ecstasy.
The Meaning of “So Daru”: That Door to the Divine
- Literal and Metaphorical Import:
The term “So Daru” (or “Sodaru”) literally means “that door.” It implies an entrance—a threshold—through which one may enter into the presence of the Supreme Being. In Sikh thought, this metaphorical door symbolizes not only the gateway to the divine realm but also the portal to inner transformation. It is a reminder that the Divine is both transcendent and immanent, accessible to the one who opens his or her heart and mind. - Spiritual Invitation:
As a hymn, So Daru is more than a recited text; it is an invitation for the soul to arrive at a heightened state of consciousness. It beckons the devotee to set aside ego and worldly distractions in order to step through the door into the eternal Presence.
Contexts of Recitation: Three Dimensions of Experience
So Daru appears in the Guru Granth Sahib with slight orthographic variations and is recited in three distinct contexts—each revealing a different facet of spiritual experience:
- In the Japu (Morning Prayer):
In the context of the Japu (specifically paun 27 of the morning prayer), So Daru is recited as a means of inward, personal meditation. Here, its quiet cadence and meditative rhythm help the devotee center the mind at the start of the day. The hymn gently ushers the practitioner into contemplative solitude, emphasizing an introspective journey where the soul seeks to connect with the Divine at the very threshold of its heart. - In the Rahrasi (Evening Prayer):
When recited as part of the Rahrasi—a prayer observed at sunset—the hymn takes on a communal dimension. The inward God Consciousness, kindled during the day, is transformed into a shared experience among the devotees. In this setting, the recitation becomes a collective act of surrender and remembrance, reinforcing the idea that the Divine presence is not an isolated encounter but a universal reality experienced together by a community. - In Raga Asa:
Sung independently in the musical measure of Raga Asa, So Daru evokes feelings of elation and transcendent ecstasy. The melodic manifestation in this raag brings forth an emotional outpouring that lifts the spirit, inspiring joy and wonder. The musicality of the composition communicates a sense of cosmic celebration—where even the heavenly deities and the myriad elements of creation join in singing the praises of the Supreme Being.
Symbolic Imagery and Poetic Structure
- The Divine Threshold:
The hymn is rich in imagery that paints the Divine Threshold as a magnificent portal. Countless celestial musicians and deities—Brahma, Vishnu, Indra—are depicted as sitting at this door, engaged in the recitation of the Lord’s praises. This imagery suggests that the door is not merely a passage but a gathering place for all expressions of devotion, where every element in the cosmos is called to honor the Creator. - Universal Chorus:
Far beyond the realm of human experience, the hymn envisions the entire creation—from the vast continents and the innumerable worlds down to the distant solar systems—as participating in the cosmic chant. The recurring term gavahi (“are singing”) emphasizes that the act of praising God is a universal, all-encompassing phenomenon. This universal chorus underscores the central Sikh teaching that the Divine Name is eternal and resounds throughout all creation. - Language and Form:
The metre and rhyme of So Daru bear resemblance to other traditional forms like chhant and var. Its language is predominantly Punjabi, enriched with an admixture of tatsama (pure borrowing) and tadbhav (derived) words from Sanskrit, Persian, and Braj. This blend not only adds layers of depth to the text but also reflects the syncretic nature of Sikh devotional literature, where multiple linguistic and cultural influences converge to celebrate the timeless nature of the Divine.
The Transformative Power of So Daru
- Removing Ego and Embracing Universality:
At its core, So Daru calls the devotee to recognize the insignificance of the isolated self in comparison to the grand scale of the Divine creation. To “open the door” is to shed one’s ego, to cease being trapped in transient concerns, and to align oneself with a higher—including the universal—rhythm of cosmos. In doing so, the meditator experiences a harmonization with the divine vibrations that permeate every aspect of creation. - A Path to Liberation:
By meditating on the Divine Threshold, the devotee is enabled to transcend the illusions of maya (worldly illusion) and attain a state of liberating truth. Whether approached as a solitary, inward meditation in the morning or as an ecstasy-evoking communal recitation at sunset, the hymn serves as a dynamic reminder that the door to the Divine is open for all who seek it. In this sense, So Daru is both a literal and metaphorical gateway to liberation (mukti)—a merging of the individual soul with the Supreme Essence. Concluding Reflections
So Daru is a paradigm of the Sikh devotional experience—a hymn that transcends mere words to become a lived, multi-dimensional ritual. It teaches that the act of remembering God is not confined to a single moment or practice; rather, it is woven into the fabric of daily existence. Whether through quiet meditation, communal bonding, or ecstatic musical expression, So Daru continuously calls the devotee to step through the threshold of the divine presence. In doing so, it harmonizes the individual consciousness with the eternal cadence of the cosmos, guiding one on a transformative journey of self-effacement and union with the Supreme.
