By those [words] lined up in rows
And those who drive [the sentence]
And those who recite the message,
Indeed, your God is One,
Lord of the heavens and the earth and that between them and Lord of the sunrises.
The rows are the signs of the text, being read. They are angelic inasmuch as they convey Truth, from the One God YHWH above. But how do they convey? That is the function, the drive, the process described by this poem.
They drive the sentence, by a process known as the Taste of Freedom, dispersal and fragmentation, failure and the fall from the Absent Womb, and the consequent desire/drive to return, the basic metonymic pleasure instinct, repressed and manifested as metaphoric recitation, within the matter of the poem’s text, read by you.
The Taste of Freedom consequently crystallizes in the Grand Metaphor for YHWH: the statement “your God is One”. That is, Faciality, the Face of God. Unity’s conception is the totem that coalesces around the ebb and flow of Freedom to return. But this is necessarily a Face with Features, two eyes, “heavens” and “earth” (“tengri” and “ummai”), the resonance of the primal unspeakable scene that precedes Freedom. The Features constitute the crystalline resonance that self-reflects all dialectic (“that which is between them”), self-reflects, a Divine totem for differentiation encompassed by the Face as a totem for unity.
Lord of Sunrises: the process of exterior interjection within the Tengri-Ummai crystalized matrix — the Nur of Tiferet interjects as sunrise. It is this Lord that the Sufis worship. As the Zohar states:
Once the sun comes forth, there are….those who worship [by] this light, calling this light, ‘Allah of the shining pearl,’ and their oath is by ‘Allah of the Shining Pearl’ Now you might say: ‘This worship is in vain! But since ancient primordial days they have discovered wisdom through it. Zohar 2:188a-b
That is, they worship the Allah of Prophecy, light as fana/rupture that cuts across the Sky God (castration of the Father totem and also rebirth of God as son/sun). With all the politics that is entailed therein.
Indeed, We have adorned the nearest heaven with an adornment of stars
And as protection against every rebellious devil
[So] they may not listen to the exalted assembly [of angels] and are pelted from every side,
Repelled; and for them is a constant punishment,
Except one who snatches [some words] by theft, but they are pursued by a burning flame, piercing [in brightness].
The heaven’s adornment is an encoding of precedent gods.
And herein lies the transformative operator (the dark side of the Taste of Freedom, the doppleganger effect, of which the verses are primarily concerned): the Sunrise of the Daybreak is transformed, by the doppleganger effect, into the Night dual, transformed from Tiferet into Samael (the rebellious devil). It’s a reverse way of looking at prophecy — snatching words by theft, and “his” light is the burning flame of the crack in reality, the fissure of the Sky God.
In this way, there are terrible things that come from what we think of as Light in the Sky, depending on how we view it. Victorious Tiferet carrying the Light of Truth. Or Samael stealing the Word through the fissure of the castrated Father face.
The doppleganger effect is satanic: a shift of register from prophetic to thief. But, nevertheless, we grasp at a key moment in both Sunrise’s rupture and Night thief’s escape — both are a fissure in the Sky — a single process — from which Venus/Aphrodite/Love was born, out of the Sky God’s tears.
Then inquire of them, “Are they a stronger creation or those We have created?” Indeed, We created men from sticky clay.
But you wonder, while they mock,
And when they are reminded, they remember not.
And when they see a sign, they ridicule
And say, “This is not but obvious magic.
When we have died and become dust and bones, are we indeed to be resurrected?
And our forefathers [as well]?”
The vision of Sunrise to theft to the birth of Venus/Love is then abruptly interrupted (just as the Sky God is interrupted by the Sunrise). But who interrupts now? The deniers. There can be no Iman without denial: deniers are a part of Iman. And Iman emerges from this process. This poem spells out the doppleganger function, and thus transforms Iman’s inner Love of Mind (pronoia) into a culturally situated external paranoia.
Say, “Yes, and you will be [rendered] contemptible.”
It will be only one shout, and at once they will be observing.
They will say, “O woe to us! This is the Day of Recompense.”
[They will be told], “This is the Day of Judgement which you used to deny.”
[The angels will be ordered], “Gather those who committed wrong, their kinds, and what they used to worship
Other than Allah , and guide them to the path of Hellfire
And stop them; indeed, they are to be questioned.”
The reply “Yes, and you will be contemptible” is the doppleganger transform of the Venus fragment: Judgement. From the tear’s of the Sky God, into Love there is Judgement of denial and hence Iman.
Remember that the deniers are a fantasy — because Iman himself is a fantasy: both are a hypostasis of a dynamic energy exchange, the descent into matter wrought by the prophecy/thief doppleganger. The deniers and their punishment (Love turning sour and affirming punishment): the energy exchanged here is from Love into Judgement.
The important underlying reality is the movement, the Taste of Freedom across the rows of signs.
So indeed they, that Day, will be sharing in the punishment.
Indeed, that is how We deal with the criminals.
Indeed they, when it was said to them, “There is no deity but Allah ,” were arrogant
And were saying, “Are we to leave our gods for a mad poet?”
The fantasy of denial (paranoia) arises out of Iman (pronoia), and their contrast facilitates a movement from Venus into Judgement, the Taste of Freedom (failure, the fall).
But the Day of Judgement: this is a further crystalization of this temporal movement — it is the totem of time itself. When situated within the harsh matter of the poem, the day (the full stop) must become a Day of Judgement (the full stop of the poem, of the reading, the cessation of paranoia).
The mad poet or, rather, the paranoid poet, the thief, the transformed prophecy rendered matter-doppleganger — has an existence whose basis is the fiction of his deniers, just as much as a basis in Iman. His ultimate desire being the full stop (the death drive) of this process.
But, at the same time, the paranoid poet, whose inverse transformation is prophecy — has an existence whose basis is continuity, lineage, repetition, gilgul and reincarnation/confimration:
Rather, the Prophet has come with the truth and confirmed the [previous] messengers.
Both axes of the poem are represented in its verses: in the lines that describe the punishment of the unbelievers, and the lines that describe the reincarnation of prophecy. The relationship between paranoia and pronoia.
The doppleganger prophecy/thief function itself is crystallized within the middle section, through which these axes intersect (punishment and the self-reflexive duality-totem of the axes themselves):
A speaker among them will say, “Indeed, I had a companion [on earth]
Who would say, ‘Are you indeed of those who believe
That when we have died and become dust and bones, we will indeed be recompensed?'”
He will say, “Would you [care to] look?”
And he will look and see him in the midst of the Hellfire.
He will say, “By Allah , you almost ruined me.
If not for the favor of my Lord, I would have been of those brought in [to Hell].
Then, are we not to die
Except for our first death, and we will not be punished?”