Abdul Alhazred's Necronomicon

Abdul Alhazred's Necronomicon

Thomas Minzenmay

Miskatonic University Press

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Note by the Editor

The Necronomicon, a captivating enigma of arcane knowledge, has endured in the annals of intellectual history, despite its elusive nature and sporadic accessibility. This tome has long fascinated scholars and enthusiasts of esoteric wisdom, leaving an indelible mark on the intellectual landscape of humankind. Tracing its origins back to the early 8th century, the Necronomicon was the ambitious creation of Arab scholar Abdul Alhazred, who sought to compile a comprehensive repository of esoteric wisdom. Drawing from numerous oral and written sources, Alhazred's work eventually culminated in the tome that would later become the Necronomicon. Although the original title Kitab al-Azif is often attributed to Alhazred himself, recent scholarship suggests that it was more likely a later invention by Arab scholars who wished to honor his legacy, given that at no point in his work does Alhazred refer to it by name, only calling it this work or this collection.

Over the centuries, the Necronomicon underwent several translations, facilitating its dissemination and influence across diverse cultural contexts. In 950 CE, Byzantine scholar Theodorus Philetas translated the work from its original Arabic into Greek. This translation not only introduced the now-infamous name Necronomicon but also significantly impacted the alchemists and natural philosophers of Constantinople. The newfound enthusiasm for the book also led to a series of unfortunate events; however, no details are known. These events prompted Michael I Cerularius, Patriarch of Constantinople, to ban the book in 1050 CE and order the destruction of all known copies, once again relegating the Necronomicon to the shadows. In 1228, Danish alchemist and scholar Olaus Wormius, not to be confused with his namesake from the 17th century, translated the Necronomicon into Latin, making it accessible to the intellectual elite of the Christian West, who were proficient in Latin but by and large did not speak Greek. However, in 1232, Pope Gregory IX banned the work once more, imposing a strict prohibition on its circulation. The Necronomicon reemerged in the late 15th century when an anonymous German book printer discovered Wormius' Latin translation. He published the Necronomicon in print for the first time, despite the prohibitions surrounding the work. This act made the knowledge within its pages available to a wider audience, marking the beginning of a renewed interest in the tome's contents.

A more detailed exploration into the history of the Necronomicon would be beyond the scope of these observations. Our focus is on the book that forms the basis of this newly published English translation. As such, it would be most prudent to discuss the recent discovery of the 15th century Black Letter print of the Necronomicon. Due to privacy protection considerations, we are unable to divulge excessive information; however, we can share some pertinent details. The book was rediscovered in Southern Germany, within an old estate that has been in the possession of the same family for almost 800 years. The family belonged to the gentry; they were affluent but never held any significant power. During the late 15th century, the family experienced a steep economic decline, precipitated by the shifting socio-political landscape, wherein wealth and power transitioned from the countryside to the emerging cities. Nevertheless, the family managed to regain their fortune during the 16th and 17th centuries, owing to a strategic marriage policy that granted them access to several copper and silver mines.

Around that time, the family utilized their newfound wealth to renovate and expand their estate in the fashion of the era, which included the construction of an impressive library. Following the rediscovery of the Necronomicon, the family's archives were examined in the hope of uncovering additional information. The only likely reference was found in a letter penned in 1738 by one of the daughters of the family, shortly before she joined a Cistercian monastery. In the letter, addressed to her brother, she expressed her dismay over one of their ancestors, a man who lived during the early 17th century, who had supposedly acquired an entirely blasphemous book, written by that Arab idolator from an unnamed alchemist from Nuremberg. She implored her brother to sell the book, or better still [to] burn it. Perhaps her brother's reluctance to heed her plea contributed to her decision to become a nun.

The rediscovery of the Necronomicon occurred during a recent renovation of the estate. Construction workers who were installing a new central heating system stumbled upon a bricked-up door in the cellar. Behind this concealed entrance lay a small storage room containing several chests. While the majority of these chests held silverware and a few precious gems, one of them housed a collection of valuable books, among which was the elusive Necronomicon. An approximate date for the concealment of these items can be established based on the chests’ contents. It is likely that they were hidden away no earlier than the year 1800. The most plausible explanation for this action is that the family sought to safeguard their most precious possessions during the tumultuous period of the Napoleonic Wars. The head of the family succumbed to typhus in 1814, and it is conceivable that he was the sole individual privy to the knowledge of the secret cache. Consequently, the hidden room and its valuable contents remained undisturbed for over two centuries until their fortuitous rediscovery. Ultimately, it was discovered that the measures taken to safeguard the treasures were not needed, as the French armies never approached the estate, even though it should have been directly on their marching route. It appeared as though an unseen force kept them at bay.

Local tales suggest that the French had caught wind of the mysterious occurrences linked to the estate. To this day, a number of elderly villagers living near the mansion avoid it, insisting that the building is animated by a dark, otherworldly energy. However, such stories are commonplace when it comes to ancient structures. In truth, the nearby northern hills held more strategic importance for the French army than the secluded estate. The choice to sidestep the estate was likely a pragmatic one, based on the landscape and the French forces' strategic objectives, rather than any supernatural sway the estate may have possessed.

The cellar in which the Necronomicon and other valuable items were concealed provided ideal storage conditions, maintaining a constant temperature of 12°C, a relative humidity level of 40%, and no exposure to light. As a result, the book has been preserved in remarkably good condition, considering its age. Given that none of the other extant copies of the Necronomicon in general, and the Black Letter edition in particular, are accessible to the public, the rediscovery of this volume presented a unique opportunity to analyze both the print and the text itself. This rare chance to examine the work has granted invaluable insights into the nature of the Necronomicon and its historical context, enriching our understanding of the enigmatic tome.

The physical characteristics of this rediscovered volume of the Necronomicon suggest that it retains its original binding, although verifying this conclusively would necessitate disassembling the book. The binding's construction is consistent with the practices of the late 15th century, featuring four sets of double hemp cords that span across the spine, to which the quires—each comprising four folded paper folios—are sewn. These cords then connect the spine to the wooden book cover in a manner typical of the period. The leather binding is black and, although scratched and with parts of the surface flaking off, only superficially damaged. The leather is still intact, covering the entire book, and, despite its sensitive surface, it is surprisingly flexible and less brittle than many other books of a similar age. It is important to note that all books from the 15th century were individually bound, and no two bindings were identical; thus, we can draw only limited conclusions from the binding of this particular volume. Nevertheless, some intriguing details are worth noting. For instance, unlike most medieval books, this edition of the Necronomicon bears no blind embossing on its leather cover. The surface is entirely unadorned and plain. Yet, the book retains its original brass book corners and clasp, which also diverge from typical 15th-century design. While most books of this era would feature floral ornamentation on both the leather and brass components, this volume of the Necronomicon is distinct, with its brass book corners etched to depict writhing tentacles—an atypical and hitherto undocumented design choice that adds a unique element to this rare artifact.

When examining the content of this edition of the Necronomicon, the most striking feature is the vast array of woodcuts found within its pages. Excluding the numerous initials, there are 227 unique woodcuts in this volume, all of which have been included in this English edition, with two of them being used twice. This equates to nearly one woodcut for every two pages—an extraordinary ratio for a book from this period. Style and quality of these woodcuts vary substantially, suggesting that multiple artists, and perhaps even several workshops, were commissioned to create the images, given that artists within a workshop would typically strive to maintain a consistent style. The reasons for this unusual approach to the book's illustration can only be speculated upon. It is possible that the printer sought to expedite the work by employing multiple workshops. Or he aimed to obscure the true nature of the book by compartmentalizing the task, thereby preventing any single individual from grasping the complete picture of the text being printed. Regardless of the rationale, the overall quality of the woodcuts is exceptional, with the level of detail in many of the images rivaling the finest examples of the craft from this period. It is clear that the anonymous printer enlisted some of the most talented artists of his time, though, without further information about the workshops involved, it is impossible to speculate about the artists' identities. It is plausible, however, that we would recognize some of the names of those involved, given the high caliber of many of the woodcuts. In addition to the impressive craftsmanship, the artistic quality of the images is also noteworthy. The woodcuts vividly capture the madness and bizarre nature of various scenes in ways that were truly innovative for their time. While the 15th century certainly saw artists capable of depicting demonic imagery and frenzied displays—such as Hieronymus Bosch or Jan Wellens de Cock—the artists responsible for the Necronomicon's woodcuts appear to have elevated this style to a new level, infusing it with a distinct sense of dread and horror.

It is worth noting the challenges faced by Olaus Wormius regarding the astrological diagrams. In his foreword, Wormius detailed the difficulties he encountered when dealing with certain markings associated with these diagrams. This issue seems to have persisted throughout subsequent copies, including the woodcuts in the recently found print of the Necronomicon. It appears as if some information has been lost over time. Many of the diagrams were clearly intended to have markings or labels, but it is uncertain whether enough detail has been preserved to decipher them, even if the appropriate script was known. This highlights the need for further research in order to unravel the mysteries surrounding these astrological diagrams and their cryptic markings, potentially shedding new light on the enigmatic contents of the Necronomicon.

Moving from the images to the initials, one can observe another fascinating aspect of this edition of the Necronomicon. In the earliest prints, initials were usually drawn by hand; however, by the end of the 15th century, the craft had advanced and woodcuts were increasingly used for this purpose. This is indeed the case for the initials found in the Necronomicon. The shape and style of these initials align with the prevailing trends of the era, as does the typography employed. However, as with the book's exterior details, there is an entirely unique aspect to these initials. Instead of featuring the conventional floral imagery characteristic of the period, the initials within the Necronomicon are adorned with twisting tentacles. This distinctive feature strongly suggests that the initials were specifically commissioned for the printing of this book. They were not reused from earlier works and neither intended to be employed in the creation of later prints.

The font utilized in the Necronomicon is yet another aspect that sets this edition apart. While every other element of the book points toward the very end of the 15th century, the black letter typeface feels almost anachronistic, harkening back to the earliest printed works. By the late 15th century, black letter fonts were primarily reserved for German texts, while Latin books were predominantly printed in Antiqua. Furthermore, the specific letters employed by the anonymous printer were clearly inspired by the very first book ever printed, Johannes Gutenberg's famous Bible. The Necronomicon's typeface closely mimics that of the Gutenberg Bible in every aspect except for its smaller size. This old-fashioned font lends a more austere impression than the typical black letter typefaces of the late 15th century. The letters within the Necronomicon, like those of early prints, attempt to replicate the impressive medieval calligraphy, replete with flourishes and embellishments that evolved from the art of manually copying books. However, by the end of the 15th century, the fashion had shifted and typefaces became simpler and rounder, making them easier to read. One might initially assume that the anonymous printer sought to save money by reusing an outdated typeface. However, given the deliberate nature and disregard for cost exhibited in other aspects of the book, it is just as plausible that the choice of typeface was intentional. Speaking of cost, there is one particular chapter in the Necronomicon that is written entirely in an unknown typeface. Olaus Wormius notes in the foreword to his translation that this is believed to be the legendary script of Naacal. Remarkably, the printer procured movable letters for this script, even though they could only ever be used for this one chapter in this one book. The decision to create a font for this chapter was certainly not driven by economic considerations. In fact, it likely would have been cheaper to hand-copy this chapter into every single print of the book. Nonetheless, the printer of this enigmatic tome opted for a different approach, further emphasizing the exceptional nature of this edition.

The Naacal language found in the Necronomicon is indeed intriguing, as it appears more akin to a cuneiform script than to hieroglyphs, which is how medieval sources typically described the Naacal letters. This discrepancy may be attributed to early inaccuracies regarding their classification that became the standard way of describing Naacal. Regardless, the cuneiform text within the Necronomicon is unlike any other form of cuneiform known to us. In comparison to Sumerian, Akkadian, Luwian, or Hittite, it is much simpler and almost crude, consisting of only 22 discernable symbols. A statistical analysis of these symbols reveals a distribution consistent with the structure of human languages. Furthermore, this same analysis suggests that Naacal is an alphabetic script. This characteristic would make it closer to Old Persian than to the logo-syllabic scripts typically associated with cuneiform. However, since Naacal is believed to be much older than Old Persian, a direct relationship seems unlikely. Interestingly, despite the inability of even the most advanced computers to identify any specific language encoded within these lines, certain patterns have emerged that may hint at a distant relationship with ancient languages from central Asia. The Naacal language and its potential connections warrant further research and exploration, as it remains a fascinating and enigmatic aspect of the Necronomicon.

The content of the Necronomicon is organized into nine distinct books. From various known references, it seems that this structure was established long before the 15th-century printing of the Necronomicon, dating back at least to Theodorus Philetas' Greek translation. However, it is improbable that Abdul Alhazred's original manuscript followed this structure. The individual chapters within the nine books lack an overarching narrative connection. In instances where two chapters appear to have a connection, they can often be found in separate books, such as the two chapters on the Shining Trapezohedron or the two chapters on the essential salts. It seems likely that the original manuscript was more of a chaotic collection of disparate texts rather than a coherent work. At some point, possibly during Theodorus Philetas' translation, an attempt was made to bring order to the chaos by organizing the content into the nine-book structure. However, as mentioned earlier, this organization is far from perfect, and the chapters within the nine books still appear to be haphazardly arranged, without any discernible logic behind their placement. Each chapter is preceded by brief summaries which were most likely added by the German printer and certainly do not originate from Abdul Alhazred's manuscript. For our translation, we have opted to transform these short summaries into proper chapter titles that better align with contemporary reading preferences.

This brings us to the translation of the Necronomicon. The process of translating the text was fraught with challenges. Firstly, the medieval Latin of Olaus Wormius is not always as precise as that of his classical counterparts. Secondly, the script, although beautiful, often makes it difficult to discern individual letters due to the numerous ligatures and abbreviations employed. While extensive use of abbreviations was commonplace during the Middle Ages to conserve expensive parchment, this practice had become less necessary by the late 15th century when paper had become the medium of choice for books, making the excessive use of abbreviations within the Necronomicon appear anachronistic. Modern-day translators are often unfamiliar with this style of writing, making the task of deciphering the correct words time-consuming. To address these challenges, we employed several experts to translate the book, which ultimately proved to be a wise decision. This approach not only saved time but also mitigated the burden on individual translators, as some had faced emotional difficulties during the process. However, this method of using multiple translators has led to some inconsistencies in tone and language. While we do not believe that these differences will impede readers’ enjoyment, we apologize in advance for any linguistic discrepancies.

As for the rituals described within the Necronomicon, we must caution readers that our studies are still in their early stages. While skepticism is warranted concerning the many outlandish claims of Abdul Alhazred, the initial results of our experiments have yielded some concerning outcomes. Perhaps it would have been prudent to seal away this edition of the Necronomicon, much like the other surviving examples that remain under lock and key. However, in the interest of scientific inquiry and our quest to better contextualize and understand our history, we have chosen to publish the book nonetheless. We implore our readers to approach the Necronomicon with the responsibility and reverence it deserves. Treat it as a window into the past, an artifact that offers invaluable insights into the human experience and the ever-evolving knowledge of our ancestors. Should readers still be inclined to attempt piercing the veil, we strongly advise against heeding the voices, and most certainly not to act upon their suggestions. May this edition enlighten and caution us in equal measure, as we strive to comprehend the mysteries it holds. With the hope that the wisdom gained from this tome will serve to enhance our understanding of the human condition, we present to you the Necronomicon. Proceed with care and respect, and may your journey into its depths be an enlightening one.

Thomas Alexander, Editor
The 5th of May, 2023

Preamble to the Necronomicon

by Olaus Wormius

In the name of the Father, the Son, and the Holy Spirit. Amen.

In these present days, as we bear witness to the relentless march of time and progress, we, the scholars of the Occident, find ourselves in the unyielding pursuit of knowledge, seeking it even amongst those whose faith diverges from the sanctity of our own. As illuminated servants of Christ, we are guided by the divine light of wisdom, striving to discern the hidden truths that may lie ensconced within the works of unbelievers, for the vast expanse of human understanding knows no boundaries, and it is our sacred duty to explore, examine, and endeavor to comprehend it. In our quest, we are reminded of the erudition discovered within the writings of the Andalusian philosopher Averroes, an unbelieving Arab who penned commentaries on the works of the great philosopher Aristotle. Though the roots of these commentaries are entwined with heresy and false beliefs, their branches have stretched forth into the halls of Christendom, resonating with those who seek to separate the chaff of untruth from the wheat of wisdom. For even as the fires of the Saracens consumed the works of Averroes, the eternal flame of Christian scholarship has been kindled, illuminating the significance of his commentaries and allowing us to sift the grains of truth from the tares of falsehood sewn by the heathen Aristotle and the heretical Averroes.

It is within this crucible of knowledge-seeking, fueled by the sacred fire of Christian discernment, that I, Olaus Wormius, a humble servant of the Lord, have endeavored to translate into Latin this enigmatic and esoteric tome, the Necronomicon. This dark manuscript, whispered about among the learned and wise of our age but rarely spoken of openly, is a work shrouded in mystery, yet so powerful and arcane that it has filled and captivated the minds of many brilliant individuals, compelling more than a few of them to wander beyond the confines of their sanity. As alchemists strive to transform the base metals into gold, we, the scholars of Christendom, must endeavor to transmute the raw materials of heretical knowledge into the refined substance of divine understanding. The spiritual alchemy we undertake in this process mirrors the divine transformation of our souls, as we seek to purify our minds and hearts through the pursuit of wisdom and truth. In this spirit, I present my translation of the Necronomicon, so that those who possess the fortitude and discernment to gaze upon its pages may unlock the hidden secrets within, and in doing so, bring light to the darkness that shrouds our world.

Through the boundless mercy and grace of Divine Providence, the cryptic tome known as the Necronomicon has traversed the vast expanse of lands and seas, journeying from the distant East to the learned scholars of the Occident. The origins of this mystifying manuscript can be traced back to the ancient city of Damascus, where it was first committed to parchment by the enigmatic and tormented figure of Abdul Alhazred. Alhazred, an Arab like the esteemed Averroes, ventured far beyond the confines of ancient Greek philosophy in his relentless pursuit of wisdom. In his ceaseless quest for understanding, he delved into the depths of antiquity, unearthing long-forgotten knowledge from the once-great civilizations of Babylon and Sumer. His journey took him to the farthest reaches of the known world, from the mysterious lands of India and Cathay to realms that lie beyond the veil of human comprehension. As he traversed these distant lands, Alhazred gleaned wisdom from places and peoples lost to the inexorable march of time, piecing together an unparalleled treasure trove of arcane lore that would ignite the imagination of the most keen and discerning minds. It is within the pages of this mystifying work that the reader may find a portal to the most profound and elusive truths of the universe, concealed within layers of allegory and symbolism that only the most learned and perceptive can hope to decipher.

Alhazred, in his wisdom, bestowed upon his work the appellation Al-Azif, which signifies the nocturnal sound made by insects, believed by many to be the sinister howling of demons. Following the completion of his manuscript, the enigmatic figure of Alhazred vanished into the mists of history, leaving behind no further trace of his existence save for the cryptic pages of his magnum opus. Yet, despite the mysterious fate of its author, the influence of Al-Azif persisted, casting its long shadow over the development of human understanding. Though the manuscript was never reproduced in great numbers, and its very existence remained a closely guarded secret, whispered only in hushed tones among the most select circles of natural philosophers, the work continued to wield a profound impact on the progression of human thought and inquiry. In time, the fabled tome found its way to the great city of Constantinople, where, nearly three centuries past, the eminent Theodorus Philetas recognized the immense value of Alhazred's work and embarked upon the monumental task of translating it into the Greek language. It was his diligent and arduous labor that made possible the preservation and dissemination of the knowledge contained within the Necronomicon, ensuring that the fruits of Alhazred's extraordinary journey would not be lost to the ravages of time and oblivion.

Thus, it was through the tireless efforts of Theodorus Philetas that the Necronomicon, the mysterious product of Alhazred's perilous quest for wisdom, continued to endure, casting its enigmatic light upon the path of human understanding and forever shaping the destiny of all who dare to delve into its arcane depths. Despite the invaluable contribution of Philetas, it is an unfortunate truth that the knowledge of the Greek language is not widespread in the Occident, even amongst the most erudite and esteemed men of learning. Consequently, I, Olaus Wormius, have deemed it essential to render this arcane text into the Latin tongue, thereby ensuring that the most capable and discerning minds in Christendom might distill the invaluable knowledge contained within its cryptic pages. It is my fervent hope that this translation will serve as a beacon of light for those who seek the truth in the shadows of obscurity. Furthermore, it is worth noting that it was Theodorus Philetas himself who bestowed upon this tome the enigmatic appellation by which it is now known—Necronomicon. This mysterious title, as elusive as the secrets concealed within the work, defies conventional attempts at translation. With great deliberation, I have determined that the most fitting approximation of the name in the Latin tongue would be Librorum Mortuorum Tractantium. Yet, in homage to the noble efforts of Philetas and in recognition of the unfathomable depths of the knowledge contained within, I have elected to retain the original Greek title for my Latin translation of this arcane work.

As I embarked upon the task of translating Theodorus Philetas' Greek rendition of the Necronomicon, I was confronted by numerous obstacles that served to render my labors all the more arduous and painstaking. The venerable tome that had come into my possession was in a lamentable state of disrepair, its once-sturdy pages now brittle and fragile, threatening to crumble at the merest touch. The ink, which once flowed bold and dark upon the parchment, had faded with the passage of time, its once-illustrious hue reduced to a feeble and barely discernible whisper. To further compound these challenges, the hand of the scribe who had copied the manuscript was, more often than not, a veritable enigma, for it seemed as though little regard had been given to the needs of future readers who would seek to unravel the mysteries contained therein. The script was often a tangled and indecipherable thicket, its secrets locked away behind an impenetrable veil of illegibility.

Undaunted by these trials, I resolved to seek out another copy of the Greek text, in the hopes that it might serve to illuminate the shadowy passages of the manuscript in my possession. My quest took me to the farthest reaches of Christendom, where I ventured into the most secluded and recondite circles of learning, driven by an unquenchable thirst for knowledge and an unwavering dedication to my scholarly pursuits. Although I was unable to procure a complete manuscript of the Necronomicon in its Greek form, my diligence was rewarded with the discovery of several fragments, which, though encompassing but a fraction of the entire work, were penned in a clean and legible hand that stood in stark contrast to the chaotic script of the full manuscript. By diligently juxtaposing these newfound fragments with the pages of the original text, I was able to decipher the elusive hand of the scribe who had copied the complete work, thus casting a ray of light upon the darkness that had previously shrouded the pages of the Necronomicon.

In my laborious pursuit to translate the mystifying pages of the Necronomicon into the Latin tongue, I strove to remain as faithful as possible to the Greek text upon which my efforts were founded. However, the inherent complexities of translation required that I occasionally adopt certain liberties with the original text, as the divergent characteristics of the Greek and Latin languages often called for a more imaginative and adaptable approach to the rendering of certain passages. There were instances where, despite my most diligent efforts, the reading stone could not dispel the shroud of obscurity that enveloped specific words or phrases, either due to the ink having faded entirely or the handwriting remaining inscrutable. In these cases, I was compelled to rely on my intuition and scholarly acumen to offer educated conjectures, always guided by the hope that the essence of the text would be preserved in my translation.

Moreover, the task of translating the illustrations proved to be a formidable challenge, as I often found myself questioning whether the markings were written in Arabic, Greek, or an entirely distinct language—or perhaps they were not text at all, but merely decorative ornamentation. In such instances, I endeavored to replicate the lines and shapes from the Greek source to the best of my abilities, trusting in the Divine guidance that has accompanied my work thus far. Yet another hurdle presented itself in the form of a peculiar chapter, written in a script unlike any I had ever encountered. A marginal note in the Greek manuscript made reference to this being the secret language of Naacal. Once more, I endeavored to reproduce the lines and angles as faithfully as I could, beseeching the wisdom of the Almighty to guide my hand. May those who come after me, with minds more enlightened and attuned to the mysteries of this ancient text, find greater success in deciphering the enigmatic message contained within that chapter.

As I conclude this preamble, I cannot help but raise my voice in humble gratitude to the Almighty for granting me the opportunity to engage in this monumental task. The Necronomicon, while shrouded in shadow and fraught with danger, offers a glimpse into mysteries beyond the ken of mortal minds. It is through the infinite grace and wisdom of the Divine that I have been able to bear witness to the secrets contained within and to share them, albeit cautiously, with those who possess the fortitude and faith to walk this treacherous path. My earnest hope is that this translation may prove to be of some benefit to those who choose to explore its pages. May they glean the wisdom therein, using it to further illuminate the wonders of God's creation, and navigate the dark corners of the unknown. As they do so, let them be ever mindful of the need for discernment, for it is in the delicate balance between knowledge and wisdom that we may find our true purpose. I am but a humble servant of the Lord, and I recognize the limitations of my own knowledge and understanding. I pray that my efforts have not been in vain and that they may serve as a beacon of light in the unfathomable darkness. May those who embark on this journey be guided by the Divine hand and protected from the snares and pitfalls that await the unwary. And let us all remember that, while the pursuit of knowledge is essential, our ultimate salvation lies in our unwavering faith and devotion to the One who created us and who holds the keys to the mysteries of the universe.

I also find it incumbent upon myself to offer a word of caution to those who would seek to unlock the profound and arcane secrets contained within the pages of the Necronomicon. While the quest for knowledge is indeed a noble and virtuous pursuit, it is essential that this enigmatic tome be guarded with the utmost care and discretion, for the wisdom it contains, though immeasurable, is not without its perils. Only those possessed of both a keen intellect and unwavering faith should dare to delve into the dark recesses of this text, for it is fraught with dangers that could lead the unprepared soul into the depths of eternal damnation. The Necronomicon harbors countless mysteries that, should they fall into the wrong hands, might herald the end of mankind itself, casting all of creation into a maelstrom of chaos and despair. It is my hope that those who venture to read these pages will tread lightly and cautiously, guided by the ever-present light of Divine Providence, even as they venture into the shadows of untold mysteries. As the flickering candle of reason illuminates the path ahead, know that the abyss may stare back, and the boundaries of sanity may begin to blur, like the ephemeral shapes that haunt the edge of vision, dancing on the periphery of consciousness. Thus, I entreat you, dear reader, to proceed with vigilance and prayerful discretion, for the Necronomicon is not a work to be treated lightly, nor shared indiscriminately. The secrets it holds may prove to be as much a curse as a blessing, and it is left to us, the seekers of knowledge, to tread the fine line that separates enlightenment from madness, salvation from damnation, and light from the engulfing darkness that lies in wait.

Olaus Wormius
XIIII Kalendas Julii anno Domini MCCXXVIII

Liber Facta

The Book of the Deeds

Initiation

In the name of God, the Most Merciful and Compassionate, I, Abdul Alhazred, begin this work, this collection. My mind is consumed with the knowledge of the Elder Gods, and I exist on the edge of sanity, teetering on the brink of madness. The secrets I have uncovered are not for the faint of heart, and the knowledge I possess would drive lesser minds to despair.Behold, the power of the Old Ones! They are ancient, eternal beings that exist beyond the limits of our mortal realm. Their forms are beyond comprehension, their powers beyond measure. To even glimpse their true form is to invite madness into one's soul. These stories and rites are my gift to humanity, a warning of the dangers that lie beyond our world. The knowledge contained within these pages is not for the weak-willed, but for those brave enough to seek out the truth. Do not fear the unknown, for it is only through understanding that we can hope to survive the coming darkness. Embrace the madness, and join me on the path to enlightenment. For in the end, we will all be consumed by the void.

I have spent my life in pursuit of this knowledge, delving into the darkest corners of the earth, communing with ancient spirits, and witnessing horrors beyond imagination. My mind has been shattered and my soul forever tainted, but I have emerged with a wealth of knowledge that must be shared with those who are brave enough to seek it. Within these pages, you will find the true history of the world, the secrets of the gods, and the means to call upon ancient powers beyond human comprehension. But be warned, the knowledge contained within these pages comes at a great cost, and those who seek it may never be the same again. So, if you have the courage to open this book and delve into its mysteries, I commend you. But be prepared for what you may find, for once you have seen the truth, you can never unsee it. May God have mercy on your soul.

It was in my youth that I first heard whispers of ancient knowledge and tales told of its power. It was enough to capture my imagination and lead me on a quest to uncover the mysteries of our existence. As I delved deeper into the arcane lore of the ancient world, I came to understand the true nature of the universe and the unfathomable horrors that lurked beyond the veil of our reality. For you see, reality as we know it is but a feeble illusion. It is a thin veneer that barely masks the true horrors that lurk beyond the veil. It is a veil that separates our world from the otherworldly realms of the Great Old Ones, the Outer Gods, and the countless other entities that dwell in the abyssal voids of space and time.I studied the lost civilizations that had once thrived on this earth, and in their ruins I found remnants of their dark and terrifying practices. Through years of tireless research and study, I pieced together the fragments of knowledge. It was not an easy task, for the secrets I learned were powerful and dangerous, but I persevered, driven by an insatiable thirst for understanding and a blatant disregard for my own sanity. My mind has been consumed by the forbidden knowledge that I have uncovered in my travels, and the eldritch horrors that I have witnessed have driven me to the brink of insanity, or maybe beyond. My perception of reality has been warped by the unspeakable things I have seen, and I have become detached from the world of men. The laws of nature and logic that govern our world no longer hold any meaning to me, and the boundaries between reality and madness have become blurred.

I am tormented by visions of grotesque monsters, and the haunting sounds of ancient chants and incantations fill my mind. The veil of sanity that once shielded me from the horrors of the universe has been torn asunder, and I am now trapped in a nightmarish realm of eldritch terror. Despite the dangers that lurk in the shadows, I cannot help but be drawn to the mysteries that await in the dark corners of the universe. For it is through the forbidden knowledge that I have gained that I have been able to unlock the secrets of the universe and discover the true nature of existence.

The Ghoul

The Ghoul is a creature of horror, one that dwells in the shadows, always lurking and waiting for its next victim. Its very presence is enough to induce madness in the weak of mind, and its deeds are unspeakable. The Ghoul is a creature of the earth, born from the dark recesses of the world. It is a creature of death and decay, and its stench is unmistakable. It wanders the graveyards and tombs of the world, seeking out the freshest of corpses to devour. Its eyes are glowing and its claws are sharp, and it is a creature of unmatched ferocity. Those who dare to venture into the lair of the Ghoul risk not only their lives but also their sanity. The mere sight of the creature is enough to send a man spiraling into madness, and its touch is said to cause a feverish delirium that lasts for days. The Ghoul is a creature of the most ancient and primordial darkness, and it is a horror beyond comprehension.

As I was wandering through the souks of Sana'a, I stumbled upon an ancient bookseller. The shop was filled with tomes of forgotten lore, their spines cracked and worn with age. One book in particular caught my eye—a thick tome bound in leather with strange symbols etched into the cover. It was a collection of ancient folklore and legends, passed down through generations in the oral tradition of the Bedouin people. As I began to read through the pages, I came across a story that caught my attention—a tale of a Ghoul that roamed the deserts of Arabia, preying upon unwary travelers who dared to cross its path. The creature was said to be ancient, older than the sands themselves, and possessed of dark powers that allowed it to manipulate the minds of its victims. I was both fascinated and horrified by the tale, and as I delved deeper into the book, I found myself becoming more and more obsessed with the idea of encountering the Ghoul myself. It was as if the story had taken root in my mind, and I could think of nothing else but the creature's existence. Despite my growing fear, I could not resist the urge to seek out the Ghoul, to confront it and unravel the mystery that surrounded its existence. And so, with a mixture of trepidation and excitement, I set out into the desert, following the vague directions I had gleaned from the ancient text. But no matter where I searched, I could not find the elusive creature. Finally, after months of searching, I stumbled upon a group of mad nomads who were even more foul and decrepit than the bedouins who usually roam the deserts north of Sana’a. They claimed to have seen the Ghoul. They told me that it lived deep in the mountains, in a place where the earth itself seemed to be alive. They warned me that the journey would be treacherous and that I might never return, but I was determined to find the Ghoul. I gathered my belongings and set out on the perilous journey, braving the harsh terrain and the dangers that lay within. I climbed steep cliffs, crossed raging rivers, and battled fierce beasts. But as I drew closer to my destination, I could feel my sanity slipping away, as though the very air around me was tainted with madness. Despite my growing sense of dread, I pressed on, driven by an insatiable curiosity to see the Ghoul for myself.

And finally, after what seemed like an eternity, I arrived at the place where the nomads had said the Ghoul lived. It was a deep, dark cave hidden beneath the earth. It was an ancient cavern, seemingly untouched by the passage of time, filled with bones and other grim artifacts of past meals. The air was thick with the stench of decay and rot, and the sound of dripping water echoed eerily through the tunnels. As I descended deeper and deeper into the cave, I could feel the weight of the earth pressing down upon me, and the darkness seemed to take on a life of its own, closing in around me like a suffocating blanket. Yet I pressed on, driven by a mad curiosity to confront the ghoul and learn its secrets. At last, I came upon a vast chamber at the heart of the cave, illuminated by a flickering flame that danced upon the walls. And there, hunched over a pile of bones, was the ghoul itself. Its eyes glinted in the dim light, and its long, thin fingers toyed absently with the remains of its latest meal. I could feel my heart pounding in my chest, and I knew that I was in grave danger. But even as the ghoul turned its head and fixed its gaze upon me, I felt an irresistible compulsion to approach it, to learn its dark secrets and perhaps even become its ally.

The sight of the Ghoul, with its putrid flesh and ghastly countenance, caused me to shudder with fear and revulsion. Its eyes, which glowed with a sickly yellow light, seemed to bore into my very soul. Its long, sharp claws clicked against the stone floor, echoing in the darkness like a death knell. The stench of decay that emanated from its twisted form was overwhelming, and I gagged on the foul air. As I drew closer to the creature, the sound of its breathing became more and more pronounced. It was a rasping, wheezing sound, as if the Ghoul was struggling to draw air into its ruined lungs. And then there was the scratching. The Ghoul's claws scraped against the floor as it moved, a sound that set my teeth on edge and made my skin crawl. As I stood there, transfixed by the horror before me, I felt my mind begin to slip away. The edges of my vision blurred and twisted, and I heard strange, whispering voices in my ear. They spoke in a language I could not understand, but the meaning was clear: the Ghoul was calling to me, beckoning me closer, promising me secrets and knowledge beyond human comprehension. I knew then that I had to leave, had to  escape before the Ghoul claimed me for its own. But as I turned to flee, I saw that the entrance to the cavern had been sealed shut, and I was trapped. The only way out was through the Ghoul, and I knew that I did not have the strength or the courage to face it. So I stood there, trembling and weeping, as the Ghoul drew nearer, its stench and its sounds driving me ever closer to the brink of madness.

As the Ghoul drew closer, I could feel its noxious breath on my face, a putrid stench that made me gag. The sight of its twisted, misshapen body caused my sanity to slip away, and I felt as if I were drowning in a sea of madness. The world around me started to pulsate, the colors warping and distorting like oil on water. The voices in my head turned into a shrieking cacophony, each one vying for attention and drowning out all rational thought. I was trapped, a prisoner in my own mind, and the Ghoul was my tormentor. As the Ghoul reached out for me, its bony fingers on their way to digging into my flesh, I could feel the last vestiges of my sanity slipping away. But just before it touched me, the world around me started to unravel, like a tapestry being pulled apart by invisible hands. When the madness finally subsided, I found myself alone in the desert, many miles away from where I had encountered the Ghoul. My clothes were torn and ripped, but physically I was unharmed. The only evidence of my ordeal was the ringing in my ears and the shrieking voices that had remained in my head ever since.

After the unsettling encounter with the Ghoul, I stumbled in the desert for what seemed like hours until I finally regained my senses. I had no idea where I was or how far I had traveled, but I knew that I had to find my way back to Sana’a. Despite the sweltering heat and my weakened state, I pressed on, determined to make my way back to civilization. But God willing, I eventually stumbled upon a caravan of travelers who took pity on me and allowed me to travel with them. Upon my arrival in Sana'a, I immediately sought out the bookseller from whom I had acquired the ancient texts about the Ghoul. However, to my dismay, nobody seemed to remember him or his shop. It was as if he had never existed. I searched the city high and low, but it was all in vain. I asked other booksellers, scholars, and even the local authorities, but nobody had any knowledge of the mysterious bookseller or his shop. It was then that I began to question my own sanity. The doubt and confusion plagued me for years to come, and I could never be sure if what I experienced was real or simply a product of my own madness.

The voices in my head have become my constant companions, a torment that I cannot escape. At first, I thought the voices were a figment of my imagination, a product of my madness. But as I delved deeper into the forbidden knowledge, I learned of otherworldly beings that could control the minds of men, and I knew then that the Ghoul had used its power to bend me to its will. Though I cannot understand their language, I am convinced that the voices are the tools the Ghoul used to control me. I have tried to silence them, to banish them from my mind, but they persist. They have driven me to the brink of madness, and I fear that one day, they will consume me completely. Yet, even in my despair, I cannot help but feel a strange fascination with the Ghoul. Despite the horror that it has wrought upon me, I am drawn to the mystery of its existence. I am compelled to learn more, to uncover the secrets of its power and perhaps even find a way to defeat it. But for now, I must focus on preserving what little sanity I have left. The voices in my head may be a reminder of the Ghoul's existence, but they are also a warning of the danger that lies ahead. I must be careful, for I know that the Ghoul is still out there, waiting to ensnare the unwary and drag them down into the abyss.

The Lost Continent of Mu

I, Abdul Alhazred, will share with you what I have learned about the lost continent of Mu. This land, once thought to be a mere legend, was said to exist in the far east, further even than the lands of Cathay and across the strange waters beyond Cipangu. As a scholar of the arcane, I have delved deep into the lore of ancient civilizations and have uncovered much about this mysterious land. The legends speak of a highly advanced civilization that thrived on the continent, with technology and knowledge that surpassed anything known in our current age. It is said that the people of Mu were masters of the elements, and that they could control the very forces of nature itself. Their knowledge of magic and the arcane was unparalleled, and they used it to create wonders that are still beyond our understanding.

I first came to know about the lost continent of Mu during my travels across the Arabian Peninsula. It was during one of my sojourns to the ancient city of Irem, known as the City of Pillars, that I stumbled upon a collection of scrolls and tablets that spoke of an ancient civilization that existed long before the rise of mankind. The texts spoke of a land beyond the ocean, a great and mighty empire that was said to have been home to a highly advanced and technologically advanced people. According to the scrolls, this ancient civilization was known as Mu, and its people were known as the Mu-ians. The more I read, the more I became convinced that Mu was more than just a myth or legend, but a real place that once existed in the distant past. The texts spoke of Mu as a land of great beauty and wonder, where the people lived in harmony with nature and possessed knowledge and wisdom that surpassed even our own. As I delved deeper into the texts, I began to learn more about the downfall of Mu. It seemed that their civilization was destroyed by a great cataclysm, a catastrophic event that shook the earth and caused the entire continent to sink beneath the waves of the ocean. Despite this tragic end, I could not help but be fascinated by the idea of this lost civilization, and I knew that I had to learn more. With the knowledge I had gained from these ancient texts, I began a journey of discovery that would take me across the world in search of more information about the lost continent of Mu.

I joined a Bedouin caravan that was heading towards Cathay, a land of great wonders and secrets. The journey was arduous and treacherous, but I was determined to reach my destination. As we travelled across vast deserts and through winding mountain passes, I heard many strange stories and encountered many exotic cultures. At night, around the campfire, I listened intently to the stories told by the Bedouin nomads. They spoke of hidden cities and lost treasures, of ancient gods and demons, and of course, of the lost continent of Mu. Their tales were often fantastical, but I sensed that there was a grain of truth in their words. As we travelled deeper into the heart of Cathay, I began