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.

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## Original content
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باش تا روز عرض بر یزدان 
گلهٔ جان تو کند قرآن
گوید این ماحل مصدق تو 
چند باطل کشید بر حق تو
گوید ای کردگار می دانی 
آشکارا چنانکه پنهانی
شب و روزم بخواند با فریاد 
داد یک حرف من به صدق نداد
حق نحو و معانی و اعراب 
زو ندیدم به صدق در محراب
حنجره در سرود نیک آید 
جامهٔ غم کبود نیک آید
به جز از گفت و گوی دمدمه ای 
نیست گوشی نصیب زمزمه ای
گه بخواندی مرا به راه مجاز 
خیره بگشاده چون خران آواز
که بسی لاف زد به دعوی ما 
پس ندانست قدر معنی ما
سوی میدان خاص اسب بتاخت 
روی ما از نقاب ما نشناخت
بر سر کوی ما ز زشت و نکو 
سگی آمد کسی نیامد ازو
عقل و جان را به حکم من نسپرد 
سوی رای و هوای خویشم برد
گه به تیغ هوا بخست مرا 
گاه بر دام نفس بست مرا
گه به سوی شراب راند مرا 
گه به راه سرود خواند مرا
گه شکستی چوچوب را سکنه 
سر و روی حروفم از شکنه
گه چو قوال کرده از نغمه 
متفرق حروفم از زخمه
ای مدبر ز مدبری چونین 
خواهم انصاف تو به یوم الدین
در سرای مجاز از سر ناز 
گه به بازار و گه به بانگ نماز
جلوه کردی برای اعجازی 
گه به حرفی و گه به آوازی

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## English translation
Wait until the Day of Display before God,
When the Quran shall lodge a complaint against your soul.
It will say: 'This deceptive one who confirmed me,
How much falsehood did he cast upon Your truth?'
It will say: 'O Creator, You know,
As clearly in the open as in the secret,
Night and day he called upon me with a loud cry,
Yet did not give a single letter of mine with sincerity.
The rights of grammar, meaning, and syntax—
I saw none from him with sincerity in the prayer niche.
The throat is well-suited for a fine song;
The garment of mourning is well-suited in blue.
Except for the chatter of some clamor,
No ear has received any share of the whisper.
At times he read me in the way of metaphor,
Braying foolishly like donkeys.
For he boasted much of our claim,
Yet knew not the value of our meaning.
Toward the field of the elite he galloped his horse,
But did not recognize our face from our veil.
At the corner of our street, whether foul or fair,
A dog came by, but no human came from him.
He did not surrender intellect and soul to my command;
He dragged me toward his own opinion and whim.
At times he wounded me with the sword of passion;
At times he bound me in the snare of the self.
At times he drove me toward wine;
At times he called me to the path of song.
Sometimes you broke me like wood—
The head and face of my letters, from the splintering.
Sometimes, like a musician performing a melody,
My letters were scattered by the plectrum.
O Disposer, from such a 'disposer' as this,
I seek Your justice on the Day of Judgment.
In the house of metaphor, out of vanity,
Sometimes in the market and sometimes at the call to prayer,
You made a display for the sake of a miracle,
Sometimes with a letter and sometimes with a voice.'

بخش ۷ - ذکر حجّت قرآن / Section 7 - Mention of the Proof 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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The Complaint of the Quran on the Day of Judgment 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 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 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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