In Section 53 of the *Hadiqat al-Haqiqah*, Hakim Sanai employs the transition of spring (*rabī‘*) as a primary metaphor for spiritual resurrection and the divine revival of the dead heart (*iḥyā’ al-qulūb*). Alluding to the Quranic command *fanẓur* ('look then' at the signs of mercy), Sanai portrays the flowering of spring as an external manifestation of inner spiritual expansion (*sharḥ al-ṣadr*). This framework establishes the natural world as a mirror of the soul, where the physical spring reflects the awakening of the human spirit by divine breath.

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## Original content
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شکر انصاف بر زبان بهار 
گفت بلبل چو مردم هوشیار
شکر عدل بهار پیش اله 
دل گل گوید از زبان گیاه
دشتها پر لحاف بی بالین 
باغها پر عروس بی کابین
گفت قرآن به لفظ همچون در 
مرد دامن کشیده را فانظر
تا ببینی به چشم عقل پژوه 
بر گریبان دشت و دامن کوه
از پی نقشهای جان آویز 
اختران نقش بند و رنگ آمیز
باغ پر تختهای سقلاطون 
راغ پر فرشهای بوقلمون
شاخها حله پوش و مشک آغوش 
دشت عنبر نهاد و مینا پوش
شبنم اشک چون سهیل و سها 
روی چون بامداد روی گیا
عنبرین گشته از نسیم صبا 
از مسام زمین مشام هوا
سرو چون حور سبز پیراهن 
مشک و عنبر دمیده بر دامن
باغ مانند عطر مشک آگین 
راغ مانند زلف حورالعین
چشمهٔ اشک چشم من بشتاب 
تا در باغ رفته از لب آب
خامه بر کار کرده شست بهار 
زلف کوتاه کرده دست بهار
نی چنانست گردش بی باک 
زلف شب را گرفته کش سوی خاک
گر بخواهد به حکم خلق کمال 
خون کند مشک و مشک خون در حال
صفت گل کنون به قوت دل 
گفت بلبل چو مردم عاقل
دشتها را لباسها رنگین 
باغها را ز حله ها آذین
کوه پر نقشها همه زیبا 
اختران نقش بند بر دیبا
شاخ مانند عقد پر لؤلؤ 
باد مانند نافهٔ آهو
باغ پرحقه های در و گهر 
راغ پر شفشه های نقره و زر
گنج قارون به دامن سنگی 
زیب حورا عیان به هر رنگی
قطر باران چو دانه های گهر 
بر شقایق چکیده همچو درر
قمری و فاخته فراز چنار 
برده از عاشقان شکیب و قرار
سرو چون حور در میان چمن 
سمن مشک بیز پیرامن
پایهٔ ابر همچو در خوشاب 
آمد از حد ارمن و سقلاب
مرغ نالان فراز گلبن گل 
مست بی مطربان و ساغر مل
ابر شسته ز روی هامون پاک 
هرچه آلایشست از رخ خاک
راز دل کرده جمله عالم فاش 
زیرکان زمانه چون اوباش
خانه بگذاشته همه زن و مرد 
سوی صحرا برون شده پی خورد
خنک آنکس که او به فصل بهار 
لذتی دارد او ز بوس و کنار
خانهٔ چین گشاده منظر اوی 
شاه قیصر نموده دختر اوی
خم زلف بنفشهٔ دل جوی 
عود خامست رسته بر لب جوی
ناف آهو چو خورد سنبل دشت 
بویش از کوه قاف و طور گذشت

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## English translation
The nightingale, like a conscious person, expressed gratitude for the justice on the tongue of spring.
The heart of the rose, through the tongue of the grass, offers gratitude for the justice of spring before God.
The plains are full of blankets without pillows; the gardens are full of brides without dowries.
The Quran, with words like pearls, said to the reclusive man: 'Look then!'
So that you may see with the eye of searcher-reason, upon the collar of the plain and the skirt of the mountain,
Following soul-clinging designs, stars as designers and color-mixers.
The garden is full of thrones of fine Greek silk; the meadow is full of chameleon-colored carpets.
The branches are robe-wearing and musk-embracing; the plain is ambergris-based and enamel-clothed.
The dew-tear is like Canopus and Alcor; the face of the grass is like the morning.
Made amber-scented by the morning breeze, from the pores of the earth to the olfactory of the air.
The cypress is like a houri in a green shirt, with musk and ambergris wafting from its skirt.
The garden is like a musk-filled perfume; the meadow is like the tresses of the wide-eyed houris.
O spring of my eye's tear, make haste, so that it may enter the garden from the water's edge.
The thumb of spring has set the pen to work; the hand of spring has shortened the tresses.
No, such is the fearless rotation, pulling the tresses of the night toward the dust.
If He wills, by the decree of perfect creation, He turns musk to blood and blood to musk instantly.
The nightingale, like wise people, now described the rose with the heart's strength.
The plains have colorful garments; the gardens are adorned with fine robes.
The mountain is full of beautiful designs; stars are designers upon the silk fabric.
The branch is like a necklace full of pearls; the wind is like the musk-gland of a deer.
The garden is full of jewelry boxes of pearls and gems; the meadow is full of bars of silver and gold.
Korah's treasure is at the skirt of the stone; the beauty of the houris is manifest in every color.
The raindrops are like pearls, dripping upon the anemone like gems.
The turtledove and ringdove atop the plane tree have taken patience and peace from lovers.
The cypress is like a houri in the middle of the lawn; the musk-scattering jasmine surrounds it.
The cloud's base, like a lustrous pearl, has come from the borders of Armenia and Slavic lands.
The lamenting bird atop the rosebush is drunk without musicians or a cup of wine.
The cloud has washed clean from the face of the desert any pollution from the face of the earth.
The whole world has made public its heart's secrets; the wise of the era are like the common folk.
All men and women have left their homes, going out to the wilderness to eat and recreate.
Blessed is the one who, in the spring season, has pleasure from kisses and embraces.
Its vista has opened the house of China; the Caesar king has shown his daughter.
The curve of the sweet violet's tresses is raw wild-wood growing by the edge of the stream.
Since the hyacinth of the plains has consumed the deer's musk-bag, its scent has crossed Mount Qaf and Sinai.

بخش ۵۳ - اندر صفت ربیع و تشبیهات گوید ذکر الربیع یحیی القلوب المیتة و یشرح الصدور الضیقة / Section 53 - On the Description of Spring and Metaphors; He Says: 'The Mention of Spring Revives Dead Hearts and Expands Narrow Chests'

In Section 16 of the Hadiqat al-Haqiqah, Sana'i introduces the fundamental Sufi concept of the heart (دل, dil) as a spiritual faculty that must be actively purified. He posits that the heart receives spiritual light from the soul (جان, jan), but only if it is washed of falsehood and frivolity. Sana'i employs stark imagery—such as a crow attempting to hunt a peacock—to demonstrate that a spiritually blackened or negligent heart is incapable of comprehending exalted divine truths. This establishes the earnest purification of the heart as the primary prerequisite for spiritual awakening and receiving divine light.

The Purification and Exaltation of the Heart (دل) in Sana'i's Hadiqat

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Spring as a Metaphor for Spiritual Resurrection in Sanai's Hadiqa

In Section 81 of the *Hadiqat al-Haqiqah*, Sanai defines *karama* (spiritual miracles) as the internal transformation and spiritual awakening of the mystic rather than mere external wonders. Sanai describes how the seeker's soul is liberated from the physical world, allowing them to perceive the spiritual realm (*malakut*). He argues that the spiritual path demands the annihilation of the ego (*kharabi*) rather than outward rhetoric, enabling the mystic's tongue to speak on behalf of Divine Truth. Under this state, the mystic receives divine protection and possesses a spiritual authority that subjugates worldly tyrants like Pharaoh.

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