In-Depth Analysis of Track 20: “Tale of the Caliph Hakem”

Track Details:
• Title: Tale of the Caliph Hakem
• Duration: 5:01
• Music By: Eyeless In Gaza
• Producers: Anne Clark, Eyeless In Gaza, Martyn Bates
• Producer/Engineer: Peter Becker
• Read By: Anne Clark, Genesis P-Orridge

Lyrics:
“He asks me whom I worship. I worship no one, for I myself am God, the one true God, of whom the others are but shadows….

Brother said: You seem weary. Doubtless, you have come a long way. Will you take some refreshments?

Indeed, my way has been long, replied the stranger. I came into this occult to rest. But what can I drink here, where only forbidden drinks are served?

You Muslims, you dare not moisten your mouths with anything but pure water. But we, who are of the sect of the Sabaeans, we can, without offending our law, refresh ourselves with the generous blood of the grape, or the fair juice of the barley. But I do not see any fermented drink in front of you.

Oh, I have long disdained their vulgar drunkenness, said Yusuf, making a sign to a Negro, who set upon the table two small glass cups, surrounded by silver filigree, and a box filled with a greenish paste, in which was placed an ivory spatula.

This box contains the paradise your Prophet promised to his believers. And if you are not scrupulous, in one hour I will put you in the arms of the Horees, without making you pass across the bridge of Al-Sirat, he said, laughing.

But this paste is hashish, if I am not mistaken, said the stranger, pushing aside the cup in which Yusuf had put part of the fantastic mixture. And hashish is forbidden.

Everything pleasant is forbidden, said Yusuf, swallowing his first spoonful.

The stranger looked at him with dark blue eyes, and his forehead contracted in folds so violent that his hair moved with the movement of the skin. For a moment, one would have thought that he would spring upon the careless young man and tear him to pieces, but he contained himself, and suddenly changing his mind, stretched out his hand, took the cup, and slowly began to sample the green paste.

After a few minutes, the effects of the hashish began to make themselves felt upon the young man and the stranger. A gentle languor spread over all their limbs, a vague smile hovered over their lips. Although they had hardly spent half an hour in each other’s company, they felt as though they had known one another for a thousand years.

When the effect of the drug upon them grew stronger, they began to laugh, to move about, and speak with extreme volubility, especially the stranger, who, a strict observer of all the prohibitions, had never before tasted this preparation and felt its effects strongly.

He seemed afraid to extraordinary exultation. Posts of new thoughts, unheard of and inconceivable, traversed his soul like whirlwinds of fires. His eyes sparkled as though they were lighted from within by the reflection of some unknown world. His demeanor took on a superhuman dignity.

Then the vision faded, and he collapsed limply upon the cushions.

I will wave and take counsel with excellence. Saturn, hailed and crowned by a ring of light, increased and came nearer at the seven moons of outer, which its rapid motion carries with it. And thereafter, who could tell what passed on their arrival in the divine country of their dreams?

Introduction:
“Tale of the Caliph Hakem” is a mesmerizing exploration of mysticism, human aspiration, and the boundaries between divinity, madness, and indulgence. Through Anne Clark and Genesis P-Orridge’s evocative spoken word performances, the track immerses listeners in a philosophical narrative centered on Caliph al-Hakim bi-Amr Allah, whose reign (996–1021) remains one of history’s great enigmas.

The track blends rich allegory, existential musings, and intoxicating imagery to explore themes of power, divinity, forbidden indulgence, and spiritual transcendence. Supported by Eyeless In Gaza’s atmospheric music, this piece bridges historical context and timeless questions about faith, morality, and the human experience.

Key Themes and Their Breakdown:
1. Divinity and Self-Worship:
• “He asks me whom I worship. I worship no one, for I myself am God, the one true God, of whom the others are but shadows.”
• Captures the essence of self-deification, resonating with al-Hakim’s controversial divinity.
• Philosophical roots in Sufi mysticism and Ismaili esotericism.

2. Forbidden Indulgence and Transgression:
• “Everything pleasant is forbidden.”
• Critiques orthodox restrictions.
• Hashish symbolizes transcendence and divine insight.

3. Ecstasy and Enlightenment:
• “Posts of new thoughts, unheard of and inconceivable, traversed his soul like whirlwinds of fires.”
• Symbolizes unbounded human consciousness.
• Reflects Sufi concepts like fana.

4. Cycles of Union and Transience:
• “They felt as though they had known one another for a thousand years.”
• Reflects timeless mystical connection.
• “Divine country of their dreams” signifies transcendence.

Historical and Cultural Resonance:
• Revered as divine by Druze.
• Aligns with Sufi traditions and Ismaili esotericism.
• Hashish represents pursuit of truth.

Spoken Word and Music Analysis:
• Anne Clark provides solemnity and reflection.
• Genesis P-Orridge adds mysticism and intensity.
• Eyeless In Gaza’s music mirrors indulgence and transcendence.

Philosophical Reflections:
• Challenges traditional worship.
• Explores forbidden knowledge.
• Captures ephemeral mystical ecstasy.

Conclusion:
“Tale of the Caliph Hakem” is an extraordinary convergence of history, philosophy, and mysticism. By weaving allegory with soundscape, it challenges listeners to explore timeless questions about faith, morality, and human spirit.

Reflective Questions:
• How does the track challenge your perception of divinity and worship?
• What does the hashish symbolize?
• How do the themes of indulgence and restriction resonate with societal norms?