Th e Bo o k  o f 

Sm o k e l ess Fi r e

S. Ben Qayin

© Nephilim Press 2014

 Co n t e n t s

 A c k n o w l e d g m e n t s
P r e f a c e ......................

I n t r o d u c t i o n .........

BOOK I

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 .................................

B O O K I I

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 ........................................................... .85
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 .................
................. • 91

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 ..............................................
• 97

T h e T h r e e C l a s s e s O f  D j i n n .........................................................
173

R i t e s O f  E v o c a t i o n ........... ......................................................

175

C o n ju r a t io n O f  I b l i s  ........................................................................ 183
F i n a l W o r d  ............................
187
 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 rt-
ed my work thus far, you all mean a great deal to me, and are never forgot-
ten. 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
ninng 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 on C r i t i c i s m ’ 

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 Smoke-
less
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 ptu-
alize 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 construc-
tion o f the ritua l circ
circle
le and triangle o f evocation that sho uld prove insight-
ful 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 forma-
tion o f each angle
angle of the evocational
evocational triangle, an d the g overning m indbod y

« 3
 The B o o k  o f  S m o k e l e s s Fir e

 prin
 p rin cip
ci p les
le s em po w e rinri 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 rele-
rele-
vant 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
sionn o f the
th e whole.
who le.
In drawing from the ancient “Miscelane Misce laneo o de Salom
Sal omon on””S. Ben Qay in has
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 n-
tities
tities as geo gamically speci specifificc 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 evokedevoked 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 thesethese 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 har-
nessed 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 forfor establishing
establishing a sustainable magical or-
der 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 re-
structuring the network or web that is hung upon these nefarious founda-
tion 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
“nonn
ordinary”in the sense that no convention for quantifying them

4 йк
 P  r e f a c e

exists. Thes
Thesee lines
lines migh
m ightt better be studie
stu died
d in the light of
o f chaos
chaos
science..." (Ill)

I
For S. Ben Qayin the only approach to these lines is to grab them thus
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
its precario us ra mifications. As Pope concludes, “D rin
tru th an d all of its ri nk deep,
or taste not the Pierien Spring.”This
This spring was said
said to im pa rt insp iration to
likewise “The Book
the muses, likewise Boo k o f Smokeless
Smokeles s Fire”represents a very dark wellwell--
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

!
I
 In t r o d u c t io n

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
idea
idea in m an, bu t awoke it recesses of his ‘fragile eggshe
it from th e d ark recesses eggshell
ll mi
m i n d ’.
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’.
 Th e B o o k  o f  S m o k e l e s s Fir e

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 searse arch
ch once
on ce m o re for the th e forb
fo rbid
idd
d en tom
to m e ththat
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
rbyy to p u t into
in to th e ir
 bask
 ba sketet at the
th e local
lo cal b oo ksto
ks torere.. 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
little known and overlooked Solomonic text simply known as “Misc Miscel elan
aneoeo
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 storyry.. It is a n an cien
ci en t a n d forb
fo rbid
iddd en A ra b ian
ia n m a n u -
script, that seems was later evolved into the Greek “Goet Go etia
ia”” and gives the
earliest
earliest know n account o f King Solomon Solomon and his bind ing of the seventy seventytwo two
demons he sealed away in the infamous brass container.
The ancient diabolical manuscript was discovered in Spain, in the
M udejar Palace, “Casa de la la Encom
Enc omie iend
nda” a”of O cah a Toledo province
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

оЦ 10 )SD
 In t r o d u c t i o n

 by the
th e titl
title,
e, “Medicina, farmaco
farm acopea pea у magia en el Misceldneo Misceldneo de Salomo Sa lomon” n”
or , “Medicine, Pharmacopoeia
Pharmaco poeia and an d Miscellaneous
Mis cellaneous o f Solomon Magic ”. It
Solom on’’s Magic”
was
was again later later translated into English English by Nineveh Shadrach in 2007 und er
the title, “Book
Boo k o f Deadly
Dea dly N am es” es ”,  which the present tome has utilized for
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 ersoer so n a l gnos
gn osis is receiv
rec eived
ed frofr o m th e D jinji n n them
th emseselve
lves. s.
The present tome is in no way associated with “The The Book
Boo k o f Deadly
Dea dly N a m es” es ”,
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 offersrs 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 itit wou ld be te-
dious. Though, I wished to instead take the forbidden inform ation the orig-
inal 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
some
som e as a ‘co ‘copy
py ’ o f “The Book o f DeadlyDea dly Na es ”. However this is simply
N a m es” 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 sedd 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 on ”does not rest in a mu seum or librar
m on” library, y, but in the
 priv
 pr ivat
atee colle
co llect
ctio
ionn 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 OldOld Ones, it does deal with extreme ly destru des truc- c-
tive
tive InOrga 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 workw ork is based on, is is as
as close
close as
as anyth
an yth ing has ever come. come.
In Lov
L ovecra
ecraft’
ft’ss “ Histor
 His toryy of the Nec
Necrono
ronomico
micon” n”, Lovecraft
Lovecraft states the “Ne Neccro
nomicon”was said to have origina ted in Arabia, by the title, “K itab it ab A l   A z i f ”,
or “Book op HowlinHo wling g Dem on s”, A z i f meaning, the no cturn al sound made by
De m ons” 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 se-
cretl
cretlyy transla ted into Greek in 950 950 C.E.
C.E. by Theodorus P hiletas hiletas of C on stan ti-
nople
nople under the m ore comm only known title title of “The Necro Nec rononomimicocon”
n”.

■- 11 :■
 Th e B o o k  o f  Sm o k e l e s s Fir e

Being Greek in origin, the word ‘Necrono Necr onomic on’  has been examined
micon’
thoro ugh ly by by num erous scholars
scholars,, which have
have had va rying ideas of trans la-
tion, 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 i-
con, and th at o f the Greek “Goet
Go etia ”now that this new manuscript has been
ia”
 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 destruc-
tive 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
and the Greek “Goet Go etiaia”” that came later. The text does not see the entities
listed asas 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
later “Goeti et ia”,  but those that have never been known before, though there
are similarities as far as the conjoined appearance of the entities is con-
cerned; ‘appears as a man ma n with
w ith the head o f a lion, havin ha ving g a m o nkey tai l’,, etc.
nk ey’’s tail’   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.
O f course “Miscelaneo
Miscel aneo de Salo Sa lom on ” bare
m on”  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 asks their station, Angel Angel of   frus
 fr ustr
trat
atio
ionn etc.,
 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 alomomonon” ”, the latter of the two texts is marked as forbidden, and is

<зЦ 12 )gD
 In t r o d u c t i o n

Arrived and immersed in ancient Arabic traditions that happens to follow

cere history
his tory of Lovecraft’s
Lovecraft’s Necro
Ne crono
nomm 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 seventytwo 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 manu-
script 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
catching a brass container  in
  in his net, “..with the seal-ring o f our Lord
Lor d Sulay-
son
son of Da vid”im printed upo n the top, and sets freee an Tfrit j or Infernal
sets fre
Diinn which he mu st contend with.

“The fishe
fis herm
rmanan 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 dodo
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 vingg 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
ewers,
s, his eyes
eyes two lamps andan d his look was fier
fierce
ce and
an d lowering.”
 A  l f  L a y l a  w a La yla

Aleister
Aleister Crowley speaks of the im po rtance of “A l f Laylah wa Layla
Crowley 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 ,

=5> 1 3 S 1
 Th e B o o k  o f  S i m o k e l e s s Fir e

“Even when we learn

learn that the Bibl
Bible,
e, by a profo
pr ofoun
undd 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 rtonsns 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 h is t r a n s l a t i o n o f  “ T h e Go e t ia ”

This being said, it is clear Djinn have long been present in human histo-
ry 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
aneoo de
d e Salo
Sa lom
m on”
on ”, gives rise to questions con-
cerning the origins of the “Goetia”.  Joseph Peterson covers this area well in
his edited version of “The Lesser
Lesser Key op Solom on”,  though Colin Campbell
explores the h istory a bit furth er back in his introd uction to “The Book o f the
explores 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 sigils in the “Goet
sigils 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 th e “Misc
h itself. In the 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 system know n as ‘Goetia’ in the 1600’s.
workable system
Though, the text is mu ch m ore suited for
for those who were/are
were/are akin to k neel-
ing before
before the
the Judeo /Christian G od, an d no t of one who seeks
seeks true gnosis of 

® 1 4 «=
 In t r o d u c t i o n

>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 ele-
ments 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 G oetia) tha t can be utilized in plac
ed in the Goetia) 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 re-
searching 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
'.cork in connection to Lovecraft’s “ Necronomicon Necrono micon ” and the Greek “Goetia”,
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.
As with my previous work, “Volubilis Ex Gha G haos
osiu m”,  I have created an
ium”
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 esenente
ted d here
he re th a t are base
ba sedd 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 te-
-
gory I refer to as 'Fringe Magic'. A Magic Magic based on the m anipulation of the
Consensu al Reali Realityty 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
tioo 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 i-
cians perfo rm a rite rite with little to no success
success an d wonde wo nderr why.
why. The
The reason for 

оЦ 15 ) s d 
 Th e B o o k  o f  Sm o k e l e s s Fir e

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 bal-
ance. 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 spread-
ing 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 pow-
er 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 

' 16 :
 In t r o d u c t i o n

‘ t lists the names and habitations, as well as the bane of seventytwo 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 er-
ous, 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
 с

B O O K I

O r i g i n O f  D a r k n e s s

19
 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
•Vich made up th e whole o f “A l f Layla wa Layl
•Vich La yla”
a”, or more commonly know n
a? The Arabian Nights”
Nigh ts”transla ted into English by
by Burton (as mentioned be-
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,
 

T h e B o o k  o f  S m o k e l e s s F i r e

“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 indica-
tion 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 ratedd 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 bushh 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 them that follow you   I shall assuredly
e of them
 fill
 fi ll Jahan
Ja hannam
nam with all o f them
th em.” .”
Q u r ’a n   ( 7:11-25 )

с Ц 2 2 ) s d 
 T h e H i s t o r y O f  D  j i n n

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
•-led upon the Ea rth in search search of those who had chosen the ‘Crooke Crooked d Path
P ath’’
:: 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; An-
ee.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 d to it) or o f independence, w here one may walk the p ath of a
red
I-od and know their own true strength and will.
As with human differences regarding religion, Djinn have many differ-
er.: 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’anr’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
followersrs 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 ), from the b urn ing e lement of fire
 Earth), fire,,

“We created
created man fro
fr o m dried clay from black m ud , and We
fr om black
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)

о Ц 23
 Th e B o o k  o f  Sm o k e l e s s Fir e

Djinn have also been referred to being created from “Smokel ess Fire"  as
Smo keless  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..
..." 
." 

There are some su ch as Ibn ‘Abbas, M ujahid ujah id (paternal

(paternal couscousin
in to M uh am
mad) and others who belie believeve tha t ‘smokeless fir f ir e ’ refer
 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,
it is  fla
‘ m es mixe mi xed d with the blackest o f fir  fi r e ’.  Regardless, it is seen that Djinn
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 sociciat
ated
ed w ithit h the
th e s p irit
ir itu
u a l world
wo rld,, ac tin ti n g as a gatew
gat ewayay b etw
et w een
ee n rea
re a li-
li -
ties and planes of dimensional existence.
An Ifrit is a class of very powerful Fiery Djinn which this volume di-
rectly deals with. Traditionally they are depicted as enormous fiery winged
 bein
 be ings
gs th a t are
ar e gen
g enereral
ally
ly ass
a ssoo 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
are mentioned in the Q u r’an r’an an d “A l f Layla Wa Layla Lay la”” among other less-
er known texts (at least to the Western world)  such as, “Sham Sh amss al-a l-Ma
Ma’’a r if 
al-K
al -Kub
ubra ra””.  However their description in “Miscelaneo Miscel aneo de Salo Sa lom on ” is quite
m on”
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 vol-
ume are IfritIfrit of ‘The Clan O f Taw - AH’ AH ’, know n as containing the most pure-
ly destructive Djinn among the Houses, or Clans of Ifrit.
Of course when discussing Djinn, the subject of Ghouls must be in-
cluded as as they are indeed im po rtantly related related.. It has has been said that Ghouls
(G hul’s) are simply Djinn (Jinn, Genie) tha t did/d o n ot follow
(Gh 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 alFida’
alF ida’,, m entio ned in “Tafsir Ibn Kathir”tha t Ghouls were the
‘demons
dem ons ofg o fgen ies’’, which further supports this.
enies
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 par-
ticular 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

ass?'; 2 4 ж
 Th e H i s t o r y O f  D i i n n

•: 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
- essentially
essentially m akin g it it invulnera ble. In the taletale “Story o f Prince Sa S a yf 
*. i>id the Princess B a d i’a Al-Ja Al -Jama l” from Burton’s “A lfL
mal” lf L a yla
yl a h Wa
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
advised, “Smite
Sm ite him
hi m not a second time, fo r then he will not die,
die,
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 darkda rk spirits. In th e French
: Translation
Translation of “The Arabia
Ara biann Nigh ts”or “A l f Layla Wa Layal
N ights” a” by A ntoi
La yala” 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 ’

оЦ 25
 Th e B o o k  o f  S m o k e l e s s Fir e

Though th is is an added segment, (which many believe to be simply a ro

mantic
man tic horror element o f the author) I believe it
the author) it was set there
the re to give the r ead-
ea d-
er 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
decayy 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 tak-
en man y formsforms 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 tori-
ety;
ety; Arabia.
Arab ia.
It can be seen
seen in the disclosures of the D jinn in “Misce
Mi scelan
laneo
eo de Salo
Sa lom
m on’
on ’’
that they dwell in all parts of the world, from mountain tops to oceans and
everything inbetween. 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 esternestern Hemisphere.
Hemisphere. One of the most im po rtant examples/ examples/
descriptions of Djinn from a Western source comes from Carlos Castane-
da’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
described as ‘Inorganic Bein gs’ that
Inorg anic Beings’  that dwell
dwell upo n the E arth u nseen, in cohab-
itation with men. Djinn are not specifically concentrated on in the series,
however
howev er ope o penin
ningg th e eyes
eyes to ‘see’
‘see’ ‘Inorganic Entiti es’ and hidd en aspects
En tities’ aspects of
reality is. This is a segment of conversation between Don Juan and Carlos
Castan eda on the subject,
subject,

оЦ 26
 T h e H i s t o r y O f  D i i n n

The counterpart of the Earth was what they (ancient Toltec

 c'
 c'cerers) knew
kn ew as the ‘Dark
Da rk Regions'.
Regions'. These (magical)
(magical ) practic
pra ctices
es
-:re by far
 fa r the most danger
dangerous
ous.. They dealt with entities without 
wit hout 
:'panic life. Living creatures that are present on the Earth and 
 populate it together with all organic beings”
Ca r l o s 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 ownn
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.”

This ‘heightened state’

sta te’ of awareness
awareness is broug ht on thro ug h m any diffe differ-
r-
: med iums when used correctly,correctly, be it con sum ption of psychotropic/delic
mints, intense
intense pain /pleasure or hyp notic statesstates of m ind. The The Sorcerer
Sorcerer inin 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

аЦ 27
 Th e B o o k  o f  S m o k e l e s s Fir e

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

any of the ceremonial

ceremonial aspects of the “Goet Go etia ”are derived and
ia”

 Ж 
 base
 ba sedd on Pete
Pe terr de A b a n o ’s “Hepta
He ptamermeron on” ”which could indeed
 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
system prescribed within the “Goet Go etiaia”” is not suited for LHP
a g io . N early all
all of the legendary ‘Black Mag ic  grimoires such as “Vie Gr 
Bl ack Magic
:iriutn Verurn”, “The The GGrimoir
rimoiree o f Pope HonoHo 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 norino riu Veri table Dragon N o i r ”,  etc., are unus
u s”, “Le Veritable
ar.e to any who werewere 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.
Michael W. Ford addresses this issue in his book, “Goetia O f Shadows Shad ows” ”
reversing/adjusting the invocations/conjurations etc. in a manner suit-
able for Left Hand Path practitioners. Ford writes,

“The
The Lemegethon
Lemegethon texts provide
pro videdd 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 ’ 

оЦ 31
 Th e B o o k  o f  Sm o k e l e s s Fi r e

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
the ‘Devil’, as H.T.F. Rhodes relates so well in his book “The Sata
S atanic
nic M ass”
as s”,

“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 s s , 1 9 5 4 ’ 

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 in-
fluence, an d focus on co mbining the sp iritual (energy work) with the scien-
fluence,
tific (Lovecraftian Quantum Physics)  to open gateways, so that interaction
with no nh um an entities
entities may be
be achieved This is wha t I term ‘Fringe
achieved.. This Fring e Mag
Ma g
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 ysti-
ys ti-
cism 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

3 2 W
 O u t l i n e O f  T h e M a g i c a l Sy s t e m

:: 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 formfo 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 exis-
exis-
: 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 actact true M agicians
agicians have
have ever
ever preformed. One m ust un ders tand
ra: they are already in touch with the  A ‘ l l ’,  all that is needed is to free the
: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 thatth at energy
en ergy stronger.
strong er. All that
th at is need
ne eded ed to chan ge oneo 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 flowflow 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 causecause 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 Vampir-
m 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

CTS, 33 >30
 Th e B o o k  o f  Sm o k e l e s s Fir e

 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 were dra w n from out o f the ‘NaguaT (The Meon,
They were 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 work-
ings. 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 en-
tities 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 n (Blood), conjoined with the
ic ian
essence
essence o f the Spirit (Sigil). Therefore, blood will be a central element when
the Spirit
working with these particular Djinn in the ritual chamber, as well as when
creating sigils, talismans, etc.

= » 34 *=
 O u t l in e O f  T h e M a g i c a l Sy s t e m

yjffumigation is also heavily drawn upon, it is and has always been a

L- element w ithinith 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
rence o f A rabi
ra bia’a’) kno
 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, mak-
rg it a fitting incense to incorporate within this system. And lastly there
.oriander Seed (coriandrum
(coriandrum sativum)  which has been used in many an-
: 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 ofo 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 , ‘F o r e w o r d   t o L i b e r   L u n a e ’ 

■=»• 35
35
 

T h e B o o k  o f  Sm o k e l e s s Fir e

Though not only are these incense utilized in this system, but also sev-
eral different written ‘words pow er’ or evocatio
words o f power’ 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 forfo 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 a-
terial
terial and the spiritual worlds, worlds, where
where smoke dwell dwellss in the middle g rou nd b e-
tween 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 eaththes
es in th e emp em p ow ered
er ed evoc
ev ocatatio
ionsns,, 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 prac-
titioners. 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 differ- differ-
ent ways
ways,, but overall
overall what I am trying try ing to convey is is; Magic mu st be perso nal- na l-
ized.
ized. One m ust make m agic the ir own, the rituals I present can an d should
 be alte
al terered d to the
th e c u sto
st o m n eeds
ee ds o f theth e ind
in d ivid
iv id u al u sin
si n g them
th em . This
Thi s syste
sy stemm
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 a-
gician 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 hishi 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 out-
side
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 rforf o rm thes
th esee rites
rit es u n d e r the
th e stast a rs in a ceme
ce metertery,
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.

Зб
 O u t l i n e O f  T h e M a g i c a l Sy s t e m

■■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 anda 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 theth 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 completecomplete
: 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 releareleased
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 di-
ment 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.

37 =
 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 

agic is not  Magic

' gical\ 
 Ma al\  it
  it does not ‘ju s t happ en’,,  nor is it ‘mirac-
ha ppen’
l 6 / a ul°u s’’’ it is a scientific system based on a process that we have
ul °us’
/■ -T 1 yet to fully u n d e rsta rs tann d scientifically.
scientifically. I believe this
th is is becau
bec ause
se
Щ if we have have yet to reali realizeze 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
id the rules
rules of the ‘M atri x’ o f ‘Con sensual
at rix’ 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 ma-
m rulation of personal energy to restructure the ‘Consensu Consensualal Reality Ma
M a trix
tr ix’’
: 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,

=' 41 •
 Th e B o o k  o f  S m o k e l e s s Fir e

there is always system, a process tha t m ust beg in the ‘miracle. As an exam -
always a system,
 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 e-
ment 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 yster-
ies 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 nonlocality. 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 scien-
tific community. Though even here science cannot yet explain why entan-
glem 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
ainn 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 tel-
te l-
ligence basis of ‘reality’, and how to manipulate
ligence and work that q uestions the basis 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 accept-
able. 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

42 sc
 B e t w e e n 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

r. so
so. books
book s such as this
thi s volume,
vo lume, o r my last “Volubilis Ex E x Chao
Ch aosi sium
um” ”, will
. 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 in-
. re. I believe this discrimination is why “The The Necron
Nec ronomomicon
icon”” by Sim
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 thethe legitimacy of a pre-existing
pre-e xisting cu lture and
an d trad ition to be accepted
. serious
serious work in his timtim 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 upstaup 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 inde- inde-
rbable
rbable to to those w ho have not w alked the ‘Spaces In-Between’ themselves,
; have
have not kno w n the ‘Twilight o f Being and a nd Real
Re ality
ity’’.
The
The practice o f Magic dea ling with the evocation
e vocation of spirits, both benev-benev-
. n: and baneful,
b aneful, has gene rally been centered a roun ro un d the Magic CircleCircle 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 de-
de-
. r oes
oes in “The Call O f C thuth u lhu
lh u ”,

“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 Fir e

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
Judgee 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 v e c r a f t ,
‘ T h e D r e a m s in 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 en-
ergy 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 anoth-
er 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,

“...hi
... hiss sober theory (was
(was)) that
tha t a man might 
mig ht  
  given mathematical
knowledge admittedly beyond all likelihood of human
acquiremen
acqui rementt - step deliberately frofr o m the earth to any an y other 
celest
celestial
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”
 B e t w e e n  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

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 whatwh 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 tiquityity
- 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 pow-
aiting 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 rapezoidd 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.

® 4 6 ,
jSO
 м Be t ween  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 hhave
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 out. Angles produce
shapes both inside and out. prod uce
 the ‘Comm
Co mmanandd 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 properties.. .”
inspiring-- 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,
•■.nich resides ‘between
betw een the angl es’, that an entity may cross the dimension-
an gles’
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
re considered tied to the “Goeti et ia”, but seen as its own work, with its own set
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 pro-
pro -
: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
andd 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
as described, but not what is required to open the doorways ‘In-B
In -Bet
etwe
ween
en’’,
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 Ma-
gician
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
through the doorway of ‘The Spaces In-Betwe
In-B etween
en (the angles)’
angle s)’,  and into the
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 ener-
gized 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

 48 :
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-e> are designed to amplify and encompass the Magicians stored per-
i. 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 es-es-
Thev 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-
ood that indeed,  Angles
‘ produce the commco mmanand loo k’, an d tha t people
d to look’ 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
vaguelyly aware
aware of of, und erneath allall of our conscious
conscious thoughts
thoughts
; organizations based on reason and an d rationality.
rationality. Indeed,
Ind eed, it isis 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 technol-
a ■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
Гае Complete
Complete Book o f Magic Science”Science”as well as in “E xper xp erimimenentu
tumm ”, though
~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
■angles can also be seen in Francis Bacon’s grimoire “De Nig N igro
rommanci
an ciaa”,
hich interestingly
interestingly deals
deals with the conjuration of W raiths, an unco nvention-
. entity
entity toto 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 low-
er squares apex of angles supporting two triangular, partial faces
of the cube. When the top of the three dimensional cube perspec-
tive 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..

• S o «
- мВ
et ween  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
 T h e B o o k  o f  S m o k e l e s s F i r e

Th e Se c o n d   Tr i a n g l e 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 elon-
gated two dimensional isosceles triangles that are all connected by
the points of their base, creating an equilateral triangle in the cen-
ter 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 dimen-
sional 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.

с гЦ 5 2 ) s d 
м Be t w e en  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

=s>;
=s>; 5 3 .esc
.esc
 T h e B o o k  o f  S m o k e l e s s F i r e

Th e Th i r d   Tr ia n g l e 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 tri-
angle, 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 Trian-
gles 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.

«=
«= 5 4
: B e t w e e n  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

55 ®
 Th e B o o k  o f  S m o k e l e s s Fir e

Th e Fi r s t Cir c l e Rests in an angular cradle of compressed

static energy, having yet another circle partially surround it. Its de-
sign
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.

■■ 5 b  
м B e t w e e n  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

A 57 > =
 Th e B o o k  o f  S m o k e l e s s Fir e

Th e Se c o n d   C i r c l e 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.

as; 58  ;;®='

эм B e t w e e n  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
 Th e B o o k  o f  Sm o k e l e s s Fir e

Th e is similar to the second, in that it too is

Th i r d   C i r c l e

designed to ampa mplify

lify the M agician ’s own energy
energy.. It con sists of two
two
concentric circles that are embraced by two inward facing cres-
cent 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..

сЦ 6 О
’м B e t w e e n  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
 In t e n t An d  Vi b r 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 a-
gician 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 
 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

■ 65
 Th e B o o k  o f  S m o k e l e s s Fir e

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 ol-
ecules
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 vibra-
tion 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 c-
tion 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 ersexu 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 en-
ergy 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 

«
*•66 5
5E
 In t e n t A n d  V i b r a t i o n

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 barba-
rous
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
ormm 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 
litanies.  In the Clavicle o f Solomon
Solom on revealed to Ptolemy
Pto lemy we find 
fin d 
the instruction that once  the magicia mag ician
n had
ha d recited
reci ted all
al l these
 names
 nam es with the utm ut m ost
os t devotio
dev otion n one was advised:
adv ised: “Heare
Hear e let 
the maiesty
maie sty ofo 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
Oldd 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 tionaltiona l scienc
sciencee so contact is more easil easily
y made be-
tween 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,
 Th e B o o k  o f  S m o k e l e s s Fir e

/ 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 ll-
ll - 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 eepp 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 - bugg-
bugg-sho
shoggo
ggog
g - y ’hah;
hah; Yog-Sothoth
Yog-Sothoth - Yog-Sothoth...
Yog-Sothoth...

Ygnaiih
Ygnaiih - Ygnii
Ygniihh - 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
nghaa - 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 !”

6 8 )S D
 In t e n t A n d  V i b r a t i o n

 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 ith-
ith -
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.
ills. Also in th e E noc hian system
system we see
see these vocal
vocal vibrations being used
г conjunction w ith the SigiSigill 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 vi-

rration 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 beat ing again - but 
dr umss were beating
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 ongstst 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 
 Th e B o o k  o f  Sm o k e l e s s Fir e

 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-ti-
ti-tom...luring and enticing; then the surging, heavy Boom-
boom, 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 ofo f the Vodoun dru m and the atm o-
sphere 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 nonh
no nhum
umanan 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 madma 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 columco lumn n seem
se emeded 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 nimm agin
ag inabable
le.”
.”.. .. A n d through
through this revolting
revolting graveyard 
graveyard 

-
=■' 7 0  .
S t
-'
 In t e n t A n d  V i b r a t i o n

of the universe  the muffled, m adde

ad deni
ning
ng beating
bea ting o f drums,
drum s,
 and
 an d thin, monoto
mo notonou
nouss whine o f blasphem
blasp hemous
ous flu tes
te s  fro
 fr o m
inconceivable, unlighted chambers beyond Time; the detes
de testab
tablele
 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 isis a science to openin

ope ning
g the Gateways
Gateways ofo f the ‘In-Be
In- Betwe en;  it is foun
tween; fo un d-
с. 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 In-
ent
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
 Ma trix'.  It is through these vital elements that the Magician
 Matrix'.
'.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’’,

= * : 7 5 « =
 Тнк Bo o k  o f  Sm o k e l e s s Fi r e

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
iedd 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. TheThe lamp is not spe-
cificall
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.

St r ips O f  P a r c h m e n t Pa Cut strips of parchment paper is

p e r  :

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.

Bl a c k t h o r n / E b o n y /Oa A scepte

k  scepterr ofblack thorn , ebo-
Sc e p t e r  :

ny 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.

Ma g i c a l Sw A sword is used in this system as a show

o r d :  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 excep-
tion. 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
especialllly
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 

7 6 У -
 R e q u i r e d   R i t u a l To o l s

is  arepres 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 B o w l : A sacrificial
sacrificial bowl is used to contain
con tain the blood
b lood spilt
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 mag-
mag -
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.

=• 77
Lu n a t e Sc r i p t

79 ^
 Th e B o o k  o f  Sm o k e l e s s Fir e

 N О P
■

B O O K II

Su m m o n i n g Th e I n f e r n a l D j i n n

<лк 83 W
 A l i g n i n g Wi t h Tr u e Ch a o s

his rite
rite is designed to align o r more accura
accuratel
tely,
y, realign the M agi-
cian’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 agi-
ag i-
cian with the pure Black Snake Current of Chaos. Here the man-
ifested 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 pro-
ces
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 pres-
ently available, such as rocks or branches from nearby foliage. Pour the con-
secrated 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 InBetween"
InBetween"
 Th e B o o k  o f  Sm o k e l e s s Fir e

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

■ •
•• 86
 Al ig n in g Wit h Tr u e Ch a o s

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 primpr 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 r-
rent 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 envi-
ronment is able to feel these occult essences, and have for aeons worshiped
and given h on or to thist his ‘Spirit of Fire’ th at they
th ey instinctive
in stinctivelyly 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
iat-
t-
ed 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,

a 91

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

. .curse
.curse and deprive
deprive you (the Demon), fro
fr o m all your
yo ur offic
office,
e, Joy
Joy &
 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 o-
cation
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 nju-
nj u-
ration
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 dif-
dif-
fer from the D emo ns of the Goetia, they are also
also dangerou s an d would glad-
ly 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 disre-
spected, 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, shapeshifting and
sometim es invisible
invisible entity that is as
as old as time,
time, t hat has seventyone angry
 br o ther
th er s an d sist
si ster
ers.
s...
..oo 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
iann
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 ‘Align-
ing 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 ener-
gy. 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 flow-
ing
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’
‘ the Flames within
with in the Infern
Infe rnal
al Trapezoid before me.
me.

 Devourin
 Devo uring
g Light o f never ending
end ing Wisdom,
 Burn
 Bu rnin
ingg Flame
Flam e o f All,
Come for
fo r th on this
thi s Night before the Stars...

<=m^ 94 iN0

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
cleansese 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 di-
alogue, 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
iann grows
gro ws stron
str onge
ger,
r,
until all the energy has been transferred from the physical fire to the spirit-
ual 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 B o o k  o f  Sm o k e l e s s Fir e

2. 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 attacksattacks his victims
victims he cha ng-
es 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 In f e r n a l D  j i n n

3. 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 vic-
tim 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 inflamma-
tion 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 D  j i n n

5. J A D H B A H  Appears as a tall m an with a sing singlele 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 agi-
ag i-
cian when evoked.
evoked. He resides
resides in dark
da rk water fille
filledd canals. W hen he
attacks his victim he causescauses 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 1 01
0 1 ) s d 

Th e B o o k  o f  S m o k e l e s s Fir e
 Th e B o o k  o f  S m o k e l e s s Fir e

6. 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 vic-
tim, 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 D  j i n n

7. 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 hashas 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 B o o k  o f  S m o k e l e s s Fir e

8. 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:

<=©^ 10
1 0 4 )SD

T S T I D
 T h e Se v e n t y - T w o I n f e r n a l Diinn

9. A L R A W ’A H / A L R U ’H  A ppears
ppears as a large
large beautiful
beautiful pea-
cock 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 dark-
ness
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 at-
tacks 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:

аЦ 10б
10б
 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 la-
tion 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 wom-

wom-
an from the waist down, the remaining upper half is that of hid-
eous
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 untilunt 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 sick- sick-
ness that leaves it horribly disfigured until painful death ensures.
This pa rticu lar Djinn
D jinn is strikin g in appeara nce. Her sigilsigil 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 eauu 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 isis tha t o f a mule, while the th e left
left a powerfu l lions. They re-
side 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 re-
sides 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 complica-
tions. If a woman is her victim, she causes extreme sickness by
covering her body. Her sigil is:

111 )gD
 Th e B o o k  o f  S m o k e l e s s Fir e

16. ALDABAH / ALWAHENAH - 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 sig-
ig-
il 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 vi-

cious 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:

<=©^ 11
11 4

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 D  j i n n

19. ALH AJA

AJA  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 deso-
lation.
lation. He attacks by corr up ting the b irth of children. His sig
sigil
il is
is:

=: > 115
11 5 >* •
 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 be-
tween
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:

аЦ ll6
 Th e Se v e n t y -Tw o I n f e r n a l D  j i n n

21. BQAR DHAT ALASQAM  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 rann ce o f a man
m an.. H er sigil is:
is:

о Ц 1 1 7 )SD
 Th e B o o k  o f  Sm o k e l e s s Fir e

22, ALZUBDAH  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 r-
als
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
Ćll
8
 T h e Se v e n t y -Tw o In f e r n a l D  j i n n

23. 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 depres-
sion 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 In f e r n a l D  j i n x

25. *QELNEMATAH  A great king of Djinn, faster and more

dangerous than any other. He has full reign over all, being; lu-
nar, 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, strangu-
lation
lation and unconsciousness
unconsciousness u ntil co ntrol of the b ody is los
lost,
t, caus-
ing 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:

а Ц 1 2 1 )§ d

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:

о Ц 123
12 3
 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:

оЦ 12Ó )sd 

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 D  j i n n

31. ALEKHNAMEN  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 pain-
ful strangulation. His sigil is:

127
127
 Th e B o o k  o f  S m o k e l e s s Fir e

32. HABSHAHESH - 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 Du n n

33. LAHIF  Appears as a tall man with a head like that of a fero-
cious
cious monkey, having the feet feet of a canine. He in habits the deep of
the seas.
seas. Whe
W henn 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:

=SŚ 12 9
 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 sigilsigil 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  o f  Sm o k e l e s s 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 caus-
es 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^ I3 2

Th Se v e n t y T 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, hav-
ing 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 In f e r n a l D  j i n n

39. H A M U D I  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 vic-
tims 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 B o o k  o f  Sm o k e l e s s Fir e

42. 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 vic-
vi c-
tim 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 D  j i n n

43. ALDARBAN  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 at-
tacks 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 beau-
bea u-
tiful an d dusted
du sted in gold.
gold. He dwell
dwellss outside the entryways of ho us- us -
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 D iinn

45. ALWISWAS - 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 B o o k  o f  S m o k e l e s s Fir e

48. ALNABAH - 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 D  j i n n

49. ALMUL  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 at-
tacks 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 e Bo o k  o f  Sm o k e l e s s Fir e

52. ALHAMQA - 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 e Bo o k  o f  Sm o k e l e s s Fir e

54. ALMASUR  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
allyy ‘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 In f e r n a l D  j i n n

55. BALEM  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 e Bo o k  o f  Sm o k e l e s s Fir e

56. SHAKHYA  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 sleep-
ing, 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 spellcast-
spellcast-
ers 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 riv-
ers. 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
nedd
serpent. He dwells alongside the ‘sheep’. When he attacks his vic-
tims 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 vic-
tim 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 e Bo o k  o f  Sm o k e l e s s Fir e

62. ALFALIJ- App ears as a tall m an w ith large black

black wings,
wings, having
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 D  j i n n

63. ALWATHEQ - 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 e Bo o k  o f  Sm o k e l e s s Fir e

66. ALMARIKH  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, de-
ceiving 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 D iinn

67. MER ABU ALSHISFAN 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 e Bo o k  o f  Sm o k e l e s s Fir e

68. ALHILYAH ALZAHERAH - 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 , hav-
ing 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 d-
ness to befall them. His sigil is:

' » 165
 Th e Bo o k  o f  Sm o k e l e s s Fir e

70. SHRAHI  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 D j i n n

71. MAGHSHAGHAS  He appears asas a magnificent mighty gold-

en 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 e Bo o k  o f  Sm o k e l e s s Fir e

72. 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
ingg th em to ex-
cite 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 D  j i n n

IBLIS

- 169
16 9 ’
 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

t
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
anticosmic, 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
suppression is what is ‘evil’.
One of the forms O rder takes is
is thro ug h Judeo/C hristian religious
religious dog-
ma, 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 merce-
naries 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 C l a s s o f  D  j i n n do not kill

kill outright, thou gh th eir victims
victims
may have rather well chosen death, over some of the horrendous and tor-
turous 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 seventytwo, containing fiftythree 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 AL-
AL-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 isis 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

T h e T h i r d   C l a s s o f  D  j i n n are unique in that they concentrate on

 pr
 p r eg n a n t w om en,
en , caus
ca usin
ingg 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::

ALDULAT WA HIRAM
HIRAM ALSEBY
ALSEBYAN
AN,, DANHASH, AL-
AL-
HAJA, 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
sonn 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 forfor 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 ri-
angles 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 r-
sonal energy, on that central point. It is here where you will push your per-
sonal 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 o k  o f  Sm o k e l e s s Fir e

When you have completed the Triangle, you must now focus your ener-
gy 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 en-
ergy goes
goes into the con stru ction ctio n of these vehicle
vehicless which leav leaveses 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, andan 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 iciaian
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 isis thin
th inne
ne st and
a nd contact can
 be m ore
or e easily
easi ly m ade.
ad e. The intein terfrfer
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 com-
fortably 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 BAGHAHAH" 
H" 

- i/6 ■
 R i t e s O f  Ev o c a t io n

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
waveses or strings sw irling
aro un d the inside of o f the Circ
Circle le.. As stated th e lines of the CircleCircle 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 spin-
ning energy enter your body through your back between your shoulder
 blades
 bla des,, fillin
fil lingg 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 ergygy 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
gedd
and most potent. When you feel you can no longer contain the surging en-
ergy
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 lineslines 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 de-
scribed, 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. Be-
ing 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,

о Ц 177
177
 T h e Bo o k  o f  Sm o k e l e s s Fir e

“(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 bloody house o f Taw ~ A l l !
o f the bloody
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 fathfa ther
er IBLIS,
IBLIS, to bebe
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 Name ), / summon you forth from
n n’s Name), 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,

- 178 ■
 R i t e s O f  Ev o c a t io n

(Djinn’
(Djin n’s Name),
Name), I summo
sum monn 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 clairvoy-
ant
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 k-
able. 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
nonreality 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 rsoo nal
na l s tren
tr en g th,
th , allow
all owining
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.”

аЦ 179
179 ^
 Th e Bo o k  o e Sm o k e l e s s Fir e

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 visu-
alize the damage that is now occurring to your victim, see the Djinn sur-
rou 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.
ЯЗЕЕН

3 13 II3i
 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 pre-
sented 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,

as l 83 :
 Th e Bo o k  o f  Sm o k e l e s s Fir e

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,

о Ц 1 84
 Co n j u r a t i o n O f  I b l i s

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...

ж 185

i
 Fi n a l Wo r d 

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 nonreality, 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 ac-
cessing 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

оЦ I87
 T h e Bo o k  o f  Sm o k e l e s s Fir e

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
of inward dreaming,  an d no cause to value one above
abo ve the othe
other."
r."
H.P. L o v e c r a f t , ‘ 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 a-
trix 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 ener-
gy field
field tha t is the Con sensual Reality
Reality M atrix to change/rew rite it to a Magi-
cian’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
ingg 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 ev-
er, 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 

l88 -
 Final W o r d

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, any-
thing 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 ak-
-
en, 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 e-
nesses.
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 ow n boundaries to gain
 yo ur own

 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

=®y 189
 Th e Bo o k  o f  Sm o k e l e s s Fir e

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, lock-
ing 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
tioo 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 al-
-
ity. 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 wayway..
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 n-
trolled
trolled by Order.
Order. Stand stro ng ... ...

~ S. Ben Qayin

о Ц 1 9 0 )S D