In the Name of God, the Merciful, the Compassionate.
Look, then, to the signs of God’s mercy, how He
restores to life the earth after its death.1
The following section2 alludes to one flower from the pre-eternal garden of the above verse.
It is as if all the blossoming trees are beautifully composed odes speaking poetically through the tongue of disposition reciting the manifest praises of the Glorious Creator.
Or, it is as if all the blossoming trees have opened thousands of gazing eyes and have caused thousands of others to open in order to behold, not with one or two eyes but with thousands, the Glorious Fashioner’s wonders of art which are being broadcast and exhibited, and so that attentive people will gaze on them, too.
Or, it is as if all the blossoming trees have beautified their verdant limbs with the finest adornment for the moment of their parade and for their own particular festivals in the general festival of spring, so that their Glorious Monarch will contemplate the gifts, subtle wonders, and resplendent works of art He has bestowed upon them; and so that He will present to creation’s gaze the bejewelled instances of His mercy, in springtime, and on the face of the earth, which is the exhibition of Divine art; and so that He will proclaim to mankind the wisdom in the creation of the tree.
He demonstrates the perfection of Divine power through showing what important treasure hangs on their delicate branches and what significant wealth there is in the fruits of His merciful bounties.
The imagination sees heavenly angels embodied from these trees
With thousands of flutes.
From these flutes the consciousness hears
The praises of the Ever-Living One.
Their leaves have tongues, each reciting the word: It is He! It is He!
O Ever-Living One! O Ever-Living One!
Since all things chant in unison: There is no god but He,
And they are seeking Truth,
From beginning to end they recite: O Ever-Living One!
They are chanting in unison: O God!
And We send down from the skies water rich in blessings.3
In the original text this section is in Arabic, together with the author’s Turkish rendering, which is the source of the translation here. The lines at the end are in Persian. [Tr.]