In Section 10 of the Hadiqat al-Haqiqah, Sanai contrasts true spiritual audition (sama') with hypocritical, performative ecstasy (zarq). He asserts that the wise seeker listens with the soul, abandoning external forms, words, and vessels (harf o zarf). Conversely, ecstasy motivated by self-will or deception is likened to Pharaoh's desperate cry while drowning—a superficial state that is spiritually useless and fails to bring about true union or divine grace.

Sanai's Distinction between True Sama' and Hypocritical Ecstasy

In Section 9 of *Hadiqat al-Haqiqah*, Sanai discusses the spiritual listening (*sama'*) of the Quran. He asserts that a true mystic (*arif*) hears the divine word directly from God (*Bari*), arguing that the artistic recitation of the external reciter (*qari*) serves as a veil (*hijab*) that blocks direct spiritual comprehension. Sanai notes that the nature of the singer is weak, while love possesses its own inner minstrel, indicating that true audition transcends external sounds and sensory forms.

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## Original content
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مر جنب را به امر یزدانش 
پس نه مهجور کرد قرآنش
پس زانوی حیرتش بنشاند 
لایمسه چو بر دو دستش خواند
مقری زاهدی از پی یک دانگ 
همچو قمری دو مغزه دارد بانگ
قول باری شنو هم از باری 
که حجابست صنعت قاری
مرد عارف سخن ز حق شنود 
لاجرم ز اشتیاق کم غنود
با خیال لطیف گوید راز 
شکن و پیچ ورقه در آواز
در دل نفس نه نه بر رخ خال 
که جمالت نشان دهد از حال
طبع قوال را زبون باشد 
عشق را مطرب از درون باشد
هرچه آواز و نقش آوازه ست 
خانه شان از برون دروازه ست
هیچ معنیستی اگر در بانگ 
بلبلی بنده نیستی به دو دانگ
عدتی دان در این سرای مجاز 
چشم را رنگ و گوش را آواز
دل ز معنی طلب ز حرف مجوی 
که نیابی ز نقش نرگس بوی
مجلس روح جای بی گوشیست 
اندر آنجا سماع خاموشیست
کت سوی عشق دیدنی باشد 
لذتی کان چشیدنی باشد
طبع را از غنا مگردان شاد 
که غنا جز زنا نیارد یاد
یار کو بر سر پل آید یار 
تو مر او را از آب دور مدار
یا به آتش فرو بر از سر کین 
یا به خاکش سپار و خوش بنشین
هرچه در عشق نیک و هرچه بدست 
بار حکمش کشیدن از خردست
هرچه صورت دهد به آبش ده 
نالهٔ زار در دل خوش نه
چون برون ناله آید از دل خوش 
پای او گیر و سوی دوزخ کش
می نداری خبر تو ای نسناس 
که به صد بند و حیلت و ریواس
زان همی دیو نفس در تو دمد 
تا زتو عقل و هوش تو برمد
راه دین صنعت و عبارت نیست 
نحو و تصریف و استعارت نیست
این صفات از کلام حق دورست 
ضمن قرآن چو در منثورست
تو در این بادیه پر از بیداد 
غمز را مغز خوانده شرمت باد
ناگهی باشد ای مسلمانان 
که شود سوی آسمان قرآن
گرچه ماندست سوی ما نامش 
نیست مانده شروع و احکامش

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## English translation
By God's command, for the ritually impure,
He did not make His Quran forbidden.
Then He seated him on the knee of bewilderment,
When he read 'None shall touch it' on both his hands.
An ascetic reciter, for the sake of a copper coin,
Sings like a ring-dove with two kernels.
Hear the Word of the Creator from the Creator Himself,
For the art of the reciter is a veil.
The gnostic hears the speech from the Truth,
Consequently, out of yearning, he sleeps little.
He whispers secrets with the subtle phantom,
With the folds and turns of the page in the sound.
In the heart of the soul, not on the cheek's mole,
May your beauty show your state.
The nature of the singer is base,
Love has its minstrel from within.
Whatever is sound and the form of sound,
Their home is outside the gate.
If there were any meaning in sound,
A nightingale would not be enslaved for two copper coins.
Consider it a provision in this house of metaphor,
Color for the eye, and sound for the ear.
Seek the heart from the meaning, do not search for it in the letter,
For you will not find fragrance from the drawing of a narcissus.
The assembly of the spirit is a place of earlessness,
There, the audition is silence.
Where your sight is directed towards love,
A pleasure that is to be tasted.
Do not make the nature happy with music,
For music brings nothing to mind but adultery.
The friend who comes as a friend onto the bridge,
Do not keep him away from the water.
Either throw him into the fire out of malice,
Or commit him to the earth and sit happily.
Whatever is good in love and whatever is bad,
Bearing the weight of its judgment is of wisdom.
Whatever assumes form, consign it to the water,
Place the plaintive wailing in a happy heart.
When wailing comes out of a happy heart,
Seize its foot and drag it to hell.
You have no knowledge, O beast,
That with a hundred bonds, tricks, and deceptions,
The demon of the carnal soul blows into you,
So that your intellect and consciousness flee from you.
The path of religion is not artifice and phrasing,
It is not grammar, conjugation, and metaphor.
These attributes are far from the Word of God,
Within the Quran, it is like scattered pearls.
In this wilderness full of injustice,
You have called the wink the core; shame on you!
It may suddenly happen, O Muslims,
That the Quran returns to heaven.
Although its name remains with us,
Its laws and rulings do not remain.

بخش ۹ - ذکر سماع قرآن / Section 9 - Mention of the Audition of the Quran

In Section 2 of *Hadiqat al-Haqiqah*, Sanai introduces the distinction between the outward form (*zahir*) of the Quran and its inward spiritual meaning (*batin*). He warns against reciting the Quran out of heedlessness (*ghafleh*) or mere habit, noting that such readers only pronounce the letters without experiencing spiritual taste (*zowq*) or desire. Sanai contrasts the 'wise' (*aqilan*), who receive sweetness in their souls, with the 'heedless' (*ghafilan*), for whom the Quran is merely a verbal recitation (*telavat*). This thematic division between form and essence is a fundamental prerequisite for understanding later mystical interpretations of scripture in Persian literature.

The Contrast of Outward Recitation and Inward Comprehension of the Quran in the Hadiqat

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Hearing the Quran from God and the Veil of the Reciter in the Hadiqat

In Section 3 of *Hadiqat al-Haqiqah*, Sanai employs the metaphor of a container (*zarf*) and water (*ab*) to explain the relationship between the external letters of the Quran and its internal spiritual essence. He instructs the seeker to treat the letters and the outer form as the container, and the spiritual truth as the water, advising them to focus on consuming the water rather than looking at the vessel. This metaphor represents a key development in Persian Sufi hermeneutics, emphasizing inner spiritual comprehension over outward textual literalism.

The Metaphor of the Container and Water for the Quran in the Hadiqat

In Section 4 of *Hadiqat al-Haqiqah*, Sanai employs the imagery of the sea, shell, and pearl to describe the Quran's nature. He characterizes the external letters and sounds as a dark shell (*sadaf-e tireh*) and the internal spiritual reality as a pure pearl (*dor-e safi*) or gem (*gohar*) located within the heart. This metaphor suggests that the Quran's inimitability (*i'jaz*) is not merely in its linguistic surface but in the divine depths that remain hidden from those who only traverse the shore of the text. Sanai's use of this metaphor established a foundational trope for later Sufi poets, such as Shabestari in *Golshan-e Raz*, to explain the relationship between form (*surat*) and meaning (*ma'ni*).

The Metaphor of the Shell and Pearl for the Quran in the Hadiqat

In Section 8 of *Hadiqat al-Haqiqah*, Sanai discusses the true nature of reciting the Quran. He argues that one cannot experience the spiritual taste (*ta'm*) and pleasure (*lazzat*) of the Quran through mere tongue-recitation without the involvement of the soul (*jan*). Sanai urges the reader to transition from the physical realm of the body (*tan*) to the vision of the soul in order to behold the 'garden of the Quran' (*bagh-e qoran*), where the cosmic truths of past, present, and future, as well as the divine attributes, become fully manifest to the sincere reader.

Tasting the Spiritual Garden of the Quran in Section 8 of the Hadiqat

In Book Three of Jalaluddin Rumi's *Masnavi*, the poet elaborates on a prophetic tradition (Hadith) stating that the Quran possesses an outward meaning (ẓahr) and multiple inward dimensions (baṭn), reaching up to seven inner depths. Rumi explains this multiplicity of meaning through the metaphor of a human being. Just as a person's physical form is visibly apparent while their inner spirit remains hidden, the literal words of the Quran are accessible to all, whereas its profound spiritual realities require deeper insight to comprehend. Rumi warns against restricting one's understanding to the outward text, likening such a literalist approach to Iblis (Satan), who perceived Adam merely as physical clay and failed to recognize the divine breath within him.

The Metaphor of the Quran as a Human Being in the Masnavi

In Section 5 of *Hadiqat al-Haqiqah*, Sanai employs the metaphors of the well (*chah*) and the rope (*rasan*) to describe the human spiritual condition and the role of the Quran. The human soul is compared to Joseph trapped in a well due to the temptations of Satan, while the Quran is depicted as the saving rope. Sanai instructs seekers to grasp this rope to escape spiritual destruction, contrasting those who use the rope to draw the 'water of life' with those who use it merely for worldly gain, like a rope-dancer performing for bread.

The Metaphor of the Rope and the Well for the Quran in the Hadiqat

In Section 7 of *Hadiqat al-Haqiqah*, Sanai introduces the concept of the Quran personified as a complainant (*geleh*) before God on the Day of Judgment. The Quran testifies against hypocritical readers who recited its verses loudly and melodically for public show, but failed to observe the true rights of its grammar, syntax, meaning, and spiritual sincerity (*sadq*). This personification illustrates Sanai's broader theme that external ritualism without internal truth is not only worthless but will actively testify against the individual in the afterlife.

The Complaint of the Quran on the Day of Judgment in the Hadiqat

In Section 6 of the *Hadiqat al-Haqiqah*, Sanai criticizes those who reduce the Quran to external divisions like tenths (*a'shar*) and fifths (*akhmas*) for superficial recitation. He argues that using the holy text as a tool for worldly gain, public show, or sectarian debate, and interpreting it through personal opinion (*ra'y*) or analogy (*qiyas*), neglects its true spiritual light and constitutes a form of hypocrisy.

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