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.

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## Original content
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کی چشی طعم و لذت قرآن 
چون زبان بردی و نبردی جان
از در تن به منظر جان آی 
به تماشای باغ قرآن آی
تا به جان تو جلوه بنماید 
آنچه بود آنچه هست وانچ آید
تر و خشک جهان درون و برون 
آنچه موجود شد به کن فیکون
حکمهایی که گشت ازو محکوم 
همه گردد ترا ازو معلوم
بشنواند ترا صفات خدای 
گشته پیشت به صدق قصه سرای
مستمع چون کند سماع کلام 
گیردش نطق موی بر اندام
تا ببینی به دیدهٔ اخلاص 
چون بخوانی تو سورهٔ اخلاص
صورتی همچو سرو غاتفری 
نظم او چون بنفشهٔ طبری
نصب و رفعش چو عرش و چون کرسی 
گر تو از مرشد خرد پرسی
جر و جزم وی از طریق قدم 
لوح محفوظ و سر سیر قلم
حرفها بال روح و پردهٔ نور 
نقطه ها خال مشک بر رخ حور
این چنین درنگر به صورت او 
چون بخوانی تو سر سورت او
تا الف را درون رای آرد 
با و تا را به زیر پای آرد
تا فروشد به جای جان و خرد 
صورت خوب را به هشدهٔ بد
زانکه در کوی عشق و حدت هنگ 
بیش از این قیمتی نیارد رنگ
بوتهٔ شهوت امتحانش کند 
پس از آن همچو زر کانش کند
پس دگرباره بوته ای سازد 
تا درو غش و خشم بگذارد
پس چو نرمش کند فرو ساید 
تا بدو تاج را بیاراید
هرکرا ملک عقل و دین باشد 
افسر و تاج او چنین باشد
سخنی کز تو گشت آلوده 
گرچه نیکوست هست بیهوده
باد اگرچه خوش آمد و دلکش 
بر حدث بگذرد نماند خوش

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## English translation
When will you taste the flavor and pleasure of the Quran?
Since you took it to the tongue but not to the soul.
From the door of the body, come to the viewpoint of the soul;
Come to witness the spectacle of the garden of the Quran.
So that it may manifest its splendor to your soul,
That which was, that which is, and that which shall come.
The wet and the dry of the world, inside and out,
Everything that came into existence by 'Be, and it was.'
The decrees that were dictated by Him,
All shall become known to you through it.
It will make you hear the attributes of God,
Standing before you as a storyteller of truth.
When the listener hears the speech,
His utterance makes the hair stand up on his body.
So that you may see with the eye of sincerity,
When you read the Surah al-Ikhlas.
A form like the cypress of Ghatfar,
Its order like the violet of Tabaristan.
Its nasb and raf like the Throne and the Chair,
If you ask the guide of wisdom.
Its jarr and jazm from the path of eternity,
The Preserved Tablet and the secret of the movement of the Pen.
The letters are wings of the spirit and the veil of light,
The dots are musky beauty marks on the cheeks of the Houris.
Look upon its form in such a manner,
When you read the secret of its Surah.
So that the mind brings the 'Alif' within,
And places the 'Ba' and 'Ta' beneath its feet.
Until it sinks into the place of soul and intellect,
Giving up the beautiful form for the eighteen evils.
For in the quarter of love and the limit of power,
Color brings no more value than this.
The crucible of passion tests it,
Then makes it like the gold of the mine.
Then once more it creates a crucible,
To leave behind dross and anger within it.
Then when it makes it soft, it polishes it,
So that it may adorn the crown with it.
Whoever possesses the kingdom of intellect and religion,
His coronet and crown shall be thus.
A word that has been polluted by you,
Though it be good, it is futile.
The wind, though it arrived pleasant and charming,
If it passes over filth, it remains no longer pleasant.

بخش ۸ - ذکر تلاوة قرآن / Section 8 - Mention of the Recitation 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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Tasting the Spiritual Garden of the Quran in Section 8 of 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 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.

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