Th e Bo o k Sm o k e l
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S. Ben Qayin
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O r i g i n O f D a r k n e s s T h e H i s t o r y O f D j i n n .................................................... O u t l i n e O f T h e M a g i c a l S y s t e m .............................. F r o m B e t w e e n T f i e A n g l e s ; C i r c l e s & T r i a n g l e s O f T h e A r t e M a g i c a l .................................................... I n t e n t A n d V i b r a t i o n ........................ R e q u i r e d R i t u a l T o o l s .................................................. L u n a t e S c r i p t .................................
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Su m m o n i n g T h e I n f e r n a l D j i n n A l i g n i n g W i t h T r u e C h a o s ........................................................... T h e C o n j u r a t i o n O f T h e E t e r n a l B l a c k F l a m e ................. ................. T h e S e v e n t y -T - T w o I n f e r n a l D j i n n ..............................................
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Ac k n o w l e d g m e n t s irstly 1 wou ld like like to th an k my holy spiritual father, Qay in Ben Ben Samael, Samael, for instilling in me the str en gth and gnosis of the Eterna l Black Flame that forever burns within. Special thanks goes to S., X. and L. for all their love and understanding through all. I also would lik likee to tha n k all those who have have stood stood by me and sup po rted my work thus far, you all mean a great deal to me, and are never forgotten. As well, this project would not have been possible without the great help of the University of Toledo, Spain, which supplied me with invaluable information regarding the manuscript which this work is based on, Thank You. As well, I also greatly thank Robert Cook for truly bringing the art to life, his commitment to adapting the Djinn sigils etc. provided him was outstanding. I also wish to thank Nephilim Press, for their confidence in my visions, and amazing support. And last but not least, I would like to thank Robert Podgurski for his views on ‘reality’, and for supplying the insightful and generous preface to the current work, which has left me quite humbled. Thank you al l... l...
Pr e f a c e
“A little litt le Lear Le arni nin ng is a dan da n g’rous rous Thing; Thing; Drink Dr ink deep deep,, or taste not no t the Pierian Spring Sp ring’’’ A l e x a n d e r P o p e ,
‘A n E s s a y
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ope’s ope’s somew hat famous ad m onish m ent initially comes to m ind as it it touches touches upo n the very real po tential o f this ‘Book of Smokeless less Fire1. O n on e level level,, S. S. Ben Qayin Qa yin has u n d e rta k en a proje pr oject ct of a fairly unique and perilous magnitude in extruding a grimoire of the 72 Infernal Djinn. And if that was all this text dealt with then it would fairly fairly be cut an d d ry insofar as how to to c once ptualize it: primarily as a book of dark and infernal evocation. However, it is much more than that, subsequently begging careful consideration within the c urren t m ilieu ilieu of mod ern magickal praxis. praxis. Besi Beside dess his pioneering work into the evocational rites of the Djinn the reader can see that S. Ben Qayin has indeed helped to develop an intuitive approach to magickal architecture. S. Ben Qayin’s magical system outlined in his first book “Volubilis Ex
Chao Ch aosiu sium” m”, represents a refreshing and unique approach to the construction o f the ritua l circ circle le and triangle o f evocation that sho uld prove insightful to alm ost any ritu al m agician. From m y own p erspective S. S. Ben Qa yin ’s original methodology is bolstered by his attention to the interstices of the Akash ic Light with regard to the m agic ian’s ian’s own body. body. A nd in an e xtremely telling fashion he brings attention to a meticulous and systematic formation o f each angle angle of the evocational evocational triangle, an d the g overning m indbod y
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prin p rin cip ci p les le s em po w e rin ri n g it as such. su ch. He h im se lf disc di scus usse sess th e relev rel evan ance ce o f a grimoire insofar as when you read it and “know it will work” and “feel it is true.” I will hazard to redirect this formulation and suggest that different sections of a book may themselves be selectively in synch with the reader. Fu rtherm ore, I would posit that even if the prim ary text is not entirely entirely relerelevant to the practitioner that there are other certain important facets of this bo b o o k th t h a t sho sh o u ld n o t collec col lectiv tively ely suffer suff er at the th e exclu ex clusio sion n o f the th e whole. who le. Misce laneo o de Salom Sal omon on” ”S. Ben Qay in has In drawing from the ancient “Miscelane developed a careful approach to calling forth these draconian spirits. There is an awareness on his p art ar t of the significance of regional aspects o f these e ntities titi es as geo gamically speci specifi ficc forces forces.. In conveying co nveying th e n atu re of these spirits he refers to Castaneda’s Yaqui philosophy of inorganic beings, ie, allies, in his delineation of the nature of these Djinn. We subsequently get the sense tha t these c reatures of fire fire are not just spirits to be evoked evoked an d controlled via magical formula to serve one’s one’s beck an d call but are en titi tities es th at have “shad owed”ou r existence over time an d have have been access accessibl iblee to some. Magick bo rn of necessity is is the cru x o f S. S. Ben Q ayin’ ayin ’s endeavor here. This This system system dem ands a greater degree degree of responsibility responsibility in in the h and s o f the magician than most other magical operations would have. To put one’s self in the position of calling forth highly destructive forces necessitates a high level of introspection insofar as it is paramount to first acknowledge and identify these these energies energies within. Otherw ise, the tend ency to be overwhelmed or obsessed is an all too present danger. The wrath within must first be harnessed before before one can consider man ifesting an exteriorization o f such furies. furies. Ultimatel Ulti mately, y, this grim oire is bo rn out o f a response response to the greater question question of unleashin g destructive energie energiess for for establishing establishing a sustainable magical order in the aftermath thereof. The rubble and scoria of creative destruction form the pieces of the puzzle that underpin reconstruction. This book is a direct challenge to the “Consensual Reality Matrix” and a practice for restructuring the network or web that is hung upon these nefarious foundation posts. As Peter Lam bo rn W ilson ap tly describes in his TAZ TAZ: “B u t now the lines are are not all etched in time tim e and a nd space space.. Some S ome o f them exist only within the Web, even though they also interact with real real times time s and a nd places. Perhaps some o f the lines arc “no “non n ordinary”in the sense that no convention for quantifying them
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exists. Thes These e lines lines migh m ightt better be studie stu died d in the light of o f chaos chaos science..." (Ill) For S. Ben Qayin the only approach to these lines is to grab them thus
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harnessing their pull through the engine of Chaos Magick itself, plain and simp simple le.. The incon trovertible need for this typ e of Magick is here whe ther we like it or not. And once one has read, considered, and meditated upon the prem pr em ise is e an a n d co n ten te n ts o f th is book bo ok , is it actu ac tu ally al ly pos p ossib sible le to close clos e it an d o r shut sh ut oneself off to its inevitabilit inevitability? y? This This is a vexed question tha t resonates th rou gh multiple registe registers; rs; howeve however, r, the p rim ary issue in ques tion is the m atte r of the
ri nk deep, tru th an d all of its its precario us ra mifications. As Pope concludes, “D rin or taste not the Pierien Spring.”This This spring was said said to im pa rt insp iration to Boo k o f Smokeless Smokeles s Fire”represents a very dark well the muses, likewise likewise “The Book well-spring spring for the the a spiring Magician. Magician. O nce stimulated, the thirs t for this type of drau ght is as as a strange strange awakened desire desire th at should n ot be indulged except except in the illum ina ting light of focused vision vision a nd a will forged forged of iron. Robert Robert Podgu rski 7/15/2013
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he Necronomicon...A dream, a book, a nightmare. It is a tome which embraces absolute forbidden power that claims its ancient origins amongst the raging sands of the Arabian Desert. There, demons scream and lash about with great fury and terror. It is a boo b oo k th a t tells o f ways to co n jure ju re th a t w hich hi ch shou sh ou ld n o t be, a n d gives fneans to command forces that exist outside of known universal laws. It bestows the ability upon the Magician to control fierce and destructive bein be ings gs th a t are ar e olde ol derr th a n tim e, th a t are ar e n o t o f o u r D im ensi en sion on , o r Un ified ifi ed Field, Field, but ‘O utsid ut sid e’ o f i t ... Many have sought this lost tome, for H.P. Lovecraft did not instill this
eggshell ll mi m i n d ’. idea idea in m an, bu t awoke it it from th e d ark recesses recesses of his ‘fragile eggshe For in in h um anities veins li lies the m em ory o f its its ancestors an d archaic archaic times, of fears and terrors that have been with the race since long before the dawn of the annals of its history. Lovecraft tapped his veins...and captured the lurid images that spilt out upon the literary floor as ink within the pages of his transc transc end ent works. works. He wrote from inhe rit mem ory of strange times times that have been shadowed upon our history, of twilight truths that the more com m on m an reject rejectss a nd turn s away away from in fear fear,, replaced by a lighter more plea pl ea san sa n t false fals e rea r eali lity ty t h a t fits well w ith it h in th e conf co nfin ines es o f his hi s lim l im ite it e d exist ex isten ence ce of mediocracy and vision. Lovecraft felt the barriers of our universe, and tha t of othe rs press uneasily against each oth er as bubbles bubbles being com pressed. He knew of how delicate the barriers that separate the realities were, of the ma dness it all all still still is, is, an d th e insign ificance of our sm all and simple live livess in stark comp arison to that wh ich is magnificently ~ other’.
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Once this memo ry was was brough t forth to ma nk ind from the dep ths of his his dormant mind, it was never forgotten again. When men remembered, they bec b ecam am e obse ob sess ssed ed a n d b eg an to sear se arch ch once on ce m o re for the th e forb fo rbid idd d en tom to m e th that none could clearly recall, only feel strong impressions of. Since Lovecraft wrote of the forbidden book, people began inquiring on where they may pu p u rch rc h a se it, as if it w ould ou ld be on a she sh e lf for any an y p asse as serb rby y to p u t into in to th e ir bask ba sket et at the th e local lo cal b oo ksto ks tore re.. O f cour co urse se Love Lo vecra craft ft p ro cla cl a im e d the th e tr u th , th a t the book d id not exist exist,, that it had come from a dream , thou gh only because because he had no t found the tome, but the stark terror of its its mem ory tha t resides resides in all of us as an echo of that which ought be forgotten, though is longed for. For who amongst man does not wish to embrace the forbidden ? To wield that which other men could no t ? For the the b ook p romises wild power power,, an d few few have the want, or will, to resist it. The work that is being presented within these pages is based on a very Miscel elan aneo eo little known and overlooked Solomonic text simply known as “Misc de Salomon”, which amazingly mirrors that of Lovecraft’s, “Necrono Necr onomic micon” on” bo b o th in co n ten te n t a n d histo hi story ry.. It is a n an cien ci en t a n d forb fo rbid idd d en A ra b ian ia n m a n u Go etia ia” ” and gives the script, that seems was later evolved into the Greek “Goet earliest earliest know n account o f King Solomon Solomon and his bind ing of the seventy seventytwo two demons he sealed away in the infamous brass container. The ancient diabolical manuscript was discovered in Spain, in the la Encom Enc omie iend nda” a”of O cah a Toledo province M udejar Palace, “Casa de la prov ince in 1969, while it was undergoing renovations to preserve and restore the palace. The cursed tome was discovered in a walled off secret room, buried in the floor so that it would be forever forgotten. Whoever placed it there obviously had a fear of destroying it, though sought to have no one ever recover it. The m an uscr us cript ipt consists con sists of 71 folios folios and dates back to circa 1428 C.E. It was hand ha nd written mostly in red in k with the re m ainder in sepi sepia. a. This This in k is sti still ll made today with the same ingredients in Morocco. The manuscript is written in older older African Arabic that was com m on from aro un d the 10th cen tury an d contains material on specific Angels ruling the hours of the day and night, the movement of the planets, planets, instru ction on the construction of talismans talismans (such (such as the “Picatr Pic atrix” ix”)... ). .. and an d gives gives King Kin g Solomo Solo mon’ n’s account accoun t o f his binding bind ing o f the infamous seventy-two sinister Djinn. The manuscript was first translated into Spanish by Joaquina Navarro and Juan Ruiz and published by the University of Granada Spain in 1987
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farm acopea pea у magia en el Misceldneo Misceldneo de Salomo Sa lomon” n” by the th e titl title, e, “Medicina, farmaco Pharmaco poeia and an d Miscellaneous Mis cellaneous o f Solomon Solom on’’s Magic” Magic ”. It or , “Medicine, Pharmacopoeia was was again later later translated into English English by Nineveh Shadrach in 2007 und er Boo k o f Deadly Dea dly N am es” es ”, which the present tome has utilized for the title, “Book the English translated names of the Djinn. As well, the descriptions given in this text are loosely based on the English translation, though much has bee b ee n ad d e d th ro u g h p erso er so n a l gnos gn osis is receiv rec eived ed fro fr o m th e D jin ji n n them th emse selve lves. s. The Book Boo k o f Deadly Dea dly N a m es” es ”, The present tome is in no way associated with “The as that text is an exact translation of the original manuscript. The present volume utilizes utilizes the tru e na mes of the 72 Djinn and offe offers rs a unique complex system system for evocation of these entities, entities, which ha s never n ever before been released into th e world. I have not pro vided the text itself w ithin ith in these thes e pages, as it has already been tran slate d word for word as mention ed, a nd feel feel it it wou ld be tedious. Though, I wished to instead take the forbidden inform ation the original manuscript contained, and adapt it to be fit for the work of LHP Black Magicians. Magicians. It has has been brou ght to my atten tion th at this text may ap pear to Dea dly Na N a m es” es ”. However this is simply some som e as a ‘co ‘copy py ’ o f “The Book o f Deadly simply not the case, any more than claiming Michael W. Ford copied the Goetia and called it his own, when he released any of his Goetic works. This is a work base ba sed d on a n an cien ci entt m an u sc rip ri p t, th a t is all. “Miscelaneo Miscel aneo de Salo Sa lom m on” on ”does not rest in a mu seum or librar library, y, but in the priv pr ivat atee colle co llect ctio ion n o f th e o wner wn erss o f th e p alac al acee it i t was wa s d isco is cove vere red d in; Rafael Rafa el del Aguila Goicoechea and his wife Luisa Tejerina. Though the book contains no thin g writte n of Lovecraft’s Lovecraft’s Old Old Ones, it does deal with extreme ly destru des trucctive tive InOrga nic entities entities tha t a Magician Magician m ust bring forth, th at have ancient diabolical origins. I do n’t n’t believe believe a text will will ever be une u ne arthe art he d tha t m atches Lovecraff Lovecraff’’s description of the Necrono Nec rono mico n perfect perfectly. ly. That being said, said, the m anu scrip t this work w ork is based on, is is as as close close as as anyth an yth ing has ever come. come. His toryy of the Nec Necrono ronomico micon” n”, Lovecraft Neccro In Lov L ovecra ecraft’ ft’ss “ Histor Lovecraft states the “Ne nomicon”was said to have origina ted in Arabia, by the title, “K itab it ab A l A z i f ”, Ho wling g Dem De m ons” on s”, A z i f meaning, the no cturn al sound made by or “Book op Howlin by insects supposed to be the howling of demons. It originated circa 700 C.E., and was composed by a Mad Arab named Abdul Alhazred. It was later secretl cretly y transla ted into Greek in 950 950 C.E. C.E. by Theodorus P hiletas hiletas of C on stan tiNec rono nomi mico con” n”. nople nople under the m ore comm only known title title of “The Necro
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Necr onomic micon’ on’ has been examined Being Greek in origin, the word ‘Necrono thoro ugh ly by by num erous scholars scholars,, which have have had va rying ideas of trans lation, though it is generally agreed upon that the book’s title pertains to the laws aws of the dead, or to those who would con jure and work with dark spirit spirits, s, such as a Necromancer. One could view the work as the, ‘Book Concerning the th e D ea d ’ as cited by S.T. .T. Josh i’ in his h is forewo fore word rd to Lovecraff’ Lov ecraff’ss rep rinted rin ted , “The History His tory o f the Necronomicon". Necronomicon". It is easy easy to to see the p arallel histories b etween etwe en Lovecraff’s Lovecraff’s Necron Nec ron om iGo etia ia” ”now that this new manuscript has been con, and th at o f the Greek “Goet
bro b ro u g h t f o rth rt h fro fr o m its d a rkn rk n e ss. ss . Each Eac h vo lum lu m e o rig ri g ina in a ted te d in Arab Ar abia ia,, were wer e translated into Greek, are forbidden books that deal with dark and destructive entities that have their origins in ancient lore, and each were written by an Arab or Arabs, possib possibly ly m ad with the knowledge they they c arried as a burd en up on th eir backs concealed from all all of hum anity. However, there is a vast difference between the resurrected manuscript Go etia ia” ” that came later. The text does not see the entities and the Greek “Goet listed as as demons, bu t as as evil Djin n kn ow n as the ‘Taw ~ A l l ’. Also, Also, the name s and descriptions of the Djinn are not the same as the demons listed in the et ia”, but those that have never been known before, though there later “Goeti are similarities as far as the conjoined appearance of the entities is conma n with w ith the head o f a lion, havin ha ving g a m o nkey nk ey’’s tail’ tai l’,, etc. cerned; ‘appears as a man etc. As well well,, the an cient m anusc an usc ript is no t a grimoire, it only gives gives the a ccount ccou nt of the meeting between King Solomon and the Djinn and what transgressed, and it does not give instruction for use. However in that account, lie the very important names, descriptions and dwelling places, as well as the bane these Djinn cause. There are no methods for evocation, sigils or magical tools listed in this ancient account, which is why this present volume came into existence, to to fill fill in the gap a nd bring b ring these the se forbidde n entities forth once more to tu rn the tides in in this endless endless war against Order as much needed. Miscel aneo de Salo Sa lom m on” on ” bare O f course “Miscelaneo ba ress a str s tro o n g liken lik enes esss to th e earl ea rlie ierr “Testament Testa ment O f Solomon” Solom on”, where King Solomon conjures forth the Demons of the manuscript through their representative, ‘Beelzeboul; Prince of De mons’, a nd asks frus fr ustr trat atio ion n etc., asks their station, Angel Angel of etc., so he may bin d them the m to construct his great temple in Jerusalem. And though “The Testament of Solomon”is considerably older in origin and far more known than “Misc Mi scel el aneo de Sal S alom omon on” ”, the latter of the two texts is marked as forbidden, and is
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Arrived and immersed in ancient Arabic traditions that happens to follow cere history his tory of Lovecraft’s Lovecraft’s Necro Ne crono nom m icon . For this reason, I have decided decid ed to .: r.centrate sole solely ly on this little little kn ow n m aterial. For historical historical value, value, it it is also interesting to note the co nn ectio n between k;r.g Solomon binding seventytwo Djinn into a brass vessel, and Arabian : re of Djin n a ppe aring from a brass lam p to g ran t wishes. wishes. Ind eed there «ere entities inside, but th eir ability to g ran t wishes was only ha lf of the tale. tale.
f Laylah wa Layla La ylah” h”also known as, “A Thousand Thou sand Nights and an d One Nig ht” ht ” "The Arabian Nights Entertainment” (a fifteenth century Arabic manuscript translated into English by Burton), is a tome that contains some of the earlies earliestt accounts of Djinn in written form. form. One story in p articu lar titled, titled, ~Tne Fisherman and the Djinn”gives an interesting account of a fisherman Lor d Sulaycatching a brass container in in his net, “..with the seal-ring o f our Lord son son of Da vid”im printed upo n the top, and sets sets fre freee an Tfrit j or Infernal Diinn which he mu st contend with. “The fishe fis herm rman an accepted his (The D jinn’ jin n’s) promises on both conditions, conditions , not to trouble him as bef befor ore, e, but b ut on the contrary to do do him serv servic ice, e, and after making firm fi rm the the plight and a nd swearing swearing him a solemn oath by Allah All ah Most Mo st Highest, Highest, lie opened the cucur c ucurbit. bit.” ”... “../[here ../[he re came fort fo rth h fro fr o m the ja r a smoke which which spired spired heavenwards heavenwa rds into int o ether, ether, and a nd which trailed along E a rth rt h ’s surface surface till presently, presently, havin ha ving g reached its fu l l height, the thick vapour va pour condensed condens ed and became becam e an Ifrit, huge of o f bulk, whose whose crest touched the clouds while his fe e t were on the ground. grou nd. His head hea d was as a dome, his hands like pitchforks, his legs long as masts and his mouth big as a cave; his teeth were like large stones, his nostrils ewer ew ers, s, his eyes eyes two lamps and an d his look was fier fierce ce and an d lowering.” A l f L a
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Aleister Aleister Crowle Crowley y speaks of the im po rtance of “A l f Laylah wa Layla Lay lah” h” in his annotated version of the “Goet Go etia ia” ” when he expresses how the magical work is equally as important to that of the Christian Bible and should be seen as such, though has not been exalted in the same manner, leaving it to him self to fulfill fulfill the u nde rtaking ,
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“Even when we learn learn that the Bibl Bible, e, by a profo pr ofoun und d and an d minu m inute te study stud y o f the text, may be forced force d to yield up Qabalistic Qabalistic arcane arcane o f cosmic scope scope and importance, we are are often slow to apply a similar restorative to the companion volume, (Arabian Nights) even i f w even wee a are re the lucky lucky holder holderss o f Burto Bu rtons ns veritab veritable le edi e ditio tio n...’ n. ..’ To me, then, it remains to raise raise the “A lfL lf L a yla yl a h wa Layla La ylah” h”into into its proper prop er place once more.” A l e i s t e r C r o w l e y i n h i s i n t r o d u c t i o n to
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This being said, it is clear Djinn have long been present in human history an d have influenced m uch in religious beli beliefs efs as as well well as as in magical p raxis stemming from the Middle East. This newly recognized information that has come forth from, “Miscel Mis celane aneo o de d e Salo Sa lom m on” on ”, gives rise to questions concerning the origins of the “Goetia”. Joseph Peterson covers this area well in
Lesser Key op Solom on”, though Colin Campbell his edited version of “The Lesser explores explores the the h istory a bit furth er back in his introd uction to “The Book o f the
Offices of Spirits” which is clearly linked to the “Goetia”. However, though deeply deeply researched, researched, the tru e origin o f the name s a nd sigi sigils ls in the “Goet Go etia ia” ”are at this time, still still unkn ow n. And though as illustrated, there are differences between “Miscel Mis celan aneo eo
de Salomon” and the “Goetia”, if one integrates this new information from the manuscript into the known history of the “Goetia”, we begin to see a prog pr ogre ress ssiv ivee lin l inee o f mag ma g ical ic al s tr u c tu r e b eg in to esta es tabl blis ish h itself. In the th e “Misc Mi scel el
aneo de Salomon” manuscript circa 1428 C.E., we see the very first Arabic account of the the Infernal Djinn being presented presented to King Sulayman, Sulayman, whereup on they deliver unto him (by force) their title, habitation and the bane they cause mankind. Later, in “The The Book o f the Offices Offices o f Spirits” Spir its”1583 C.E., we see magical evocations added to this account so as to make the text useable to summon the demonic entities forth, though now the original Djinn of the Middle East were replaced by entities/Demons of a European origin. And lastl lastly, y, we see see the add ition of demon ic sigil sigils, s, magical circle circles, s, triangles of arte and tools of all the separate elements of the first two manuscripts, finally com pou nde d into pa rt of a workable workable system system know n as ‘Goetia’ in the 1600’s. Though, the text is mu ch m ore suited for for those who were/are were/are akin to k neeling before before the the Judeo /Christian G od, an d no t of one who seeks seeks true gnosis of
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>T.r deification. Regardless o f the fact that th at in each o f these tomes the infernal infe rnal rvings described described an d worked with in each, each, differ differ from one a no ther by name and description, a clear clear conne ction betw een these texts texts can be seen and has seen established. When analyzing this history, one cannot overlook the Goetic system developed by Dr. Dr. Rudd in the 1800 1800’’s that shows a direct co nnectio nn ection n between :he Arabic Djinn and the European Demons. This system combines elements of bo th systems systems by offering offering the use of a draw n o ut ‘brass c on tainer’ tain er’ *eatur eat ured ed in the Goetia) G oetia) tha t can be utilized in plac placee of the m ore well well known kn own Triangle Triangle of Arte. O f course R ud d’s d’s Goetic Magic intr od uced uc ed th e idea of summ oning the 72 Demons by fir first st summ oning their opposing opposing restraining Ange Angels ls know n as the the Shemhamp horash. Whose names decorated the drawn out ‘brass ‘brass co ntain nt ain er’ er ’. This information concerning Djinn came to me unexpectedly while researching for a now futu re release release;; I had ha d no plans to write a book c oncern on cerning ing Djinn. Some things simply cross your path and demand full attention. It seems it is time to release such a dark text. Seeing the importance of the Necrono micon ” and the Greek “Goetia”, '.cork in connection to Lovecraft’s “ Necronomicon as wel welll as und erstan erst an din g that th at the na mes given were were the oldest oldest Arabic names nam es of the entities that Solomon is so famous for binding, I felt the work must come forw ard to be k now n to a circl circlee of o f Black Black Magicians Mag icians tha t would see see and appreciate the dark power that resides within. G haos osiu ium” m”, I have created an As with my previous work, “Volubilis Ex Gha original operating magical system to be utilized here, that draws heavily from tradition s based in the Middle East, East, while while holding elements elements of tr a ditional Western Ceremonial Magic woven in. As well, there are concepts pres pr esen ente ted d here he re th a t are base ba sed d in ex p erim er im e n tal ta l theo th eori ries es th a t fall into in to a cate ca tegory I refer to as 'Fringe Magic'. A Magic Magic based on the m anipulation of the Consensu al Reali Reality ty M atrix an d the scienc sciencee beh ind it. All of the Djinn sigils, Triangles and Circles of Arte, as well as Lunate Script, are of my own design, which were received when in a state of deep meditation, and are tuned to this specific current of energy. And as with "Volubilis Ex Ghaosium, these thes e systems I of ofFer for utilizatio n m ay be adjusted to the specific needs of the Magician to increase the potency of the rite by pe rso rs o n a liza li zati tio o n . Magic Ma gic m u st be p e rso rs o n a liz li z ed to be effective. So m an y m a g icians perfo rm a rite rite with little to no success success an d wonde wo nderr why. why. The The reason for
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their failure failure is is that they were perfo rm ing a no the r’s r’s magic magic and not th eir own. A Magician must inc orpo rate his own pow erful elements elements into into a working to bu b u ild il d a n d h a rn e ss en ergy er gy th a t is sent se nt fo rth rt h in to th e M a trix tr ix o f C o n sen se n su al Reality so that it is altered in the Magicians favor. I have thought long on this book, whether or not to bring it forth unto the world of men, for in it resides resides great pain and de stru ction w aiting to be set set free, free, m uch like Pan do ra’s ra’s Box Box waiting to be opened. T hough t hro ug h m uch contemplation, I have come to the obvious decision to release this terror from its obscure and hidden origins for the sole purpose of spiritual balance. The world is in strife, though it is not Chaos that is the cause, but the ever oppressing forces of Order. Order is trying to control everything; right now we see this in our political system now that its dealings are becoming more and more transparent. Ironically, we also see this in the lack of news covera coverage ge con cerning the forc forces es of Chaos th at fight fight back against this spreading control, because Order is suppressing it, the balance is not equal. Soon drones will fill the skies watching every movement; cameras are at every traf traffi ficc stop. stop. Order has the up per ha nd, a nd thou gh Chaos is growing in power as we of the LHP grow in n um be r an d presence, I believe believe Chaos needs an influx of raw brutal strength and pure destruction to help overcome Order and establish a new spiritual understanding upon the Earth ~ The Gates Of
Hell Mus M ustt Be Opened. I see see this boo k as an eq ua lizer .. .this text will help help sweep sweep the world clean in preparation of a new era unrestrained by religious dogma and corrupt control. It is to be unleashed against those who would uphold Order; it is to be w ield ie lded ed ag ains ai ns t th o se w ho w ou ld be h ap p ily il y d o m in a te d by it. It is to be br b r a n d is h e d w ith it h n o rem re m o rse rs e a n d w o rked rk ed to de stro st roy y th o se w ho w ou ld s tan ta n d in y/our way th at are o f the opp osing RHP. RHP. It is is to to be used a gains t those tha t are o f the bloo d o f clay clay bo rn Abel Abel.. The book th at lies lies within you r han ds is a weapon, it could easily easily prove prove to be one of the m ost diabo lical works to date, and is the first of its kind in hundreds of years, if ever, to work with these pa p a rt ic u la r en titie tit iess in a m a n n e r th a t involv inv olves es evo ev o catio ca tio n a n d c o m m an d . The bein be ing g s th a t are ar e co n jure ju re d a n d w o rked rk ed w ith it h in thes th esee page pa gess are ar e o f pu p u re w rath ra th,, only offer offering ing the blackest blackest deeds to to be unleashed up on m an kin d w ithout hes itation or mercy, mercy, at the sole sole com m an d of the Black Black Magician. All Necronomicons come with a warning, and though this book is not truly a Necronomicon, one will be given here none the less; This is a book
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‘ t lists the names and habitations, as well as the bane of seventytwo an ::ent and sinister blood thirsty Djinn of the Clan Of ‘Taw ~ A l l ’. Unlike the Toetia”, these interdimensional entities cause only suffering and death to :r.e human race. They are not here to help you find something lost, open locked doors, or turn you invisible...they are here to cause pain and to kill. Ihey Ihey are are extremely dangerous, and the utm ost respect and caution m ust be be mp lemented when de aling with them . There were cures/pray ers listed listed in the ng inal m anu script to counter the sinister deeds deeds and inflictions inflictions these Djinn cause...I have not included them. One must be certain before summoning t hese hese Djinn , th at the course of action th ey have chosen is correct, a nd stand by it. It mu st also be said that I person ally have not c onjure d all seventy seventy two for purposes of wrath, but for the creation of this work. Though the few 1have summoned, feel completely different than Goetic Spirits. I strongly . arn against c alling up these Djin n w itho ut cause, they will surely surely get get what they came for one way or the other, give them a target so it is not you who they seek. seek. This being said, this wo rk and system is is expe rime ntal an d d ang erous, those who wield this gnosis do so at their own risk. It must be remem bered be red th a t thes th es e d a rk en titie tit iess have ha ve n o t b ee n calle ca lled d u p o n in c en turie tu rie s. Those Tho se receiving receiving this text when first released, released, wil willl have have the rare o p po rtu n ity to call call upon these ho rren do us entities, which have not been released released for for an ocean of time, before all oth er s.. .great respon respon sibility rests rests in y our h ands . For the first time, in all its sinister glory, this forbidden gnosis is being pres pr esen en ted te d to th e W a rrio rr io r M ag icia ic ians ns who wh o posse po ssess ss th e blac bl acke kest st o f hea he a rts rt s , who wh o truly have have the rage rage of vengeance that b urn s deep like like a funeral pyre within the core of th eir d ark soul. soul. For whosoever wields wields this accu rsed book , is is truly bo b o u n d to th e rag ra g ing in g forces forc es o f Chao Ch ao s e te r n a l. .. S. Ben Qayin
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Th e H i s t o r y O f D j i n n ccounts of Djinn throughout Arabian history go back long befor be foree an y w ri tte tt e n d o c u m e n ta tio ti o n , th ey seem se em to have hav e always alway s been be en,, a n d sp ok en o f am a m o n g st th e Bedo Be doui uin, n, who wh o n a rr a te d tales tal es and recited poetry that featured or mentioned them. Djinn were first first w ritte n o f in the Q u r’an r’an a nd w ithin tales far older
La yla” a”, or more commonly know n •Vic •Vich h made up th e whole o f “A l f Layla wa Layl a? The Arabian Nights” by Burton (as mentioned beNigh ts”transla ted into English by The The accounts of Djin n given given in the Q u r’an r’an are nu m erous and provide -: me of the m ost detailed inform ation regarding the ir origin an d condition, as they dwel dwelll am ong m en un seen. Acco rding to the Q u r’an r’an A llah had created all, all, the planets and the stars, me E arth and the sea, sea, the the nigh t and the day day, and o f course all all the know n and unknown animals and plants upon the Earth. He also created all spiritual creatures such as the Angels, Men and the Djinn,
Allah Alla '‘ h created the heavens and an d the earth, and an d all that th at is between them, in six days” Q u r ’a n (7:54)
All was well for an unmarked period of time. However, there arose a disagreement between Allah and some of his Angels, including his first and most beautiful Angel; Iblis. One day Allah decided to create Man to also -•calk upon the Earth alongside Djinn. When finished, Allah commanded the Angels to bow down before the newly formed Man and to prostrate to r.im. r.im. Allah said un to the Angels, Angels,
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“I am about abou t to create create man fro fr o m clay clay:: When Wh en I have finis fin ish h ed him... Fall Fall ye down in obeisanc obeisance e unto him hi m .” Q u r ’a n (38:72)
Some Angels angrily questioned Allah and his action of creating Man and giving him violent dominance over the Earth, and even give indication of being h orribly shocked at this act, act, qu estioning th eir ow n allegiance allegiance to him, “Would Wo uld you yo u pu p u t on Earth those those who would spill blood ? A n d we worship you yo u ?A n d exalt you yo u ?” Q u r ’a n (2:30)
It is here that Iblis had heard enough, for He knew that He would not bow bo w d ow n befo be fore re m an , n o r w ould ou ld H e agai ag ain n bow bo w d o w n befo be fore re A llah, lla h, h av ing in g seen the truth and awakening to His own Godhood, He knew He would never bow down before before an othe r again, “We created created you yo u and an d then shaped you. you . Then We said to the Angels, “Prostrate to Ad A d a m ,”so ,” so they the y prostrate prost rated d except fo r Iblis Iblis.. He was not one o f those those who prostrated. Allah All ah asked, “W h at kepi you fro fr o m prostrating when I comm c ommand anded ed you ?” Iblis Iblis stated, stated, “I am better than him. You You created created Me fro fr o m fire and You created him fro fr o m clay.”Allah clay.”Al lah replied angrily angrily,, “Leave here here,, it is is not for you yo u to become haug ha ught htyy here here,, now leave. leave. You You are are among am ong the hum hu m bled bl ed.” .” Iblis Iblis responded, responded, “Respite me until unti l the day that they th ey will be rais ra ised ed” ”. Allah Al lah then the n said, “You are amon am ong g those who are respited.”Iblis respited. ”Iblis stated state d boldly, boldly, “Now, Now, because you yo u have sent me astr astra ay, I shall surely sit in ambus am bush h fo r them on Your ‘straigh ‘straight t p a t h ’, then th en I sha s hall ll com c omee on them th em a n d fr o m behi be hind nd them th em,, fr o m their right hands hand s and fro m their left left hands. hands. You You willfi n d most o f them the m th a n k fu l.” l. ” Allah full o f anger anger said, said, “Go now, now, despised and banished. banished. Thos Those e of them them that follow you I shall assuredly fill fi ll Jahan Ja hannam nam with all o f them th em.” .” Q u r ’a n ( 7:11-25 )
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It is interestin inte restin g to note fro m Iblis’ Ib lis’ss statem ent, That He does no t intend inte nd : 1 0 mankind harm in general, only to those who are obedient to Allah/ 1:i e r and walk walk his, his, 'straight pa th ’. An d so Iblis Iblis left left his station statio n of slave slavery, ry, and Crooked d Path P ath’’ •-led upon the Ea rth in search search of those who had chosen the ‘Crooke :: Darkness from from amo ng the Djinn, for Djinn had the ability ability to choose their r.dividual r.dividual spiritual path , and a nd n ot all chose chose to be obedien ob edien t to to Allah. There is a significant difference between the two classes of beings; Anee.s and Djinn. Angels are created solely to praise and serve Allah, while ' inn were were to to roam upo n the Ea rth an d have have the freedom freedom to travel travel their own spiritual paths through time, choosing either the way of slavery, (As Allah .' .selfrefer eferre red d to it) or o f independence, w here one may walk the p ath of a I-od and know their own true strength and will. As with human differences regarding religion, Djinn have many differer.: clans and beliefs beliefs which they adhere adhe re to. One clan of D jinn were were known kno wn to • eve eve listened listene d to the H ad ith s’s s’s (teachings) in the Q u r’an r’an being recited one day .л a local local town sq uare, an d fo und A llah ’s words to be tru e which led them to recom e followe followers rs of Islam. Though, as with hu m an religions religions or belief beliefs, s, there •••ere •ere some D jinn wh ich chose to be free of A lla h ’s shackles, an d follow follow the cark truth in their heart which lead them to reject Allah and his chains of -ervitude, “Some Som e of us are righteous, and an d some o f us are otherwise: we are parties parti es differin dif fering” g” Q u r ’a n ( 7 2 : 1 1 )
It was the Djinn that had ‘deviated’ which Iblis sought, for they shared :r.e same burning anger and hatred of Allah and his controlled society of slaves. And indeed Iblis did find them...and assembled an army of seven:v-two :v-two of the m ost blood blood th irsty Djinn that h ad ever ever roame d the Earth. Djinn were said to have been created before man (of the element of Earth Earth), ), from the b urn ing e lement of fire fire,, “We created created man fro fr o m dried clay from fr om black black m ud , and We created created the Djinn befo before re from fr om the fire fire of hot wind.” win d.” Q u r ’a n (15:26-27)
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Smo keless ess Fire" as Djinn have also been referred to being created from “Smokel as The The Messenger Messenger of Allah Allah kno wn as ‘M ‘M uh am m ad ’ state stated, d, “The The Angels were created fro fr o m light and an d the Djinn Djin n we were re created fro fr o m smokeless fire fi re.. ..." ." (paternal cous cousin in to M uh am There are some su ch as Ibn ‘Abbas, M ujahid ujah id (paternal mad) and others who belie f ir e ’ refer believe ve tha t ‘smokeless fir referss to only o nly the very tips of the flames, flames, or pu rest cleanest p art ar t o f the flames, flames, while ac cording to others, ‘ m es mixe mi xed d with the blackest o f fir fi r e ’. Regardless, it is seen that Djinn it is fla are related to the Infernal spirit of fire and they are directly of its element. Fire Fire and Djinn are synonym ous with each each other and entwined. Fire Fire has long long been be en asso as soci ciat ated ed w ith it h the th e s p irit ir itu u a l world wo rld,, ac tin ti n g as a gatew gat eway ay b etw et w een ee n rea re a lili ties and planes of dimensional existence. An Ifrit is a class of very powerful Fiery Djinn which this volume directly deals with. Traditionally they are depicted as enormous fiery winged bein be ings gs th a t are ar e gen g ener eral ally ly ass a sso o ciat ci ated ed w ith it h w a lk ing in g th e d a rk p a th o f Iblis. Ibl is. They Lay la” ” among other lessare mentioned in the Q u r’an r’an an d “A l f Layla Wa Layla Sh amss ala l-Ma Ma’’a r if er known texts (at least to the Western world) such as, “Sham al-K al -Kub ubra ra” ”. However their description in “Miscelaneo Miscel aneo de Salo Sa lom m on” on ” is quite different, they are of the conjoined form most are familiar with as being pre p rese se n ted te d in the th e “Goetia”. Some are simple in appearance, while others are complex and of horrendous conjuncture. The Djinn presented in this volAH ’, know n as containing the most pureume are Ifrit Ifrit of ‘The Clan O f Taw - AH’ ly destructive Djinn among the Houses, or Clans of Ifrit. Of course when discussing Djinn, the subject of Ghouls must be included as as they are indeed im po rtantly related related.. It has has been said that Ghouls (Gh (G hul’s) are simply Djinn (Jinn, Genie) tha t did/d o n ot follow follow Allah, and who feast on the blood and flesh of the living as well as the dead. Isma’il bin ‘Um ar Abu Ab u alFida’ alF ida’,, m entio ned in “Tafsir Ibn Kathir”tha t Ghouls were the ‘demons dem ons ofg o fgen enies ies’’, which further supports this. There are many tales and descriptions of Ghouls or ‘Si’lwah’ in Arabic history, and each has a different twist or take on the beings and their particular qualities, though there are some common beliefs that flow through them all, which leads to the credibility of the belief, as all embellished tales have have a sacred tru th that th at lies lies at their he art. One of these ‘tru ‘tru th s’ tells tells of the
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•: rd to slay slay a Djinn. T hough houg h oth er elements con cern ing the th e D jinn ’s Lr_ces and attributes differ from tale to tale, the belief that a single b a sw swor ord d wi will ll kill kil l a D jin ji n n rem re m a in s cons co nsist isten ent. t. How Ho w ever ev er if it is •: re than once, only a thousand more blows after that will cause it S a yf - essentially essentially m akin g it it invulnera ble. In the tale tale “Story o f Prince Sa Al -Jama mal” l” from Burton’s “A lfL lf L a yla yl a h Wa *. i>id the Princess B a d i’a Al-Ja i Ghoul tries to to trick a group of men tha t he cap tured and ke pt in a r. e of the m en free d him self and an d attacked the Ghoul Gh oul by slicing slicing it once once re waist with a sword. The Ghoul stated, man, an a n thou tho u desire to slay me, me, strike stri ke me a second stroke” stro ke”.
As the man was about to strike a second time, his companion Sm ite him hi m not a second time, fo r then he will not die, die, advised, “Smite but bu t will live and destroy destr oy us” u s”. b;s belie be lieff stem s fro fr o m a m u ch ea rlie rli e r tim ti m e w hen he n the th e A rab ra b ency en cycl clop oped edic ic :: r A ahiz wrote that, that, "The "The S i’lwah i’lwah would wo uld die only by one migh m ighty ty blow fro fr o m the sword sword because if two strikes were directed to it, it would not expire until one thousa th ousand nd blow blowss foll fo llo o w ”.
Ghouls have have long long been associated associated with blood d rink ing and the dead. It : uncommon to hear of rituals concerning bloodletting and blood as a rce rce of energy when dealing in close close work with dark da rk spirits. In th e French Ara bian n Nigh N ights” ts”or “A l f Layla Wa Layal La yala” a” by A ntoi : Translation Translation of “The Arabia nt oine ne hand, Galland is known to have added a bit of content throughout the г us of the work, tho ug h m ainly staying true to the o rigina l Arabic. Arabic. How■one area he added to, concerned the Ghoul and its nature. He stated, “Ghouls were were male monsters m onsters that th at in ‘want wa nt of o prey fpr ey’’, will sometimes sometim es go in the night into burying grounds, and feed upon dead bodies that have been buried, there” ‘ T h e St o r y o f S i d i N o u m a n ’
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Though th is is an added segment, (which many believe to be simply a ro mantic man tic horror element o f the the author) author) I believe it it was set there the re to give the r eadea der a full full u nde rstanding of the nature of the Ghoul based on older sour sources ces where D jinn reside reside in places places of deca decay y and shadow such as abando ned ruins, decrepit wash room s a nd of course, course, cemeteries cemeteries.. A nd from this, it is not hard to draw the connection between Djinn and Vampires and their numerous accounts accounts and sighting sightingss th rough out the dark history of man. Djinn have have taken man y forms forms an d nam es in time. time. Personally I believe believe that different regions of the E arth have various types of supernatural entities that are specific to those particular areas, just as it is with animals. Elephants are known in Africa, but not North America. A good example would be Banshees Banshees.. Banshees are most co mm only kno wn to haunt or dwell in Ireland, and not in India. Or, there is the Zombie which is known to walk the land of Haiti as well as in some European areas such as Breton, Breton, but they are no t know n in Hawaii. In Haw aii there a re Spirits Spirits which are only known there. Djinn are mostly known in Arabia and the Middle East, bu t since they are (by their own description) across the Earth, they are acces accessi sibl blee to the Ma gician gician th at is not close close to the area of the ir m ain no toriety; ety; Arabia. Arab ia. Mi scelan laneo eo de Salo Sa lom m on’ on ’’ It can be seen seen in the disclosures of the D jinn in “Misce that they dwell in all parts of the world, from mountain tops to oceans and everything inbetween. And though these entities are not known by their Middle Eastern titles, they never the less have been recorded throughout history. It is interesting to note that though the Djinn/Ifrit/Ghoul, is most documented and centered in the Middle East, there are obscure references to them in the W estern estern Hemisphere. Hemisphere. One of the most im po rtant examples/ examples/ descriptions of Djinn from a Western source comes from Carlos Castaneda’s da’s seri series es con cern ing th e teac hings of o f Don Do n Juan, an India In dia n Toltec Toltec Sorcerer Sorcerer who mentors Castaneda in the arte of perception and awareness. They are Inorg anic Beings’ Bein gs’ that described as ‘Inorganic that dwell dwell upo n the E arth u nseen, in cohabitation with men. Djinn are not specifically concentrated on in the series, En tities’ es’ and hidd en aspects however howev er ope o penin ning g th e eyes eyes to ‘see’ ‘see’ ‘Inorganic Entiti aspects of reality is. This is a segment of conversation between Don Juan and Carlos Castan eda on the subject, subject,
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The counterpart of the Earth was what they (ancient Toltec kn ew as the ‘Dark Da rk Regions'. Regions'. These (magical) (magical ) practic pra ctices es c' c'cerers) knew dangerous ous.. They dealt with entities without wit hout -:re by far fa r the most danger :'panic life. Living creatures that are present on the Earth and
populate it together with all organic beings” Ca
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C a s t a n e d a , “ T h e F i r e F r o m W i t h i n ”, 1984
uan goes on to say, Organic living li ving beings have a cocoon cocoon that th at encloses the (Eagl ( Eagle’ e’s) -emanations. But there are other creatures whose receptacles don’ do n’tt look like a cocoon cocoon to a se seer. Ye Yett they the y have eman em anati ation onss of awareness in them and characteristics of life other than 'eproduction and metabolism.”
mese beings have made themselves known to man in different forms :he world, though only those who have achieved a heightened state i - arenes arenesss a nd stored eno ugh personal energy may percei perceive ve an d interact rL ‘. them, them, “I f those beings beings are are alive alive,, why don do n ’t they th ey mak m akee themselves thems elves know kn own n to man ? I asked. (Don Juan replies;) replies;) ‘They ‘They do, all the time, t ime, and an d not only to seers seers but bu t also also to the average average man. The The problem prob lem is that all the energy energy available available is consumed consum ed by the firs fi ‘ rstt atten att entio tion. n. M a n ’s inventory not only takes it all, but it also toughens the cocoon to the po int in t o f making ma king it inflexible inflexible.. Under Under those those circumstances circumstances there is no possible interaction.” sta te’ of awareness This ‘heightened state’ awareness is broug ht on thro ug h m any diffe differr: med iums when used correctly, correctly, be it con sum ption of psychotropic/delic mints, intense intense pain /pleasure or hyp notic states states of m ind. The The Sorcerer Sorcerer in in this r.a:e is able able to sidestep the perce pe rceptu ptu al filter th at ‘blin bl inds ds ’ an d ‘see’ the world w orld in totality so so as as to to interact inter act with entities that are ‘In ‘In-O -O rga nic ’ by natur e an d ichieve ichieve gnosis of a higher un de rstan ding of reality reality an d existe existence nce.. Diinn are mysterious entities entities tha t have have shadowed the h um an race race since since .:? beginning . The belief in Djinn is strong still still today today,, tho ug h u ntil now, now, the
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most diabolical have been inaccessible, hidden away from the eyes of those who would seek to again unleash their w rath u pon the world. world. There There are are and have been, dark men who worship and work with Infernal Djinn who are aligned to th e cu rre nt o f Iblis. Iblis. For the the Q u r’an r’an states,
“We made the evil ones ones (Djinn) frie fr iend nd s to those those witho wit hout ut fait fa ith h (In Allah).” ( 7: 27) These men have practiced their rites in the shadows for centuries. It is in honor of these dark Sorcerers that this book is released and their dark tradition upheld.
O u t l i n e O f Th e M a g i c a l Sy s t e m Go etia ia” ”are derived and any of the ceremonial ceremonial aspects of the “Goet He ptamer meron on” ”which could indeed base ba sed d on Pete Pe terr de A b a n o ’s “Hepta be con co n sid si d ered er ed a m agica ag ical, l, Ju d e o /C h ris ri s tian ti an m an u sc rip ri p t. It b e comes plain ly obvious to any seeker that tha t is of the LHP, LHP, that the Go etia ia” ” is not suited for LHP system prescribed within the “Goet Bl ack Magic Mag ic grimoires such as “Vie Gr a g io . N early all all of the legendary ‘Black :iriutn Verurn”, “The The G Grimoir rimoiree o f Pope Hono Ho nori rius us” ”, “The The Book Boo k o f the Sacred Magic o f Abram Abr amelin elin the Mage” Ma ge”, “The Grand Grmoire” Grmo ire”, “La Dragon Roug Rouge" e",, "Toe "Toe Sworn Book Boo k O f H o nori no riu u s”, “Le Veritable Veri table Dragon N o i r ”, etc., are unus ar.e to any who were were no t devout subservient C hristians, they were written :r:m a Ch ristian perspective. perspective. Yes, they indeed deal with the su m m onin g of Demonic entities, but only in a manner that is abusive and degragating to ' ae Spirits being called. Shad ows” ” Michael W. Ford addresses this issue in his book, “Goetia O f Shadows reversing/adjusting the invocations/conjurations etc. in a manner suitable for Left Hand Path practitioners. Ford writes,
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“The The Lemegethon Lemegethon texts provide pro vided d little fo r initiation as they are are composed in a Christian structure. str ucture. I f you are are other than Christian, this would wou ld be defeating defeatin g to to evoke a spirit spir it of o f wisdom and power to then threaten it with the name ofYahweh!” ‘ T h e G o e t i a o f S h a d o w s ’
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Fo rd’s rd’s app roach is don e in fashion o f the t rad ition al Black Black Mass, Mass, where the Prie st/Ma gician reverses reverses the Ch ristian M ass by replacing Angelic Angelic name s, names of Go d a nd religi religious ous imagery with those o f Lucif Lucifer er and his D emons, or by replacing tradi tion al ‘holy ‘holy ’ items with those th at were associated with
S atanic nic M ass” as s”, the ‘Devil’, as H.T.F. Rhodes relates so well in his book “The Sata “The prie pr iest st goes to the church at a t eleven o’clock in the evening, evening , and an d so times his Mass that it shall end on the stroke of midnight. His server is a woman with whom he should have been intimate. Prayers are are said ‘backw bac kwar ards ds’’. A black three-cornered host and a chalice chalice containing conta ining water wa ter are the elements o f the offerin offering. g. The The water must mu st be of o f polluted poll uted origin origin preferably taken from fr om a well well wherein an unbaptized child has been drowned.” ‘ T h e S a t a n i c M a
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Thoug h Fo rd’s rd’s appro ach is effec effecti tive ve an d bas ed in solid solid traditio n, this work will implement a new foundation to replace the Judeo/Christian influen fluence, ce, an d focus on co mbining the sp iritual (energy work) with the scientific (Lovecraftian Quantum Physics) to open gateways, so that interaction
Fring e Mag Ma g with no nh um an entities entities may be be achieved achieved.. This This is wha t I term ‘Fringe ic’. Fringe Magic is simply (and complexly) mystical science. It is difficult to merge such areas of study, study, as science is so ‘exa ‘exa ct’ an d ‘kn ow n’, n’, while m ystiys ticism or magic so, so, ‘fluid’ ‘fluid’ an d in stinc tua l, residing in the r ealm o f un kn ow n’ or potential. Magic is subjective...by its very nature, it cannot be anything else. Magic is a balance of Chaos and Order; being completely Chaotic by individualization to be effective, yet having to adhere to the base laws of Order to be operational. In order to work this particular kind of magic/science, one must be completely completely in in touch w ith themselves and rely rely on th eir pu re m agical instinct. instinct. One must ‘see or ‘know’ what that magical instinct is. Ironically, that is the science of the magic. When you read through a grimoire and ‘know’ it will work, when you fe f e e l ’ it is true, as opposed to reading through one and ‘knowing’ it is useless, and not worth the paper it is printed on that is magical instinc t. The Temple Temple O f Set Set has classifi classified ed using this k ind of magical insti in stinc nc t to pe rform rfo rm m agical agica l acts as, as, ‘Me ‘Medial dial Black Mag ic’. ic’. It is is bein g in a
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:: Awareness’, Awareness’, while utilizing the energies present pres ent at the ran do m tim e i , : is preforme d. A.W A.W. Dray Dra y describes this typ e of magic well, well, "Medial Black Magic is a topic and discipline that is rarely if ever explored explored as a distinct art a rt of o f its own. own. Most M ost will touch and a nd toy with its its energ energies ies and potentials pote ntials witho wit hout ut knowin kn owing g what it really really is is, but very ve ry fe w will grasp its true power and a nd their own ability to wield it as part of their sorcery arsenal. Medial Black Magic is the spontaneous projecting of o f one’s will and inten int entt in conjunction with some form fo rm o f physical action that tha t is often often spontaneous spontaneou s as well. ll. It is oj the highest highest form fo rm s o f true Witchcraft and its methods and an d intricacies intric acies are always extrem extr emely ely personal. person al. The The sorcerer sorcerer who suddenly sudd enly utters the inspired inspired words words of an incantation incanta tion into a passing passi ng wind w ind to be taken tak en away and a nd made mad e manif ma nifest est or the Witch who who gazes gazes into thefla fl a m e o f a single single candle and a nd perfectly projects projects their will into the rising flame; flam e; these these are are examples o f Medial Black Magic in motio mo tion. n.” ” ‘ T h e I n f e r n a l P a t h ’,
2012
Magic is ever present; it is the thre th read ad th at holds ho lds ‘А 1Г togethe r, it is is exisexis: r.ce r.ce its itsel elf. f. Ope O penin nin g the eyes eyes to ‘see’and un de rstand this has been been crucial to magical magical act act true M agicians agicians have have ever ever preformed. One m ust un ders tand ‘ l l ’, all that is needed is to free the ra: they are already in touch with the A :nd of doubt, and claim the power to alter one’s personal surroundings directing th eir Intent. Belief Belief in th e m ovem ent o f one ’s perso nal energy energy,, makes that th at energy en ergy stronger. strong er. All that th at is need ne eded ed to chan ge one o ne ’s reality is to axe up’, up’, and direct direc t their the ir pe rsona l energy into th at rea lity causing change, слег than th an just jus t go along w ith the flow flow of the th e ‘System’. System’. Once On ce th is is realized, еле Magician becomes master of his reality. Of course the more practiced m d pow erful Magician Magician wi will ll cause cause more change in th eir reality than one who "as :ust ‘woken up’ and began utilizing their potential. However, to cause .range one must gather enough personal power to alter their reality, un;r sta n d in g is not enoug h to cause cause the change tha t is desired. desired. The The more one : watices watices ‘Mag ‘Magic’ ic’,, the stronger stron ger th ey become. As wel well, l, techniq ues of Vampirm have also also been employed employ ed as a m ean s to help gather gath er suc h energy. energy. Me dial .ack .ack Magi Magicc is the M agician ha ving full belief and confidence in themselves
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by tra tr a n s c e n d in g all n a tu ra l laws a n d im p o se d law la w s/re s/ re stri st rict ctio ion n s th e ‘syste sy stem m’ has imposed, and directing their own Intent into their reality to cause the change that is personally desired. All of the Triangles of Arte and Magical Circles Circles as well well as the the rites rites th at are presen ted here, are a pro du ct o f this same mag ical instinct. They They were were dra w n from out o f the ‘NaguaT (The Meon, Meon , Uni
versee B, The vers The Second Atten At tentio tion, n, Naxyr) Naxy r) into existence on this plane for the use of the Black Black Magician. Because these Djinn are ‘Ghouls and they feast feast on on the energy of blood and flesh, blood will be implemented in this system to draw them forth into the ritual chamber so they may feed upon it and empower themselves. The blo b loo o d ca n be o f any an y sour so urce ce,, th o u g h it is th o u g h t p ro p e r to be th e M ag icia ic ian n ’s own blood that is used, as it connects the magician with the Djinn on an intima te le level, vel, thus ensu ring mo re op po rtun ity for for succ succes esss within the workings. Personally, I use blood in many rituals and workings, I always have. It is something very sacred to me. In my eyes, it serves as a sign of devotion as well as sacrifice. Within my spiritual beliefs, I kneel before no God, though offer them my essence out of respect and to empower the rite. I see all entities as being equal, some have been here longer than me and have more knowledge and experience, but that does not make them superior to me, only more learned. And, as such, such, they should kn ow this an d have the same respect for me, as I do them, equally. I offer them sacrifice, not out of fear, bu b u t h o n o r a n d resp re spec ect. t. I beg b eg n o en tity ti ty o r G o d to ch ange an ge th in g s in m y life, I ask them to help me as a brother, who walks the same Crooked Path as they do, and if I can help them in turn, then I gladly do. I have found that spiritua l activity is is greatly greatly increased w hen blo od is used in ritual. I find this beca be caus usee th e en ergy er gy th a t is b ein ei n g rele re leas ased ed by th e M a gici gi cian an acts ac ts as a beac be acon on in the spiritual world, attracting many different curious entities. It is such a per p erso so n al offer of fering ing th a t th e M ag icia ic ian n can ca n fully fu lly im m erse er se h im s e lf in i n ritu ri tu a l a n d the sp iritual world, world, so contact with an entity is stronger an d a bon d formed. Nat N atur ural ally ly,, blo b loo o d is also u se d in i n a lot o f sigil w ork or k I u n d e rta rt a k e . I believ beli evee blo b lood od helps to brin g ‘Life’ Life’ to a sigil sigil if created crea ted w ith it. it. This of course cours e again a gain con nec ts the Magician with the spiritual entity that is being called forth, creating a pac p ac t o f so rts rt s as it is th t h e essen es sence ce o f the th e M ag icia ic ian n (Blood), conjoined with the essence essence o f the the Spirit Spirit (Sigil). Therefore, blood will be a central element when working with these particular Djinn in the ritual chamber, as well as when creating sigils, talismans, etc.
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yjffumigation is also heavily drawn upon, it is and has always been a L- element w ithin ith in the th e m agical praxis of the Middle East and so has been r.emented within this system. Several different incense are used which -de frankincense, myrrh and coriander seed. Frankincense (olibanum), been be en in use in A rabi ra biaa for fo r th o u sa n d s o f years ye ars,, b ein ei n g a cen ce n tral tr al elem ele m ent en t noth spiritual and religious praxis throughout its territory and history, ere ere are an cient cien t tales o f the fabulous fabulo us ‘At Atlantis lantis o f the Sands’ San ds’ (as according to rence o f A rabi ra bia’ a’) kno >. rence k now w n as Ubar, Ad, Trem rem, Wabar. ..inde ..in deed ed Lovecraft’ Lovecra ft’ss Nameles Nam elesss C ity it y ’, bei b eing ng a cen ce n tral tr al p o in t o f tra tr a d e for fra fr a n k inc in c en se , w ith it h in th e sands o f the ‘Rub’ Ru b’ al Kh ali’ or Em pty Q ua rter rte r of Arabia. Arabia. This remote -”d much needed location caused the inhabitants of this desolate city to recome rich beyond imagination. That is, at least until it was devoured by •re groun d it stood stood up on by the com m and o f ‘G od ’, due to the ‘gluttonous ‘gluttonous •avs •avs of the residents. O r so the story goes. goes. Irem (or what is thought to be r was actually actually found in southe rn Om an in 19 1992 proving the ancient - .es. (and Lovecraft) true. F rankinc ense has also interestingly interestingly been found to re im po rtan t in the Philistines Philis tines’’ worship wo rship of o f the fish-god ‘Dag ‘Dag on’. on’. M yrrh has also been used thro ug ho ut Arabia. It is seen seen as a conn ecting -ger.t to the Underworld and Death, or Chthonic Spirits in general, makrg it a fitting incense to incorporate within this system. And lastly there (coriandrum sativum) which has been used in many an.oriander Seed (coriandrum : e n t Middle Eastern Eastern rituals centered arou nd divination. Co riand er seed seed has generally been associated with the planet Mars, and has its origins in the i rcient rcie nt Orient, Orien t, it has been applied for m any m edicinal edicin al an d m agical uses - r rughout the ages. “These (suffumigations and incense) are not just used to ‘set the scene’ but are an important and essential ingredient in the process process o f invocation and an d evocation, as ‘spirit sp iritual ual creatures,’ be they angels, daemons, spirits, demons, and even gods, respond directly directl y to the correct use of o f incense” ince nse”. . . ’’...t .. .the he concept tha t hat t burning burn ing enables enables you yo u to pass somethin some thing g fro fr o m this world to the other is never questioned. Hence the burning of incense, of the right kind, is also able to affect the denizens of the other world.” S t e p h e n Sk i n n e r ,
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Though not only are these incense utilized in this system, but also sevwords o f power’ pow er’ or evocatio eral different written ‘words evocations ns which are written upon pa p a rch rc h m e n t a n d b u r n t as ince in cens nsee them th emse selv lves es,, th o u g h no t for fo r the th e p u rp o s e of scen scent. t. The The evocations evocations and w ords of power are trans form ed into s um m onin g incense through the purification and alchemical transformation of fire, the element of Djinn. In this way, the energy circulates throughout the ritual cham ber em powering it. it. Thi Thiss act represents the co nnection between the m aterial terial and the spiritual worlds, worlds, where where smoke dwell dwellss in the middle g rou nd b etween that which is physical and spiritual. The words of power move about the ritua l ch am ber in the form of smoke just as the Spirit Spirits, s, empow ering the sacred magical space space and an d becomin beco min g one with the M agician. As As the M agician brea br eath thes es in th e emp em p ow ered er ed evoc ev ocat atio ions ns,, he tra tr a n s m u te s them th em into in to vib vi b rati ra tio ons by sp e ak ing in g th e evoc ev ocat ation ion,, p e rm e a tin ti n g th e c h a m b e r w ith it h In te n t a n d power. pow er. This This is is a form o f Middle Midd le Eastern Spiritual Alchemy tha t has been u tilized for millennia with great success, and has been employed herein. The rites rites d escribed w ithin this m anu script are to be preform ed sole solely ly by the Magician, thoug h they can be easil easily y altered altered to to a ccomm odate m ore practitioners. What I have continued to say throughout my works is, “Change Must Mu st Always Always Oc cu r”. r”. This This phra se can be applied to Magic in so m any differdifferent ways ways,, but overall overall what I am trying try ing to convey is is; Magic mu st be perso nalna lized. ized. One m ust make m agic the ir own, the rituals I present can an d should be alte al tere red d to the th e c u sto st o m n eeds ee ds o f the th e ind in d ivid iv id u al u sin si n g them th em . This Thi s syste sy stem m must be made personal to be effective, don’t perform ‘my’ Magic, perform ‘you r s ’. Be free of the Traditional Magic Dogma. One must remember that any ritual they have ever ever read o f or preforme d was created by anothe r M agician as ‘they’ needed. When they came up with the ritual, they did it for themselves, themselves, no t for the the masses, and it worked for ‘them’. Therefore in a sense, sense, it is the ir Magic. So So, one mu st make m ake these r ituals th eir own by person alizing them with their own individualistic elements. Only when the Magician is be b e h in d his hi s Magic Ma gic,, tru tr u ly belie be liev v ing in g in it, tru tr u ly ‘feeling’ that the rite is ‘right’, will success be had. The rituals presented here can be performed both inside as well as outside side;; it truly tru ly just depen ds on the situation. As an exam ple, the M agician may bo b o th p e rfo rf o rm thes th esee rites rit es u n d e r the th e sta st a rs in a ceme ce meter tery, y, o r insi in side de a m a u s o leum within the same cemetery. Either way, the effect would be the same.
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■■ever ever,, most m ost of these rites r ites will n eed ee d to be held outsid o utside, e, due d ue to the th e sheer s heer : e :: : : the Magical Mag ical Circles Circles and a nd T riangles o f Arte. The Lunate Script that is employed within this system is very powerful w crgeti rgetica call lly. y. Its Its symbolic sym bolic na ture connects con nects with the energy o f the W axing w scen scentt Moon and tha t o f the nigh t and darkness. The Lunate Script Script that : resented here was ‘receiv ‘receiv ed’ in the th e sam e tim efram efr am e as the Trian gles an d 1 rcie rciess of Arte as well well as the Djin n Sigi Sigils ls,, so you may wish to exp erime nt m r.g it first first before you move on to custom ization, if you so choose. choose. The rr.b rr.bol olss in the Lun ate Script have have man y occult occ ult applications, an d a complete complete : rr .anation of their m eanin g and use will be released released as its own work in e near future . W ithin the presen t work, they are used as letters and are i en an English English tran slatio n to to be utilized with in the Djinn sigils sigils,, on talis talis m s. et etc. The Djinn listed within this grimoire are purely destructive by nature, me the Magician must use utmost caution when working with them. They we to to be deployed when no thing th ing less less devastating dev astating w ill do. They They are hate, hate, pain pa in m i disease disease waiting waiting to be relea released sed upon the world world with a rage that is un etched. etched. If the ‘Goe ‘Goe tic’ Spirits Spirits have have a dark side, side, these D jinn are the e m bo diment of it. it. As stated stated this grim oire is a weapon, an d does n ot make m ake apologies apologies r its existence. In fact, it is an ‘ultimate weapon, to be unveiled and used •men times are at their darkest. Those times are no longer on the horizon, wee are here and are creeping in more little by little, day by day. The Black Magicia Magician n who is in touch with his su rrou nd ings w ill know when to un leash ms forbidden power; they will feel feel it deep w ithin th e m .. .and .an d recog nize the mcling cling as rage. Each W arrio ar riorr Magician M agician will utilize this th is s treng tre ng th at different wmes, when the battle is at their door. There are no specific times to use this Magic, no Sabbats to attend, no nights to honor.. .it is to be used, when it is re e d e d .. .at .at the time of War. War.
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Fr o m Be t w e e n Th e A n g l e s ; Ci r c l e s & Tr i a n g l e s O f Th e A r t e M a g i c a l “The altars o f violence and a nd sacrific sacrifice: e: the temples t emples o f the Maya and Aztec Az tec magicians magicians form for m ed o f trapezoids trapezoids and sustained by the sacrificial blood of the chosen ones, the truncated pyr amids upon which which hearts hearts were ere cut fro fr o m living victims victims and held aloft aloft and hoi hoi to Quetzalcoatl Quetzalcoatl and Hapikern.” Ha pikern.” A n t o n L a V e y
Ma al\ it ha ppen’ en’,, nor is it ‘miracagic is not Magic ' gical\ it does not ‘ju s t happ ul °us’ s’’’ it is a scientific system based on a process that we have l 6 / a ul°u /■ -T 1 yet to fully u n d e rsta rs tan n d scientifically. scientifically. I believe this th is is becau bec ause se Щ if we have have yet to reali realize ze the totality totality of the base base structu re of the • v N reali reality ty we are are currently currently residi residing ng in. in. We have have yet yet to understand at rix’ x’ o f ‘Con sensual id the rules rules of the ‘M atri sensu al Reality’ Re ality’ and an d therefore have yet to to dly understand or utilize our personal place and power. Magic is the maConsensual al Reality Ma M a trix tr ix’’ m rulation of personal energy to restructure the ‘Consensu : conform to the Inten t of the M agician. As w ith all all energy, energy, Magic can be -.a messed mes sed and a nd d irected, sp irits and entities entities can be c ontac ted an d change ch ange can be mad m adee w ith it h in the th e p erso er son n al ‘g r id ’ of the Magician. There There has always been a strugg le of science science vs. vs. m agic a nd which is ‘tru tr u e ’ md factual. This is ridiculous, they are the same. Nothing simply occurs,
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there is always always a system, system, a process tha t m ust beg in the ‘miracle. As an exam ple; if 1 were wer e to sit in a room ro om w ith it h a n obse ob serve rver, r, c h a ir facin fac ing g chai ch air, r, a n d s u d denly move my lef leftt arm, it would appe ar to the observer tha t my arm moved with n o outside cause, cause, they would no t see see the the h idden tho ug ht process in my br b r a in th a t b eg an th e m ov em ent. en t. O f co c o urse ur se we k n o w scie sc ient ntifi ifica cally lly th a t th ere er e is a thoug ht process that drives drives the fun ctions of the h um an body, body, but if we lacked lacked that scie scienti ntifi ficc un dersta nd ing, it would ap pear th at m y arm ’s mov ement was unconnected to any process other than its own sudden volition. This is is Magic. Magic. We only see the outcome, t ho ug h scientif scientifical ically ly ca nn ot exp lain it, it, yet. yet. However However,, q ua nt um physics physics has un raveled some o f mag ic’s ic’s m ysteries and given us a scientific explanation for what was once thought of as
‘miraculous’ such as in the example of sympathetic magic being discovered as entang lem ent or nonlocality. If you tak e a piece piece o f som eon e’s e’s ha ir a nd pe p e rfo rf o rm a m agic ag ical al b a n e fu l rite rit e ag ains ai ns t th em , th e y b ecom ec om e sick, o r w hate ha teve verr ill is willed onto them. Sympathetic magic has been practiced for centuries. Though now this is not magic, it is science because it has been somewhat explained by those who do not practice traditional Magic; largely the scientific community. Though even here science cannot yet explain why entanglem ent works, work s, bu t we now ‘scientifically’ ‘scientifically’,, kn ow that th at it does. The Magic has bee b ee n c o rre rr e c t all along alo ng,, howe ho weve verr it is n o w v alid al id beca be caus usee it can ca n be expl ex plai ain n ed scientifically. As I said, this separation is ridiculous. It is my prediction that Magic will again one day be outlawed. Once the science behind magic can be verifi ve rified ed a n d bec b eco o m e fact fa ctua ual, l, u sin si n g a rite rit e to t o infl in flic ictt dam d am ag e on a n o th e r will w ill not be seen any differently than hitting someone with a baseball bat. Books such as this will ce rtainly be ba nn ed an d seen as illega illegall weapons. The approach this grimoire will take will implement a completely new foundation that has its roots set in Chaos Magic or ‘Fringe Magic’ as I refer to it. it. Fringe M agic is is not new; it it is simply a category I have crea ted to enc e nc om pass pa ss scien sci entifi tificc m agic ag ic o r mag m agic ic th a t deal de alss w ith it h d im e ns ion io n s, n o n h u m a n in telte lligence ligence and work that q uestions the basis basis of ‘reality’, and how to manipulate manipulate it. it. This can be classifie classified d as exp erim ental magic if you will, will, teete ring on the edge of the Abyss, Abyss, or at least least on the edge of wh at is magically socially socially acceptable. Up until about the last decade, any magical systems to be introduced to the public that did not stem from a hard structured Western Ceremonial Magical Order, were viewed with great discrimination. Only now are such concepts and ideas ideas being looked looked upon with greater respect respect an d interest. interest. But
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E x Chao Ch aosi sium um” ”, will r. so so. books book s such as this thi s volume, vo lume, o r my last “Volubilis Ex . re s crutinized an d rejected rejected based based on their u n-co nform ity to to the magical cmunity’s general appeal, acceptance or understanding. Simply because *r embraces magic, does not mean one is open minded, intelligent or inThe Necron Nec ronom omicon icon” ” by Sim . re. I believe this discrimination is why “The S imon on was .red in a background o f Sumerian tradition, tradition, rather tha n being presented presented c text of pu re Chaos C haos M agic, sta nd ing on its own. I believe believe the aut a utho ho r felt felt it -ir-eded the the legitimacy of a pre-existing pre-e xisting cu lture and an d trad ition to be accepted . serious serious work in his tim tim e o f publication. I have have alway alwayss tho ug ht the auth or ■: _ld _ld come out and p resen t the m anusc an usc ript for what it tru ly is; is; One of the rooks of very powerful Chaos Magic. Regardless, this ‘Experimental -c:c -c:c is still still not held in the sam e upsta up stand nd ing way as magic th at has its its "cage to these traditional structured Orders, such as the O.T.O. and The men Dawn. Of course Fringe Magic does encompass such literary works from au. r> and Magicians who have ventured forth into the ‘empty spaces', such HP. Lovecraft, Carlos Castaneda, Pete Carroll, Frank G. Ripel, Michael maux, H.P. Blavatsky, Kenneth Grant and others who have been to the : age of creation and reality, and come back to write of it. They masterfully m storm storm into words, words, experience experiencess an d concepts th at are seemingly indeinderbable rbable to to those w ho have not w alked the ‘Spaces In-Between’ themselves, a nd Real Re ality ity’’. ; have have not kno w n the ‘Twilight o f Being and The The practice o f Magic dea ling with the evocation e vocation of spirits, both benevbenev. n: and baneful, b aneful, has gene rally been centered a roun ro un d the Magic Circle Circle and • coun terpart; the T riangle riangle of Arte. By By using these key com ponents, por. >to other realms have been opened and contact with the spiritual entities entities i ' been achie achieved. ved. W he ther the m agician were were calling calling forth either Demons, reels, or else, these tools have been implemented since time immemorial commune with th at which was was ‘beyond’. I believe believe the the key to ope ning these . . -. -.ays betw een dime nsion s lies lies in angles, angles, vibrations vibra tions and d irection irectio n of the mician’s mician’s perso nal energy a nd Intent. H.P. Lovecraft has ever infused our idea of interdimensional travel and т е open ing o f gateways gateways with a ng les.. .angles .angles bey ond reaso n, or o r as he dedeth u lhu lh u ”, . r oes oes in “The Call O f C thu “A n angle which was acute, acute , but bu t behaved beh aved as i f it were obtu ob tuse se.. ...” .”.
Th e
B o o k o f
Sm o k e l e s s
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Angles are the key to unlocking the dimensions, the key to traveling
‘In-B In -Bet etwee ween n just as Keziah Mason used them to escape her prison cell in, “The Drea Dr eams ms in the Witch Hou H ouse' se'’’, “...n .. .no o t even even Cotton Co tton Mat M athe herr could explain the curves and angles angles smeared smea red on the grey stone walls with some red, red, sticky flu fl u id .”... “She had told Judg Judge e Hathorne Hath orne o f lines lines and an d curves that tha t could be made mad e to po int in t out directions directions leading through the walls walls o f space space to other spaces beyond, and had implied that such lines and curves curves were were freque freq uent ntly ly used at certain certain midnigh mid nightt meetings in the the dark valley of the white stone beyond Meadow Hill and on the unpeopled island in the river” H.P. L o
‘ T h e D r e a m s
in
v e c r a f t
t h e
,
W i t c h H o u s e ’ , 1933
W ithin angles, there is energy kn ow n as ‘St ‘Stat atic ic Energ y’ tha t is tightly compressed as a spring. It is much as a twig being squeezed between two fingers, that begins to bend from the pressure, but not yet break. This energy is ready to be released and directed under the right conditions. If the correct angles are are utilized in conjun ction with the co rrect vocal vocal vibrati vibrations, ons, the angles are ‘sna p p ed’, and the static energy released, thus opening doors to other dimensions that are unlocked for travel, both to and from another point, an example is the evocation of Yog~Sothoth given in “Volubilis
Ex Chaos Ch aosium ium” ” fAs will be discussed). W ith in the ‘co rrec t’ angles, angles, doorways be tw een ee n real re alm m s can, ca n, will, wil l, a n d have hav e op en ed . O ften ft en tim ti m es at th is ju n c tu r e b e tween dimensions, lie guardians or guides that one must either master or follow, such as Choronzon, Papa Legba, Nyarlathotep, etc., depending on which system of magic is being utilized. Concerning entities and traveling bet b etw w ee n th e plan pl anes es,, H.P. Love Lo vecra craft ft a ga in w rite ri tes, s, given mathematical “...hi ... hiss sober theory (was (was)) that tha t a man might mig ht
knowledge admittedly beyond all likelihood of human acquiremen acqui rementt - step deliberately fro fr o m the earth to any an y other celest ce lestial ial body which which might m ight lie at one of an infinity infinit y o fspecific specific points point s in the cosmic pattern. Such a step, he said, would require only two stage stages; s; first, a passage out ou t o f the three-d th ree-dimen imension sional al sphere sphere
:t' 44 V”
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we know, and second, a passage back to the three-dimensional spher spheree at a t another anoth er point, perhaps perh aps one o f infinite remote remotenes ness. s. That this could be accomplished accomplishe d witho wit hout ut loss loss o f life was was in m any an y case casess conceiv conceivable able.. A n y being fro fr o m any an y p a rt of o f three-di thre e-dimen mensio sional nal spac spacee could probably survive in the fou fo u rth rt h dimension; and a nd its survival of the second second stage stage would depend d epend upon what wh at alien pa rt o f three three-dimensional dimen sional space space it might migh t selec selectt f o r its its re-entry re-entry.. Denizens Den izens o f some planets pla nets might mig ht be able able to live live on certain others - even even planets pla nets belonging belonging to to other galaxie galaxies, s, or to similar dimensio dim ensional nal phases o f other space-time space -time contin con tinua ua - though o f course course there mu st be vast numbers of mutually uninhabitable un inhabitable even even though though mathematically juxta ju xtapo pose sed d bodies bodies or zones o f space space.. It was was also possible that th at the inhabitants inhabi tants o f a given dimensio dim ensional nal realm could survive entry entr y to many man y unkno u nknown wn and incomprehe incomprehensibl nsible e realms realms of o f additional or indefinitely multiplied dimensions - be they within or outside the given space-time continuum - and that the converse would be likewise true. This was a matter for speculation, though one could be be fair fa irly ly certain that tha t the type of o f mutatio mu tation n involved involved in a passagefro fr o m any an y given dime d imensi nsion onal al plane pla ne to the next nex t higher one would not no t be destructive o f biolog biologica icall integrity as we understand under stand it.. Professor Upham especiall espe ciallyy liked like d his dem de m onstr on strati ation on o f the kinship o f higher mathe ma thema matic ticss to certain cer tain phas ph ases es o f magical magic al
lore lore transm trans m itted down the age agess from fro m an ineffable ineffable antiqu an tiquity ity - human or pre-human - whose knowledge of the cosmos and its laws was greater than ours.” H.P. L o v e c r a f t , ‘' D r e a m s i n t h e W i t c h H o u s e ” -t has has been kno wn for some tim e tha t with in angles there is hidd en powaiting to be released. As well, it has also been studied, that angles have a und effect upon the human mind, its perceptions and emotions.
“Angles are space-planes that th at provoke anx a nxie iety ty... ...th that at is, is, those those not harmonious with natural visual orientation, will engender aberrant behavior. Exceptions occur where a sort of reverse polari pol arity ty exists in a creatu creature: re: extreme extrem e menta me ntall imbalance imbalan ce or perversity, or perhaps perh aps even extrem ex tremee rationalit rati onalityy and a nd awareness.”
Th e
B o o k
o f
Sm o k e l e s s
Fi r e
A n t o n L a V e y
Though not only is the human mind altered in such a way, but also the ability ability to be effect effected ed on an overall scal scalee spiritu ally via dim ens ional shifts shifts of time tim e an d space. A nto n LaV LaVey s Law Law of the Tra pezo id read s as follows follows,,
“A ll obtuse ob tuse angles are are magically magicall y harm ha rmfu full to those unaware unawa re of o f this property. The The same sam e angle angless are beneficial, beneficial, stimu sti mulat latin ing g and energizing to those who are magically sensitive to them” A n t o n L a V e y
LaVey comments on his law,
“If the Law of the th e Trapezoi T rapezoid d is kno kn o w n, recognized when applicable, applicable, and either heeded or utilized, it will save much hardship and trage tragedy dy,, while still serving as a catalyst fo r chang change. e. Like fire, its powers are are two-fold, dependin depen ding g on how it is applied. Like the sun, its powers are two-fold, depending on whether a thing is growing, grown, or dying. And like the first crystalline fusion o f atoms, it will be be the beginning beginning and an d the end, end, the Alpha Alph a and Omega of all matter. Avert your gaze from the pyramids and look to the trapezoid, trapezoid, and an d you shall be be moved.” A n t o n L a V e y
An intere sting c om m en tary from a reputable source on LaVey LaVey s Lav/,
“What exactly happens when an individual enters an angular environment ? It is very apparent that a polarity is produced within wit hin the individ indi vidual ual.. This is in essenc essence e what the th e ‘Law of o f the Trapezoid’ describes. Some are attracted to the environment and others are repelled. Along with attraction comes mental imagery that tries to encompass infinite concepts. Those who are repelled go to the opposite with imagery that has a profound morbid aspect connected to it. Feelings of impending death on a indiv ind ivid idua uall and an d species species wide sca scale, le, theirs is a finite fini te image. Thes Thesee are generalizations; I have seen extremes with both polarities.
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T h e A n g l e s ; C i r c l e s & T r i a n g l e s O f T h e A r t e M a g i c a l
The bottom line is that there is an effect produced, no one really understands the actual nature of the effects, nor its boundaries, we will find out. “Most Mo st certainly each indi in divid vidua uall has fe lt the effects effects o f an angular angula r environment. Many symbols incorporate angular features into their mo m o tif ti f and an d most mo st certainly we we h have ave all all felt fe lt moved by particul par ticular ar music m usic form fo rm s in a mann m anner er falling into the abov abovee description of what happens in an angular environment. Haun Ha unted ted house pheno ph enome mena na is most mo st common com mon in homes that tha t have many man y angular shapes shapes both inside and out. out. Angles produce prod uce the ‘Comm Co mman and d To Look’ Loo k’, which then motivates into a polarity which can be predictable. predict able. The The ability abil ity to unlock the secret o f the angles will allow a more precise refining of (their) exhilarating -and thus inspiring inspiring-- properties... properties.. .” R. W h
i t a k e r
, Se t i a n Pr
ie s t
,
‘ T h e L a w o f T h e T r a p a z o i d . ”
The The particu pa rticu lar ‘Triangles o f A rte ’ being prese nted here are designe d to • rep the m ind fluctuating, never restin g on one plane, bu t between them . Their design encompasses both two dimensional and three dimensional -race simultaneously, conjoined into one form that is occupying neither гтасе at any one given moment. It is in this twilight, this constant flux, betw een the angl an gles’ es’, that an entity may cross the dimension•■.nich resides ‘between г. bo un da ry and e nter ou r world or ritual space where where com m unicatio un ication n is unieved. This system utilizes a philosophy which incorporates new con:epts for the Triangles of Arte as well as the Magical Circles, and should not et ia”, but seen as its own work, with its own set re considered tied to the “Goeti cuidelines and applications. The ‘Triangles’ are not only employed for ritual work, but are also very -seful in meditation when working with a specific Djinn. These Triangles : ot only offer offer a gateway for for the s piritu al entity e ntity in to o ur ‘rea lm ’, but also propro :de :de a gateway gateway for the M agicians m ind to enter into theirs. This me tho d was utilized for the construction of the Djinn Sigils and Lunate Script presented ■••Tthin. One will notice that when viewing the ‘Triangles’ that it is difficult о look aw away, ay, this is the n atu ral ra l power th at lies lies within the designs themselves
Th e
B o o k o f S m o k e l e s s
Fir e
that draws one in, having a hypnotic effect on the viewer, and again the words echo, “Angle An glespr sprod oduc ucee the ‘Comm Co mman and d To Look’ Lo ok’.. This attractio n is not a negative effect, the Magician should allow himself to be drawn into the angles angles an d become open to the ir energi energies. es. This system is powered by the Magician/Operator. He is the central force force the rite is is based aro un d. W itho ut the powe r of the O perator, the Circles Circles and Triangles are simply designs upon the ground. Yes, still holding power
In -Bet etwe ween en’’, as described, but not what is required to open the doorways ‘In-B they m ust be charged with the energy of the Magician. Wh en the angles angles are ‘snapped’, and the energy released, it opens a rift in the ‘Consensual Reality M atrix ’ allowing for the M agician to pro ject his Intent. This also also includes interaction between O rganic an d In Orga nic entities, entities, i.e i.e., between between the Magician gician an d the D jinn in this case. case. Obviously Obviously this this technology can and should be ap plie pl ied d to o th e r w orki or king ng s ou tside tsi de o f this th is system sys tem.. There There are are th ree Triangles Triangles of Arte tha t are employed within this system system which the M agician agician will will utilize utilize when su m m onin g Djinn. Each Each has a design design that concentrates the flow flow of sta stati ticc energy within the angles, angles, makin g the m a po p o w e rfu rf u l vor v orte tex, x, or p o r ta l w h en activ ac tiv ated at ed.. This Thi s allows allo ws for th e D jin ji n n to cross cro ss
In-B etween en (the angles)’ angle s)’, and into the through the doorway of ‘The Spaces In-Betwe ritual space of the Magician, Magician, where the inten ded interaction may occur. occur. The The Triangles can be seen as machines or circuit boards that require energy to be activ ac tivate ated. d. Likew Lik ewise ise th e Circle Cir cless are ar e gen ge n erat er ato o rs th a t am plify pl ify a n d en h a n ce the collected collected personal energy of the Magician allowing him to transfer that energy into the Triangle, in effect effect ‘tu ‘tu rn in g it on ’. It will take tim e to correc tly lay out the Circle and Triangle configurations, but it must be remembered tha t Magic should no t be seen seen as a chore chore,, but an embrace me nt of godhood. Take the time, it is sacred. When drawing out the Triangles, do not let your m in d wa nd er to what you will do do after the rite, rite, what you are doing ne xt week with friends, friends, or other subject subjectss tha t divert you r energy away away from from the task at han d. Instead, one m ust concentrate on the rite to be preformed, the desired desired results, and subjects related to the work. The longer one spends channeling this ima gery and energy into the creation o f the Magical Magical Circles Circles and Trian gles, the more empowered the configurations become, thus the more energized the rite itself becomes. The Magical Mag ical Circles employed a re as the Triangles, also ha ving a specific specific function. Though unlike the Triangles which are designed to open rifts, the
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-e> are designed to amplify and encompass the Magicians stored peri. energy so that it may be transferred into the Triangles, igniting them ■ r aw energy in pre paratio pa ration n of being activated. activated. Гг.е basic co ncep nc eptt of these the se Triangles Trian gles an d Circles C ircles is very ve ry M.C. Escher Esc her esesThev have angles, planes and perspectives that cannot exist simulta.sly with one another in a three dimensional world, as solidly as they rea r in print. This is is the Magic of Escher’s Escher’s artwork, artw ork, he too saw and un‘ produce the comm co mman and d to look’ loo k’, an d tha t people ood that indeed, Angles people : arawn to them for some, yet unknown reason. I personally believe the r. to be found within our primal instincts. It is an instilled knowledge . today today are are vague vaguely ly aware aware of of, und erneath all all of our conscious conscious thoughts thoughts ; organizations based on reason and an d rationality. rationality. Indeed, Ind eed, it is is an u nspoke nsp oke n - :: nsciously nsciously know kn ow n tru th with the very absence of reason, reason, o f why or how how,, it extends its reach deeper than any conventional understanding of the . -gnt, neatly packaged and explained universe. Without knowing why, we . ■aerstand angles contain energy and are portals to places ‘other’. 7ne concept of these Triangles and Circles further push the ideals of ■та: is conventio conv entionally nally th ou gh t o f as workable or ‘accep ‘acceptable’ table’ vehicles vehicles or in-m m ents of the A rte Magical. Magical. Never before before has this dim ensional technola ■been introduced into the Magical community in such a direct fashion. : wever wever,, I have foun d trace tr acess o f it in Frederick Fred erick H ockle oc kley’ y’ss work, work , such su ch as in Complete Book o f Magic Science” Science”as well as in “E xper xp erim imen entu tum m ”, though Гае Complete ~r;e works have been copied from other pre-existing grimoires and man--:r:p ts and d id not originate from Hockley’s Hockley’s own hand . The imp ortan ce N igro rom manci an cia a”, ■angles can also be seen in Francis Bacon’s grimoire “De Nig hich interestingly interestingly deals deals with the conjuration of W raiths, an unco nvention. entity entity to to sum m on in general, general, which indee d fit fitss well well into the family of ■:er-dimensional, in -organic -org anic intelligences intelligences.. The Triangles of Arte presen ted - =re are true energetic portals, reaching through time and space to provide : a'Sage into our realm of existence so that contact with In-Organic entities ~ av av be achieved. achieved. They are a Magical Engine w aiting to be ac tiva ted ... ...
49
T h e B o o k o f S m o k e l e s s F i r e
Th e
Fir s t
Tr ia n g l e
contains both two and three dimen-
sional perspectives simultaneously. The angles of the configuration are all contrived from three, two dimensional squares turned point facing down, spread out in the formation of an inverted isosceles triangle. triangle. This This g rouped triangle of squares squares is joined tog ether by a line line connecting all three in the apex of each squares origin of angles. Additional Additionally, ly, two two m ore lines lines are directed ou tward from the bottom squares apex of angles through the squares juncture of planes to an exact point where they change course sharply converging converging at the center point above the lower central square. Now when viewing the total design these second set of angles create the perspective of the top of a thre e d im ensio nal cube. This This can be seen by way way of the lower squares apex of angles supporting two triangular, partial faces of the cube. When the top of the three dimensional cube perspective converges with the lines connecting the three two dimensional squares, squares, the basis basis o f two na tura l pentag ram s emerge that are neither two, two, nor three dimen sional in perspective, perspective, but both as the ir lines lines of existence are formed from both two and three dimensional planes. When viewing the total image or Triangle, the mind cannot rest upon one perspective alone, shifting from a two dimensional view, to a three dim ensio nal view, view, and then im possib ly.. .to .to bo th at on ce ... ... then shifting shifting again again..
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is of a simpler design, though again sharing both a two and three dimensional perspective or space as the above described Triangle. This Triangle consists of three elongated two dimensional isosceles triangles that are all connected by the points of their base, creating an equilateral triangle in the center connecting all three. This formed two dimensional equilateral triangle is also the point of the three dimensional pentagram that is angled at such a way as to to create the perspective o f a three thre e dim en sional downward slanting plane intersecting with the two dimensional plane, the downward point/center of the isosceles triangle like like the pen tagram s in the first first Triangl Trianglee share both a two and three dimensional space simultaneously. Th e
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is much more complex than the sec-
ond, consisting of six conjoined, reversed and mirrored triangles. The bes t way to describe this T riangle wou ld be to split it it in half, top to bottom . W he n viewing the Triangle, the left left side side consists of three triangles, one large isosceles on its side, apex pointed ‘to the right side’. Overlaid sym m etrically with in its its stru ctu re is ano the r slightly slightly smaller isosceles triangle, also on its side with its apex pointing to the right side like the larger triangle it is overlaid upon, though its base ba se e xten xt en d s o u t p a st th e base ba se o f th e larg la rg er tria tr ia n g le it rest re stss upon up on.. Resting on top of the larger triangle lays yet another isosceles triangle, though its apex is facing the left or opposite direction and extents no farther than the base of the large triangle lying flush to its lef leftt side side.. The right side side of the m ain Triangle is configure d in the same way way, tho ug h the apex o f the large triangle overlaps the apex of the large large triangle on the right side side,, to the p oint of touch ing the apex apex of the smaller imbedded triangle. Now the main Triangle is joined by way wa y o f b o th large lar ge tria tr ian n g les le s ov erla er lapp pp ing in g a n d to u c h in g th e apexes ape xes of the opposite sma ller im im bed de d triangles. A nd as on th e left left side side of the main Triangle, there is one smaller isosceles triangle to be po p o s itio it ion n ed on th e b o tto tt o m o f th e rig ri g h t larg la rger er isoscel isos celes es tria tr ian n g le, le , its apex (like its mirrored twin) extending no farther than the base of the larger isosceles triangle. As with the first two Triangles, once the mind has shifted into a relaxed state, dimension within the Triangles begin to unfold. This particular gateway becomes an open box like structure that is impossible to construct on the physical plane, as some have attempted to construct it with no success.
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B o o k o f S m o k e l e s s
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Rests in an angular cradle of compressed static energy, having yet another circle partially surround it. Its design sign focuses focuses on having a continuou s s tream of Universal Universal energy run through the Magician while combining with his own within the Circl Circle. e. ‘Lunate ‘Lunate Script’ is inscribed inscr ibed w ithin the space space between betw een th e two concentric con centric circl circles es an d in variou s angles where space is is provided. Th e
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is also very angular; having four intertwined
isosce isosceles les offset offset triangles, equally ru n th ro ug h two oine circle circle Rath er than drawing in energy, the function of this Circle is to enhance the Magicians ow n stored energy. energy. ‘Lunate ‘Lunate Script’ may be add ed between the circle and a n gles where space is provided.
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is similar to the second, in that it too is designed to amp a mplify lify the M agician ’s own energy energy.. It con sists of two two concentric circles that are embraced by two inward facing crescent moons to each side. On the top and bottom of the circle are two isosceles triangles with a bowed base to match the curve of the m ain circ circle le.. Th e
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a t io n
he use of incantations, evocations, invocations and the like, all have the the base science of vibra ting th e In tent, or en ergy of the M agician into the Magician’s subjective ‘reality’, causing the desired change to occur. occur. Ib is is also also used when calling upon a pa rticula r entity; names have power because they are a specific vibration sequen sequence ce th at is con nec ted to the en tity being called forth. A n entities name as powerful and connected to it as its magical seal or sigil,
“The essential essentia l character o f things and a nd o f men resides resides in their th eir names. Therefore to know a name is to be privy to the secret of its owner own er’’s being being,, and an d maste m asterr of his fate. fate. The The members membe rs o f many ma ny prim pr imitiv itivee tribes have two names, one fo r public publi c use, use, the other jealously conceal concealed, ed, known know n only to the man who bears bears it. ... To know the name of a man is to exercise power over him alone; to know kn ow the name o f a hig highe her, r, superna sup ernatura turall being is to domina dom inate te the entire province over which that th at being presides. presides. The The more such names a magician has garnered, the greater the number o f spirits that th at are subject to his call call and comma com mand. nd. This This simple theory is at the bottom of the magic which operates through the mystical names and words that are believed to control the forces which in turn tur n control our world. world. The The spirits guarded guar ded their names as jealously as ever did a primitive tribe.” J o s h u a T r a c h t e n b e r g , J e w i s h M a g i c a n d S u p e r s t i t i o n ', 1939 ‘ J
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Though, it it is is nol the nam e itself itself tha t is imp ortan t, but the names p artic ular vibration into rea lity that is is. Sound an d vibration are key in this system to excite and release the static energy that is built up within the entwined angles that com pose th e T riangles of Arte. S oun d has always always been defined as a wav wave, e, an d while true, this term does not ac curately describe how so und tru ly behaves. behaves. Sou nd waves waves exist exist as as variations of pressure in a me diu m such as air air.. They are created by the vib ration of an object, object, which causes the m olecules ecules within the air s urro un din g it to vibrate vibrate.. The vibrating air then cause causess the human eardrum to vibrate, which the brain interprets as sound. Sound is an expanding bubble made up of one existing connected wave, it is vibration composed of pure energy. The energy excites the molecules around it causing them in turn to vibrate, starting a chain reaction to occur until the molecules have lost lost all all of their excitement the f u rth er away they get from from the source, resu lting in ‘silence’. silence’. The The audio pressures or vibrations upo n the Triangles Triangles of Arte in conjun ction with the personal energy of the Magician, excite the compacted static energy within the angles until an apex is reached and the energy released, much as in sexual orgasm. Here lies the process of frustration, excitation an d rele release ase.. As stated this typ e o f hyp ersexu al fru stra tion is especially especially seen seen within the polygon of the trapezoid, unable to connect with its missing counterpart (the triangle) creating union, and streamlining the flow of energy contained w ithin. ithin. Co ntrar y to po pu lar bel belief ief, there are no exact exact correct words of pow er to be said sa id in a rite. All th a t is im p o r ta n t is th t h a t the th e M ag icia ic ian n fully fu lly in fu se th e ir words with emotion and Intent. When this is done, the Magician imprints his Intent onto and into the Co nsensual Reality Reality M atrix and changes changes the cod ing, or structur e for an outcome th at was personally desired and would not norm ally come to pass. pass. Deep vibrations vibrations of Magical Intent make more of an impact and get better results as the energy is imprinted more deeply onto ‘re ality ali ty ’. Tho ugh this t his varies as th ere are a re tim es a Magic M agic ian’ ian ’s Inten In ten t can be so strong that their words can be whispered and still have devastating effect.
“It is not known kno wn to me whether any o f my readers readers have witnessed any kind of magical ceremony, or heard an invocation recited by a skilled practitioner though I should say few fe w have. have. The
tone always adopted is one which will yield the maximum of
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vibration. For many students a deep intoning, or a humming, is one which vibrates the most.” I s r a e l R e g a r d i e ,
‘F o u n d a t i o n s
o f
P r a c t i c a l M a
gic
'
An example of the use of pure emotional vibration can be seen in gri moires such as , “Tuba Veneris: Libellus Veneri Nigro Sacer” that use barbarous rous words of power. The The words them selves have no m eaning, eanin g, they th ey are solely solely there to be used as a vibrational vehicle upon which the Magician’s Intent travels. In such rites, pure vibration and intent is all that is needed to accom plish the th e ritu ri tual al bein be ing g perf pe rfor orm m ed. ed . “Long lists of divine divi ne names nam es and an d words of o f Pow Power, er, sometim som etimes es called Barbarou Barb arouss Words o f Power, were reci r ecited ted in the fo rm o f Solom on revealed to Ptolemy Pto lemy we find fin d litanies. In the Clavicle o f Solomon the instruction that once the magicia mag ician n had ha d recited reci ted all al l these adv ised: “Heare Hear e let names nam es with the utm ut m ost os t devotio dev otion n one was advised: the maiesty maie sty of o f god cum in.” 'the 'the implication is that by calling calling upon the hierarchy of divine names, the operator was invoking those specific specific aspects aspects o f G od’ od ’s holy powe po werr and an d focusing focu sing it into the magic circle and thus bringing it into the person therein.” W i l l i a m K i e s f . l ,
‘M a g i c C i r c l e s
in t h e
G r i m o i r e T r
a d i t i o n
’.
It is clear that even though the Forces being called forth in this example ■ rig rigina inate in Order, th e base science is the same; a pa ttern tte rn of vibratio vib ration n is laid down as the vehicle, while the emotional Intent is the passenger. Another example of this can be seen in Lovecraft’ Lo vecraft’ss works. His use of o f seeming ly un un pron pr ono o unce un ceab able le nam na m es for fo r the th e Ol Old d Ones On es a n d th e ir evoc ev ocat atio ions ns is well know kn ow n. He has m axim ized the vibra tional tiona l scienc sciencee so contact is more easil easily y made between intelligences. I have featured his barbarous words in the Yog~Sothoth evocation within “Volubilis E x Chao Ch aosi sium um” ”, “1 call cal l ou o ut to, and into, the primordi prim ordial al absolute absolute chaos chaos o f the the darkened da rkened abys abyss, s,
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/ call to the endless void of absolute silent black,
that lies in the deep waters of cold truth, I call to you, you, to bring ‘H im ’ fort fo rth h ... I call to the A llll - I n - O n e A n d One~In~All, One~In~Al l, the all seeing one who dwells dwells in the negative light of o f cold understanding understa nding,, I call you yo u Beyond Bey ond One, One, into this dark Temple to become the Gate, I Call Call Yog-So Yog -Sotho thoth th ! I Call Call The The Gate Kee K eep p er! er ! Come Forth Yog-Sothoth !” “Yog-So Yog -Sotho thoth th knows know s the Gate, Gate, Yog-Sothoth is the Key and Guardian of the Gate ! Yog-Sothoth you are are now called calledfort fo rth h to take form fo rm as the Trinity O f Triangles, to manifest as the Three~In~Nine and Become the Triangles, so that I may open open Your Gates Gates and an d summo sum mon n forth the Old One Ones, s, so I may answer Their call, and so They may answer mine ! Yog-Sothoth Yog-So thoth I call call you to manifest mani fest as the Trinity O f Tria Triang ngle les, s, Yog-Sothoth become the Gateway Between ! Yog-Sothoth Become ! H ’gai gai - n ’gha gh a ’ghaa gha a - bugg-shoggog bugg-shoggog - y ’hah; Yog-Sothoth Yog-Sothoth - Yog-Sothoth... N ’gai gai - n g h a ’ghaa ghaa - bugg-shoggo bugg-shoggog g - y ’hah; Yog-Sothoth - Yog-Sothoth... N gai g ’ ai - n’gha’ g ha’ghaa ghaa - buggbugg-sho shoggo ggog g - y ’hah; hah; Yog-Sothoth Yog-Sothoth - Yog-Sothoth... Yog-Sothoth... Ygnaiih Ygnaiih - Ygnii Ygniih h - Thflth Th flthkh’ kh’ngha ngha - Yog-S Yog-Sotho othoth, th, Y ’bthnk bth nk - H ’ehye ehye - N ’gr gr kdl’ kd l’lh... lh... Ygnaiih Ygnaiih - Ygnii Ygniih h - Thflth Th flthkh kh’’ngha - Yog-Sot Yog-Sothoth hoth,, Y ’bthnk bth nk - H ’ehye ehye - N ’g rkd rk d l’lh... l’lh... Ygnaii Ygnaiih h - Ygniih Ygniih - Thflthk Thf lthkh’ h’ngh ngha a - Yog-S Yog-Soth othoth oth,, Y ’bthnk bth nk - H ’ehye ehye - N ’gr gr kdl’ kd l’lh... lh... Yi-nash-Yog-Sothoth-he-lgeb-fi-throdog Yah ! Yi-nash-Yog-Sothoth-he-lgeb-fi-throdog Yah ! Yi-nash-Yog-Sothoth-he-lgeb-fi-throdog Yah Yah !”
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Let Vie Vi e Gateway Be O p en ed !
Again, Again, we we see see such seemingly ran dom do m compilati comp ilations ons of letters also also w ithith г. the Enoc E nochian hian Magical Mag ical System, System, where the nam es of the Angels and such ire based on a vocal system that is vibrated such as the Enochian Keys or ills. ill s. Also in th e E noc hian system system we see see these vocal vocal vibrations being used г conjunction w ith the Sigi Sigill dei Emeth, or th e Sigil Sigil of Tr uth which contains -.any angles of frustration containing static energy. And, in the controver•:al “Tuba Veneris: Libellus Veneri Nigro Sacer”of the 16th century cen tury,, also said :: also be of John Dee’ Dee ’s hand ha nd,, we see see again the use of barba ba rbaro rous us words w ords in the -.vocation -.vocationss given for the Spirits. Spirits. Here H ere is an example o f the invocation invoc ation given given r the Spirit Mogarip, “Mogarip Moga rip!! Mogarip! Moga rip! Mogarip! Mogari p! а Teinach Algaz lgazot oth h Syrath Amilgos Amilg os Ivlurzocka Ivlurzocka Imgat Im gat Alaja Ala ja Amgu Am gusta staro roth th Horim Ho rim Suhaja Mogarip! Ivlog Ivlogar arip! ip! Mogarip!
As well, within the traditional Voodoo/Vodoun systems the heavy virration o f dru m s is utilized utilized to excit excitee and trans m it the em otion of the masses :o the Lwa they are attempting to contact. An amazing first hand account : f a Vodoun rite which incorporated the use of drums, is given by Richard Loederer Loederer in his boo k “Voodoo Fire in Haiti” publ pu blis ishe hed d in 1935 1935,, “A s we rode through throu gh the night, the drum dr umss were beating beat ing again - but with a new rhythm r hythm that th at I had never heard heard befo before re.. I was keyed up to a pitch o f perspiring persp iring excitement, fearin fea ring g what wh at was to come come and an d ye yett unwilling to turn back. back. We we were re about abo ut to participate parti cipate in a monstrous performance, an orgy which not one white man in a million millio n has h as ever seen. seen. Tonight Tonig ht was a Voodoo Fire Fire,, and an d we were were to be pres pr esen ent” t”.. . “The The path pa th climbed upward upwa rd among am ongst st the jagged hills. Below us lay the town and, far off, the sea, glittering in the moonlight. It was a warm night, yet the pale rays of the moon cast a chill chill aura o f malig ma ligna nant nt evil over the whole scen scene. e. We rode rode through a cemetery where where the whitewashed tombstones flitt fl itted ed
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past pa st like serried ranks o f ghosts, then the dark shape o f trees trees ros rosee up again on either side, stretching their gnarled branches in our way. And all the while the hollow booming of the drums rang in our ears ears;; now nearer nearer,, now furthe fur ther, r, rising and falling in subtle caden cadences ces.. Often it seemed as as if i f the sound sou nd were were no more than h a lf a mile away and an d then it fad fa d e d into a distant distan t throb throb.. Strange... the nearer we we approache approached, d, the fain fa inte terr it became. became. B ut it never died completely completel y away nor ever varied its rhythm. rhythm . There There were two distinct phases in the refrain. First the short, staccato: Tom-titi-tom...luring and enticing; then the surging, heavy Boomboom, th reaten rea tening ing and an d compelling. compelling. The The drum dr um s were were call calling ing,, they drugged the will until all resistance resistance died. died. I realized re alized with impote im pote nt horror tha t it was impossible impossible to turn back back;; the power pow er o f the drum s was too too great.” R i
c h a r d
Lo
e d er e r
One can clear clearly ly see see the importance impo rtance of o f the Vodoun dru m and the atm osphere it creates to literally draw in all who hear it and project their energy onto the Lwa they are attempting to contact. The drums are central to tap ping pin g into the hum hu m a n psyche and an d pullin pu lling g out its prim pr imal al natu na ture re to be utilized utiliz ed as a power source source for contacting hum hu m an and nonh no nhum uman an entitie entities. s. I also also find find it interesting th at this th is first hand han d account reads very much like that tha t of Lov Love e craft s sequence Nyarlathotep Nyarla thotep publish pub lished ed in 1921, where the th e m ain ai n chara cha racte cterr is compelled against his will into a vast swirling vortex of destruction and death, driven by the mad ma d sound ot beating dru d rum m s and a nd shrill terrifying terri fying flut flutes es,, My M y own colum co lumn n was suck su cked ed tow ard ar d the open country cou ntry,, and presently fe lt a chill which which was not o f the hot ho t autum a utumn; n; for as we stalked out of the dark moor, we beheld around ns the hellish moon-g moo n-glitte litterr of o f evil snows. snows. Trackl Trackless ess,, inexplicable inexplica ble snows, swept asund as under er in one direction only, only, where lay a g u lf all the blacker fo r its glittering gli ttering walls. lls. The colum co lumn n seem se emed ed ve very ry thin th in inde in deed ed as it plodded plod ded dreamily drea mily into the g u lf”. lf”. . : ’As As i f beckoned by those those who had h ad gone befor before, e, I h a lf floated between the titanic snowdrifts, quivering and afraid, into the sightless vortex o f the uni u nim m agin ag inab able le.” .”.. .. A n d through through this revolting revolting graveyard graveyard
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of the universe the muffled, m adde ad deni ning ng beating bea ting o f drums, drum s, fr o m and an d thin, monoto mo notonou nouss whine o f blasphem blasp hemous ous flu tes te s fro inconceivable, unlighted chambers beyond Time; the detes de testab table le pou po u ndin nd ing g and an d pipi pi pin n g whereunto dance slowly, awkwardly, and absurdly the gigantic, tenebrous ultimate gods - the blind, voiceless, mindless gargoyles whose soul is Nyarlathotep.” H.P.
Lo v e c r a f t
There is is a science to openin ope ning g the Gateways Gateways of o f the ‘In-Be In- Betwe tween; en; it is foun fo un dс. in three thre e base principles; the use and a nd release release of o f static energy w ithin ith in angles, angles, he Intent of the Magician, Magician, and the Vibration to imp rint the Ma gicians Inent ent upon the Consensua Cons ensuall Reality M atrix. W ith these tools, tools, all is possib possible. le.
с R e q u i r e d R i t u a l To o l s agical tools vary greatly from one system to another, they are not the main focus of a rite, but a vital part of it. They are the means through which the Magician manipulates and comm unes with the spatial spatial energy of the ‘Consensual Reality Matrix'. Ma trix'. It is through these vital elements that the Magician '.apes reality around him. Magical tools are energetic pieces of the whole, mch contain specific energetic properties that correspond to one another, me Magician and to the magical rite itself, thus empowering it. They are aligned as well, to draw out energy from the Magician to be focused on a recific magical task. This This system has few magical tools employed, it is pow erfully simple, an d : focu focuses ses on the M agician being the magical en ergy source for the rites in::ved. The tools that are utilized, are used for evocation, direction/com- a n d and protection, and are drawn from ancient magical magical praxis. praxis. They They are are me simple key elements that help provide and manipulate the power of the : .ack .ack M agician to the Magical Engine t ha t is the T riangle of Arte. Magical tools have also been seen as beneficial visual props, pro ps, they help to r ut the Magician M agician into the correct state of m ind in ord er to unlo ck a nd fully milize the hidden energy forces that are already at his command, that lie a ermant un til stimulated/activated. stimu lated/activated. This This system system utilizes utilizes a bit of bo th of those practices, co mb ining them in a ■ay that is potent magically as well as visually, emerging the Magician into me deep deep needed state state of m ind to perform the task at hand. The magical tool toolss r. combination with the incense, words of power, Circle and Triangle of :.rte, create the ideal gath erin g of energy. energy. These These elements set an d prepar pr eparee the s:mosphere for the Magician to open the passageway ‘Betw Be tween een the Spa S paces ces’’,
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allowing for interaction to occur between intelligences, be they spiritual, alien, alien, or o r other. Ch
a l k / F l o u r / C r u s h e d
Eg
g s h e l l s
: Chalk, flour and crushed
eggshells are used in this system to layout the Magical Circles and Triangles of Arte. The choice of material is left to the Magician, however one should consider where the ritual ritua l is to to be held held when deciding, as some m aterials may be appl ap plie ied d b e tte tt e r th t h a n the th e othe ot hers rs.. Br
a s s
La
m p
/In
c e n s e
Dis
h
: Staying close to tradition, I have found
that using an Arabic brass lamp for an incense burner adds a lot visually to the ritual. However However any brass incense hold er will work. work. The The lamp is not specificall cifically y needed , and an d can be considere d a magical mag ical prop, thoug tho ug h as stated such prop pr opss can ca n be benefi ben eficia ciall to the th e M agici ag ician an.. A seco se cond nd bras br asss ince in cens nsee dish di sh is also als o needed for the Magician to burn the Words of Power, Sigils and Evocations. The The lamp lamp and dish can be inscribe d with Lunate Script to empower them. Cut strips of parchment paper is used to inscribe Sigi Sigils ls,, Evocations an d W ords of o f Power onto. These are bu rn t before, befo re, d u rin ri n g a n d afte af terr a rite. ri te. St
r ips
O f P a
r c h m e n t
Pa
p e r :
A scepte scepterr ofblack thorn , ebony or oak is used, as these particular woods hold magical qualities that are in tune with the darker chthonic aspects of magic, namely death and the underworld and the gateways between. The scepter can be inscribed with Lunate Script to empower it. Bl
a c k t h o r n
/ E b
o n y
/Oa
k
Sc
e p t e r :
A sword is used in this system as a show show of strength stren gth and authority. au thority. Because Because these D jinn carry ca rry out the M agician’s agician’s com co m m and an d does not mean that they don’t wish to tear him apart as well. These entities are dangerous a nd wish all all hu m anity pain and death, the Magician Magician is no exception. However, However, they will be guide gu ided d by a Black Black M agician as they are pleased at any op po rtun ity to spread disease disease and death, especia especiall lly y if they know th at the Magician will call them forth again. Djinn can be hurt, possibly killed with ONE strike o f a sword, sword, any additional additional strikes will will render the Djinn imm une to attack a nd it will will surely be upon up on you. you. However However,, the sword tru ly is utilized Ma
g i c a l
Sw
o r d :
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R e q u i r e d R i t u a l
To o l s
is a
repres entation to the D jinn that the th e Black Black Magician is a w arrior arrio r as they ire, and that he will light, it is a show of personal strength, rather than a r.reat. It is there to establish a silent respect between two warriors that may cot be on the same side, though forge a truce to accomplish similar goals. B l o o d : This has been discussed. s a c r if ic ia l
sacrificial bowl is used to contain con tain the blood b lood spilt B o w l : A sacrificial
curing ritual. It is not to be used for any other purpose, and kept wrapped c a black silk cloth when not in use. To empower it further, Lunate Script ■employed. This assortment of magical instruments is all that is needed in this svstem. These tools all have an important role, however, the power source rehind reh ind all all this occult science, science, lies lies w ith in the th e Black Black Magician. There are magmag ical engines within this system such as the three Triangles and Circles of Arte , though it is the Black Magician that is the ‘Key’, the core and central magical engine that drives all else forth. It is with the use of these magical : cols that the Magician raises and directs the needed energy to complete the rite. Of course as stated, this system must be personalized to be effective, therefore the Magician must add their own elements into the system where they feel they are needed.
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his rite rite is designed to align o r more accura accuratel tely, y, realign the M agician’s cian’s energy to that o f the tru e Chaos cur ren t that flow flowss thr ou gh all who are o f the th e LHP. LHP. This rite is design ed Lo conn co nn ect ec t the M agiag ician with the pure Black Snake Current of Chaos. Here the manifested form of Chaos is seen and worked with as a Blackened serpent, representing the true form of Chaos. This rite does not need to be ^reformed immediately before evoking the Djinn, but is recommended to nelp nelp cultivate cultivate energy energy with in the M agician. agician. This ritual has been ad apted from a Nyarlathorep working, though there is little difference between Nyarla :hotep as a face of Chaos and Chaos itself, and so readily applies within this system. This working is to be held outside at dusk where it is quiet and you will not not be distu rbed . You will will need a red cand le an d small bowl of consecrated '.ea '.eate ter. r. Find ‘Your Place’ Place ’ by walk ing the th e area a rea a nd ‘feeling’ wh ich specific spot will be suitable for your work. It could take time, but do not rush this proces cess, it is is very imp or tan t to locate locate the correct area upon the earth ea rth which which you will perform your rite. Once you have found your proper work space, create a circle upon the Earth nine feet in diameter out of whatever natural material may be presently available, such as rocks or branches from nearby foliage. Pour the consecrated water into a clean bowl (if not already there), and stand outside the circl circlee with it before you, state clearly with in tention tenti on,, “Let Let this circle circle of A rt be empo wered and an d cleansed cleansed by the shadows shadows o f these d ark waters of the the InBetween" InBetween"
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Sprinkle the sacred water in th e closed closed circle circle with your first and middle fingers, covering its entirety, though being careful to reserve some. Once done, place your fingers upon your forehead where your third spiritual eye rests and state, “Let “Let this vessel vessel of fles flesh h be cleansed a nd prep ared are d for the sin ister Spirit of the Blackened Blackened Snake Snake th at winds His way way ever ever throug h th is reality” Walk into the circle of Art and sit down cross legged, slow your pulse and breathe deep. deep. Light the red candle and place place it just inside inside the edge edge o f the circle circle directly in fro nt o f you, ma kin g sure to place place the sacred water bowl to the left left of it, it, and an d state, state, “Black Black flame flame o f Chaos eter nal, ignite the fire firess in the realm s of Twilight Twilight and p erm it passage passage into th is world from Space Spacess In-Between” Dig down a nd put a small small am oun t of top soil soil in the palm of each each of your hands, resting them face up upon your knees, connect with the Earth and the Air. Close your eyes and meditate, calm yourself clearing your mind of all internal dialogue. Visualize a black hole about 6”in. in diameter just below belo w the th e cent ce nter er o f your yo ur chest ch est,, w here he re yo ur sola so larr plexu ple xuss is locat lo cated. ed. Visua Vi sualiz lizee you are but a shell - empty, and that hole leads to your inside. Now visualize a sinister black snake directly facing you about 6’ft. in front of the circle of Art. Lock eye eyess with the t he serpent, serpe nt, ‘see’ it and con nect with it - invite it in, in, for it is Chaos manifest. Watch as the snake slithers silently toward you, the circle is not there to keep it out, but lo conc entrate energy into a purified area, the blac bl acke kene ned d serp se rpen en t has ha s no trou tr ou ble bl e cros cr ossi sing ng the th e b o u n d a ry th a t divid di vides es you. It stops inches from you and raises its head up to the level of the hole that resides wit hin hi n you, a nd you see see its head ente r your yo ur body, feel feel the black scale scaless sliding into you. As it enters you, it is coiling itself under the hole you have envisioned. Feel the entire serpent coiled up within you, filling your chest cavity. Feel its weight and strength. When it has finished and is still, feel it growing in strength, pulsating, it draws stre ng th from you in wave waves, s, getting stronger then leveli leveling ng out, getting
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wronger then leveling out, until you can hold the Serpent back no more. As it has nearly drained you of all energy, it bursts forth from you, shoot ng its strength throughout all your limbs, filling your empty shell with His unworldly Black strength. As the serpent leaves your body it sheds its vein, leaving its essence to ever reside within. See the Black current flowing :n rough you, completely filling filling you. Visualize t ha t a bu nd ant an t energy ene rgy flow flow from the hole of its exit begin to cover your body. See it expand out across vour ches chestt in all directions, quickly flowing flowing over over your stomach, aro un d and rp vour back, out and down each leg leg thr ou gh your feet, feet, ove overr you r shoulders and down each arm, through your hands and fingers, feel it race up your neck, eck, ove overr your fac facee and th rou gh your hair. Open your m outh and dr ink it n it has washed over and through you. You are now cleansed and filled with the power and essence of the Blacked Serpent of Chaos...Open your eves. You You have now the prim pr im al force of dark ness nes s forever within . This This m editatio edi tatio n is very power ful, and an d leaves leaves one ‘seeing’ ‘seeing’ the world in a Affere Afferent nt way way than before before it began. It is is recom me nde d t ha t this rite be done ever every y three m onths on ths to reenergize an d align your energy w ith the Black Black cu rrent of Chaos.
Г) Th e C o n j u r a t i o n O f Th e Et e r n a l Bl a c k Fl a m e “Fire Fire,, in all things, a nd through thro ugh all a ll things, comes and an d goes away bright; it is in all things bright, and at the same time occult and unknown.” Di o n y s iu s
ire is a violent violen t force of elemental elem ental energy, energy, it destroys, destroys , and a nd yet from the scorched Earth it brings forth new life. Fire is transition; it is a change change in a drastic an d often insta nt m anner, crea ting new form form from old. It is Alchemical in both its essence and action, existent upon the physical plane, yet holding properties that are ethereal as the Spirits themselves. Tie Black Magician who is in tune with his environment is able to feel these occult essences, and have for aeons worshiped and given h on or to this t his ‘Spirit of Fire’ th at they th ey instinctive in stinctively ly are aware of of. The Conjuration of the Eternal Black Flame/The Conjuration of Fire pres pr esen ente ted d here he re take ta kess on a diff d iffer eren entt m ea n ing in g t h a n w hat ha t is no n o rm a lly ll y ass a ssoc ocia iatted with the rite. The Conjuration of Fire within the “Goetia” is designed to threaten Demons with an ever ever increasing increasing degree degree of pain and wrath, if they they do not appear to the Magician when first called. This rite is horrendous. The first call is made, if no response is detected, a second conjuration is given. At this point if still no response by the Demon, the threats begin to make themselves themselves known . First the ‘C ‘C on stra int’ in t’ is given given threa tening teni ng to,
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Sm o k e l e s s
Fir e
.curse and deprive deprive you (the Demon), fro fr o m all your yo ur offic office, e, Joy Joy & . .curse place, and an d binde you yo u in the depth o f ye Bottomless Botto mless p it There There to remaine unto the day of the last Judgement, and I will bind you into Eternal Ete rnal fire & into the lake o f fire fire and an d Brimstone, unless unless you come fort fo rth h w ith it h and an d appeare heere heere before before this Circle Circle to doe my will in all things.” “T h
e
L e s s e r K e y
o f
S o
l o m o n
’,
E d i t e d b y J o s e p h P e t e r s o n
After reading this, is it any wonder why the Demons would despise the Jude o/C hristian M agician, agician, and why he he would need prote ction from them ? The conju ration alm ost reads like like a spoiled spoiled child child throw ing a fi fit, dem and ing he get his way or else’. Following the ‘C ‘C on str aint ai nt’’, ther e rem ains ‘The ‘The Inv ocation cati on of the th e King Ki ng’’, followed by ‘The ‘The Gener Ge neral al C urse ur se’’, followed by ‘The ‘The Co njunj uration ratio n of Fire’, Fire’, ending en ding with ‘The Curse’ Curs e’.. Each ro un d of thr eats ea ts becom e mo re degrading and prom ise more pain. pain. Though the D jinn within this system system difdiffer from the D emo ns of the Goetia, they are also also dangerou s an d would gladly tear the M agician apa rt, they are no t to be threaten ed or disrespected, it is is not the way to work with t hem and will yield yield negative negative results, results, not to m ention gain enemies the Magician surly would not desire.. .nor have for long. There is is a very fine balance o f power between be tween the Black Black M agician and the Djinn, it is more o f a partn ership or silent silent und erstand ing between between the two, than it is a master and servant relationship. The Magician conjures them to destroy; destroy; they come because they enjoy enjoy inflicting inflicting great pain upon hum anity. The Magician is human; they overlook this as they wish to be called again for the op po rtu nit y to be directed at new targets. targets. However, However, if they are disrespected, there really are no safeguards that can hold them at bay; this is why these rites rites must be und erta ken with such great great caution. caution. O f course the sword implemented does offer some protection, though very little. Imagine if you will, fighting an incredibly malicious, interdimensional, shapeshifting and sometim es invisible invisible entity that is as as old as time, time, t hat has seventyone angry br o ther th er s an d sist si ster ers. s... ..o o n ly a rm e d w ith it h a sword. swo rd. I t ’s possi po ssible ble the th e M agic ag icia ian n could co uld get lucky lucky,, but bu t it’ it ’s not no t likel likely. y. The The sword is a repr re pres esen entati tation on to the th e Djinn Dj inn,, that the Black Magician is a warrior as they are, and that he will fight. It is a show of strength. Showing weakness and fear in this situation will only result in ruin.
-S- 92 92
Th e C o n j u r a t i o n
O f T h e E t e r n a l
Bl a c k F l a m e
The rite described here has a completely different aim than the Goetic Con juratio n o f Fire’, Fire’, it is is not used to thr eate n the D jinn, bu t to raise the essence essence of the ‘Etern al Black Black Flam e’ that th at lies lies in th e D arkn ess of True Chaos. Fire is the elemental essence of Djinn, it flows as blood through their veins, it is a purifying ethereal flame which gives off no smoke. Fire destroys, but also cleanses, these Djinn are of that essence, and that is why they are being set set loose loose with the creation of this tome; to cleanse and prepa re the Ea rth for for new grow th. As the Aligning rite already described harmonizes the Magician with the true force of Chaos, the intention here is to conjure and give honor and respect to ‘The Eterna l Black Black Flam e’ tha t is not o nly the pure pu re essence of the Djinn, but also also o f all all those tru e b orn of Chaos. Chaos. By perfo rm ing the ‘Aligning Ritu R itu al’ w ith ‘The Co nju ratio n of the Etern al Blac Black k Flam e’ (not at once) once),, the Magician increases his spiritual personal energy by connecting to the source’ sou rce’ of bo th ‘True Tru e C haos’ hao s’ an d th t h at o f ‘The Eterna Ete rnall Black Flam Fla m e’. e’. True Chaos is the body, while the Eternal Black Flame is the core, the blood and and
wisdom that flows within. This rite is to be performed at night under the stars, preferably in a desert like area where the Magician will not be disturbed. The Triangle of Arte employed is designed to concentrate the essence of ‘The Eternal Black Flame’, Flame’, this is accom plished by the use o f ‘The Infernal Infern al Tra pez oid ’. W ithin ithi n the Triangle of Arte, a trapezoid is incorporated. As already discussed, the trapezoid is a very powerful geometric design that has built up static energy. This particular trapezoid is further ‘frustrated’ by being surrounded by triang les on bo th of its sides sides as well well as its its base, while the w hole is a triangle, triangle , vet none on its top, where energy would flow more smoothly. This agitated trapped energy can be compared to sexual frustration; the trapezoid being representative representative of the male, while the m issing or unaligned triangle that is to complete the union represents the female, being placed just out of reach. If union were to be achieved, a ‘release’ ‘release’ of static static energy en ergy would then th en be radiated radiate d out of the now complete comp lete triangle. trian gle. This is is why the tria ngle ng le is such a powerf ul force within esoteric magical wx>rk, it is a union of opposites into one flowing ing form, d uality becom ing one as is represented i n the Baphomet. Baphomet. O f course all of these geom etric designs designs (three triangles an d a trapezoid) trapezoid) are within one large triangle, sealing and concentrating the built up static energy of all all w ithin is borders.
Th e
В о о к o f
Sm o
k e l e s s
Fir
e
Th e
В о о к o f
Sm o
k e l e s s
Fir
e
W ithin the trap ezoid a fire fire is is to to be built so the p ure elemental essence essence of the flame may be made manifest, truly concentrating great elemental force within the Triangle Triangle in com bination with the static static energy of the combined geometric designs, creating a true portal and link to ‘The Eternal Black Flame’. The Magician should be within the Triangle of Arte, in the large triangle below the trapezoid to recite recite the co njuration.
Th e C o n j u r a t i o n : “I call to the Eter E ternal nal Black Flame, Flam e, Vie Obsidian Fir Firee that tha t eve everr hum hu m s deep within the heart hear t of o f Chao Chaos, s, I conjure the essence essence of o f the Abyss, Abyss, the lifeblood o f the Blackness, Blackness, Come Come forth for th and Be’ with in the Infern Infe rnal al Trapezoid before me. me. ‘ the Flames within Devourin Devo uring g Light o f never ending end ing Wisdom, Burn Bu rnin ing g Flame Flam e o f All, Come for fo r th on this thi s Night before the Stars...
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Th e C o n j u r a t io n
O f T h e E t e r n a l
Bl a c k Fl a m e
Th e C o n j u r a t io n
O f T h e E t e r n a l
Bl a c k Fl a m e
Searing Searing Darkness Darkness that guards the pure gnosis gnosis o f Truth Truth,, I conjure conjure you for fo r th to burn magnificently befor beforee me, To foreve for everr be a representation representation o f the Divine Spark of o f Illumina Illu mination, tion, That resides within my flesh, as well as without. Scorching essence essence o f Chaos, Chaos, I call you fort fo rth h to raise raise the black flame fla mess within me to match your blinding brilliance, I call call you forth for th to engulf eng ulf me in your yo ur Unholy Unholy Black Black Light, Light, I call call you yo u forth to clean cleanse se me with you y ourr puri pu rity ty in Darkness. Darkness. Destroyer of Lies Lies,, Guardian o f Trut Truth, h, Spirit o f Darkness... Darkne ss... Come forth and flow through me as Tire in my veins, Blazing Blazi ng with aferoc fer ocity ity that tha t has no equal. equal. Spirit Spir it of o f the Eternal Black Flame Flame,, I call call you yo u fort fo rth h ! Unholy Ghost of the Abyss, I call call you fort fo rth h ! Divine Darkness o f Light, Light, I call you yo u fort fo rth h ! Ib is con juration sho uld be recited recited three times with tru e reverenc reverence. e. Once recited the Magician should meditate, clearing his mind of all internal dialogue, feeling The Eternal Black Flame burning brightly within. The fire should be allowed to burn out on its own, thus ending the rite. As the fire bu b u rn s down do wn,, the th e E tern te rnal al Black Flam Fl amee w ith it h in the th e M agic ag icia ian n grows gro ws stron str onge ger, r, until all the energy has been transferred from the physical fire to the spiritual within.
Th e Se v e n t y -Tw o I n f e r n a l D j i n n
1• M A H M A S - Appear Appearss as a tall tall and con confi fiden dentt man havi having ng a goat goatss head. He has long black hair that hangs down past his chest. He resides in the deep shadow s of o f holy places, places, showin g his powers are not restrained by the powers of Order. He is known to cause overall general distress and chocking to his victims resulting in pa p a inf in f u l deat de ath. h. His Hi s sigil is: is:
97
Th e
B o o k
o f
Sm o k e l e s s
Fir e
Th e
2.
B o o k
o f
Sm o k e l e s s
Fir e
M U N I S Appears as a tall m an having having only one eye, ye, with the cloven cloven fee feett of a mule. A black black serpent serp ent is entw ined aro un d him , a sign of the powers of Chaos. He resides in lonesome graves and desecrated desecrated burial grounds. W hen he attacks attacks his victims victims he cha nges his appearanc ap pearanc e to th at o f a black viper. viper. He causes causes painfu pa infull death like tha t of o f one dying dy ing of a venom ven omous ous snake bite. His sigil sigil is is:
■ 9 8 ■
T h e Se v e n t y - Tw o
3.
In f e r n a l
D j i n n
N A Q I Q Appears as a beautiful wom an with long long black black hair, hair, having hav ing the body b ody of a large and po werful we rful lion. She She resides resides in waters that lie along the shore lines of any coast. When she attacks her victims while awake, she causes paralysis. However when the victim is sleeping, she causes 'sinking death’. Her sigil is:
■■■ 9 9
T h e B o o k o f S m o k e l e s s F i r e
4.
M A J I D Appears as as a tall m an with a can ine’s ine’s head. His left left hand is that of a mans holding a large golden staff, and his right is that of a canine’s. He resides in desolate and wild places and in ancient wells. When he attacks his victim, he causes inflammation of o f the stom ach with p ain so terrible, that it renders his victim senseless. His sigil is:
о Ц
1 0 0
) s d
T h e Se v e n t y - Tw o In f e r n a l
D j i n n
T h e Se v e n t y - Tw o In f e r n a l
5.
D j i n n
J A D H B A H Appears as a tall m an with a sing single le eye, eye, having the pow po w erfu er full hin h in d legs of o f a gold go lden en lion l ion.. He star st ares es inte in tent ntly ly at th t h e M agiag ician when evoked. evoked. He resides resides in dark da rk water fille filled d canals. W hen he attacks his victim he causes causes paralysis, paralysis, then the n feasts feasts on the fles flesh h and infects infects the th e blood while the victim lies lies helpl helpless ess until unt il d eath ensues ensues.. His sigil is:
сЦ
Th e
1 01 0 1 ) s d
B o o k o f S m o k e l e s s
Fir e
Th e
6.
B o o k o f S m o k e l e s s
Fir e
Q E L Appears as as a tall m an holding a large large black hor n used for for calling. calling. He inhabits roads, both bo th physical physical and dimensiona l, thoug h is not the road itself. He causes extreme weight to befall his victim, giving the sensation of being crushed under a large boulder, leaving the victim paralyzed. His sigil is:
оЦ 102 )so
T h e Se v e n t y - T w o I n f e r n a l
D j i n n
T h e Se v e n t y - T w o I n f e r n a l
7.
D j i n n
A L G H U L - Appears as a large large black black crow crow having hum an hands, and the legs legs and head o f a mule. mule. It has has long matted dirty hair that hangs down to the ground. It resid resides es in lonesome lonesome dark ru ins and desolate desolate rocky areas. W hen it attacks its its victims it causes causes m en to be lead lea d astray, astr ay, o p en ing in g o the th e r p a th s t h a t lead lea d to r u in . O f cour co urse se this can be take t aken n literally or symbolically. symbolically. His sigil is is:
аЦ Ю З )©=
Th e
8.
B o o k o f S m o k e l e s s
Fir e
S AJ I Z - Appears as a large large black black raven raven having hu m an hands and the ears of a donkey. It resides in the extreme elevation of all mountains. When it attacks its victims it causes violent sickness and horrible disfiguring, spread ing disease to en gu lf the v ictim ’s body. Its sigil is: is:
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T
S
T
I
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T h e Se v e n t y - T w o I n f e r n a l
9.
Diinn
A L R A W ’A H / A L R U ’H A ppears ppears as a large large beautiful beautiful peacock wearing a gr and an d golden crown, holding a he rds m an ’s st af f , with a large large colorful spread out tail. It resid resides es in the d ark d epths of caves, grottos and underground areas. When it attacks its victim it causes extreme fright for three seemingly endless days without rest, causing one to fear any light, leaving them in horrible darkness ness both of the m ind and body. body. If not cured in three days days time, time, the victim’s sight will become permanently damaged or lost. Its sigil is:
105
Th e
B o o k
o f
Sm o k e l e s s
Fir e
10. M D Y A N Appears as as a tall m an having one eye, eye, with the body of a blackened serpent. He holds a drawn silver bow poised to strike. He resides in the waste and rubble of men. When he attacks his victim he causes painful paralyzation and complete loss of bodily control, then enters them as a serpent, possessing them for up to three years. His sigil is:
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T h e Se v e n t y -Tw o
In f e r n a l
D j i n n
11. L A T U S H Appears as a dark hooded mo nk with long long black black hair, having a crow upon his head. He holds an elaborate golden staff in his lef leftt hand. He inhabits islands that reside reside cradled w ithin the sea seas. W hen he attacks attacks his victims he causes causes painfu l stra ngu lation until death. His sigil is:
о Ц 1 07
Th e
B o o k
o f
Sm o k e l e s s
Fir e
12. AL D UL AT WA H I R A M AL SE BY AN Appe Appear arss as a womwoman from the waist down, the remaining upper half is that of hideous eous a seven seven headed goat with black black hum an hair th at hangs down to the ground. She carries a scared boy in her arms. She inhabits all mountainous regions. When she attacks her female victims, she attaches attaches to the sk in of o f a pregn pre gn ant wo m an until u ntil she give givess birth, then she painfully pinches the child until unt il it bleeds, bleeds, whereup wh ereupon on she feeds feeds on it. it. U pon feeding she infects the child with a pu trid sicksickness that leaves it horribly disfigured until painful death ensures. This pa rticu lar Djinn D jinn is strikin g in appeara nce. Her sigil sigil is:
аЦ
10 8
T h e Se v e n t y - Tw o
In f e r n a l
D j i n n
13. A L U Q Appears as as two beings beings embracing embracing one another, though join jo ined ed in one on e form for m ; one on e a h ideo id eous us dise di seas ased ed m an, an , a n d the th e o ther th er a bea b eau u tifu ti full w om an w ith it h large lar ge blac bl ack k bat ba t wi wing ngss u p o n h er back ba ck.. The righ t leg leg is is tha t o f a mule, while the th e left left a powerfu l lions. They reside in thick bushes and brush as well as in desolate ruins. When they attack their victims, victims, they cause extreme fright until insanity ensues. Their sigil is:
Юу
Th e
B o o k
o f
Sm o k e l e s s
Fir e
14. D A N H A S H Appears as a massi massive ve silv silver er lion lion with sharp sharp black black horns, clenched between his fangs is the head of a man. He resides in all darkness upon the Earth. When he attacks his victims he causes darkness to befall them, their blindness leads them to see horrible dark phantomous beings and shades. He also resides wit hin the womb, causing the loss loss of pregn ancy due to the victims excessive lust for intercourse. His sigil is:
сЦ 110
T h e Se v e n t y - Tw o In f e r n a l
D iinn
T h e Se v e n t y - Tw o In f e r n a l
D iinn
15. NAZJUSH BENT DANHASH Appears as a beautiful woman having a single foot, and four human hands. She carries two vicious vicious knives. knives. She She inhabits ab and oned on ed run dow n bathro om s. She She has has two way wayss of attackin g h er victims depe nding on their sex sex; if the victim is a man she causes delirium and heart complications. If a woman is her victim, she causes extreme sickness by covering her body. Her sigil is:
111 )gD
Th e
16.
B o o k o f S m o k e l e s s
ALDABAH / ALWAHENAH
Fir e
- Appears as an enormous
rugged m an with the head of a norma l sized sized man. His habitation habitation is the deepest of seas. He attacks children, by causing sickness to them by way way of blowing black disease disease into thei r nostrils. H is sigigil is:
1 1 2 ) sd
T h e Se v e n t y - Tw o In f e r n a l
D j i n n
17. A L M U S R IF Appears as a fair wom an with the head of a vicious canine, having long black human hair that hangs down to her waist. She resides in all holy temples, showing Order has no rule over her essence. When she attacks her victims she causes an extreme sense of pride, self importance, short temper and a want for solitude. Her sigil is:
113
)S D
Th e
B o o k
o f
Sm o k e l e s s
Fir e
18. ‘ Z O O B A G H A H - Son Son of Ibli Ibliss - One of the the Dark Trinity Trinity that is Iblis, Zoobaghah and Shara; Iblis, his son and daughter. Appears as a tall bronze m an with silve silverr wings wings up on his feet, feet, he rides upon the back of a great beast resemb ling a drago n hav ing two ferocious ferocious fanged heads. He inhabits deep black canyons and valleys. He is also know kno w n to reside at ‘cross ‘crossroad roads’ s’ and an d have the com pany pan y of four other u nn am ed Ifrit. Ifrit. W hen he attacks attacks his his victims, victims, he strike strikess them with violent blows causing terror and death by way of snapping the th e vic tim ti m ’s neck. His sigil is is:
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T h e Se v e n t y - T w o I n f e r n a l
D j i n n
T h e Se v e n t y - T w o I n f e r n a l
19.
ALH AJA AJA
D j i n n
Appears as a tall man having long long black black hair from
the waist up, the rem ainin g lower half is is that of a powerful golden lion. He carries two gold staffs, one in each hand that have large red rubies on the end. He inhabits all areas of solitude and desolation. lation. He attacks by corr up ting the b irth of children. His sig sigil il is is:
11 5 >* • =: > 115
Th e
B o o k o f
Sm o k e l e s s
Fir e
20. 20. A L ’U IA H Appears as a blackened blackened serpent having the head, head, hands and feet of a vicious canine. It resides in abandoned run down bathrooms and diseased wells. When it attacks women it causes them to appear pregnant by entering their womb. It also causes them to have heart fluctuations, and positions itself between twee n their the ir should sh ould er blades, blades, then the n ‘m elts’ into th eir body, giving the unimaginable sensation of crawling ants throughout. Its sig il is:
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Th e Se v e n t y -Tw o I n f e r n a l
21.
BQAR DHAT ALASQAM
D j i n n
Appears as as a fair wom an having the head as a fierce lion with long black hair, and elongated nasal trunk, like that of an elephant. She appears to have deformities. She She resi resides des in abando ned ru n down bathroom s. W hen she she attacks attacks pre p re g n a n t w omen om en she causes cau ses them th em to loose loo se th e ir child ch ild by ex ten te n d ing her tru n k inside thei r womb. She She then blows blows into th e wo m an’s an’s pelvis, pelv is, givi gi ving ng h er the th e app ap p eara ea ran n ce o f a man m an.. H er sigil is: is:
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Th e
22,
ALZUBDAH
B o o k o f
Sm o k e l e s s
Fir e
Appears as a tall man and woman with their
heads and hands melting together. They are seen riding upon the back ba ck o f a large larg e camel. cam el. They The y reside resid e in i n grav gr avey eyar ards ds a n d follow fu n e rals als and the essence essence of death. death. They attack by blocking wom en from be b e com co m ing in g preg pr egn n ant. an t. Their Th eir sigil is: is:
O S Ć ll 8
T h e Se v e n t y -Tw o In f e r n a l
23.
D j i n n
ALQOOAH
- Appears as a large black black raven raven having two heads; heads; one the head of a peacock, and the other like that of a man. He stands large with extended black wings and is held fast by three large talons upon the ground. He resides within human mucus and attacks by causing the blood to become infected leading to mutation and deformation. His sigil is:
сЦ 1ip ^gD
Th e
B o o k
o f
Sm o k e l e s s
Fir e
Th e
B o o k
o f
Sm o k e l e s s
Fir e
24. A L S IS A N Appears Appears as a beautiful beautiful wom an from from the the waist waist up with the lower lower hal f like tha t of a powe rful lion. She She carries a larg largee blac bl ack k serp se rpen entt in one on e o f he r h and an d s. She resides resi des in ‘h idd id d en area ar eas’ s’ and abandoned bathrooms. When she attacks she causes depression and m adness by resting on the edge of a drin kin g cup that the women use, entering their body. Her sigil is:
сЦ 120
T
S
T
I
D
T h e Se v e n t y - Tw o
25.
*QELNEMATAH
In f e r n a l
D j i n x
A great king of Djinn, faster and more
dangerous than any other. He has full reign over all, being; lunar, gloomy, gloomy, windy, terrestri terr estrial, al, celestial and cloud cloudy. y. He app ears in thirteen forms, being among them a great serpent, bull, canine, woman, horse, camel and a mule. He possesses seven heads, and mighty extended black wings. He inhabits the deepest regions of oceans. When he attacks his victims he causes seizures, strangulation lation and unconsciousness unconsciousness u ntil co ntrol of the b ody is los lost, t, causing suicide by way of throwing oneself from a cliff, or by some oth er fo rm of self inflicted end. His sigil sigil is is:
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Th e
B o o k
o f
Sm o k e l e s s
Fir e
Th e
B o o k
o f
Sm o k e l e s s
Fir e
26. F ’JY A N - Appears in the form form of a beautiful wom an who who has a golden collar round her neck and anklets upon her feet. She inhabits ancient tombs and places containing water. When she attacks she causes men to be enraged and women to go mad by hea ring shrill, unstoppable, disem bodied voices voices.. Her sigil sigil is is:
оЦ 122
T h e Se v e n t y - Tw o I n f e r n a l
D j i n n
T h e Se v e n t y - Tw o I n f e r n a l
D j i n n
27. S ’lH - Appears as as a beautiful wom an having having two long long horns upon her head, with a tail like that of a monkey. A black serpent is entwined around her; a symbol of Chaos. She inhabits the deep forests upon the Earth, and places devoid of any presence or movement. She is a very powerful Djinn to use against Order, as she moves in the veins of the children of Adam, whispering of greed, alcohol, self importance, lust and all things that would bri b rin n g d eath ea th by th e ir ow n h a n d . H er sigil is: is:
12 3 о Ц 123
Th e
B o o k o f S m o k e l e s s
Fir e
28. 28. A L R U A H Appears as a tall m an with a black black horses head, head, hav ing large black wings upo n his feet. feet. In his left left h an d he carries carrie s a large large iron iron bar. bar. He is is the trade m aster among the D unn. He inh ab its the coastline of all seas. When he attacks his victims he causes them to rip off all all clothing until no thing remains. When the new moon is in phase, he causes extreme melancholy and obsession with the dead until the the victim victim is 'draw n down and joins them. His sigil is:
c®: 124 *=•
T h e Se v e n t y - T w o I n f e r n a l
D j i n n
29. A L Q A R S A - Appears as a great wet fish fish,, with a face face like like that of a human. Little is known of this Djinn. His sigil is:
125
T h e B o o k o f S m o k e l e s s F i r e
30. R U I M N A H - Appears as a beautiful beautiful woman with with two curled curled horns upon the head and large black wings. On her back is also the face face of a woman. She She resides in ancient an cient ru ins of all all kinds. She She does not attack her victims the way other Djinn do; instead, she seduces seduces and an d possesses the min ds of youn youngg men to do her bidding. Her sigil is:
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T h e Se v e n t y - T w o I n f e r n a l
D j i n n
T h e Se v e n t y - T w o I n f e r n a l
31.
ALEKHNAMEN
D j i n n
Appears as as a tall tall man w ith the head, head, hands
and feet of a great lion. He inhabits medicine of all types. When he attacks his victims he causes men to be stripped of all reason, und erstan ding and comprehension. comprehension. If a man starts to und erstand, ALEKHNAMEN distances his mind from it. He also causes painful strangulation. His sigil is:
127 127
Th e
32.
B o o k o f S m o k e l e s s
HABSHAHESH
Fir e
- Appears as a tall man having a mu le’s le’s head
and two large white feathered wings upon his back. He inhabits homes. When he attacks his victims, he Hows in them like the flow of their blood, whispering until madness ensues, leaving his victim helpless. His sigil is:
сЦ 128 -
T h e Se v e n t y - Tw o I n f e r n a l
33.
LAHIF
Du n n
Appears as a tall man with a head like that of a ferocious cious monkey, having the feet feet of a canine. He in habits the deep of the seas. seas. Whe W hen n he attacks attacks his victims, he possesses possesses their m ind and causes them heart fluctuations. He also causes fever, shivers and pa p a in fu l sicknes sick ness. s. He over ov erta take kess his vict vi ctim im s w ith whis wh ispe pers rs in the th e m ind that seem like like a wa rm wind. His sigi sigill is is:
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Th e
B o o k
o f
Sm o k e l e s s
Fi r e
34. S M A H E L - Appears as a tall tall m an with a large large black black serpent entw ined loosely loosely arou nd him; a symbol symbol o f Chaos. He holds in his left left ha nd a mule mu le s tail. He inhabits inha bits bridges b ridges a nd covered cov ered waterways. W hen he attacks attacks his victims, victims, he causes causes extreme extreme strang ulation and loss loss of the min d, where they ru n like like a mad m an u ntil they cannot com prehen d their th eir own actions, nor where they are. His sigil sigil is is:
оЦ 130 )gD
T h e Se v e n t y - T w o I n f e r n a l
Diinn
35. B E Q A S M I N - Appears Appears as a tall tall m an with the the head of a vici vicious ous canine having two large black horns, two large black wings, and three th ree eyes yes centered in i n his chest. He resides in the wo mbs mb s of whores. W hen he attacks his victims, he causes painf painf ul death to those who have had the t he ir ńll o f alcohol an d fallen asleep asleep.. His H is sigil is is:
с Ц 131
Th e
B o o k
Sm o k e l e s s
o f
Fir e
36. A L J U N D ’ Appears Appears as as a very very larg largee woman having having the hands and feet of a canine. She inhabits roads often traveled. She causes extreme strangulation, throwing her victim to the ground in agonizing pa in causing fier fierce ce convulsions an d violent violent screaming. Her sigil is:
cS^
Th
Se v e n t y T
I3 2
In f e r n a l
D j i
T h e Se v e n t y - Tw o In f e r n a l
D j i n n
37. T A L Y A B A Appears as as a tall black woman wi th one eye, eye, having the fierce eyes of the crow, the nostrils of the canine, and the feet feet like like that of the mule. mule. She She resides resides in all kinds of ancient ruins . When she attacks her victims, she causes extreme terror in both waking and in dream by attacking with the face of a hideous pig, lion, serpent and cat. Her sigil is:
o„ 133 *=
Th e
B o o k o f
Sm o k e l e s s
Fir e
38 S E F I R - Appears as an unattractive m an with deformities deformities to ' his face, face, he has a large spread peaco ck tail. He inh abits the peaks of large large m ountains. W hen he attacks his his victims he causes causes them to become mentally unbalanced, inflicting both melancholy and laug hter simultaneously. His sigil is is:
= S ,1 3
4
V E O ,
T h e Se v e n t y - Tw o
39. H A M U D I
In f e r n a l
D j i n n
Appears as a wom an having large large black black wings wings
and one leg. She carries two black serpents in her hands; a sym bol bo l o f Chao Ch aos. s. She inh in h abit ab itss womb wo mbs. s. W h e n she atta at tack ckss he r vict vi ctim im s she causes women to faint, have heart problems and cause harm to themselves. themselves. She also also attacks infants by squeezing squeezing th eir he arts, sometimes until death. Her sigil is:
!35 «=
Th e
B o o k o f S m o k e l e s s
Fi r e
40. A L N E F I S Appears in the form form of a tall tall man, having having the hoof hoofss of a mule as hands. Upon him is entwined a black serpent; a sym bol bo l o f Chaos Ch aos.. He in h ab its it s all river riv erss an d stre st ream am s. W h e n he attac att acks ks his victims he causes unrelenting sleeplessness, both day and night so no rest is given, driving his victims insane. His sigil is:
■
136 3®=
T h e Se v e n t y - Tw o
In f e r n a l
D j i n n
41. H U R T A Appears as a tall bearded man wearing a scarl scarlet et tu r ban. ba n. He c arri ar ries es a larg l argee blac bl ack k serp se rpen en t in his hi s left h and an d ; a sym bol bo l of Chaos. He resides in the h ot coals of fire. fire. W hen he attacks attack s his victims he causes them to experience self importance, whispering, wo rry an d terrible n ightm ares. His sigi sigill is is:
13 7
Th e
42.
B o o k
o f
Sm o k e l e s s
Fir e
ALRAHIAH
Appe ars as a tall, tall, very fair noble man w ith long blac bl ack k hair. ha ir. He reside res idess w ith it h in the th e lung lu ngs. s. W h en he atta at tack ckss his hi s vicvi ctim s he causes extrem e pa in all over over their th eir body. His sigil sigil is is:
138
T h e Se v e n t y - Tw o I n f e r n a l
43.
ALDARBAN
D j i n n
Appears as as a tall m an whose hands lock lock arou nd
his neck. He inhabits black wells and in deep caves. When he attacks women he causes false pregnancy pretending to be a fetus, causing confusion, de lirium and madness. His sigil sigil is is:
139 W
Th e
B o o k o f S m o k e l e s s
Fir e
44. A L K H A T A F Appears Appears as a tall tall m an with larg largee black black wings wings,, having the th e head o f a raven. raven. His form is stun nin g, being very beaubea utiful an d dusted du sted in gold. gold. He dwell dwellss outside the entryways of ho usus es. When he attacks his victims he causes vomiting, fainting and rapid breathin g, whisperin wh isperin g and an d em otional distr d istress. ess. His sigil sigil is.
аз^ 140
Th e Se v e n t y -Tw o In f e r n a l
45.
ALWISWAS
D iinn
- Appears as a woman w ith two long black horns,
long curved black wings, wings, she stands up on seven seven feet feet.. Tied aro un d her waist hangs a noose that dangles behind her. She dwells in all forms of true darkness. When she attacks her victims she causes insanity, drunkenness and love of death. Her sigil is:
Th e
B o o k
o f
Sm o k e l e s s
Fir e
4 6 . Y E D U M M E L D E M - A p p e a r s as a very large fleshy fleshy wom an, having yellowish skin and red hair. She inhabits the vast fields of fru it orchards. W hen she she attacks her victims, victims, she she flo flows ws in th em as blo b loo o d ru sh in g th ro u g h th e ir veins ve ins,, rel r elax axin ing g th em to pa raly ra lyza zati tio o n. Once done, she enters their flesh, leaving one crippled and forever tain ted w ith h er diseased essenc essence. e. H er sigi sigill is: is:
ass': 1 4 2 ' t o
T
S
T
I
D
T h e Se v e n t y - Tw o In f e r n a l
D j i n n
47. A L Z U ’A H - Appears as a weak weak limping man , holding his right leg in pain. He inhabits the seas. When he attacks his victims he causes extreme extre me p ain in the legs legs,, knees a nd feet feet,, leaving one forever forever disabled. His sigil is:
=cs\ 4 3 b t ,
Th e
48.
ALNABAH
B o o k o f S m o k e l e s s
Fir e
- Appears as a man having his right foot like that
of a hoof, and the left like a lions. He resides at crossroads. When he attacks his victims he causes great depression and grief. His sigil is:
OSS' 144
Th e Se v e n t y - T w o In f e r n a l
49.
ALMUL
D j i n n
Appears as as a beau tiful wom an with feet like tha t of
a canine. There is a large black serpent on her back; a symbol of Chaos. She dwells in all ruins and run down areas. When she attacks her victims she causes insanity and depression, sometimes appearing as a canine or a blackened serpent, inflicting horrible various maladies. Her sigil is:
145 145 <»:,
Th
e
Bo
o k
o f
Sm
o k e l e s s
Fir
e
50. ALWISWAS ALWISWAS A L AK B AR Appears Appears as a large large m an w ith th e stro stron ng body body of a tail taille less ss horse, horse, having large blac k w ing s e x te n d ed. He inha inhabi bits ts all mountainsides. mountainsides. W he n he a ttacks ttac ks h is v ic tim s he causes them to worry until it grows to the point of inflicting sleeplessness and and the the inabilit inability y to describe th e co n su m in g co n c er n , resulting in madness that overtakes the mind.
T h e Se v e n t y -Tw o
In f e r n a l
D j i n n
T h e Se v e n t y -Tw o
In f e r n a l
D j i n n
51. A L K H A N AS A L A S G H A R Appea Appears rs as a tall tall man with with the the head of a black ram. He dwells within the terror that stalks the night. W hen he attacks attacks his victims he causes causes paralyzation paralyzation and in flicts ulcers within the intestines, causing great pain and misery. His sigil is:
4 7
Th
52.
e
Bo
o k
o f
Sm
o k e l e s s
ALHAMQA
Fir
e
- Appears as a woman with the head of a black canine, with deep set red eyes. She inhabits areas around seas. She causes the heart to slow to the point of near death, leaving one appearing dead to all who observe them. They aie then buried and remain aware, unable to protest their burial. Once buried, ALHAMQA whispers and laughs in their coffin until the victim eventually dies. Her sigil is:
оЦ I 48 )SD )SD
T h e Se v e n t y -Tw o I n f e r n a l
D j i n n
53. H A S E N - App ears as as a tall m an with large black wings, he has the hands of a canine. He inhabits the courts of law. When he attacks his victims he causes strangulation and extreme pain to ones back and knees. His sigil is:
Th
54.
ALMASUR
e
Bo
o k
o f
Sm
o k e l e s s
Fir
e
Appears as a lar large ge,, tall tall abom ination of conjunc-
tions; w ith a vicious vicious m onkeys head, a torso like an ant, a nd a mans legs. He resides in the blackest filth and waste. When he attacks his victims he causes sickness to the stomach by residing within it like feces. When he attacks his victims he causes sleeplessness and an inability to enjoy any pleasure in life life.. He inflames the b ody w ith a wild wild uncontro llable itch that ca nno t be relieve relieved, d, and causes an att rac tion to wine. wine. The The Magician should be aware aware and w arned, that although these entities all have their own foreboding dark pres pr esen ence ce,, th is p a r tic ti c u la r D jin ji n n is especi esp eciall ally y ‘s trik tr ik in g ’ a n d can ca n cause great terror by simply manifesting. His sigil is:
а Ц
1 5 0
)
s d
T h e Se v e n t y -Tw o
55.
BALEM
In f e r n a l
D j i n n
Appears as a tall man with large black wings, hav-
ing a monk mo nk ey’ ey ’s head head a nd talo ned ne d bird feet feet.. He dwells in all water water.. When he attacks his victims, he attacks extremely quickly and unseen, causing tearing of the flesh, disorientation, altered vision and unconsciousness. He restlessly attacks both night and day with swiftness. His sigil is:
==*
151
jsso
Th
56.
SHAKHYA
e
Bo
o k
o f
Sm
o k e l e s s
Fir
e
Appears as a tall man with large white wings,
having a head like a horned bull with one foot. He inhabits all water. When he attacks his victims he descends upon the sleeping, putting them into unwaking nightmare, then throws their bo b o d y a ro u n d , tw isti is tin n g a n d c o n to r tin ti n g it into in to ho rrib rr ible le u n n a tu r a l forms. In the waking hours the victim is lethargic and depressed. This Djinn attacks his victims in a way that very much resembles the state of a possessed person, performing bodily feats that one seemingly could not do under normal circumstances. His sigil is:
оЦ 152 )gD
T h e Se v e n t y - Tw o I n f e r n a l
D j i n n
57. B A R D U N Appears as a short man with one eye, having the nostrils and an d feet of a duck. Resides Resides in th e c upb oards of spellcastspellcasters and doctors. When he attacks his victims he takes the form of a wild canine and inflicts horrible vomiting and violent shivers causing seizures. His sigil is:
x53
) s d
Th
e
Bo
o k
o f
Sm
o k e l e s s
Fi r
e
5 8 . B E Z I D A L M A J U S I Appears as a rugged man w ith the head head of a canine, ha ving small wings up on his feet feet.. He H e dwell dwellss in all rivers. When he attacks his victims, He strikes only once, hard and strong, causing causing diarrh ea along along with extreme pain of the stomach. His sigil is:
=s 1 5 4 да да
T h e Se v e n t y - Tw o I n f e r n a l
D j i n n
59. M ’R U Z - App ears as as a tall sing single le eyed eyed m an, with the feet feet of a canine. From w ithin his open jaws jaws is is positioned positioned ano ther head that is hum an. He dwell dwellss in hills hills and m oun tain tops. W hen he attacks attacks his victims he causes strangulation, and ceases the consumption of all all food and drin k. He tortu res his victims for the perio d of of one one month. His sigil is:
■ 155
Th
e
Bo
o k
o f
Sm
o k e l e s s
Fir
e
60. A L M L I A H A L N A F E D H A Appea Appears rs as a large blac blacke kene ned d serpent. He dwells alongside the ‘sheep’. When he attacks his victims he causes severe headache and trauma, also causing heart troubles. His sigil is:
■'V 1 5 6 r
Th e Se
v e n t y - T w o
In f e r
nal
D j i n n
61. M A R W E Y A Appears as a tall tall th in m an having having talons like like that th at of an eagle eagle.. He dwell dwellss in m ountain ou ntain s. W hen he attacks his victim s he causes causes them to become lost, lost, forever forever wan dering the deserts and mountainsides. He causes his victim to eventually loose his mind as he looses his way, so no companionship may be found. His sigil is:
157
Th
62.
e
Bo
o k
o f
Sm
o k e l e s s
Fir
e
black wings, wings, having ALFALIJ- App ears as a tall m an w ith large black a head he ad like a mo nkey nk ey with a fier fierce ce gaze gaze.. He dwells dwells am ong on g the hills. hills. When he attacks men he strikes them from one side only, then sexually sexually exc excit ites es and dra ins their bo dy o f all all seamen un til they are pa p a in fu lly ll y d rie ri e d out. ou t. H is sigil is: is:
a* I58
Th e Se v e n t y - Tw o I n f e r n a l
63.
ALWATHEQ
D j i n n
- App ears as a tall ma n w ith large large black black wings,
having the head of a horned bull. His presence is stunning. He inhabits churches and holy places. When he attacks his victims he causes his them to loose recognition of anyone or comprehend any words being spoken. His sigil is:
r'- X59 ja
Th
e
Bo
o k
o f
Sm
o k e l e s s
Fir
e
64. A L S ’AR I A L Y A H U D I Appea Appears rs as a short short woman with with the the bo b o dy of a shag sh aggy gy blac b lack k goat. goa t. She in i n h abit ab itss bla b lack ck wells we lls a n d bo b o dies di es of salted waters. waters. W hen she attacks her victims, she she bites on the m u n til thei r flesh flesh is is infected and ignites their insides with what seems like fire, causing headaches and hallucinations. Her sigil is:
as^ l 60
T h e Se v e n t y -Tw o I n f e r n a l
D j i n n
65. L U Q - Appears as a well kep t man, having a bea rd and a gold gold crown up on his head. He dwel dwells ls on the peaks of mo untains. W hen he attacks his victims he causes strangulation and death in their sleep. His sigil is:
161 to;
Th
66.
ALMARIKH
e
Bo
o k
o f
Sm
o k e l e s s
Fir
e
Appears as a tall noble man with large spread
blac bl ack k wings wi ngs.. He appe ap pear arss w eari ea rin n g full ful l gold go lden en a rm o r a n d c a rr y in g a golden shield bearing his sigil. He inhabits ancient ruins and abandoned bathrooms. When he attacks his victims he causes strangulation, leaving them in a state between life and death, deceiving others that nothing has taken hold. This could be seen as a form of zombiefication, leaving one in an ‘undead state’. His sigil is:
аЦ l 6 2
T h e Se v e n t y - Tw o I n f e r n a l
67.
D iinn
MER ABU ALSHISFAN SAHEB ALJEBEL MER
Ap-
pea p ears rs as a m u sc u la r m a n w ith it h his hi s lower low er h a lf bein be ing g like lik e a pow p ow erfu er full lion. He covers covers his face with wi th his hand h and s so that h is features may not be seen. He dwells dwe lls in i n open op en m ar k e ts a n d plac p laces es whe w here re h u m a n s c o n gregate. When he attacks his victims he causes infections of the eyes eyes,, depression , an d di sto rtio n o f thei th eirr views views on life life.. His sigil sigil is is:
163
Th
68.
e
Bo
o k
o f
Sm
o k e l e s s
ALHILYAH ALZAHERAH
Fir
e
- Appears as two massive
wing ed m ighty horses, one being larger larger,, bo th having small heads. He inhabits the wilderness and vast dry lands. When he attacks his victims he causes swelling of the abdomen, heart problems, inten se head aches ach es and an d fever fever.. His sigil sigil is is:
164
T h e Se v e n t y - T w o In f e r n a l
Diinn
69. Q O D S A Appears App ears as a large black crow wit h a m an ’s head, head , having also a gnawing head upon up on his back. back. He resides wherever wherever there is the element o f fire fire.. W hen he attacks his victims he causes causes blin dness to befall them. His sigil is:
' »
165
Th
70.
SHRAHI
e
Bo
o k
o f
Sm
o k e l e s s
Fir
e
Appears as a tall well well dressed man , wearin g clothes clothes
of gold from the waist down. He has two small golden wings on his feet, and carries a large magical flat board, that changes sym bols bol s as he speak sp eaks. s. He dwells dw ells in the th e Syria Sy rian n m o u n tain ta in s. W h e n he attacks women, he whispers to their hearts and causes them to disrobe. His sigil is:
l6 6
T h e Se v e n t y - T w o I n f e r n a l
71.
D j i n n
MAGHSHAGHAS
He appears as as a magnificent mighty golden lion lion with the face face of a bea utifu l woman. He dwells dwells among ruin s and mountains. He attacks his victims by slaying male unborn child ren an d causes separation betw een m an and wife wife.. His sigil sigil is is:
167
'=
Th
72.
e
Bo
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Sm
o k e l e s s
Fir
e
S H A R A Daughter Daughter of Ibli Ibliss One of the Dark Trinity Trinity that is Iblis, Zoobaghah and Shara; Iblis his son and daughter. Ap pea p ears rs as a bea b eau u tifu ti full w o m an w ith it h the th e h ead ea d o f a black blac k rave r aven, n, havi ha ving ng two black horns protruding from her head. She resides in the air. When she attacks her victims she causes heart problems and also proj pr ojec ects ts ideas ide as o f g r a n d e u r into in to th e ir m ind in d s, caus ca usin ing g th em to excite themselves into an ecstatic frenzy until their heart fails. Her sigil is:
l6 8
T h e Se v e n t y - T w o I n f e r n a l
IBLIS
-
169 16 9
’
D j i n n
Th e Th r e e Cl a s s e s O f D j i n n he Djinn that are presented in this volume are not what I would consider cons ider truly t ruly evil’ ev il’.. They are evil in the sense that they serve no other purpose than to afflict pain and death, however are much needed as a source of pure Chaotic essence to overthrow the suppressio supp ression n of o f Order, Ord er, an d in this sense, they they are ‘go od ’. I am not anticosmic, nor against creation in the form of the Eagle’s Emanatio simply feel that the force of Order is overwhelming that of Chaos, and this
t
suppression is what is ‘evil’. One of the forms O rder takes is is thro ug h Judeo/C hristian religious religious dogma, controlling and suppressing all it can, until All is in perfect Order. The Djinn presented here are to be set free to destroy these restricting chains of the forces of Order, to combat them with raw brutal, untamed power. By releasing these beings, the Magician is releasing spiritual cut throat mercenaries onto the forces of Order, so that lost ground may be reclaimed. It is like burning a diseased forest to ashes, so that new pure growth may again rise from the Earth, strong and renewed. There is a disease of control and Order up on the earth that m ust be cleanse cleansed, d, the balance must be regaine regained. d. Th e Fir s t
kill outright, thou gh th eir victims victims C l a s s o f D j i n n do not kill
may have rather well chosen death, over some of the horrendous and torturous acts these Djinn inflict upon their human quarry. Death is not the worst thin thin g a hum an can experience experience;; these Djinn k now this an d exploit exploit this this knowledge to the fullest. These particular Djinn make up the main body of the seventytwo, containing fiftythree in total. They are:
=
:
173
■ ' ;r ;r
T h e B o o k o f S m o k e l e s s F i r e
QEL, QEL, ALGHUL, SAJIZ, SAJIZ, ALRAW’ ALRAW’AH, MDY DYAN AN,, ALUQ, ALUQ, NAZJUSH BENT DANHASH, ALDABAH, ALMUSRIF, AL’UIAH, ALQOOAH, ALSISAN, F’JYAN, STH, ALRUAH, ALEKHNAMEN, RUIMNAH, HABSHAHESH, LAHIF, SMAHEL, ALJUND, TALYABA, SEFIR, ALNEFIS, HURTA, ALRAHIAH, ALKHATAF, ALWISWAS, YED UM MELDEM, ALZUAH, ALUABAH, ALMUL, ALWISWAS ALAKBAR, ALKHANSAS ALKHANSAS ALASGHAR, ALHAMQA, HASEN, ALMASUR, ALMASUR, BALEM, SHAKHYA, BARDUN, BEZID ALMAJUSI, M’RUZ, ALMLIAH ALNAFEDHA, MARWEYA, ALFALIJ, ALWATHEQ, ALS’ARI ARI ALYAHUDI, ALYAHUDI, MER ABU ALAL-SHI SHISFAN SFAN SAH SAHEB EB ALJEBEL ALJEBEL MER, QODSA, SHRAHI, SHARA, ALQARSA T h e S e c o n d C l a s s o f D j i n n are deadly. They kill in cold blood, n o
mercy is is know kn ow n or ackn owledged in them , they are true killers waiting to be set free. free. Their total nu m ber be r is eleve eleven. n. They are are::
MAHMAS, MUNIS, NAQIQ, MAJID, JADHBAH, LATUSH, ZOOBAGHAH, QELNEMATAH, BEQASMIN, LUQ, ALMARIKH are unique in that they concentrate on pr p r eg n a n t w om en, en , caus ca usin ing g d eath ea th or defo de form rm atio at ion n a m o n g o th e r atro at roci citie ties. s. They They num be r eight in total. They are are:: T h e T h i r d C l a s s o f D j i n n
ALDULAT WA HIRAM HIRAM ALSEBY ALSEBYAN AN,, DANHASH, ALALHAJA, BQAR BQAR DHAT ALASQAM, ALASQAM, ALZUBDAH, HA HA-MUDI, ALDARBAN, MAGHSHAGHAS It can be seen that the Magician would apply the correct Djinn, or class of Djinn to the circumstance at hand, each Djinn is unique and has its own per p erso son n al C haot ha otic ic touc to uch. h. The vast va st a m o u n t o f h o r ro r s th a t thes th esee D jin ji n n can ca n accomplish is unn um ber ed, ed , there ther e are many. It is is easy easy for for the M agician to be able to select the specific and correct Djinn for the act of bane that is to be carried out, with a pa rticula r victim in m ind. Essential Essentially ly there are so m any applications a nd divers diversit ity, y, th at th is system system is easily easily customizable to exactly what the th e Black Black M agician wishes to accomplish. accomplish.
о Ц
174 ) g D
R i t
es
O f Ev o c a
t io n
o begin, the Magician must first have decided which Djinn is
t
needed, that he wishes to summon. In making this choice one must consider the landscape that is available to them, and where the specific Djinn may be found. No, this isn’t convenient, and
/
-y
you can not perform all all the rites rites with in your bedroom , unless unless
applicable. If specific Djinn are only found along coastlines, you must
to a coastline to summon them. Though many Djinn perform very similar ‘deeds de eds ’ and an d have various vario us locations in which the y may be foun d, so findin g one that suits your needs along with an accessible environment should be a task that can be fulfilled without too much trouble. The Magician must locate an appropriate location to perform the rite and lay out the Triangle and Circle of Arte that he feels will best suit his needs. Any combination of Triangles and Circles may be used, giving the Magician a wide range of customization which is not normally available. The Triangles and Circles tend to be rather large, though no specific size is given, given, so so use your best judg me nt. Take your tim e to draw the lines lines of the T riangles and Circles well, remember, angles are key in this system for success, they must be drawn correctly (straight) to be effective. Also, when tracing the lines, focus on what the Triangle is going to be used for and your goal of evocation. Once the Triangle is drawn, find a central point or apex where many lines meet, meet, an d trace an o utline o f whichever han d you use to project pe rsonal energy, on that central point. It is here where you will push your personal energy into th e Triangle, Triangle, activating it and filling filling it with your person al energy when in ritual.
C3S^ 17 17 5
T h e
Bo
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Sm
o k e l e s s
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When you have completed the Triangle, you must now focus your energy on cons co nstruc truc ting the Circl Circle. e. As with with the Triangle, focus focus your energy on the Circle’s Circle’s function func tion and v isualize it as an amplifier amp lifier and storehouse of ene energy rgy.. However, first you may wish to visualize it as an impenetrable fortress that none can breach. Again, take your time to lay the lines. This should be a meditative process, much like creating a Zen garden is, not rushed, but with focus. From my experience, I have found it best to lay out the Triangle and Circle one day, and return the next to perform the rite. A great deal of energy goes goes into the con stru ction ctio n of these vehicle vehicless which leav leaves es the M agician dra ine d by their completion. O f course th is is the opposite effect effect of what the rite is is designed to do, so to re turn tu rn refreshed and energized is best. best. If this isn’t isn’t poss po ssibl iblee do to tim ti m e c o n s tra tr a ints in ts,, I advi ad vise se layin lay ing g out ou t the th e T rian ri angl glee a n d Circle, Circle , me ditating awhile awhile,, and th en perfor m ing the rite. rite. After the T riangle an d Circle have have been laid down, beg in by placing placing your magical tools, sigils, etc. within. rfhe Triangle should contain the brass lamp with the t he nam ed incense at the the ready which rests up on the D jinn ’s sigi sigill which can be pain ted on a m irror, p arch m ent or o ther surface. The The Circl Circlee is is to con tain a simple altar which can be made of wood or stone that all other tools will rest on. Of course this can also be sigilized with Lunate Script. On the right side of the altar rests the scepter scepter,, on the left left,, the brass incense bu rnin g dish. The sword can rest o n you r side side at the ready, ready, and an d will be draw n before before the evocation begins. After all, surround the area with enough candles to see see, but no t so many ma ny as to make mak e it bright. At this p oin t the rite has been fully pre p rep p ared ar ed , an d the th e Black M agic ag icia ian n m ay b egin eg in when wh en ready, ready , th o u g h it is a d vised vised tha t the ritua l begin after mid nigh t and end before before fi five in in the morning m orning , ft is in these small hours of the nig ht that th at the veil veil is is thin th inne ne st and a nd contact can be m ore or e easily easi ly m ade. ad e. The inte in terf rfer eren ence ce o f the th e m u n d a n e is at its lowest low est level. level. Light the incense within the Triangle, return to the Circle and sit comfortably behind the altar. Light the incense there and add two strips of the Words of Power which should have evocation commands and sigils written upon them. This This is an example of strips used for calling calling forth fo rth ZOOBAGHAH: ZO OBAGHAH: “Come for fo r th ZOO ZO O B A G H AH ”, “In the name nam e of l B LIS , 1 (N.N.) call you yo u for fo r th to be be before before me ZOO ZO O BAG BA G H AH ”, “ZOOBAGHAH ZOOBAGHAH ZOOBA GHAH ZOOBAG ZOO BAGHA HAH" H"
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At this point the magician must cumulate his personal energy within the Circle, it is important to draw it all out and bring it forth to circulate around and through the lines of the Circle, surrounding the Magician in energy an d strength s trength.. V isualize this en ergy as as silve silverr wav waves es or strings sw irling aro un d the inside of o f the Circ Circle le.. As stated th e lines of the Circle Circle are designed to strengthen the energy that is being released by the Magician, resulting in a mass of bursting personal energy, spinning around the Magician waiting to be directed. Meditate on feeling this energy surround and spin around you, feel the earth move under you, know you wield true power. When you ‘know’ you have reached an energetic climax, visualize all the silver spinning energy enter your body through your back between your shoulder blades bla des,, fillin fil ling g you y ou w ith it h s tre tr e n g th a n d th e gnos gn osis is o f being. being . Walk out of the circle to the Triangle, personal blood sacrifice is now made and presented in the sacrificial offering bowl. It is at this point when pe p e rso rs o n al ener en ergy gy is at a t its i ts h igh ig h est es t p eak ea k w ith it h in you, you , th a t y o u r bloo bl ood d is char ch arge ged d and most potent. When you feel you can no longer contain the surging energy ergy,, push all all of that spinn ing silv silver er internal energy out throu gh your ha nd into the Triangle through the outlined handprint already laid. Visualize a huge surge of energy being pushed from you into the Triangle, and rapidly spreading spread ing out thro th roug ug h all the lines lines un til they are pulsatin g with silver silver power. power. The The Triangle is now activated an d flowing with energy waiting to be snapp ed and the barriers broken. Once done, return to the Circle. Add more incense and two more strips of Words of Power to the coals and return to a standing position. Holding your scepter in your left hand and your sword in your right, positioned across your chest so that the blade touches your left shoulder, call the Djinn forth that you require. As described, vibration is a key element in the success of this system, however, so in Intent. Be loud when you recite the evocation, but most importantly you must infuse your words and vibrations with true m eaning an d emotion. Being that these par ticula r entities entities are only of pure w rath, I can only imagine imagine one infusing their words with the emotion of hatred and anger, wishing to utterly destroy the target subject in m ind. The evocation is to be recited recited thre e times with reverence,
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“(Djin (D jinn’ n’s N ame am e Repeated Rep eated In Three Three Sets Of O f Seven, In Low Guttu Gu ttural ral Voice ice), I call out to the Blackest Blackes t Spirits that tha t roam the darkest recesses of the hidden Earth ! Spirits that seethe and slither in shadowed timeless chambers unseen, I call out to the ancient anc ient one of o f the bloody bloody house o f Taw ~ A l l ! Who Wh o despises despises the burning bur ning Holy Light o f Order rder,, I summ sum m on fort fo rth h (Djinn (D jinn’’s Name), Name), from the blackest pits pit s o f nightmare night mare to be present pres ent befor beforee me, I call call forth (Djinn (D jinn’’s Name) Name ) in the name o f the Unholy fath fa ther er IBLIS, IBLIS, to be be made manife ma nifest st in terrible visiblefo rm within the Triangle Triangle of Spac Spaces es,, (Djin (D jinn’ n’s Nam Na m e Three Three Times), Times), Hear He ar my m y voice, voice, Hear He ar My Voice Voice ! Come to me warrior of old, whose heart is filled with boundless anger, Come fort fo rth h (Djinn (D jinn’’s Name) ! Fill this temple with your sinister presence ! I call to to you with the purest pur est rag rage ablaze fro fr o m within, I call call to you with the purest pur est hatred h atred for those who love the Light Light,, (Djin (D jinn’ n’s Name), Name), I call call to you yo u in this twiligh twil ightt hou hour, r, This hour of forsak for saken en silen silence, ce, (Dji (D jin n n’s Name), Name ), / summon you forth from from the the Abyss o f terror that tha t is your yo ur abode, abode, I call you yo u forth for th from the clan clan o f Taw ~ All to strike strike pain and an d death into my enemy ene my (N (N.N. .N.), ), (Djinn (D jinn’’s Name), Come forth and an d relea release se your yo ur hatred onto the one who has come against me ! Bring them dark shadows o f unearth unea rthly ly fright, frig ht,
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(Djinn’ (Djin n’s Name), Name), I summo sum mon n you forth from the the desola desolate te wastes wastes ofjaha ofja hann nnam am , I call call you from the smokeless fir fire, from which which you yo u are compose composed, d, (Djinn (D jinn’’s Name Thre Threee Times), Times), Spirit o f darkness m a n ife if e st! st ! Become Become in the Triangl Trianglee o f Space Spacess ! M a n ife if e s t!
This evocation is strong and has proven itself effective; it does what it is designed to do. Once the Djinn has made itself known, remember to stand strong, t houg ho ugh h this th is can ca n be easier easier said said then done. Even Even if one is not clairvoyant an t enough enou gh to visibl visibly y see see the Spirit with th eir eyes, eyes, its its presence is un m ista kable. The entire area will become ‘darker’, and a strange weight will fill the air. It will feel like the world has stopped, like time and space, reality and nonreality are no longer in motion. For this brief, frozen, stolen moment in existence...there is only the Djinn and yourself. Greet the Djinn in an honorable way, “Greetings Greetings (D ( D jinn’ jin n’s Name Na me)) I (N.N.) (N.N. ) welcome you yo u here as as a warrior and equal in this Temple, and am honored by your presence.” It is at this point that the Djinn may ask why it has been called it forth, state your reason and direct it to your desired target. Add two more strips of Words of Power and Incense. It must be remembered that these entities are not friendly, and cannot be made allies that will genuinely look out for you. you. They only work with you to satisfy satisfy their own ravaging rav aging hunger. Once you have have stated you r reason for calling, calling, th an k the D jinn for its its appearance and the deeds it is about to unleash on your target victim, being sincere, sincere, but sho rt if you don’ d on’tt wish to bond . P rolonged ex posure to these en tities causes the Magician to breathe them ‘in’. These effects can be desired, bu b u t expe ex pect ct a ‘d a rk shif sh ift’ t’ to o ccu cc u r w ith it h in the th e psyche. psy che. This Thi s c o m m u n io n can ca n be u tili ti lize zed d to gain ga in in pers pe rso o nal na l s tren tr en g th, th , allow all owin ing g for grea gr eate terr Black M agic ag ic to be p e rfo rf o rm ed , as the t hese se entit en titie iess are ar e o f the th e raw force for ce o f Chao Ch aoss itself. After Aft er you have thanked the Djinn, simply state, •
“M y Inte In tent nt has been directed, and a nd you yo u are now u n leashed upon the world and my target victim, I thank you for your yo ur action, (N.N (N.N.), .), we are are now no w done d one here.” here.”
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The rite has been performed; there is no banishing to be put into place. W hen completed, completed, stay in in the Circle Circle for for at least least thir ty m inutes, b urn the last last two strips of Power Words and incense. In this time, contemplate and visualize the damage that is now occurring to your victim, see the Djinn surrou nd ing them , perfo rm ing its tasks you have have set set upon it. it. Also Also take this time to relax yourself; these communions can be stressful to the nervous system. The same Djinn may be called as many times as the Magician requires, bu b u t as sta s tate ted, d, repe re peat at c o n tact ta ct a n d co m m u n io n has ha s its effects. It is best be st as wit w ith h all Spirits to be specific with your Intent when stating it. As an example if you say you wish the Djinn to attack your enemy, state when or within how many days time. Else, it could be a year from when you were expecting the damag e to occur. Though, as said, said, they are th eir own m asters, an d do as they wish. The Black Magician does not command them, but directs them.
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Co n j u r a t i o n O f I b l i s bli b lis. s... ..S S h a ita it a n , The First Fi rst O ppos pp oser er,, the th e one on e to first fir st spea sp eak k o ut agai ag ains nstt Order. The first one to say ‘No, I reject the reality I am being presented an d forced into ’. He is a figure head, a mask, an a n th ro p o morphic face for the raw energy of Chaos. Chaos has many faces, as does Order. One must realize that all the faces of Chaos share the same ‘body’, all the different rivers have the same source. Shaitan is an ancient nam e for for Chaos, He has has been been wo rked with for centuries, ho nored no red by the truthful, feared by the ignorant and weak. To be born of Chaos means to be born a lone wanderer in this world full of those who would gladly be food for a corrupted force. It means to walk alone amongst the blind, to be a lone wolf am ong st the sheep sh eep ...tha t wishes to to de vour th e ‘She ‘She ppa rd’ who keeps all in line. Iblis is the Father.. .He is Lucifer, Satan, Samael, Shaitan, The Dark Lord. He is is Co m m and er of the D jinn. He can be accessed accessed by by all all who have have a deeper understanding of the multiple faces of Chaos. He is an ancient source who has many applications to the Black Magician. I have included here a simple, yet powerful evocation dedicated to Him, Iblis... Dem on Angel of Darkn ess, Op poser o f the False False Light Light,, I call call you forth from the starless starless Ab yss... Iblis... Father o f lone Nightshades, Destroyer of the Great Illusi Illusion, on,
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I call you forth from your hollowed sanctuary... I call call you forth from the Blackness Blackness of My Heart, He art, Father, Bless me with your presence, Come forth and embrace this this venerated land, land, Come forth and behold the glory I shower upon you, Iblis..! I call call you you to stand sta nd before before me in all you r Infernal In fernal M ight, I sum m on you forth from hidde n spaces spaces of the Ea rth ! Iblis Hear H ear My Voic Voicee ! Iblis See Thy Veneration Vene ration ! Iblis Taste My Blood ! Iblis Smell Thy Incense ! Iblis Feel Feel My Anger ! Iblis Come Forth ! I who who am of the True Chaos Spirit Spirit call call you forth from dark ened lands to bestow upon me your blessing, I who walk in De ath’ at h’ss Shadow sum su m m on you to to com mune with me, to guide me, to embrace me. I your unholy son, call you, my unholy Father... Destroy mine enemies; enemies; bring down up on them your hatred of the mu ndane, Wipe them from the face face of the Earth, Cover Cover them with b urn ing bliste blisters, rs,
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Curse them to eternal pain, pain, Scar Scar thy nam e up on their skin, skin, For they deserve your wrath, Iblis... Master Ma ster o f all all Djinn, Lord o f all Chaos, I call you forth, Father o f the Sinister ! I call you forth ! ~I~B~L~I~S~ Come Forth...
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s a young child I recall having thought; ‘what if everyone around me were not real, but simply there to fool me, so ‘they’ could watch my reaction s to variou s situa sit uatio tions’ ns’.. I di d n’t n’t fully tru st th at the people a rou nd me were were ‘gen ‘gen uine’. uine’. W ho w ould do this, I did not know, though then again, how could one if they tftjjy are immersed in a nonreality, reality ? I remember having this thought repeatedly, repeatedly, or I should say say tha t the tho ug ht would pe riodically reocc ur from tim e to time th rou gh ou t my child hoo d years years on into my adult lif lifee. I hold this thought to still be somewhat true, though it has grown far more complex over the years. Reflecting on this, I ask myself, where did I get such an idea with no outside influence ? How seas I aware of the concept, that perhaps I was in a simulated reality at such a young age ? I see this now with open eyes, and know kno w th at one is eithe r bo rn of Order Or der or of Chaos; Chaos; it is not no t a choi choice. ce. This was was taug ht to me by a good friend and m ento r of sorts. I am b or n of Chaos, and I un de rsta nd now, now, tha t I have have brou ght w ith me into this inc arna tion , collec collective tive knowledge of my previous existences. I find it quite interesting, and more than compelling that I did/do have these thoughts, that somehow I came ‘here’ with them already instilled/p rog ram m ed w ithin me. I know now, now, this is the essence essence o f Chaos th at exists exists with in the ‘awake’. awake’. It is is an in gra ine d tr u th that exists within the construct of ones very being. Some could call this accessing ones ‘Holy Gu ard ian An gel’ or high er self self,, thou gh I do not see it as such, but as tapping into oneself and receiving the pure truth that resides inside, inside, un tainte d by the illusion illusion that surro und s. It is born Gn osis... osis... My ‘reality’ is my own, and still, I do not believe it to be ‘real’, as I can no longer longe r define what is real. real. W ha t is ‘rea l’ is left left up to t he in divid ual. W ho is
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to say what is real ? How can one define what is real ? With all the scientific and an d m agical adva a dvancem ncem ents, who wh o can definitively say say what is possible possible ? It is is a ridiculou s conce pt that is limiting , if one only spends the tim e to consider it. it. One of my m ost cherished quotes from H.P. H.P. Lovecraft Lovecraft perfectly captu res the essence essence of that, which I am speaking,
“...A .. .A ll life is is only a set o f pictures pictures in the brain, brain, amon am ony y which there is no difference betwixt those bom of real things and those born abo ve the othe other." r." of inward dreaming, an d no cause to value one above H.P. L o
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, ‘ T h e S i l v e r K e y ’
I believe believe in th e Co nsensu al Reality Matrix. Ma trix. The Consen sual Reality M atrix is Order. It is the su staine sta ine d illusion th at ‘al ‘all’ l’ arou ar ou nd u s is ‘real’ re al’ an d ta n gibl gible. e. It is is susta ine d m ostly by the m unda un dane ne;; tho se who will ne ver ‘see’ ‘see’ or awaken from th eir d ream, only to to be recycl recycled ed again and again. again. A nd perhaps my childhood thoughts are true, that when I watch my neighbors go into their houses, they cease to exist until it is time again for them to reappear and an d perf orm the ir function s; to s ustain ‘the illusio n’. n’. I beli believe eve that the en ergy that create createss this reality/il reality/illusion lusion can be tapped into and m anipu lated/ rep rog ram m ed. Tire ire way this ha ppen s is thr ou gh the science science of magic. Once we get get past the gen eral conn otatio ns one no rm ally associates associates w ith Magic, we we can see see it it for what it is is; an energetic working th at is pushed out into the energy field field tha t is the Con sensual Reality Reality M atrix to change/rew rite it to a Magician’s specific needs. Magicians are reality manipulators, and no, this is not looked up on wit h welcoming eyes eyes from the ‘system’ that is the Con sensual Reality Reality M atrix/Illu sion . It has been said by Magicians that when th ey started pra p ract ctic icin ing g M agic ag ic th a t th e y h a d h o rrib rr ible le th in g s o c c u r to them th em , bad ba d luck luc k so to speak. Many will abandon their practice at this point and return to their Christian roots and find happiness in slavery. However for those who were strong and kept on, they gained in personal power through each working, and th e ‘bad ‘bad luc k’ calm ed down, t houg ho ugh h never is entirely removed. removed. How ever, this th is ‘bad ‘bad luc l uc k’ is the C onsen on sen sual su al Reality Rea lity M atrix at rix ’s defense system. It will m anip ulate yo ur reality to make it diffi difficult cult for for you to continu e on yo ur own ‘inde pen den t’ path; the p ath of enlightenm ent where you become become awake awake and can ‘see’ the reality ar ou nd you y ou for what it is; is; a system system that th at can be chan ged. In oth er words, if you step step out of line of what you are inten ded /prog ram m ed
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to do, if you star t to th in k for yourself, yourself, become self aware and go against against the grain , if you begin to rewrite the code o f ‘reality ’ thr ou gh energy working, expect the system ’s secu rity to try and an d sm ack you back into place. place. It will do this with all it can, be it finances, death or in some cases luxury. Anything that will distract you from independence and independent thought, anything that will make you focus back on the mundane world of the illusion. If you are aware of this going in, you will will easil easily y se see these u nf or tun ate coin cidenc cid ences’ es’ as the defense system I am spea sp eaki king ng of. of. However, this th is is a positive result because it will indicate to you that you are on the right path and that you are already strong enough to be seen as a threat to the structure of the Consensual Reality Matrix. I can only say that if this is occurring to you, pres pr esss on, on , it do esn es n ’t get easier, b u t you will wi ll be free, free , a n d if enou en ou gh o f us awak aw aken, we can change it all. My ‘rea ‘reality lity’’ is different th an yours. This is based u po n m y collective collective ex peri pe rien ence ces, s, w hich hi ch I mu m u st say, say, have bee b een n quite qu ite diff di ffere erent nt t h a n m o st othe ot hers rs.. Each Ea ch of us has ou r own ‘rea lity ’; no two realities are the same despite th eir lik enesses. nesses. Therefore, Therefore, before one can ma nip ula te the ir ‘rea ‘reality lity’’ thro th ro ug h Magic, one m ust first come to un de rsta nd the ‘reality’ ‘reality’ in which th ey dwel dwell; l; know the rules, how thing s work. This can be difficult difficult as as whe n one first starts out up on this journey, there are many who would guide them astray by saying that ‘reali re ality ty’’ is like ‘th ‘th is’ is ’, or like ‘th ‘th a t’. t’. On e ca n no t be m isguid isg uid ed by these w ords and descriptions, for they are the au tho r’s r’s own view view o f ‘his’ realit reality, y, which cannot be completely yours. This being said, one can relate to another and hold the same beliefs, but understand that you will never view something completely in the same way, or connect and hold the same emotions and values to a subject, event or object as the other/s. This is because we are not all the same, and each have had different experiences and learned different values from one another at different times. Some are deep while others are shallow; all depends upon experience, in whatever form it takes to teach. In orde r to practice Magic, Magic, one m ust first first un de rsta nd the ir person al ‘reality ‘reality ’ and its set of rules so that they may be bent or broken and the Magician manipulate the Consensual Reality Matrix in their personal favor. Knowing you r ‘reality’ ‘reality’ cann ca nnot ot be taught, you m ust pu sh your yo ur own ow n boundaries to gain your yo ur own
und erstanding of where where you are; no one can teach you this.
In my realit reality, y, O rde r and Chaos are on the ‘bo ‘bo ard /field /grid ’, infused with in the very progra m m ing of the Con sensual Reality Reality Matrix, ever ever raging
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against one ano ther. T hrough hro ugh out ‘tim ‘tim e’ the strug gle shifts balance, giving one more power than the other. Currently Order is the stronger force, locking down any form of originality, free form thought and expression. Thus, Chaos m ust have a surge of raw raw chaotic ene rgy to give give it the pow er it needs to fight back. 'This 'This book bo ok is a weapon against aga inst Order. It is my hope that my releasing of this manuscript be understood and seen seen as an act of war in the chance for a new peace peace in this reality tha t is my my own, but recognize some others view as well. If I didn’t feel these entities could help fight fight the ever controlling and restrain res train ing forces forces of Order, I would never have have released released this text. If I d id n ’t thin k th at the time was now, now, 20I3C.E that this text was needed, this manuscript would never have been brought forth. Hie world is being repressed; creativity stomped out, freedom being taken away. It is my hope that this work be seen as a most terrible weapon, to be used against those controlling forces of Order so that diversity, free will and the explora exp loration tion of what ‘could ‘could be’ b e’,, may be allowed to exist. exist. We m ust bre b reak ak d o w n the th e walls wa lls th a t are ar e bein be ing g buil bu iltt up th a t supp su ppre ress ss ‘liv li v in g ’ and an d the th e ability to have choice. This tome is an expression and embodiment of this eternal struggle, an expression of the fight for freedom, free thought and free will. The entities in this text that are to be brought forth are of the purest, black bl ackes est, t, m a n ifes if esta tati tio o n s o f Chao Ch aoss th a t ther th eree are. They Th ey are ar e o f th e ir own ow n real re ality. As I have have said, Chaos is pure pur e potential, u nb ou nd ed by any restra int, and while this is a positive aspect of this undefined force, there is also the side of it that is of pure destruction. That side has no understanding of mercy, no thou ght of restrain t or remorse. remorse. This raw raw energy is extremely extremely powerful and not to be trifled with. It is to be released with Intent and let go to complete its its task. Do not stand sta nd in its way way.. These entities entities have have been long waiting, scratchin g at the veil, veil, and now in your han h an ds lies lies the sword th at will slash slash it open and pa rt the th e wa way. I bid you farewell, may you use this devastating force when truly needed, and may your intentions be noble in its application, for we of the LHP must stand un ited if we are are to again bring balance to th is ‘reality’ ‘reality’ that th at is being co ntrolled trolled by Order. Order. Stand stro ng ... ... ~ S. Ben Qayin
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