All rests in the One, and the One rests in all — and the teaching lets you see it with your own eyes.
The Arc
This is a Dakhanee hymn — composed in the southern, Sindhi-inflected dialect Guru Nanak absorbed on his travels, the same author in a different regional voice. Its mood is not critique but praise: the awakened teacher, dyed through with love, looking on everyone with the same even gaze, playing a hidden music in every heart. At its center (stanza five) stands the plainest statement of oneness in the set — all in the One, the One in all — not argued but shown. It closes where safety and freedom meet: sheltered in the One, and therefore free.
Key Vocabulary
Dakhanee — the southern/Sindhi dialect register; same author, regional voice.
Rang leenaa — dyed through with love, like cloth taking a fast color.
Darisat samaisar — the even, equal gaze that ranks no person above another.
Anhat sabad — the unstruck sound, the wordless inner music.
Ayk meh sarab, sarab meh aykaa — all in the One, the One in all: Ik Onkar stated plainly.
Kinguri — the harp, reinterpreted inward as the music alive in every heart.
Themes and Cross-Connections
The equal gaze (samaisar) is Guru Nanak's radical inclusivity lived from the inside — equality not as a rule but as how an awakened heart simply sees. Paired with the lamp-lights-lamp image of transmitted awakening and the harp-in-every-heart, this is the warmest, most affirming hymn of the batch.
For Raag Raamkalee
Among the Yogic dialogues, this Dakhanee hymn turns the Yogi's own emblems — the loincloth, the harp, the detached wanderer — into images of inner saturation and universal belonging.
Translation Notes
Dakhanee dialect flagged as a regional register of the same author.
Darisat samaisar (P2) foregrounded as Guru Nanak's lived equality — the even gaze on all people.
Yogic emblems reinterpreted inward, respectfully: the loincloth (kupeen, P3) as inner restraint; the kinguri harp (P9) as the music in every heart; the bairaagee jogee kept honorable.
Nirbha-o (P8) rendered 'the Fearless One,' echoing the Mool Mantar.
All rests in the One, and the One rests in all — and the teaching lets you see it with your own eyes.
The Arc
This is a Dakhanee hymn — composed in the southern, Sindhi-inflected dialect Guru Nanak absorbed on his travels, the same author in a different regional voice. Its mood is not critique but praise: the awakened teacher, dyed through with love, looking on everyone with the same even gaze, playing a hidden music in every heart. At its center (stanza five) stands the plainest statement of oneness in the set — all in the One, the One in all — not argued but shown. It closes where safety and freedom meet: sheltered in the One, and therefore free.
Key Vocabulary
Themes and Cross-Connections
The equal gaze (samaisar) is Guru Nanak's radical inclusivity lived from the inside — equality not as a rule but as how an awakened heart simply sees. Paired with the lamp-lights-lamp image of transmitted awakening and the harp-in-every-heart, this is the warmest, most affirming hymn of the batch.
For Raag Raamkalee
Among the Yogic dialogues, this Dakhanee hymn turns the Yogi's own emblems — the loincloth, the harp, the detached wanderer — into images of inner saturation and universal belonging.
Translation Notes