ir,i

::,;r.

ari
i;..
 THp Boor oF
SIToTELESS FlnB

S. Ben Qayin
rl

-Th e Bqrs,l&; rif" Scas*ke{ess $i re

"ic..l-'11
;:,-1pl,.,1191it Cr i,ttl:l ir. Eu:i Qa.r'ir-r
i ! il i,,i: :i.7li - 0 - i) v:,i)',.) Sl,t -.) -'l

i'i i.,lititri 2Ci+ ide ;,iiriir.i.n Fls s

iil r.r l t :l ;,i. i,:r : ;.r ri r.:,;i r\" r i l,vu i:ll i,.',, l,r- L r: l r, C i., t ir.

1{i1 ilrrltl .,r::i?iyet-i. .f'.ilr l,,iLti r.:r ij:is

r;r re,Drod;icei in any
i:,r.'r,-rLi ;q,:,1; Le i:sec1
rit;1L1i-lrit \'rrltiiiiiili"Tit', rnilri-l-i:-rq rle ;il*r-lir:;,i11i,, r,t,ith*ul t','riti:en ps;;riis.lron
tl-orn llrc:;iilltt,r,,:,\.ce-iJ'i ilr i]le .-ast u-ri.briel q.u'rt;.ii.ioti"{ er;:irodied "lr: eritlcai
al iir,]e i a rr:",i ri-tr;:ie rr..,i.
 CoNTENTS

-l.crNowrEoGMENTS .
1

PRErecp.
J
IxrnooucrroN

BOOK I
ORrcrN Or DanxNESS
TUB Hrsronv Or DyrNu 21
OurrrNr Or Tur Macrcar SysrBlr. 31
Fnolr BprwesN THe ANcrns; Clncrns & TnreNcms
Op THn Anrr MecrcAL . . .. ..41
INrer.{r ANn VrsnerroN.. .. . .65
Requrnno Rrruer Toors . ....75
're::oduced in any LuNeru Scnrpr.
h-i:::an permission
li:l:c:ed in critical
BOOK II
Sulyr^,roNrNc THE INruRNer DJINN
ArrcNrNcWrrnTnusCueos..... ........ g5

THr CoNlunArroN Or Tnr ErnRNer Blecx Freup. . . . . . 91

THr SrvnNrv-TWo INprnNerDylNN .......97
Tnr Tnnnr Cressps Or DyrNN . .... L73
RrrnsOpEvoceuoN ....... L75
CoNlunerroNOplsus. .....1g3
FrNer Wono ,..,.,,,r87
 A /:: t
.,i 1,--.., -s; 3.J ffi W ffi E) G e'{ }1 }$ T S

#;![H
'SSS ,-:r' I '. lik,-'to illanlr- inr., h*ii- spiriii.l;ii,..t'rj:*r, Q;.irlir iJrri
,r.lii,l.

"[ire*, 5rtr.,or::, rr,r:'inslillilg ili me th"e s'tr"elrg,.:i Jn.i Extcsis,.ritthi: i]t,:: r:lr-i
,u.-,-.i:';" iii;i,:-i" i:ill:,r [lial i:rerrr:r "Llui'ns ".^,itiri:r. :;,i-:ci:r1 thar,.L;:s -L;*es l,r i,.,
' {.. :i,;tl i-. r",: a1l liieir lc-.re al,;l uiul,:rstanrting titrr:.Lrg}l irLl. 1;.tlso
r l'rl,-lli iii.,: to ih;rilk ail thosc rviic harre st,.::.-,<i b,,'l-r--.,.e a,t;d stli:prir1-
'.:;i my rvori< Ihits iar.:, ,ttst":-;tl1 i-*ean it Er?;ii iiei;i lri r:rc, arlrj. ili'f
'oet'.rt"lirgot-
il;1" As .,,ri:i}, tiis i,rrcieci ",r,tuid not hril'e heen ptssible it ilhcui th<-', gri:ar
,reip ct ihc i-ii:;vr:rsli.rr ci'laledo, Spaln, wirich supviied, me rrilli ir',;aluable
,ili'orirraiian i'{-'g:irdirli{ the mirliuscript wirich liris lvol:lr is-i-rased ot:,'ti'liirn,"
'l'r:ru. As, we1l, i ;lisc qre:l!.i-l tha-lrk Roi-',err. Cor:,k 1or truiy nri.r.gii:i1 ilie ali
:r: iiie, his iq;ni:ritlieili l.l;ldapting thr: Iljrnrr sigiis etc. p'rorriclei'l hirlt u,i.r.s
rr;i-i;tenciing. i ;riso-iryisll i:c thank Nephiliin Fress, for tlreir lorriic'trnLcj ii' itil
'iisic-,r:is. ard aii,rlzir:s sl1pporl. ,\nd lasi"lout not ir:;;st, I l',.ciild iili* lo thanl:
iioberi Po,;igr-;i"sl.,-i i.-.r his vie"o'r,s ot-l 'reaiil,v', and flrr sllppiving xhe insigLltf irl
rrliat gener*1.it piti;rcr: i;,r tlle ci-ili:ent rororir,, lvhicl, ilas let i'tle qLiii.e hr-imi-.1ed.
ilrank vr-rir :iil. " "
 -.r
*:, r T'l
;i'' ].1 ii: ,1i;.

" !, ! i ti !.e i- i: :r :' t i i t !! i'.,.r," t r: r Ll,'. ::,.t : ]h i ;': i;;,

l;'ii;:!;. {l.:ai.ti, rt, la::!a r:r.:!. ;;11 l:i.2;,'1;;.;': '';;:": r:

l', l. il !i i r.l : ) .r. i
r'r. t:r r.r rj .

i Ir it .,; ! .1 i ij ;,!. i I i i r;. ;,1 ,'.;

: ':rJ'"..]r.': r."' : . . .-' '' '", "'.

.i* \ :
;-'\':{ L1

: l: ll,'.e ,lrrr:, r-,rp,o:; r!]lf iri^ir,r i'p*J f-ii-ii;ir:-riil';i ii-ris'H,-rll-ci':ii...:;-:i..-1,,-

S., ,l luu, Frit'. i--lrr r-',lrr.: ic.r,:i, i1i.. i-r,r::t i-,,,i1'iir ,:a;:-t:$rj;rj-t1l-ler.i,.; r:,11,,:cl r.r.
,, .i,ru, '....,

:'A l iairJi'ti:rtii;-i...r i111r--j i-rrlx'iiaiii! t.tl;tfrijirtairrr iir el:t:r-r-ii:,'tii,,. :. :, ,, -

'''...i r,,l''ilil 17,r. [ni-'r , i',i'rrr ilii.ir-'r,f it:] ;il this ic,,;;r',,iel ji -i,,riil
ili.el.l li:',rr-rLli;,: i;"iri'r'l;.-: a',ir ailil r-l-rt'r, i-r"-r-" ir lr.iar.1r ii) . i- ,t' r-
,:[iir+ li,: pl:l;tttr"il=,'i15,,'-:.l.-,:] -,' i;,:r,:-rrt,-i :t'.8.'lrl:,ri a',',rr:i]ii(.,i: iic',qr,:r,',':ll. iL i,,l

tilie,r: oi r:-1'liierl] irrTF:.ic]r,i:.-l i:rl'.lilir,. i:li:t;iiel; .is i:r.l:lre*rl:lir,'i.r,'i:..;f,

:rr,i:r {.r.1iri'sit1.

,:t,i-rr iht: a'..rill.talii.r:t;i rjtrs ,:f j,i,.e ;r--.,jl,r.r'r liir; l'':,ri,ir:l (..:rlf, :tre il;i i. Bei: 'j;:.r.,ii

:" rgri ila,,'i.rr'.:; L:;r.gii,ii itr,,ticijai s-v'11 11;1:;i il l,i:t i, l'il ir,.,r-i!.- "!iil;:t!:':; i;-:t.

, ir-;ir: !i iitr- lir-lai i--:i;:r:ir a-i-rti -1., i:,',r-tgirr r.;i i':i'i.r,.-;::'cll iit;ll. lll!{r:.1irr ltrr,rr,lij irl]ii!;iLi

'.'.;:,:,7.irt?t, r-ret-h*driogr- is L'lrisi,,lrltrj L:',, r::s ti.teniiil.i [r-r tir,.l llri,.l'gii.-::. , ]r -

iil,i illrf:lch angit,i-i-i i[t,t:1,,.;c:l;;ol:.: r.li;,n!:1',', r]:ld i]t.-.: i..ilf i-r:itrlriil t.r.tiri l{1,:rlr
 TnP Boot< or SuoxBrrss FrRB

principles empowering it as such. He himself discusses the relevance of 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.
Furthermore, I would posit that even if the primary text is not entirely rele-
vant to the practitioner that there are other certain important facets of this
book that should not collectively suffer at the exclusion of the whole.
In drawing from the ancient "Miscelaneo de Salomon" S' Ben Qayin has
developed a careful approach to calling forth these draconian spirits. There
is an awareness on his part ofthe significance ofregional aspects ofthese en-
tities as geogamically specific forces. In conveying the nature 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
that these creatures of fire are not just spirits to be evoked and controlled via
magical formula to serve one's beck and call but are entities that have "shad-
owed" our existence oyer time and have been accessible to some.
Magick born of necessity is the crux of S' Ben Qayin's endeavor here.
This system demands a greater degree of responsibility in the hands of the
magician than most other magical operations would have. To put one's self
in the position of calling forth highly destructive forces necessitates a high
level of introspection insofar as it is paramount to first acknowledge and
identify these energies within. Otherwise, the tendency to be overwhelmed
or obsessed is an all too present danger. The wrath within must first be har-
nessed before one can consider manifesting an exteriorization of such furies.
Ultimately, this grimoire is born out of a response to the greater question
of unleashing destructive energies for 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 Lamborn Wilson aptly describes in his TAZ:

"But now the lines are not all etched in time and space. Some of
them exist only within the Web, even though they also interact
with real times and places. Perhaps some of the lines are "non-
ordinary" in the sense that no convention for quantifying them

<4>-
 Pnnr.acp

e reieYance of a exists. These rines might better be studied in the right of chaos
[- and "feel it is science..." (111)
s: that different
u-ith the reader. For s. Ben Qayin the only approach to these rines is
to grab them thus
ro: entirely rele- harnessing their pull through the engine of chaos Magick
iself, plain and
:: tacets ofthis simple. The incontrovertible need for this type of
Magi& is here whether we
e '-r-;1slg. like it or not. And once one has read, considered, and meditated
upon the
Ben Qayin has premise and contents ofthis book, is
it actuallypossible to close it and or shut
r;r srlrits. There oneself offto its inevitability? This is a vexed question
that resonates through
:;i. ofthese en- multiple registers; however, the primaryissue in question is
the matter of the
: ,r: :heszspirits :ruth and all of its precarious ramifications. As pope concludes, *Drink
deep,
ss. ie, aliies, in or taste not the Pierien spring)' This spring was said
to impart inspiration to
[-,' set the sense the muses, likewise "The Book of smokeress Fire" represerrts
u u..ydurk welr-
i ;r.ntrolled via :pring for the aspiring Magician. once stimulated, the thirst
for this type of
i:at rar-e "shad- draught is as a strange awakened desire that should not
be indulged except
I:]e. in the illuminating light of focused vision and a wiil forged
of iron.
onceavor here.
c lands ofthe Robert Podgurski
c, tut one's self 7lt5l20r3
s'l:ates a high
:o-'r'ledge and
: r--r1.errr-helmed
Ls: irst be har-
,:,f furies.
'uch
'reter question
:,o :-iagical or-
l'e iestruction
liis book is a
reiiice for re-
::ous founda-
\Z:

:. Sorne of
; ;,,'"teract

;aa "non-
',:,:; them

<5>-
 IxrnoDUCTroN

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 fuly and terror. It is a
book that tells of ways to conjure that which should not be, and

It bestows the ability upon the Magician to control fierce and destructive
beings that are older than time, that are not of our Dimension, or unified
Field, but 'Outside' of it...
Many have sought this lost tome, for H.p. Lovecraft did not instilr this
idea in man, but awoke it from the dark recesses of his 'fragile eggshell mind'.
For in humanities veins lies the memory of its ancestors and 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 transcendent works. He wrote from inherit memory of strange times
that have been shadowed upon our history, of twilight truths that the more
common man rejects and turns away from in fear, replaced by a lighter more
pleasant false reality that fits well within the confines of his limited existence
of mediocracy and vision. Lovecraft felt the barriers of our universe, and
that of others press uneasily against each other as bubbles being compressed.
He knew of how delicate the barriers that separate the realities were, of the
madness it all still is, and the insignificance of our small and simple lives in
stark comparison to that which is magnificently - 'other'.

<9F
 Tnp Boox or SuorErPss FIRr

Once this memory was brought forth to mankind from the depths of his
dormant mind, it was never forgotten again. When men remembered, they
became obsessed and began to search once more for the forbidden tome that
none could clearly recall, only feel strong impressions of. Since Lovecraft
wrote of the forbidden book, people began inquiring on where they may
purchase it, as if it would be on a shelf for any passerby to put into their
basket at the local bookstore. Of course Lovecraft proclaimed the truth, that
the book did not exist, that it had come from a dream, though only because
he had not found the tome, but the stark terror of its memory that 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 not ? For the book promises wild power, and 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 "Miscelaneo
de Salomon", which amazingly mirrors that of Lovecraft's, "Necronomicon"
both in content and history. It is an ancient and forbidden Arabian manu-
script, that seems was later evolved into the Greek "Goetia" and gives the
earliest known account of King Solomon and his binding of the seventy-two
demons he sealed away in the infamous brass container.
The ancient diabolical manuscript was discovered in Spain, in the
Mudejar Palace, "Casa de la Encomienda" of C)cafla Toledo province 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
manuscript consists of 71 folios and dates back to circa 1428 C.E. It was hand
written mostly in red ink with the remainder in sepia. This ink is still made
today with the same ingredients in Morocco. The manuscript is written in
older African Arabic that was common from around the 10'h century and
contains material on specific Angels ruling the hours of the day and night,
the movement of the planets, instruction on the construction of talismans
(such as the "Picatrix")...and gives King Solomon's account of his binding of
the infamous seventy-two sinister Djinn.
The manuscript was first translated into Spanish by ]oaquina Navarro
and ]uan Ruiz and published by the University of Granada Spain in 1987

-< 10 >@
E INrroouctroN

rro:r the depths of his by the trtle, "Medicina, farmacopea y magia en el Misceldneo de Salom6n"
rcn remembered, they or , "Medicine, Phqrmacopoeia and Miscellaneous of Solomon's Magic".lt
re torbidden tome that was again later translated into English by Nineveh Shadrach in 2007 under
ns tri. Since Lovecraft the title, "Book of Deadly Names", which the present tome has utilized for
g c,l rr-here they may the English translated names of the Djinn. As well, the descriptions given
erbr-to put into their in this text are loosely based on the English translation, though much has
:lair::ed the truth, that been added through personal gnosis received from the Djinn themselves.
. thoueh only because The present tome is in no way associated with "The Book of Deadly Names",
r,eniorv that resides in as that text is an exact translation of the original manuscript. The present
thtrugh is longed for. volume utilizes the true names of the 72 Djinn and offers a unique complex
ror:idden ? To wield system for evocation ofthese entities, which has never before been released
s r';lid potver, and few into the world. I have not provided the text itself within these pages, as it has
already been translated word for word as mentioned, and feel it would be te-
rcs i:
based on a very dious. Though, I wished to instead take the forbidden information the orig-
rlLrirn as "Miscelaneo inal manuscript contained, and adapt it to be fit for the work of LHP Black
ait's. '-\ ecro nomicon" Magicians. It has been brought to my attention that this text may appear to
diien -Lrabian manu- some as a 'copy' of "The Book of Deadly Names". However this is simply not
ir:;.:' and gives the the case, any more than claiming Michael W. Ford copied the Goetia and
ng of the seventy-two called it his own, when he released any of his Goetic works. This is a work
t- based on an ancient manuscript, that is all.
in "Miscelaneo de Salomon" does not rest in a museum or library, but in the
e,,i Spain, in the
ndo pror-ince in 1969, private collection of the owners of the palace it was discovered in; Rafael del
rstore the palace. The Aguila Goicoechea and his wife Luisa Tejerina. Though the book contains
n" buried in the floor nothing written of Lovecraft's Old Ones, it does deal with extremely destruc-
t the:e obviously had tive In-Organic entities that a Magician must bring forth, that have ancient
i el-cr recover it. The diabolical origins. I don't believe a text will ever be unearthed that matches
t{:S C.E. It was hand Lovecraft's description of the Necronomicon perfectly. That being said, the
Thi-< ink is still made manuscript this work is based on, is as close as anything has ever come.
ti.Jscript is written in In Lovecraft's "History of the Necronomicon", Lovecraft states the "Necro-
the LC)'' century and nomicon" was said to have originated in Arabia, by the title, "Kitab Al - Azif",
rt the dav and night, or "Book of Howling Demons", Azif meaning, the nocturnal sound made by
rucrion of talismans insects supposed to be the howling of demons. It originated circa 700 C.E.,
rirni oilris binding of and was composed by a Mad Arab named Abdul Alhazred.It was later se-
cretly translated into Greek in 950 C.E. by Theodorus Philetas of Constanti-
,1: noaquina Navarro nople under the more commonly known title of "The Necronomicon".
rLnada Spain in 1987

<11>@
 Tns Boor oP SuoxerEss FInr

Being Greek in origin, the word 'Necronomicon' has been examined

thoroughly by numerous scholars, which have had varying ideas of transla-
tion, though it is generally agreed upon that the book's title pertains to the
laws of the dead, or to those who would conjure and work with dark spirits,
such as a Necromancer. One could view the work as the, 'Book Concerning
the Dead' as cited by S.T. |oshi' in his foreword to Lovecraft's reprinted, "The
History of the Necronomicon".
It is easy to see the parallel histories between Lovecraft's Necronomi-
con, and that of the Greek "Goetia" now that this new manuscript has been
brought forth from its darkness. Each volume originated in Arabia, were
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, possibly mad with the knowledge they carried as a burden
upon their backs concealed from all of humanity.
However, there is a vast difference between the resurrected manuscript
and the Greek "Goetia" that came later. The text does not see the entities
listed as demons, but as evil Djinn known as the' Taw - A/l'. Also, the names
and descriptions of the Djinn are not the same as the demons listed in the
later "Goetia", 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 with the head of a lion, having a monkey's tail', etc.
As well, the ancient manuscript is not a grimoire, it only gives the account 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 fill in the gap and bring these forbidden entities forth once
more to turn the tides in this endless war against Order as much needed.
Of course "Miscelaneo de Salomon" bares a strong likeness to the earlier
"Testament Of Solomon", where King Solomon conjures forth the Demons
of the manuscript through their representative, 'Beelzeboul; Prince of De-
mons', and asks their station, Angel of frustratio,, etc., so he may bind them
to construct his great temple in ]erusalem. And though "The Testament of
Solomon" is considerably older in origin and far more known than "Miscel-
aneo de Salomon", the latter of the two texts is marked as forbidden, and is

<12>@
 INtRonucrror.r

s 5een examined -:r-'''rd and immersed in ancient Arabic traditions that happens to follow
s rdeas of transla- -: :rstory of Lovecraft's Necronomicon. For
this reason, I have decided to
:ie nertains to the " .::ntrate solely on this little known material.
i,-:th dark spirits, :or historical value, it is also interesting to note the connection between
3;:r.x Concerning " -- Solomon binding seventy-two Djinn into a brass vessel, and Arabian
:,;eprinted, "Tfre "-. of Djinn appearing from a brass lamp to grant wishes. Indeed there
:-: .ntities inside, but their ability to grant wishes was only half of the tale.
a:'r s\ecronomi- ' .' -a1'lah wa Laylah" also known as,'A Thousand Nights and
one Night,'
:-rs;ript has been - lte Arqbian Nights Entertainment" (a fifteenth century Arabic manu-
: :: -\rabia, were ::,-ft transiated into English by Burton), is a tome that contains some of
[a;k and/estruc- : earliest accounts of Djinn in written form. one story in particular titled,
i ii'ere rvritten by "'.: Fisherman and the Djinn" gives an interesting account of a fisherman
.-r;d as a burden :.:;hing a brass container in his net, "..with the seal-ring of our Lord sulay-
'".:.11
son of David" imprinted upon the top, and sets free an'Ifrit',or
Infernal
:;:ed manuscript I rnn l.hich he must contend with.
t see the entities
,L,so, the names "The
fisherman accepted his (The Djinn's) promises on both
i,--:s listed in the conditions, not to trouble him as before, but on the contrary to do
re. :rough there him seryice, and arter makingJirm the plight and swearing him
: 3::rtles is con- a solemn oath by Allah Most Highest, he opened the cucurbit."...
r --':.:;.r' i tail', etc.

"...There came
es :he account of
forth from the jar a smoke which spired
ia:::ansgressed, heavenwards into ether, and which traired along Earth's surface
g;;,runt, lie the till presently, having reached its full height, the thick vapour
;*-e-i as the bane condensed and became an lfrit, huge of burk, whose crest touched
:i:,s or magical the clouds while his feet were on the ground. His head was as a
---:','olume came dome, his hands like pitchforks, his legs long as masts and his
l:-i:e s tbrth once mouth big as a cave; his teeth were like large stones, his nostrils
r;;: needed. ewers, his eyes two lamps and his look was
fierce and lowering.,,
rri :o the earlier Arr Layr,q we Leyre
:::r :he Demons
,": ?"ince of De- Aleister crowley speaks of the importance of 'Alf Laylah wa Laylah,, in
::rer bind them ris annotated version of the "Goetia" when he expresses how the magical
,:; ltstament of riork is equally as important to that of the christian Bible and should
be
':r ihan "Miscel- seen as such, though has not been exalted in the same manner,
leaving it to
::rrdden, and is himself to fulfill the undertaking,

<13>-
 TsB Boor or Srtorrrnss FtnE

"Even when we learn that the Bible, by a profound and minute

study of the text, may be forced to yield up Qabalistic arcane
of cosmic scope and importance, we Are often slow to apply a
similar restoratiye to the companion yolume, (Arabian Night)
even if we are the lucky holders of Burton's veritable edition'...'
To me, then, it remains to raise the 'Alf Laylah wa Laylah" into
its proper Place once more."
Arnrstsn Cnowrpv IN HIS INTRoDUCTIoN
To HIS TRANSLATIoN oF "Tan GoBrte"

This beirig said, it is clear Djinn have long been present in human histo-
ry and have influenced much in religious beliefs as wellas in magical praxis
stemming from the Middle East. This newly recognized information that
has come forth from, "Miscelaneo de Salomon", gives rise to questions con-
cerning the origins of the "Goetia". Joseph Peterson covers this area well in
his edited version of "The Lesser Key of solomon", thotgh colin campbell
"The Book of the
explores the history a bit further back in his introduction to
Ofices of Spirits" which is clearly linked to the "Goetia"' However, though
deeply researched, the true origin of the names and sigils inthe "Goetit" are
at this time, still unknown.
And though as illustrated, there are differences between "Miscelaneo
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
"Miscel-
progressive line of magical structure begin to establish itself. In the
anro d, Salomon" manuscript circa 1428 C.8., we see the very first Arabic
account of the Infernal Djinn being presented to King sulayman, whereup-
on they deliver unto him (by force) their title, habitation and the bane they
cause mankind. Later, in "The Book of the ofices of spirits" 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
lastly, we see the addition of demonic sigils, magical circles, triangles of arte
and tools of all the separate elements of the first two manuscripts, finally
compounded into part of a workable system known as'Goetia' in the 1600's'
Though, the text is much more suited for those who were/are akin to kneel-
ing before the Judeo/Christian God, and not of one who seeks true gnosis of

<14>-
F,E
INrnoo uc rI or.t

ntlri,:,C lnd minute

I Q;t'.r/is/ic "-: deification' Regardless of the fact that in each of
arcane these tomes the infernal
trn -;,61r' to apply a r.-rqs described and worked with in each, differ from
one another by name
t- t-\t:tibian Night) ':d description, a clear connection between these texts can be seen and has
rr.i:,ri,/e edition'..., :=tn established.
ah .,,',i Ldt,lah" into
\\-hen analyzing this history, one cannot overlook
the Goetic system
:.'''eloped by Dr. Rudd in the rg00's that shows a
direct connection between
}DUCi:ON
:"e Arabic Djinn and the European Demons. This system
combines ele-
::ents of both systems by offering the use of a drawn
out ,brass container,
-';-irured in the Goetia) that can be utilized in prace of the more wer known
:iangle of Arte. of course Rudd's Goetic Magic
:Es€rt in,human histo- introduced the idea of
ii as in magical praxis '*rrmoning the 72 Demons by first summoning their opposing restraining
lzeo intbrmation that --19els known as the shemhamphorash. whose names
a..orutJa the drawn
- .it 'brass container'.
nse to questions con_
This information concerning Djinn came to me
ouers this area well in unexpectedry while re-
.-arching for a now future release; I had no plans to
oue: Colin Campbell write a book concerning
ion iil "Tfte Bookof the
)irnn' Some things simpry cross your path and demand fulr
attention. It
.eems it is time to release such a dark text. Seeing
!u*" Horrever, though the importance of the
r';ork in connection to Lovecraft's "Necronomicon"
lls in the "Goetia" arc andthe Greek.G oetia,,,
-:s rrell as understanding that the names given
were the ordest Arabic
['entqgn "Miscelaneo
:l the entities that Solomon is so famous for binding, I felt the worknames
must
etr- i;tformation from -ome forward to be known to a circre of Black Magicians that
would see and
appreciate the dark power that resides within.
tr'" ir-g begin to see a
As with my previous work, "volubilis Ex chaosium,,,I
rt,.l:ii. In the "Miscel- have created an
original operating magical system to be utilized here,
&e i-er.r-first Arabic that draws heavily
:rom traditions based in the Middle East, while holding
Suja,,-man, whereup- elements of tra-
ditional western ceremonial Magic woven in. As
ui and the bane they well, there are concepts
presented here that are based in experimental
rur - lot L.tr., We See theories that fall into a cate-
ie [l]e text useable to
sory I refer to as 'Fringe Magic'. A Magic based on the manipuration
of the
Consensual Reality Matrix and the science behind
rnEiral Djinn of the it.
Irolean origin. And All of the Djinn sigils, Triangles and circles of Arte, as well as
Lunate
Script, are of my own design, which were received
dl*- triangles of arte when in a state of deep
meditation, and are tuned to this specific current
mani.rscripts, finally of energy. And as with
"\rolubilis Ex chaosium, these
Grreric' in the i600's. systems i offer for utilizatiorrtu, be adjusted
to the specific needs of the Magician to increase
re are akin to kneel- the potency of the rite by
personalization. Magic must be personarized to
seeks true gnosis of be effective. so many magi-
cians perform a rite with littre to no success
and wonder why. The reason for

<15>*
 Tnn Boor< or SiuornrESS FrRE

their failure is that they were performing another's magic and not their own.
A Magician must incorporate his own powerful elements into a working to
build and harness energy that is sent forth into the Matrix of Consensual
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 great pain and destruction waiting to be set
free, much like Pandora's Box waiting to be opened. Though through much
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
coyerage concerning the forces of Chaos that 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
traffic stop. Order has the upper hand, and though Chaos is growing in pow-
er as we of the LHP grow in number and presence, I believe Chaos needs an
influx of raw brutal strength and pure destruction to help oyercome Order
and establish a new spiritual understanding upon the Earth - The Gates Of
Hell Must Be Opened.
I see this book as an equalizer...this text willhelp 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 wielded against those who would be happily dominated by it. It is to be
brandished with no remorse and worked to destroy those who would stand
in y/our way that are of the opposing RHP. It is to be used against those that
are of the blood of clay born Abel. The book that lies within your hands is a
weapon, it could easily prove to be one of the most diabolical works to date,
and is the first of its kind in hundreds of years, if ever, to work with these
particular entities in a manner that involves evocation and command. The
beings that are conjured and worked with in these pages are of pure wrath,
only offering the blackest deeds to be unleashed upon mankind without hes-
itation or mercy, at the sole command of the 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

* 1.6F.
 -lsrltcnLrc'rtoN

. rneir $1,4/n. ):5 ihe nanles anci hal;itat';oi.xs, as weli as the bane of ser"rentv-t1ira) :1ii-
. 1i'rlrking i() ..r-rd liii-ristel biood thii:st'!, Diinn of ihe Cian Of 'li;a, - All'" Ltnirkr:
ihc
...ln$eusu,al - .r", ii'irrs,,,: irnterclimensir:natr entiires cause oniy sufering and rJe:ltl lo
. ,r nlrl raee. "fte-v;lre n$i liere i* help vo'Ll f;.nd soniethii:g ics1, cperr
,.-.i:iir unio , ., ioors, or tlirn you invisibie.. iire,v ar:e here trf cause Da:n;rr:rcl t,.,- lliij.
',g io be set . :i.r exfi:erneiy dangerrius, anrl tJ"re utmost respeet anc car-ition lnilsi Lre
.',r-igh
mUCh - . - r:re n1.ed when deatring wittrr ttrem" 'fhere were cures/pi:ayers listed in the
. :his terror - r;.1 ntan'useript tc counter tl:e sinister deecis anetr inflirilons these lljirrn
iituai batr- -., ,1 ii;:l.ie lct inelnded i]rem. One must be ceriain belore sBrlJn-rr-rr.r;,'g
-.:.r:. l-ru-{. the . .. l)iirn, il:lat the cGLirse oi action the,v hal'e chosen is correi-i. anC. siand.
.lrirg; right
- -rer:Onfing i nu.st also be said that I p*rsouaily have noi conjured a it sel'eniy - io,-",o
,--L of news --,-irpose:i *f .,vrath, but iclf r.he cr:*atioLr oi ihis 1r,-orii. lh{}r',gh the 1,:r";
ir i.r spreael- -,
i -\Liriinll)l1ed, i'eel corlpleiely dif-}.ei:enl that,. Lloetic Si:irit.r. i s1 r':nsri
,, - uai, Soon -: rrs;;inst calling r4r these Djinn rvithaut caLlse, they rviltr sul"eji' get ,ahal
: ;' .li. f\.r€IY : ii',ilrc ibr one tra-atrr or: ihr: ,:ther, give theni a l;lrget sc it i-c l:ot, yi,rl-i ,,i,hrr
- r. 111 ilo['.ll :' :,rck. 'li:is being said, tli.is lvarlr. ancl sysle;x is exl:erimenial anc. cia;ir;ei"
' needs an - rl-rcsc r,vlro',vieid i.his gnosis do so at theii e:rr'r'n risk. }t m:lsr''be reri-lcrlr-
,a l
-
rl t JIt_ii'I :'ii lir.r-i these da"rk eiltities h;rve nr:t heeii leli Llpon in cerl.urir-':.--iiiose
cai
. ( 'tttes Ct -:-\ r1iF tllis [exi r^,rhen first reieaseel, have the r;lie i;ppcrtu::i11, lc ,-';1i
r.,,,i11

,:-r iir.esr-- hcrrendr-ius eiitities, iliiiie.n have *ot'been reieasr:d filr an {,'ci--rii Lt

,r'1d clean . .'. r.\eforc ail oti-lers..,great resp.onslbiiitl, r:esis in your iiar:cls.
:r,.i corrupt ici ihe firsl iirne, in irll iis sinisier gl*rv, t1-lis t-orbiririen gnosis is beirg
. ,,,:r:; it is to ::.iiriei 1G ths \,Varricr L4agicians l\,ho pcss;ess the biacliest of heilrts, r,,'hcr
ii is i* be .r-1':;ar.e the ra"ge of r.'engeance tha.t burns cleep iike a fi-iirerai p,vre r.',rihir:
,r.iid stand i ..)'i"{l of il'}elr dark soul. For: whosoever u.u,,ietrCs this acci.rr-qed bock, is tr'*ii'
- hr.se tirat r:ri.i to ihe l ilg;ing fbl'e e s cf Chiios e lernai" . "

r;rrds is a
i.,, io daie, '.. ijrn Qayin
,,..iil'r these
' .,rrrs1. The
'. tie r.rrrath.
,, it i;uit hes-

.-,;ok is not
. i: a tr,"rok
 BOOK
Onrclx Or DenxNESS
 TUB Hrsrony Op DJrxx

ccounts of Djinn throughout Arabian history go back long

before any written documentation, they seem to have always
been, and spoken of amongst the Bedouin, who narrated tales
and recited poetry that featured or mentioned them. Djinn
were first written of in the Qur'an and within tales far older
\ch ryade up the whole of
'Alf Layla wa Layla",or more commonly known
.. 'The Arabian Nights" translated into English by Burton (as mentioned be-
--';r. The accounts of Djinn given in the Qur'an are numerous and provide
. : :re of the most detailed information regarding their origin and condition,
.. they dwell among men unseen.
-\ccording to the Qur'an Allah had created all, the planets and the stars,
":e Earth and the sea, the night and the day, and of course all the known and
-:known animals and plants upon the Earth. He also created all spiritual
-:eatures such as the Angels, Men and the Djinn,

'Allah created the heavens and the earth, and all that is between
them, in six days"
QuneN (z:t+)

All was well for an unmarked period of time. However, there arose a
Jisagreement between Allah and some of his Angels, including his first and
:-rost beautiful Angel; Iblis. One day Allah decided to create Man to also
-.ra1k upon the Earth alongside Djinn. When finished, Allah commanded

:re Angels to bow down before the newly formed Man and to prostrate to
:im. Allah said unto the Angels,

-< 21 )-
 TnB Boor oP Suoxtrnss FrnB

"l am about to create man from clay: When I have finished him"'
Fall ye down in obeisance unto him."
Qunr.N (lB:Zz)

Some Angels angrily questioned Ailah and his action of creating Man
and giving him violent dominance over the Earth, and even give indica-
tion of being horribiy shocked at this act, questioning their own allegiance
to him,

"Would you put on Earth those who would spill blood ? And we
worshiP you ? And exalt You ?"
QuneN (z:3o)

It is here that lblis had heard enough, for He knew that He would not
bow down before man, nor would He again bow down before Allah, having
seen the truth and awakening to His own Godhood, He knew He would
never bow down before another again,

"We created you and then shaped you. Then We said to the
Angels, "Prostrate to Adam," so they prostrated except for lblis'
He was not one of those who prostrated. Allah asked, "What
kept you from prostrating when I commanded you ?" Iblis :;,:. -
stated, "l am better than him. You created Me from fire and You
created him from clay." Allah replied angrily, "Leave here' it is
You are among
not for you to become haughty here, now leave'
the humbled." Iblis responded, "Respite me until the day that
they will be raised". Allah then said, "You are among those who
are resPited." lblis stated boldly, "Now, because you have sent me
astray, I shall surely sit in ambush for them on Your 'straight
path', then I shall come on them and from behind them, from
their right hands and from their left hands. You will find most
of them thankful." Allah full of anger said, "Go now, despised
and banished. Those of them that follow you - I shall assuredly
fill lahannam with all of them."
Qun'r.N ( 7tr-25 )

<22 ie.
 Tnp Hrsrony Or DIrNu

-: is interesting to note from lblis's statement, That He does not intend

:- mankind harm in general, only to those who are obedient to Allah/
.-:-: and walk his, 'straight path'. And so Iblis left his station of slavery, and
-
. .. j upon the Earth in search of those who had
.-. r;.:.::] of creating Man chosen the 'crooked path,
l.:.rkness from among the Djinn, for Djinn had the ability to choose their
:l:. .-: even give indica-
;:-:,. ::eir ort,n allegiance -:-"-idual spiritual path, and not all chose to be obedient to Allah.
lhere is a significant difference between the two classes of beings; An-
:.'. and Djinn. Angels are created solely to praise and serve Allah, while
tod ? And we
- -:n u-ere to roam upon the Earth and have the freedom to travel their own
::-:rrual paths through time, choosing either the way of slavery, (As Allah
": seli referred to it) or of independence, where one may walk the path of a
, , : and know their own true strength and will.
,. --iat He would not ,{s rvith human differences regarding religion, Djinn have many differ-
-r":-a
:..: .ians and beliefs which they adhere to. one clan of Djinn were known
r;:ore Allah, having to
--,'e listened to the Hadithds (teaching) in the
-j
;:= knew He would eur an being recited one day
- :. locai town square, and found Allah's words to be true which led
them to
r.--ome followers of Islam. Though, as with human religions or beliefs, there
' ::e some Djinn which chose to be free of Allah's
3:i"'. -,','.: said to the shackles, and follow the
';:, "; ..,::ept for lblis. :-:k truth in their heart which lead them to reject Allah and his chains of
,.:r-itude,
.---".;:.. -;.5ftsi, "What
*:; ":.; . -; .', Ott ?" IbliS
"Some of us are righteous, and some of us
,,". are otherwise: we are
-'"!. .-''. .ire and You
parties differing"
':.", . i.t.;e here, it is
..;'.. 1'-'i lre among QuntN (72:t t)
'"i :,,'.::. :irc day that
It was the Djinn that had 'deviated' which Iblis sought, for they shared
;-. "i,,:-'iitl those who
jr '.
-:e same burning anger and hatred of Allah and his controlled society of
, -. -- lr ;iOye Sent me
,-:r-es. And indeed Ibtis did find them...and assembled an army of seven-
rtrr L1 n \-our'straight
:-. -two of the most blood thirsty Djinn that had ever
r hehind them,from roamed the Earth.
s. lbri *,illfindmost
Djinn were said to have been created before man (of the element of
; '---' ,:o.r', !.irth), from the burning element of fire,
despised
'^ - -:::all assuredly
"We created man
from dried clay from black mud, and We
created the Djinn before
from the fire of hot wind.,,
QunaN (t5:26-27)

'< 23 >-
 fHp Boor op SlrorErsss FrnE

Djinn have also been referred to being created from "smokeless Fire" as
The Messenger of Allah known as 'Muhammad' stated,

"The Angels were created

from light and the Djinn were created
from smokeless fire..."

There are some such as Ibn Abbas, Mujahid (paternal cousin to Muham-
mad) and others who believe that'smokeless fire'refers to only the very tips
of the flames, or purest cleanest part of the flames, while according to others,
it is 'Jlames mixed with the blackest of fire'. Regardless, it is seen that Djinn
are related to the Infernal spirit of fire and they are directly of its element.
Fire and Djinn are synonymous with each other and entwined. Fire has long
been associated with the spiritual world, acting as a gateway between reali-
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
beings that are generally associated with walking the dark path of Iblis. Th"y
are mentioned in the Qur'an and'Alf Layla Wa Layla" among other less-
er known texts (at least to the Western world) such as, "Shams al-Ma'arif
al-Kubra". However their description in "Miscelaneo de Salomon" is quite
different, they are of the conjoined form most are familiar with as being
presented in the "Goetia". Some are simple in appearance, while others are
complex and of horrendous conjuncture. The Djinn presented in this vol-
ume are Ifrit of 'The Clan Of Taw - A/l', known 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 they are indeed importantly related. It has been said that Ghouls
Ghitf, are simplyD jinn (linn, Genie) that did/do not followAllah, and who
feast on the blood and flesh of the living as well as the dead. IsmA'il bin : **:-
'Umar Abn al-FidA', mentioned in "Tafstr Ibn Kathrr" that Ghouls were the
'demons of geniei, which further supports this.
There are many tales and descriptions of Ghouls or'Si'ltvah'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 a sacred truth that lies at their heart. One of these 'truths' tells of the

<24>*
 i: Tsr Htsronv Op DrrNN

'r ::. "Sruokeless :: :rr sla,v a Djinn. Though other elements concerning the Djinn's
Fire" as
..:
l:L. - - -: i and attributes differ from tale to tale, the belief that a single
-i si\'ord will kill a Djinn remains consistent. However if it is
l,l_' ;";t1 11'g1,g CfeAted -- :: :.1an once, only a thousand more blows after that will cause it
' :.:=:tially making it invulnerable. In the tale "Story of Prince Sayf
" .;,: -i the Princess Badi'a AlJamal" from Burton's 'Alf Laylah lAra
e*,t-;. cousin to Muham- - -::-,-u1 tries to trick a group of men that he captured and kept in a
cr5 :!r oniy the very tips - . -: :he men freed himself and attacked the Ghoul by slicing it once
- -,,":ist rvith a sword. The Ghoul stated,
:-:-e .ccording to others, =
'::. :: ir seen
/J
that Diinn
t::t;t1r- of its element. ,,:an, an thou desire to slay me, strike me a second stroke".
:-s the man was about to strike a second time, his companion
e:-:-,,,'rned. Fire has long
S::r',\ a\ betWeen reali-
.:r-ised, "Smite him not a second time, for then he will not die,
:"-": will live and destroy us".
;u:,:;h this volume di-
'-
r:.,::rous fiery winged ., :eiief stems from a much earlier time when the Arab encyclopedic
::.ri :ath of Iblis. They ' :: ..,-iahrz wrote that,
;',.,; among other less-
: -r-.. ',ilrcias al-Ma'arif Trc Si'lwah would die only by one migltty blow from the sword
: -i: S"tlornon " is quite i.ecause if two strikes were directed to it, it would not expire
-,-:n::-lar rvith as being .-tntil one thousand blows
follow".
r::t;.. irhile others are
i ::;sented in this vol- -1:,ruls have long been associated with blood drinking and the dead. It
r:1::-:lg the most pure- - . *rcommon to hear of rituals concerning bloodletting and blood as a
':::: - --: r,f energy when dealing in close work with dark spirits. In the French
;: G:r-ruls must be in- ", . : : a n slatio n of " Th e Arab i an Night i' or'Alf L ayla W a L ay al a" by Antoine

' irc: said that Ghouls . ,.:d, Galland is known to have added a bit of content throughout the
I :-- -,.-.',i-\llah, and who
-::s of the work, though mainly staying true to the original Arabic. How-
i ::.= .lead. Isme'il bin :r Jre area he added to, concerned the Ghoul and its nature. He stated,
'' ::.": Ghouls were the
"Ghouls were male monsters that in'want of prey', will sometimes
: -: lwsh'in Arabic
S: go in the night into burying grounds, andfeed upon dead bodies
: r=.r.i: and their par- that have been buried there"
,:=:. :hat flow through 'Tua Sronv or Sror NouuaN'
:s .r.- :mbeliished tales
"<s= ::uths' tells of the

.<\ 25 >-
 Tnp Boor op Sltorrrsss FInn

Though this is an added segment, (vvhich many believe to be simply a ro-

mantic horror element of the author) I believe it was set there to give the read-
er a full understanding of the nature of the Ghoul based on older sources
where Djinn reside in places of decay and shadow such as abandoned ruins,
decrepit washrooms and of course, cemeteries. And from this, it is not hard
to draw the connection between Djinn and Vampires and their numerous
accounts and sightings throughout the dark history of man. Djinn have tak-
en many forms and names in time.
Personally I believe that different regions of the Earth 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 are most commonly known 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, but they are not known in Hawaii. In Hawaii there are Spirits which
are only known there. Djinn are mostly known in Arabia and the Middle
East, but since they are (by their own description) across the Earth, they are
accessible to the Magician that is not close to the area of their main notori-
ety; Arabia.
It can be seen in the disclosures of the Djinn in"Miscelaneo de Sslomon"
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 Western Hemisphere. One of the most important examples/
descriptions of Djinn from a Western source comes from Carlos Castane-
da's series concerning the teachings of Don ]uan, an Indian Toltec Sorcerer
who mentors Castaneda in the arte of perception and awareness. They are
described as'Inorganic Beings' that dwell upon the Earth unseen, in cohab-
itation with men. Djinn are not specifically concentrated on in the series,
however opening the eyes to 'see' 'Inorganic Entities'and hidden aspects of
reality is. This is a segment of conversation between Don |uan and Carlos
Castaneda on the subject,

<26>-
::] --:i:
THa HrsroRy Or DIrNN
'r:;,:., 4..iiet,e to be simply a ro_
as sc: there to give the . :.: :,-tunterpart of the Earth was what
*d read_ they (ancient Toltec
:1",*- lased on older sources _"--.rers) kn,ew as the ,Dark Regions,.
These (magical) practices
ic in' 5;;r. as abandoned
ruins, '-: :v far the most dangerous. They dealt with intiti'es without
-:";,-:ic life. Living
--t,:i :;om this, it is not hard creatures that are present on the
Earth and
a:::;-res and their numerous _ -::,!ate it together with all
organic bifngs,
r!,-:,,- c,f man. Djinn
have tak_ - r.R.Los CasreNrpa, "Tnr Fra.z Fpou WrrrurN,,, t9g4

i::e ia:th
have various types
- _::t goes on to say,
]..,;a::icular areas, just as
it
r. t;: itot North America. A -';ttttic living beings have a cocoon that encroses the (Eagle,s)
I,rr-r- jt ;ommonly known
to "':ttnations' But there are other creatures whose receptacres
i:-ir; -s the Zombie which is 'i.'t't rook rike a cocoon to a seer. yet they have emanations
t;; :;;6pg3n areas SUCh " tlh'at€'€Ss in them and characteristics of lf" other than
aS
i4'a-: ::ere are Spirits -, : ro duction and
which metabolism.,,
i r:- .1:abia and the Middle
r g-:::s the Earth, theyare --". beings have made themserves known
to man in different forms
: ,:=: c,I their main notOri_ ,: rii rr-orld, though only those who
have achieved u t.igi,"n.a ,rur.
_ :::..ess and stored enough personal energy may
- , .--::11. perceive and interact
:- "_',!:::elttneo de Salomon,,
I'.;;:;:: tops to oceans and
.s ,:. rot known by their Iithose beings are alive, why don
t they make themselves known
:<:.- :=.urded throughout ro man ? I asked. (Don ,They
luan replies) do, all the time, and
-'-:.:. .,'rit,Ghoul, is most only to seers but arso to the average
'ot man.
The probrem is that
ara ::i oll the energy avairabre is consumed
obscure references by the first attentionr. Man s
inventory not only takes it all, but
:-,-, !:- : :t:portant
examples/ it arso toughens the cocoon
tr! tri-,i.It Carlos Castane_ to the point of making it inJlexibre.
under those circumstances
a:: -:i,an Toltec Sorcerer there is no possible interaction.,,
--:_ .,'.ireness.
__ _,
lhey are
' tis
'heightened state'of
1 -;::: .tnseen, in awareness is brought on through
cohab- many differ_
---.-j.:u ()n tn the series,
:-'.--.j : : :lediums when used correctly, be it consumption
of psychotropic/delic
i-i .:c' hidden aspects of : rr:s' intense pain/preasure or hypnotic states
of mind. The Sorcerer in this
t: l,:: Iuan and Carlos ' '= is-able to sidestep the perceptual filter that ,blinds, and ,see, the
world in
' :'rtality so as to interact with entities that are .In,organic, by nature and
.:--:1e gnosis of a higher understanding
of reality and existence.
Djinn are mysterious entities that have
shadowed the human race since
"' :eginning. The belief in Djinn is strong stiil today,
though,r.,iit ro*, tt .

-<27 b-
 'j"i-f I lj,CaIi r.l| 5r"er:x-ti;.sr Iltift;

lliost i-liahciical hrt.;e been ilair-es-.ilrk-', hiriclerr arvay frorn thr eyes erf tilose
1rri16 v",pulal seek ia) aglin r-r.rtre::,sh. tlieir: ivraih upor ti.re,+icrld.. trelt are i,ni
-f

haye lieen, dari.: lnr:n r,r.il,: worsiip *ilcl r,.,ci"l- wi',h lri.fernal U,iinn r.,rho are
atrlqned to ti-ie r:u;:reni ei ll-,iis. Fo.r the (h-ir'ai: r-rtates,

"lt'ik: rnr.:cie lht ei,'i! t-rt'ir::; lt-iiirtu.i |n,:nris tc th*se v:|1fusst" faitlt
iin t\ii:fiti."

-ihese
meu lrave i,.iia"i:iicei ltreir rites il i.he sl-iadc;,o,s ior cr:ntuiies" it is
in lionor oit lhcsr: d.ari< :rr.r',-*Lel:s '-h..",. irt: Lroolr is reieaseri and their ',iark
tr;rdition upi:elei.

t
::! ---.,,

i. :-.,.:- ::om the eyes of those

*:,-:. ::.. -,r'orid. There are and
-,'--::.
-:=rnal Djinn who are

:.: : s. tt.ithout faith

tr: -',.. s lor centuries. It is

.:. :=.2;.sed and their dark
 OuruNE Op Ttrp
MecrcAL SysrBlvr

any of the ceremonial aspects of the "Goetia" are derived and

based on Peter de Abano's "Heptameron" which could indeed
be considered a magical, |udeo/Christian manuscript. It be-
comes plainly obvious to any seeker that is of the LHp, that the
system prescribed within the "Goetia" is not suited for LHp
- ..rc. Nearly all of the legendary 'Black Magic'grimoires such as "The Gri-
,':.ittm Verum", "The Grimoire of pope Honorius,,,,,The Book of the Sacred
.;;:c of Abramelin the Mage", "The Grand Grmoire,,, *La Dragon Rouge,,,
. "'.: Sy,orn Book Of Honorius", "Le Veritable Dragon l{oir,,, etc.,
are unus_
- -: to any who were not devout subservient christians, they were written
:
-: :'j a christian perspective. Yes, they indeed deal
with the summoning of
-'=:ronic entities, but only in a manner that is abusive and degragating to
.. Spirits being called.
-\iichael w. Ford addresses this issue in his book, "Goetia of shadows"
:eversing/adjusting the invocations/conjurations etc. in a manner suit-
=:-e tbr Left Hand Path practitioners. Ford writes,

"The Lemegethon texts provided little

for initiation as they
are composed in a Christian structure. If you are other than
christian, this would be defeating to evoke a spirit of wisclom
and power to then threqten it with the name of yahweh!,,
'Tur Gonrta or Sa,qoows'

-< 31 >-
 THe Boox or SlrorerBss FtnE

Ford's approach is done in fashion of the traditional Black Mass, where I

1
ll "

the Priest/Magician reverses the Christian Mass by replacing Angelic names, r t:

names of God and religious imagery with those of Lucifer and his Demons,
or by replacing traditional'holy' items with those that were associated with
the'Devil', as H.T.F. Rhodes relates so well in his book "The Satanic Mass",

"The priest goes to the church at eleven o'clock in the evening, and
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 said 'backwards'. A black three-cornered host and
a chalice containing water are the elements of the ffiring. The
water must be of polluted origin preferably taken from a well
wherein an unbaptized child has been drowned."
'Tar Sarar,r rc Mess, t954' .,:

Though Ford's approach is effective and based in solid tradition, this

work will implement a new foundation to replace the )udeo/Christian in-
fluence, and focus on combining the spiritual (energy work) with the scien-
tific (Lovecraftian Quantum Physic) to open gateways, so that interaction
with non-human entities may be achieved. This is what I term'Fringe Mag
lc'. Fringe Magic is simply (and complexly) mystical science. It is difficult to
merge such areas of study, as science is so 'exact' and 'known', while mysti-
cism or magic so,'fluid'and instinctual, residing in the realm of 'un-known'
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 in touch with themselves and rely on their pure magical 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 yort 'feel' 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 instinct. The Temple Of Set has classified using this kind of magical
instinct to perform magical acts as, 'Medial Black Magic'. It is being in a

<32>:
 OurrrNn Or Tnr Ml.crcar Sysrnlr

i;:::. :"- Black Mass, where "

'. : '-\rvareness', while utilizing the energies present at the random time
:-"- :.:.";:ng Angelic names,
: - - - rS preformed. A.W. Dray describes this type of magic well,
: - -.:::cr and his Demons,
:

>". -:.:: '.,,'ere aSSOCiated With '')tedial Black Magic is a topic and discipline
that is rarely if ever
j, t,. :i Tie Satanic Mass",
explored as a distinct art of its own. Most will touch and toy with
its energies and potentials without knowing ythat it really is, but
:-- -,.:,'":.;l evening, and t'ery few will grasp its true power and their own ability to tuield
' i:---.:. :.; midnight. His it as part of their sorcery arsenal. Medial Black Magic is the
)'..;... !,Cen intimAte.
'.-; spontaneous projecting of one's will and intent in conjunction
':'.-.. - - -,:e red host and with some form of physical action that is often spontaneous as
."r:.j .- :r.e ttfering. The x,ell. h is of the highest forms of true Witchcraft and its methods
';;'. , :.;-::it from a well
and intricacies are always extremely personal. The sorcerer who
suddenly utters the inspired words of an incantation into a
passing wind to be taken away and made manifest or the Witch
who gazes into the Jlame of a single candle and perfectly projects
.:..: ::..riid tradition, this their will into the rising Jlame; these are examples of Medial
,:; :.-,: -::deo/Christian in- Black Magic in motion."
" j--r . .i, rtith the scien- 'Tnn INppn.Nz.t Ptra', zotz
.:.-,\:-. i. so that interaction
-i i!:,:: - ierm 'Fringe Mag- i,Iagic is ever present; it is the thread that holds Al1' together, it is exis-
:.:;:.e. It is difficult to - :. rtself. Opening the eyes to 'see'and understand this has been crucial to
.: .,:orvn', while mysti-
'
:ragical act true Magicians have ever preformed. One must understand
:,.. :ealm of 'un-known' -.. :hev are already in touch with the All', all that is needed is to free the
: ":. :: ::nnot be anything : of doubt, and claim the power to alter one's personal surroundings
,:-: :.::rletely Chaotic by ' :-:ecting their Intent. Belief in the movement of one's personal energy,
t:,=:- :o the base laws of
" .r::s that energy stronger. All that is needed to change one's reality is to
. r.3 up', and direct their personal energy into that reality causing change,
::.i-: !-.ince, one must be '- .:: than just go along with the flow of the 'system'. Once this is realized,
::-.1: : -:e magical instinct. -. )'iagician becomes master of his reality. Of course the more practiced
::-:.:. :s. Ironically, that is , - : :orverful Magician will cause more change in their realitythan one who
:o:- . ::rmoire and 'know' ':: .lSt'woken up'and began utilizing their potential. However, to cause
:: :, :t:drng through one - :.-ge one must gather enough personal power to alter their reality, un-
:r: .: ,r ;rinted on - that is ::. s:anding is not enough to cause the change that is desired. The more one
-:..". :"ris kind of magical . :.--:ices 'Magic', the stronger they become. As well, techniques of Vampir-
;:. I.l.::;' It is being in a .:-- i'rave also been employed as a means to help gather such energy. Medial
: .:i \Iagic is the Magician having full belief and confidence in themselves

<33>-
 TUB Boor< or SmorErnss Frns

by transcending all natural laws and imposed laws/restrictions the 'system'

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 as well as the rites that are presented here, are a product of this same
magical instinct. They were drawn from out of the 'Nagu al' (The Meon, [Jni-
verse B, The Second Attention, Naxyr) into existence on this plane for the use
of the Black Magician.
Because these Djinn are 'Ghouls' and they feast 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
blood can be of any source, though it is thought proper to be the Magician's
own blood that is used, as it connects the magician with the Djinn on an
intimate level, thus ensuring more opportunity for success 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, they should know this and have the same
respect for me, as I do them, equally. I offer them sacrifice, not out of fear,
but honor and respect. I beg no entity or God to change things in my 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
spiritual activity is greatly increased when blood is used in ritual. I find this
because the energy that is being released by the Magician acts as a beacon
in the spiritual world, attracting many different curious entities. It is such a
personal offering that the Magician can fully immerse himself in ritual and
the spiritual world, so contact with an entity is stronger and a bond formed.
Naturally, blood is also used in a lot of sigil work I undertake. I believe blood
helps to bring 'Life' to a sigil if created with it. This of course again connects
the Magician with the spiritual entity that is being called forth, creating a
pact of sorts as it is the essence of the Magi cian (Blood), conjoined with the
essence of the Spirit (Si1il). Therefore, blood will be a central element when
working with these particular Djinn in the ritual chamber, as well as when
' "",;,

-i- -
creating sigils, talismans, etc.

<34>-
.::
OutrrNB Op Tna Mecrcer Sysrnrr

:.!: ::- tions the'system'

::fumigation is also heavily drawn upon, it is and has always been a
i-::: :ealitv to cause the
., .lement within the magical praxis of the Middle East and so has been
:-.. ,. -\rte and Magical - : ;nented within this system. Several different incense are used which
:: . ::..duct of this same --
\ -::- i The Meon, (Jni- -:e tiankincense, myrrh and coriander seed. Frankincense (olibanum),
": ,. r3en in use in Arabia for thousands of years, being a central element
-:- .:r-s plane for the use - - :h spiritual and religious praxis throughout its territory and history.
':r: dre ancient tales of the fabulous Atlantis of the sands' (as accordingto
: ,:. ::r energy of blood
-.rtce of Arabia') known as Ubar, Ad, Irem, Wabar...indeed Lovecraft's
r - i::.,i them forth into
,:-,eless City', being a central point of trade for frankincense, within the
:: :',,,.r themselves. The
:.: : , rg the Magician's ,- sands of the 'Rub' al Khali' or Empty Quarter of Arabia. This remote
. - - ruch needed location caused the inhabitants of this desolate city to
: -,",,:: the Djinn on an ' : - l€ rich beyond imagination. That is, at least until
-.r.J:.:: rrithin the work-
it was devoured by
r:.iri>. I always have. It
- : .:ound it stood upon by the command of 'God', due to the 'gluttonous
, r: : :t(I1 of deVotion -. ot the residents. Or so the story goes. Irem (or what is thought to be
aS
-- ,: \ras actually found in southern Oman in 1992 proving the ancient
:,.:-:e no God, though
,:: ::- rite. I see all en- - =; itnd Lovecraft) true. Frankincense has also interestingly been found to
:-:: :ra and have more
- : .:'iportant in the Philistines'worship of the fish-god'Dagon'.
I' ir-rrh has also been used throughout Arabia. It is seen as a connecting
. :"*..:-. superior to rne,
:.::. ":ld have the same -:::: to the Underworld and Death, or Chthonic Spirits in general, mak-
-. -: a fitting incense to incorporate within this system. And lastly there
;;:::;3. not out offear,
, -.riander Seed (coriandrum satiyum) which has been used in many an-
.::-r:.1ings in my life,
- . - \iiddle Eastern rituals centered around divination. coriander seed has
.;::. Crooked Path as
.", :- - havefoundthat :: ::ally been associated with the planet Mars, and has its origins in the
.i.r .: ritual. I find this . -.3nt Orient, it has been applied for many medicinal and magical uses
-: :qhout the ages.
.i:;:;: J.CIS aS a beacon
'- -. =::tities. It is such a
"These (suffumigations and incense) are not just used to 'set
.; "-.-:tseif in ritual and
the scene' but are an important and essential ingredient in the
:.: .:.i a bond formed.
process of invocation and eyocation, as 'spiritual creatures,' be
;-:::{e, I believe blood
they angels, daemons, spirits, demons, and even gods, respond
: : - *:se again connects
directly to the correct use of incense"..."...the concept that
-.:'-"=: lorth, creating a
burning enables you to pass something from this world to the
,.; ;,uioined with the
other is never questioned. Hence the burning of incense, of the
i :=:-::a1 element when
.::.:::. as tveil as when right kind, is also able to ffict the denizens of the other world."
SrspHsN SrrNNrn, 'Fo-n.e woao ro LrnBn LuNeB'

€( J) )e
 Tsp Boo< op SuornrBss Frnr

Though not only are these incense utilized in this system, but also sev-
eral different written 'words of power'or evocations which are written upon
parchment and burnt as incense themselves, though not for the purpose of
scent. The er.ocations and words of power are transformed into summoning
incense through the purification and alchemical transformation of fire, the
element of Djinn. In this way, the energy circulates throughout the ritual
chamber empowering it. This act represents the connection between the ma-
terial and the spiritual worlds, where smoke dwells in the middle ground be-
tween that which is physical and spiritual. The words of power move about
the ritual chamber in the form of smoke just as the Spirits, empowering the
sacred magical space and becoming one with the Magician. As the Magician
breathes in the empowered evocations, he transmutes them into vibrations
by speaking the evocation, permeating the chamber with Intent and power.
This is a form of Middle Eastern Spiritual Alchemy that has been utilized for
millennia with great success, and has been employed herein.
The rites described within this manuscript are to be preformed solely by
the Magician, though they can be easily altered to accommodate more prac-
titioners. What I have continued to say throughout my works is, "Change
Must Always Occur". This phrase can be applied to Magic in so many differ-
ent ways, but overall what I am trying to convey is; Magic must be personal-
ized. One must make magic their own, the rituals I present can and should
be altered to the custom needs of the individual using them. This system
must be made personal to be effective, don't perform'my'Magic, perform
'yoLtrs'. Be free of the Traditional Magic Dogma. One must remember that
any ritual they have ever read of or preformed was created by another Ma-
gician as 'they'needed. When they came up with the ritual, they did it for
themselves, not for the masses, and it worke dfor 'them'. Therefore in a sense,
it is their Magic. So, one must make these rituals their own by personalizing
them with their own individualistic elements. Only when the Magician is
behind his Magic, truly believing in it, truly 'feeling'that the rite is 'right',
will success be had.
The rituals presented here can be performed both inside as well as out-
side; it truly just depends on the situation. As an example, the Magician may
both perform these rites under the stars in a cemetery, or inside a mauso-
leum within the same cemetery. Either way, the effect would be the same.

-<36F
'.:: OurrrNp Or Tue Macrcar Sysrsla

::-r :',-stern, but also sev- .-.-er, most of these rites will need to be held outside, due to the sheer
j -.,.-:.J- are rvritten upon , - :he Magical Circles and Triangles of Arte.
l: :- -: ior the purpose of -:,e Lunate Script that is employed within this system is very powerful
:-::..; intO SUmmOning -::.::ically. Its symbolic nature connects with the energy of the Waxing
'i:::.-.:ntation of fire, the '::-;rt Moon and that of the night and darkness. The Lunate Script that
€t ::-:rrughout the ritual . :..ented here was'received'in the same timeframe as the Triangles and
:a;::,:\:.1 between the ma- '-,=' of Arte as well as the Djinn Sigiis, so you maywish to experiment
;: ::: riddle ground be- " -. it first before you morre on to customization, if you so choose. The
:i.s :: :orr-er move about :,rls in the Lunate Script have many occult applications, and a complete
5:::r:s. empowering the : - ::ration of their meaning and use will be released as its own work in
: i-;: j:r.
-'\s the Magician
-: r3ar future. Within the present work, they are used as letters and are
::.> ::.in into vibrations - :r. dr1 English translation to be utilized within the Djinn sigils, on talis-
: :,!'t:: Intent and power. -
\, CLL.

:::: :;.s been utilized for -re Djinn listed within this grimoire are purely destructive by nature,
, j *-,-:- -
- - :he Magician must use utmost caution when working with them. They
.- ::
::etormed solely by . ': ..r be deployed when nothing less devastating will do. They are hate, pain
,;: :::::o date more prac- - -: lisease waiting to be released upon the world with a rage that is un-
:: -,'.'Lrrks
is, "Change - ..;ned. If the 'Goetic' Spirits have a dark side, these Djinn are the embodi-
=--,
l"l"::: :n so many differ- -.: -: of it. As stated this grimoire is a weapon, and does not make apologies
"

\l-:::: :-rust be personal- : ::s existence. In fact, it is an'ultimate weapon', to be unveiled and used
;:.:.:i can and shOuld ..:r times are at their darkest. Those times are no longer on the horizon,
::-:"i ::em. This system :'.- dr€ here and are creeping in more little by little, day by day. The Black
7r7: ,,'., \lagic, perform ,.:ician who is in touch with his surroundings will know when to unleash
':= :.;:i remember that ,. tbrbidden power; they will feel it deep within them...and recognize the
--r:..:J br another Ma- ...:ng as rage. Each Warrior Magician will utilize this strength at different
-'-. :-:*:1, they did it for ::es, rvhen the battle is at their door. There are no specific times to use this
:*: l:erefore in a sense, -.grc, no Sabbats to attend, no nights to honor...it is to be used, when it is
- :;ded. . .at the time of War.
::-- -',., :r bv personalizing
', '.'.:.:: the Magician is
-r ::,:: the rite is 'right',

::. .:..:ie as well as out-

::r:.". ::e -\lagician may
:.:-, -': inside a mauso-
:.:: -,,,,-uld be the
same.

-<37 >-
 : n ne E*mrw HHN ?ise Arumr_ms:
^--1
L-",xF{"cLHs &' t"plgar+fr x.ffi,s {}Nt
ifl'rgm Ap-tp: &..{,q mgcgx,,

iitr: tit*,s r';f violen,:e *r:;i s*u"ifi;e: iht tt:,tp!t:.s ${tke

i\,lu:irt
ititi:! ,1:.,tec rn*git:.i*rts it,i r;i.{j oj ir li;, . ir jsl- t tti s.uslait;e
d by
iitc ,;a -rifr.-'c,l blactl ci tiia r:ka,,:ct1 {}rtcs, ii.te trti.yirt:Lied p1,i._
sti':itis *pLi!.t wh.lch her;rls wtte cr.rt.fi.aitL !.fuing ttii:{i.tzrs
ntid
ii::!d a.l*.{i as.;d !t*t
Io {];r,-f:-i:1,.;-,,it! ,t,,,! [t,:pi!rc;.n"",
Ail ro i LAiorE\-

"..f' #.!af agrc is uat'iyf.regical', ii does il*t 'lu-sf i.irsppt:ti,llr.-r il. ii ,;,.irt:,r:_
f, !F
"-t1i !r.!*vts', !t is * scieniific sTste*r b;rserl or a p,r.crss
:{ tliat.wc irar,,e
:i
.$ yet to iiill-y u-lrelersi;*rcl srie;.:i;iicali1,: I i;elie."e this is bec;,,r_ise
.an
s,{ ,,te har.,e yet to reali;te :he [otaiiii..r.li.
lhe i_ra_re sg;x16i11re oi-the
reaiity tyf are cnrrentllr resfiing in. .y,!-e
trave ,,-et tr: tipcle;.sia;rrj
: iilleit +Ithe ,trfatlir'of 'Ccnseirsi-tal F.ealitir,a,.lei ther*for:e trta-.,e
t-*:t i.E.:
rr!:ir.:!!.rr[! r,t
'1i:lst:lnd or;"rtilize
!".rlliizc {rLi}'{]efSOnAl
{r1i1'oersonal pji1i]C
pl;ri:e anCi
anc'l ptXr-ef. l,{agic iS
por,-er. lr{AglC tilc ina_
is tilC ina-
i.iri'r oi personiri enrrgv lo r*st;:ucti:r * t.r:e 'ccnse-?t:51irt!
!i{:itiit,,, Matrix,
.;;i'i:r t,:: the IntenX of fhe _],,lagir_:ii*1. As r,vith all c,ergy, ],aaglc ca;r Lre
, r:r'c;inr:l rlirected, spirits arrd enti[ies
cail i:e coniacred aild change car-r
.lr r",.ithin the personal 'grid'of the l,z{agician"
'r:'e |ras ai,v2}'s r-'een a sir:urg1e oisl;e:lce vs. ruagi; an,c l,.,ihii:h is,t*.r.e,
t.:'Lral. lhis is ridiculous, the1,;ir-^ the san:e. Nothiug simplv Llcctit:s,

:-? 4L :ra.
 Tup Boor or SuorPrr,ss FInr

there is always a system, a process that must begin the 'miracle'. As an exam-
ple; if I were to sit in a room with an observer, chair facing chair, and sud-
denly move my left arm, it would appear to the observer that my arm moved
with no outside cause, they would not see the hidden thought process in my
brain that began the movement. Of course we know scientifically that there
is a thought process that drives the functions of the human body, but if we
lacked that scientific understanding, it would appear that my arm's move-
ment was unconnected to any process other than its own sudden volition.
This is Magic. We only see the outcome, though scientifically cannot explain
it, yet. However, quantum physics has unraveled some of magic's myster-
ies and given us a scientific explanation for what was once thought of as
'miraculous'such as in the exampie of sympathetic magic being discovered
as entanglement or non-locality. if you take a piece of someone's hair and
perform a magical baneful rite against them, they become sick, or whatever
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-
glement works, but we now'scientifically', know that it does. The Magic has
been correct all along, however it is now valid because it can be explained
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 verified and become factual, using a rite to inflict damage on another will
not be seen any differently than hitting someone with a baseball bat. Books
such as this will certainly be banned and seen as illegal 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. Fringe Magic is not new; it is simply a category I have created to encom-
pass scientific magic or magic that deals with dimensions, non-human intel-
ligence and work that questions the basis of 'reality', and how to manipulate
it. This can be classified as experimental magic if you will, teetering on the
edge of the Abyss, or at least on the edge of what is magically 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 being looked upon with greater respect and interest. But

-<42F
 , l.rwEnNTnn ANcrns; Crncrps &Tnr,q.Ncrps Op THEAnrE Maclcer

tt";r.iale'. AS an eXam- : -. :o. books such as this volume, or my last "Volubilis Ex Chaosium", wTll
a;:nE chair, and sud- : scrutinized and rejected based on their un-conformity to the magical
=
r t:3t mY arm moYed - ::-.unity's general appeal, acceptance or understanding. Simply because
:o;sht process in my - : ::rbraces magic, does not mean one is open minded, intelligent or in-

" . i believe this discrimination is why "The Necronomicon" by Simon was

reiriically that there -

::::an bodv, but if we " . : =: in a background of Sumerian tradition, rather than being presented
::rtr: IIIV arm's move- - -.\t of pure Chaos Magic, standing on its own. I believe the author felt it
)-,r-: iudden volition. "::
-:i the legitimacy of a pre-existing culture and tradition to be accepted
i:a.,r-cannot explain " . :.:ious work in his time of publication. I have always thought the author
e c,: magic's myster- -.j come out and present the manuscript for what it truly is; One of the
; cfi;e thought of as '' . :ooks of very powerful Chaos Magic. Regardless, this'Experimental
c; :erng discovered -.,: is still not held in the same upstanding way as magic that has its
tst:
neone's hair and -:::e to these traditional structured Orders, such as the O.T.O. and The
i::e si;k, or whatever :.:r Dawn.
u::;ed for centuries. l: course Fringe Magic does encompass such literary works from au-
::as been somewhat " :. and Magicians who have ventured forth into the'empty spaces', svch
I::: -argely the scien- "- ? Lovecraft, Carlos Castaneda, Pete Carroll, Frank G. Ripel, Michael
*:-arn why entan- :::.,:ur, H.P. Blavatsky, Kenneth Grant and others who have been to the
irres. The Magic has : - .. Jf creation and reality, and come back to write of it. They masterfully
: i: :an be explained "-r.:-orm into words, experiences and concepts that are seemingly inde-
; ::'.' prediction that ,, - . : ,:'ble to those who have not walked the 'Spaces In-Between' themselves,

;e :t:ind magic can - - :a\-e not known the'Twilight of Being and Reality'.

aaqi on another will .ie practice of Magic dealing with the evocation of spirits, both benev-
i :aseball bat. Books :..: r.nd baneful, has generally been centered around the Magic Circle and
'{ai:OnS. . :-'rnterpart; the Triangle of Arte. By using these key components, por-
nt a ;ompletely new . , :.r other realms have been opened and contact with the spiritual entities
':;: -\uf ;tgic'as I refer ' :: re €fl achieved. Whether the magician were calling forth either Demons,
'.e cre ated to encom-
- .;ls, or else, these tools have been implemented since time immemorial
ii" :on-human intel- : -:ilmune with that which was'beyond'. I believe the key to opening these
J :ilr'- to manipulate : - .:',\'a\-s between dimensions lies in angles, vibrations and direction of the
,r.1, ieetering on the ..-cian's personal energy and Intent.
::.--', socially accept- :i.P. Lovecraft has ever infused our idea of interdimensional travel and
:" :o be introduced -: rpening of gateways with angles...angles beyond reason, or as he de-
\-e;:ern Ceremonial . :.res in "The Call Of Cthulhu",

O:.rl now are such

ec: and interest. But 'An angle which was acute, but behaved as if it were obtuse...".

<43>-
 THp Boor or Srtorarrss FrnE

Angles are the key to unlocking the dimensions, the key to traveling
'In-Between' just as Keziah Mason used them to escape
her prison cell in,
"The Dresms in the Witch House",

"...not eyen Cotton Mather could explain the curves and angles
smeared on the grey stone walls with some red, sticky
fluid.,,...
"She had told ludge Hathorne of lines qnd curyes that could
be
made to point out directions leading through the walls of space
to other spaces beyond, and had implied that such lines and
curves were frequently used at certain midnight meetings in the
dark valley of the white stone beyond Meadow Hill and on the
unpeopled island in the river"

,
rn z Dn e.q,n,l;l',""ffi,TT'H o u s a,, re 33

within angles, there is energy known as 'static Energy' that is tightty

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. Ifthe ,, -."::
correct angles are utilized in conjunction with the correct vocal vibrations,
the angles are 'snapped', and the static energy released, thus opening doors . *t'.'
to other dimensions that are unlocked for travel, both to and from anoth-
er point, an exarnple is the evocation of yog-sothoth given in "volubilis
Ex chaosium" (As will be discussed). within the 'correct' angles, doorways
between realms can, will, and have opened. oftentimes at this juncture be- _i ";1+ 5

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
between the planes, H.P. Lovecraft again writes,

"...his sober theory (wa) that a man might - given mathematical

knowledge admittedly beyond all likelihood of human
acquirement - step deliberately from the earth to any other
celestialbodywhichmightlie at one of aninfinity of specificpoints
in the cosmic pattern. Such a step, he said, would require only
two stages; first, a passage out of the three-dimensional sphere

.< 44 >=,
 i: -- i.: . 3rrlvnEuTlreANcrns;Crncres &TRTANGLEs Or TuBAnrsMacrcar

(:-:.-:i. the key to traveling we know, and second, a passage back to the three-dimensional
:.- .)-ife her prison cell in, sphere at another point, perhaps one of infinite remoteness. That
this could be accomplished without loss of life was in many cases
conceivable. Any beingfrom any part of three-dimensional space
;:': :'".. :'-t!'yes And angleS could probably survive in the fourth dimension; and its suryiyal
.:.i. sticky Jluid."... of the second stage would depend upon what alien part of three-
".:-,'.:
;":-;
--:,-r'g,i that could be dimensional space it might select for its re-entry. Denizens of
i;*_-;.-:,. ::te u,AllS Of SpACe some planets might be able to live on certain others - even planets
'":."; .::.;.: such lines and belonging to other galaxies, or to similar dimensional phases of
*::.i,: ;i;:: rtteetings in the other space-time continua - though of course there must be vast
."'-,.;.i_-...'Hilt and on the numbers of mutually uninhabitable even though mathematically
iuxtaposed bodies or zones of space. It was also possible that the
: inhabitants of a given dimensional realm could surviye entry to
: :1 - - j: . 1933 many unknown and incomprehensible realms of additional or
indefinitely multiplied dimensions - be they within or outside
::::-: rrergv' that is tightly the given space-time continuum - and that the converse would
'€.:: :.-treezed between two be likewise true. This was a matter for speculation, though one
I-. :. : ret break. This en- could be fairly certain that the type of mutation inyolved in a
: :-:: :tiitt conditions. If the passage from any given dimensional plane to the next higher one
::= -- -::e.t Yocal vibrations, would not be destructiye of biological integrity as we understand
.-"..=-. thus opening doors it. . .Professor Upham especially liked his demonstration of the
:- :,:: to and from anoth- kinship of higher mathematics to certain phases of magical
S": : . , :,::: gir.en in "Volubilis lore transmitted down the ages from an ineffable antiquity
. ;,::..t' angles, doorways - human or ytre-human - whose knowledge of the cosmos and
.::-:u-s at this juncture be- its laws was greater than ours,"
: -:-: :tlust either master or H.P. LovpcRAFT, "Dnraaas rN T.HE Wtrca House"
::jr-':.:. etc., depending on
:::::.. crlities and traveling : nas been known for some time that within angles there is hidden pow-
.:ting to be released. As well, it has also been studied, that angles have a
-,rnd effect upon the human mind, its perceptions and emotions.
".1: - a:'.:tt ntathematical
.;,...;,;-'.r1J Of hUmAn "Angles are space-planes that provoke anxiety...that is, those
:,:: ;.;.-:ii to any other not harmonious with natural visual orientation, will engender
:,:_-.,.. : :.. .. i sp ecifi c p oints aberrant behavior. Exceptions occur where a sort of reverse
;:.; ;1 :'.,id reqUire Only polarity exists in a creature: extreme mental imbalance or
' -' " - -: ",',' ; itsional sphere perversity, or perhaps even extreme rationality and awareness."

'< 45 >-
 Tur Boor or SuorrrEss Flnn

ANroN L.q.Vpy

Though not only is the human mind altered in such a way, but also the
ability to be effected on an overall scale spiritually via dimensional shifts of
time and space. Anton Lavey's Law of the Trapezoid reads as folrows,

'All obtuse angles are magically harmful to those unaware of

this property. The same angles are beneficial, stimulating and
energizing to those who are magically sensitive to them,
ANroN LeVBv

LaVey comments on his law,

"If the Law of the Trapezoid isknown, recognizedwhen applicable,

and either heeded or utilized, it will saye much hardship and
tragedy, while still serving as a catalyst
for change. Like fre, its
powers are two-fold, depending 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
of atoms, it will be the beginning and the end, the Alpha and
Omega of all matter. Ayert your gaze from the pyramids and
look to the trapezoid, and you shall be moyed."
ANroN LaVpy

An interesting commentary from a reputable source on LaVey,s Law,

"What exactly happens when an individual enters an angular

environment ? It is very apparent that a polarity is produced
within the individual. This is in essence what the 'Law of the
Trapezoid' describes. Some are attracted to the enyironment
and others are repelled. Along with attraction comes mental
imagery that tries to encompass inJinite 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
individual and species wide scale, theirs is a fnite image. These
are generalizations; I have seen extremes with both polarities.

q46Y-
 ' r.r BerwEsNTHpANcrrs;crncrEs gTRlewcrpsorTHpAnrBMacrcrr.

The bottom line is that there is an effect produced, no one really

understands the actual nature of the fficts, nor its boundaries,
iL-: I ira\', but also the we will find out.
':; :rrensional shifts of
i ::.js as tollows, "Most certainly each individual has
felt the efects of an angular
environment. Many symbols incorporate angular
.' ;l:---,. unaware of features
into their motif, and most certainly we have all felt moved
;" :::titulating and by particular music forms in a manner
'',. :-^ :):e n't"
falling into the above
description of what happens in an angular environment.
Haunted house phenomena is most common in homes that
have many angular shapes both inside and out. Angles produce
the'Command To Look', which then motivates into a polarity
which can be predictable. The ability to unlock the secret of the
: -i',.. ) -.
i' t applicable, angles will allow a more precise refining of (their) exhilarating
:

"' - "-. ):..1yj5l1ip and

"
-

- and thus inspiring- properties..."

'.;.;";s. Like
fire, its R. WnrrarnR, Serrau pRrest,
t; ,;::.:ed, Like the 'Tnz L,a,w op TaB Tn,qpt zotr>."
',,,)'.::)'..r' a thing is
,: ;-', ::,illine
fusion ihe particular 'Triangles of Arte' being presented here are designed to
:":-; :)'.e -llpha and '::: the mind fluctuating, never resting on one plane, but between them.
:):, :,.romids and , --:rr design encompasses both two dimensional and three
j" dimensional
- .'-e simultaneously, conjoined into one form that is occupying neither
- .--e at any one given moment. It is in this twilight, this constant flux,

-:;h resides 'between the anglei, that an entity may cross the dimension-
i::i :rn LaVey's Law, . :oundary and enter our world or ritual space where communication is
.:-.:er-ed. This system utilizes a philosophy which incorporates new con-
i':.i': t-lt1 AngUlAf -::is fbr the Triangles of Arte as well as the Magical circles, and should not
:--;-::', is produced : . ;onsidered tied to the "Goetia", but seen as its own work, with its own set
:;: :)'.; Lnw of the - :uidelines and applications.
: :):: -:tn'ironment The 'Triangles' are not only employed for ritual work, but are also very
::-'': --.rii7es mental
-'.:u1 in meditation when working with a specific Djinn. These Triangles
'':-.:r-i. Those who : only offer a gateway for the spiritual entity into our 'realm', but also pro-
,:-;: ';,;-. ,t pfOfOUnd
-:e a gateway for the Magicians mind to enter into theirs. This method was
:;,r,;:,:1- cleath on a
-- -.tzed for the construction of the Djinn Sigils and Lunate Script presented
"-:,::: : :711 Age. These --hin. one will notice that when viewing the 'Triangles'that it is difficult
::;. i. ::i,. polarities. ,ook away, this is the natural power that lies within the designs themselves

<47 *
 [nr Boor< op Silrorsrpss Frnr l$kr$lrn, In-,rhi Ej

that draws one in, having a hypnotic effect on the viewer, and again the ltl,rfliLlirg:ri !r]l* Jc
words echo,'Angles produce the'Command To Look'. This attraction is not imu m.ffs? a

a negative effect, the Magician should allow himself to be drawn into the tflff
,fllll0llh -lIIu,,

angles and become open to their energies. ilh* :asc

This system is powered by the Magician/Operator. He is the central lfllu, TTg"l 'nri
.1&Uuutrlxil,rri;,ir"llf:
force the rite is based around. Without the power of the Operator, the Circles
and Triangles are simply designs upon the ground. Yes, still holding power uw!u,&r m T-:
as described, but not what is required to open the doorways'In-Between', ,ilHiltls,1l.Jo.lrul :Lia[
they must be charged with the energy of the Magician. When the angles are Eru Uf[r,1[r.I ]d
-.rl,i
'snapped', and the energy released, it opens a rift in the 'Consensual Reality ililIllfrrild[rrll. :re ]
Matrix' allowing for the Magician to project his Intent. This also includes rug ud "lt.:.[iflr e
interaction between Organic and In-Organic entities, i.e., between the Ma- ,t@d IrrffiLlulll&f
gician and the Djinn in this case. Obviously this technology can and should mr ;rurtrdl;*ulsiiJ
be applied to other workings outside of this system. thon: s:rimrrs
There are three Triangles of Arte that are employed within this system tfluryffi rffiE-\
which the Magician will utilize when summoning Djinn. Each has a design mnmiii$I"\i,i!.llIl.1 n-

that concentrates the flow of static energy within the angles, making them a ll:c rm;
powerful vortex, or portal when activated. This allows for the Djinn to cross *r{Mtd :ro :.;mrre
through the doorway of 'The Spaces In-Between (the angles)', and into the mut:lunmlslm$ ;,,rr

ritual space of the Magician, where the intended interaction may occur. The UW rq*fs lTll:'

Triangles can be seen as machines or circuit boards that require energy to :{lrm*rry;e:. -I
be activated. Likewise the Circles are generators that amplify and enhance ,llrf}4 _JrrflruJrrrdl

the collected personal energy of the Magician allowing him to transfer that "tM:*c ,rrti:ffs :
energy into the Triangle, in effect'turning it on'. It will take time to correctly lluir'::mfls n "r':
lay out the Circle and Triangle configurations, but it must be remembered ffir J,IiTXqifS. ;[:
that Magic should not be seen as a chore, but an embracement of godhood. s{ttLu:L "riTifiigt$

Take the time, it is sacred. When drawing out the Triangles, do not let your ,ilUI flm.fi-ri ]J' $

mind wander to what you will do after the rite, what you are doing next week ffiIls- l-]:[rgn$;
h#. _-_ a
with friends, or other subjects that divert your energy away from the task at &-&--4 " -j

hand. Instead, one must concentrate on the rite to be preformed, the desired murx,i;tutux 1fi.:
results, and subjects related to the work. The longer one spends channeling m;u1' :c a;:lw
this imagery and energy into the creation of the Magical Circles and Trian-
gles, the more empowered the configurations become, thus the more ener-
gized the rite itself becomes.
The Magical Circles employed are as the Triangles, also having a specific
function. Though unlike the Triangles which are designed to open rifts, the

*,48,*
 \\-EFrN Tue Alicrrst Ctnclls &'llRr,iNGrEs Op Tns ARre &4,qr;rcei

.1 rgain the ,r designed to amptrif,v and ericor-irl2ass the Magician's st're<J per-
,:ctit-lil is not i.r q1r so that it rnay be trarsfb;rr:d into the Triangles, igniting thern
.'in into the Jrtergy in preparation of berng activated.
-..r:,ic concept of these'Iriarigles e_;:rd Circles is 1.ery kI.C" Escher es_
.iirl cent,ai .' i'r;rve angles, planes and irerspeetives that cannot exisi simuita-
.. ilte Cil'eles '''uir orle another in a three Elimetsionai rtorld, as solicll1, as their
..1ing p*rl,,er Lrrlnt. This ls the fu{agic ol'Escher's artr,rrork, he too sarv anci u,-
,. iJt-tl\t:{t1 , .. rhat incieed,,'Angles produce the cr-irnntttnd to loak', aild []rat people
. ;'angles are r to them for some, yet unknortrri reason. I persouaily beiieve the
:.r-lal Reality i-r: fcund lr-ithin oi.rr prrilniri instinct*q. It is an instilled knowledge
:: o/inciudes je'are vagi-rely ar,r,are cf, unilerireatl-i atri of our conscious ihoughts
:';I ii:e kia- ---nizaiions baseci on reasofl ancl raiionaiity. Indeed, it is an unspoken
.rn,l slroutrd '-,or-rsly known truth ivittr-l the verv absence of reason, of rvhy or horu,,,
-Jncs its reach cleeper ihan any conventional understanding of the
1'ris st stem :rcatly packaged and explarned nniverse" Without hnor,ving w-h1,, 1ru
: ,., s a de sign . .rnd angles contain energy anii are portais to pl;rces 'ather'.
..,rlg ihern a : ioncept of these Triangles ancl circles further push the icleais of
tii Io cross - -onventionally thought r:1'a.s r,vr:rkable or 'acceptatrle' vehicles cr in-
.'r.i into the .:rts of the Arte &{agical. }dever i;ef,irr has this dimensional technol-
traCLtr.'fife -r:r irltroeiuced into ttrre Magical community in such a direct fashion.
: ansrgv tO ' ;i. i have fc-und traces of it in Fredericli
Hocklev's rvork, such as in
:r,-i enliance . iitplete Baok a;f Magic Sci.ence" as wetrl as in "Experimentum,', though
., irsibr that '',rrks have been copied from other pre,existing grimoires and man-
: , ailt:recth. ',: rlnd clid not originate ironi l-{ockls-y's own hand. The importance
.,r *De
art:lbered -,rs can also be seei: in Francii; Eacon's grirnoire Nigroma.ncia',,
. godi-rood" ,nterestingly deals i,rrith the conjuration of wraiths, an unconrzention-
r-.it iet yoi.lr ..r'to summon in general, rvhich indeed fits well into the famiiy of
.. nert week .lirlensional, in-organic inteiligences. lhe Triangles of Arte presentecl
' :l"ie iask at -ii trlle energetic portals, reactrring ttrrrough time and space to provide
. ",e desired :r' into our reaim of existence so that contact n ith In-crganic entities
,,t:rnneling '; rrci-iieved " 'trhey are a Magical Engine u,aiting to be actirrated" . .
- inci itian-
r:tofe ener-

I ! .I :ipeciiic
:l ri1ts, the

c:1. I,S ;+-

 THB Boor or SrrorErpss FrRp

TnE Frnsr TRTANGIE 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. This grouped triangle ofsquares is joined together by a line
connecting all three in the apex of each squares origin of angles.
Additionally, two more lines are directed outward from the bottom
squares apex of angles through the squares juncture of planes
to
an exact point where they change course sharply converging at the
center point above the lower central square. Now when viewing the
total design these second set ofangles create the perspective oithe
top of a three dimensional cube. This can be seen by way of the low_
er squares apex of angles supporting two triangular, partial faces
of the cube. When the top of the three dimensional .,rb. p"rrp"._
tive converges with the lines connecting the three two dimensional
squares, the basis of two natural pentagrams emerge that are neither
two, nor three dimensional in perspective, but both as their 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 dimensional view and then impossibly...to both at once...
then shifting again.

@< 50 >e
 rB rrwrpN TuE ANCTEs; crncrEs & TRraucrns O. THn Anre Mecrcar.

irt-c, and three dimen-

les ,:: ihe configuration
an {uares turned point
rI an i:r/erted isosceles
lri:.c :oqether by a line
uarc-. trrigin of angles.
ln-ar.: irom the bottom
iur:;:ure of planes to
:pi".' conr-erging at the
\-olt- ",r-l-len viewing the
lile re:spective of the
€er: r..' r' a\.of the low_
ta::: --ar. partial faces
r:ijLrnai cube perspec_
L-ree :,,'-o dimensional
n:terEe that are neither
t >o:h as their lines of
l .ijnensional planes.
ire ::ind cannot rest
ro dlrrensional view,
n-- :o both at once...

.d 5I ,p-
 Tnn Boor op SNroKsrtss Fins

TnE SEcoND TRTANGLE 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 oftheir 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 create the perspective of a three dimen-
sional downward slanting plane intersecting with the two dimen-
sional plane, the downward point/center of the isosceles triangle
like the pentagrams in the first Triangle share both a two and three
dimensional space simultaneously.

<52>
1,!rEEN T!{q ANcl-rs;Cisci..Es & Tst,irqGres 0:.- l'sg.A i::.i, j: MA{.}ra r I

*t"-*'-
-\-*.*-.---- '--*' '"' *ufi
 TnE Boor or SlrorBrpss Frnp

THn THrno TnrlNcr,B is much more complex than the sec-

ond, consisting of six conjoined, reversed and mirrored triangles.
The best way to describe this Triangle would be to split it in halfi top
to bottom. When viewing the Triangle, the left side consists of three
triangles, one large isosceles on its side, apex pointed 'to the right
side'. Overlaid symmetrically within its structure is another 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 extends out past the base of the larger triangle it rests upon.
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 left side. The right side of the main Triangle is configured in the
same way, though the apex of the large triangle overlaps the apex of
the large triangle on the right side, to the point of touching the apex
of the smaller imbedded triangle. Now the main Triangle is joined
by way of both large triangles overlapping and touching the apexes
of the opposite smaller imbedded triangles. And as on the left side
of the main Triangle, there is one smaller isosceles triangle to be
positioned on the bottom of the right larger isosceles triangle, 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.

<54>-
r1r E r. N TrrE Ai-c r ES;(lttr.c t.iis & T'RTANGT.ES OF'1'He Aa.i.u l!{acrc;rr_

.rr. g i .;:.:
 Tup Boox or Slrorpress Frnp

Tnn Frnsr CTRCLE Rests in an angular cradle of compressed

static energy, having yet another circle partially surround it. Its de-
sign focuses on having a continuous stream ofUniversal energy run
through the Magician while combining with his own within the
Circle. 'Lunate Script'is inscribed within the space between the two
concentric circles and in various angles where space is provided.

*. 56,:
 t-i p't''vv l r,rrrr Tup ANcln sl Ci arlres & Tntrr,xcres Or TaE ARrt N4ac rr:ar.

I l,liessed
., iis de
.1-91.'run
.hlii the
. lr:re tr,r,o
l ,1crl .

<t. \/ ';,>
 il'uB Boot< or SMorgrsss FrRB

I
angirlar; having four intertwined
TuB Sgcox,, Clncr,r is aiso very
through trvo oine circle- Rather than
I

isosceies offset triangles, equally run

drawinginenergy,tirefunctionofthisClrcleistoenhancetheMagician's
ownstoredenergy".LunateScript,maybeadcledbetrveenthecircleandan-
gles where sPace is Provided'

*-i 58 ):
 r,rr Bsrwe pN TuE ANcrps; CrRcrEs & TnreNcrrs op Tar Anrp Mecrcar

ri:S lour intertwined

tne .-:rcle. Rather than
nh.::ce the Magician's
f,ig:. :re circle and an-

'< 59 >-
 Tun Boor op SlrorprEss Frnn

Tnn TnrnD CTRCLE is similar to the second, in that it too is

designed to amplify the Magiciant own energy. It consists of 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
main circle.

<6o>-
 ;
' rr BETwEpw Tus ANcrEs; crncrps & TRreNcrEs or TnE AnrE M,q.crcar

C. :n :hat it too is
. ni ;".nslsts of two
ii"-a:d lacing cres-
rn ot tle circle are
;h :::e cun'e of the

-< 6r >-
 ,}".,v:['E,NT A-nrm \rgmm,g? g(}N

- he *si: ol iricaniliitlns, er.'oc;lticir:;. it-t-,roca1ii;l-ts ancl Lhe lllle , *ii

:#'
"f;aa
? t',
I

t, '-.. lia.,'e ihr b+s,: si,:rfll;,: ct'vibrairl,g iire 1i:teut, ol- eneifY r:lttlae l','[i't-
} :{ir-
i. ,j. riri:iiin ii-:lo 1lir: ir,lngici;:;-i's su[-:ir:ci:ii'*:l'ie;liiit", causilig. the,:iesiret]
:r,r. r.-iralllt iD 1.la{-ltf.'li-1;1; i:r tist-- t.i9',:<i r','ileil;aJ1ii:q Llp{}il a pir|iir:i"tlai
:/ ,j-xtitli. i'i:::it"irt.{ tt;tv{r {}Lir,\rr-:u i:er:tti..lsC 1i1g1i l1[e a- spe.;ifi,:' r,rhraft,.ll-
rr:r: il:::i is i,:aril::tr-"i,a,,i i:r lhe criiitr'f.icing ealL:il iorii-t. A;r tr:titii:r natrre
,.i.{i:r:t'lii ;'rliCr lci-iitf;:trc t.r; ii:.s iir rn:igli,l1 sa;ii rli: sigil,

"'l!;i: ;,:s:;ertit.i! ditri.tt:ttt" ct fhiiry-s and cj fiiefi resiCss i;t 'iiiti'

ilii.ljjts^ lit*ciore lt-,i:iit.tt (t nti.tjt,t: j"-s iC flr tri'V1t tc thi.:;CC{r:t rl
., . , rr, : j..',,r.1 .:i 11 ;: ic!a1 ,y l;,r /,;ir' il:( i'lC,'t!: rJ '-'i-;,1/,rr.

1:;i:'t't.;ii'r,t i.ri!,;:t i'tiitt,r: i."ti.'c rtt,trrrt, ar.i for yuttlit u..cc, ihr: t-':ih::r

k'i:cit, l!t.t.: iii:lfi( i-").:::) llji.:ri j-.; to t::r:er,::ise {.l{}u/a{ ttt"e'v'hirn i:itttlt:; l''t
:ai1t:',r' :i1.i: i'iiir'rit tt),f * it!g;!'icr, sitptrfifi"lurrt! being is ta rJ*tv:ittctle
tlte ct:i.tr,- pr,,'L'il;,: tsi't r v'hi:h. th.ci be:tg Presides.'{ite t;io'r':
5,..i;!i 71;i1rit.:; ..t tli*|iiii.t!?1- !ii15 '2,1;rri{::"t':cl, thr gri:ctcy ti't.{. nu,rfiis':r
r1j'rpllli.r ti';t.it cre ::i.t.!tit::i * h.is ct!! rt$d citftrlxanA.'I'!tis sitt:pi.e
iitr:r;'r..y is ci tht: ilr,rl:;1,'ii o{ i,\e n'tttqlt. ,,t'ni':h r:i'teralts llr:s*gh tlic
ltt'l:;li;a! rtiir!it)! ,f i.t! t',lt',J, iliat cr< L,elievr,.l tD !-:cfiil'aj! thr:.f;:rrc:.
"!itc
t,,lti.,:h i.;i it.Lrr, rcitirs'i nii;'t" v,t:r!d. s1:ir',ts gitnrd*J i!iL:ir {rr!.!'i,:c\

*s ie ,;icu.sli' {.;:; er{:i' t}id pri*.ii:ii'c rriae."

tt"

lt-'llH u.r Tq Aciltr,t iJEF.,.. ,

^ii.: r;, l.r,lj .i'rj;1 {-l Il.. A t-ir, .ii U;}lt ltS I I 7'i... ., . r ,, - r

-. {r.
 THB Boor< or SuoxBrnss Frne

Though, it is not the name itself that is important, but the names partic-
ular vibration into reality that is. Sound and vibration are key in this system
to excite and release the static energy that is built up within the entwined
angles that compose the Triangles of Arte. Sound has always been defined
as a waye, and while true, this term does not accurately describe how sound
truly behaves. Sound waves exist as variations of pressure in a medium such 1..:" t5'1
as air. They are created by the vibration of an object, which causes the mol- 'i:illlil -f) 5J:
ecules within the air surrounding it to vibrate. The vibrating air then causes '1111U- w :r3i
the human eardrum to vibrate, which the brain interprets as sound. Sound [:nu:.: ,: :t
is an expanding bubble made up of one existing connected wave, it is vibra- lr.
m'f r '11
-l- '

tion composed of pure energy. The energy excites the molecules around it llilt:,*ll l-lr* ::
causing them in turn to vibrate, starting a chain reaction to occur until the
molecules have lost all of their excitement the further away they get from the
source, resulting in'silence'.
The audio pressures or vibrations upon the Triangles of Arte in conjunc-
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
and release. As stated this type of hyper-sexual frustration is especially 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 within.
Contrary to popular belief, there are no exact correct words of power to
be said in a rite. All that is important is that the Magician fully infuse their
words with emotion and Intent. When this is done, the Magician imprints
his Intent onto and into the Consensual Reality Matrix and changes the cod-
ing, or structure for an outcome that was personally desired and would not
normally come to pass. Deep vibrations of Magical Intent make more of an
impact and get better results as the energy is imprinted more deeply onto
'reality'. Though this varies as there are times a Magician's Intent can be so
strong that their words can be whispered and still have devastating effect.

"It is not known to me whether any of my readers haye witnessed

any kind of magical ceremony, or heard an invocation recited
by a skilled practitioner - though I should say few have. The
tone always adopted is one which will yield the maximum of

<66>-
 irur nur',\ lrn 1r rs idAi.reN

.r :r r.,t5 partic-
vi!:rr.tiott. Ft's, n'tan1, str.rlents o treep i,ttoning, ar a hutntnitry, is
rris ltl.si-em
cne v,'hic'n yiby,,:.tes tltr: most.,'
' :,ilti,i-ineci
Is,q aPl R.lcair.ult,
',,,.ir r.ief,ned
'Foiirup;rtonvs oF p.aact.rcar_ l,l et"t c,
. :-iil,, soi11lai
-
-. I ;i, rt'l s i-Lcii
r-rr exarnpie cf ihe *se o1'pure e*otionai r,.ibrarion can be seen i^ gri-
,,.':r ihe ulGi-
:-rs sucir iis , "?irlrc Yeneris: [-ibe!!tts tleneri ]{igra sacer,,that use barba,
, i,.if CaUSeSi
.-' :r's1ajs of porver. '{&e ..u,.,jr.1n
themseives have no nieaning, they are soieiv
t -i. llr,ii.i (1L1
-r.r i* be useci as;l vibrational upon v,,hich ihe fuiagicia*,s inte,t
. ii is yii';ra, ;l:. in srici: r'ites. plr-re vibririion'ehicle
and ii-.r"tenr. is all that is nec.ciecl io i,cccnl-
- : /tii:i)u rl{] it , rr ihe riiual Lreir:q perfdrmed.
i 1.tniil the
:-i lronr iire "i,arq !i:;ts,;;_{ tlivirte nctfies gnd u,arris
of power, somettmes
csii.ed Bsvb'sr*us v{sr"ds *f, F*wea", vtere recited in the
form *f
lit*nies. ln rke {)iqvicre a;!'so!arnon revealeci ta ptoiemy we.f.nd
the i,sirt.tctit.n ihat onct tke xn*gkiaru izrsd recited nll /hese
iE{a{!xe$, wi{la {lee utmost devafi.or. (}ne was
adt'iserl.: "Ilertre !e,t
tite moies{'t' a! gad cum i,." 'r?te irnplicaiion is tht).t ltv c*!l!,g
t*{}}1 tlli: hier{t{chv oj d.ir-iw 'na'r?tes. the (ry}€ratff wcts ittttakitti:
titrsr: spet-$: rrpe.'r-( o-f iiodi !rcr,v pru,er and
focusiitg it intc ti.te
rnagic tircle ttnd rLt*s bTingii.tg it inta the pers{}fi iherein""
!\rll-lraiur Kteslr.,
'iVi.tt;tr-: (-;ncrrs ti]* rlrE (:.ai,I,{oliiE Tkei]rrroN,.

Ii is clea-r ihat er,,*ri though the Fo:rces being callecl

firrth ;n this exampie
::irrrlr in crrie;:, r-ire"base science is tire sanre; a pattern of vitrration is Jaiii
''n .rs ihr: r'ehicle, rvtiiie the ernctionai Intent is the passenger.
Anothcr
,iriirlq: sf ihis can t,e seen in {,ovecraft's works. His use
of seenringlyun_
'ro'lneeable narres {or the old ones and iheir evocations is rvell lenor,ir,.
i:;o nraximized the vibrational scie'ce so conract is mr..re easily
nrade b,e -
:.ir ifltelligences. i have fba,turecl his barbar+us i,vcrds irr the yog-sorhoth
,!-aiion r,vitlrirr "Volubilis Ex {lhaasiun,t',.
i--i:t:i.1.
J

.:::.iL1L
'r1..
"[ call aut io,
^
anC intl,
lii r'll
ihe priruordio! a.bsoiute chaas aJ,the tlarkeneci ahyss,
 TUE Boor or SNrorsrrss Frne

I call to the endless void of absolute silent black,

that lies in the deep waters of cold truth,
I call to you,
to bring'Him'forth...
I call to the All-In-One And One-In-All,
the qll seeing one who dwells in the negative light of cold understanding,
I call you Beyond One,
into this dark Temple to become the Gate,
I Call Yog-Sothoth !
I Call The Gate Keeper !
Come Forth Yog-Sothoth !"

"Yog-Sothoth knows the Gate,

Yog-Sothoth is the Key and Guardian of the Gate !
Yog-sothoth you are now called forth to take of
form as the Trinity
Triangles,
to manifest as the Three-In-Nine and Become the Triangles,
so that I may open Your Gates and summonforth the Old Ones,
so I may answer Their call,
and so They may answer mine !
Yog-Sothoth I
call you to manifest as the Trinity Of Triangles,
Yog-sothoth become the Gateway Between ! yog-sothoth Become !
N'gai - n'gha'ghaa - bugg-shoggog - y'hah; yog-Sothoth yog-Sothoth,..
-
N'gai - n'gha'ghaa - bugg-shoggog - y'hah; yog-Sothoth yog-Sothoth...
-
N'gai - n'gha'ghaa - bugg-shoggog - y'hah; yog-Sothoth - yog-Sothoth...
Ygn aiih - Ygniih - Thflthkh'ngh a - yog- S othoth,
Y' bthnk - H'ehye - N'grkdl'Ih...
Ygn aiih - Ygniih - ThJlthkh' ngh a - yo g_ S o thoth,

Y'bthnk - H'ehye -
N'grkdl' Ih...
Ygn aiih - Ygniih - Thflthkh'ngha - yog_ S othoth,
Y'bthnk - H'ehye - N'grkdl'Ih...
Yi - n a sh-Yo g- S o tho th -h e -lgeb -fi - thr o d o g yah I
Yi - n a sh -Yo g- S oth oth -h e -lgeb -fi - thro d o g yah !
Yi-na sh-Yog- Sothoth-he -lgeb -f -thro dog yah !',

<68>*
f,:
INtnNr ANp VrBnlrroN

n' )' - ''-'

Let The Gateway Be Opened !
riri)'".

Again, we see such seemingly random compilations of letters also with-

. the Enochian Magical System, where the names of the Angels and such
),
.:: based on a vocal system that is vibrated such as the Enochian Keys or
* -.',,, rr rt r rct an ding, -:11s. Also in the Enochian system we see these vocal vibrations being used
.. ;onjunction with the Sigil dei Emeth, or the Sigil of Truth which contains
G.::;. :.any angles of frustration containing static energy. And, in the controver-
- .:l "Tuba Veneris: Libellus Veneri Nigro Sacer" of the 16'h century, also said

- also be of iohn Deet hand, we see again the use of barbarous words in the
.:.'u'ocations given for the Spirits. Here is an example of the invocation given
' : the Spirit Mogarip,
:r".. G.;!e .l

ix ;-{ :;rc Trinity Of ;y;f:?,#:fT;!:x:f {;:,:"

Amilgos Murzocka Imgat
r :ti T,iangles, Alaja Amgustaroth Horim Suhaja
:z:;:; Old Ones, Mogarip! Mogarip! Mogarip!

As well, within the traditional Voodoo/Vodoun systems the heavy vi-

i', U-' l,tangles, ::ation of drums is utilized to excite and transmit the emotion of the masses
,!.r;.;.ril1 BeCOme !
"-. the Lwa they are attempting to contact. An amazing first hand account
:".:,:- )bg-S othoth... - : a Vodoun rite which incorporated the use of drums, is given by Richard
:J:;: - )bg-Sothoth...
-oederer in his book "Voodoo Fire in Haiti" published in 1935,
u:i: - )bg-Sothoth...
'As we rode through the night, the drums were beating again- but
" tr;,; .-;lt .
with a new rhythm that I had never heard before, I was keyed up
to a pitch of perspiring excitement, fearing what was to come
and yet unwilling to turn back. We were about to participate in
a monstrous performance, an orgy which not one white man in
a million has ever seen. Tonight was a Voodoo Fire, and we were
to be present"..."The path climbed upward amongst the jagged
hills, Below us lay the town and, far off, the sea, glittering in the
g 1':;; .'
moonlight. It was a warm night, yet the pale rays of the moon
f i";;: '
cast a chill aura of malignant evil over the whole scene. We rode
- i--.. ''
through a cemetery where the whitewashed tombstones Jlitted

*.69,*
 Tue Boor or Suorprpss FrRe

past like serried ranks of ghosts, then the dark shape of trees rose
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; now nearer, now further, rising and in subtle
falling
cadences. often it seemed as if the sound were no more than
half
a mile away and then itfaded into a distant throb. strange...
the nearer we approached, the
fainter it became. But it never
died completely away nor ever varied its rhythm. 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, threatening and compelling. The drums were calling,
they drugged the will until ail resistance died. I rearized with
impotent horror that it was impossible to turn back; the power
of the drums was too great.,'
RrcneRo LosoBnpn

one can clearly see the importance of the vodoun drum and the atmo-
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 into the human psyche and pulling out its primal nature to
be utilized
as a power source for contacting human and non-human
entities. I also find
it interesting that this first hand account reads very much like that of Love_
craft's sequence "Nyarlathotep" published in lg2r,where the main
character
is compelled against his will into a vast swirring vortex of destruction
and
death, driven by the mad sound of beating drums and shrill terrifying
flutes,

"My own column was sucked toward the open country,

and
presently felt a chill which was not of the hot autumn;
for as we
stalked out of the dark moor, we beheld around us the hellish
moon-glitter of evil snows. Trackless, inexplicable snows, swept
asunder in ane direction only, where lay a gulf all the blacker
for its glittering walls. The column seemed very thin indeed
as it plodded dreamily into the gulf,,..iAs if beckoned by
those who had gone before, I half
froated between the titanic
snowdrifts, quivering and afraid, into the sightless yortex
of the unimaginable.,,...'And through this revolting graveyard

<70>-
 i il'l l r.r l .,1". }t 1 i,rl B li t! i, i 0 ii

o., the Ltiliyerst rlu,- r"tcu{fr..i:d, ,,rurs"dtlenirug Eree#ing sf d;.uyrus.

s.red t*}-rc, ff.&{tri{rt*yt{}us wkinr. *j b{awpkexa*us {t*tes i'r*w
irri.onci:iytti;le, unlighie ti cl:arrtb':rs be"ycnd Time; tke d.*i.est*hlt
pourc;ltrcg ;:wd .pi.pi"ng wher<:ur:irt iicnce slowiy, r,,i,.tk'rria"rrlly,
i;tti 0.bsur{;lt; tiiE Eip:*'*tii., t{:.ft(.!iri'tus iiltiyncte goi.ii - the biird..
t,ticrlcss, wiridle ss ga.ri:L))l€s yiit.c:;y scu-i is l{yrf.slhcte i;."
-
,, .'. J,!\, Ltr-!L r

i:r;:e is a st:ienr-;* tli c::ering ihe {-r;teii,.a',,-c oittile 'iil-ilrtttuec.!,i;i'o is fcr:ncl-

Lllre':'ir:,tsc l;r inciple s; Lh,: use alld lr:itase oi gtaiic energ),-,n,itJtin angirs,
:ie:it ti iX:e ir,,'!.aglc;ar, iti:ri iite r,'ibra,tior: tc in:prini tire l,{agici;:un's i .

r;t;ri ti-rc f-,rr;tsr:ns"tal il.r;ilil.";,t\.'jairix" i,o,/itir these iooil,, ali i-r'gr,i-rssihir:"

-,' iili: t'1ii11{_r

.iriI er*rg,V
: i ail ir) tep-
,, li.r Iiiilizrd
..,. I ais* .finri
:r irl i-!irl.01re-
,':r i:llitractct:
I :ii. Li{]lt ai--rd

tr- l]llg.iluies,

i ii

ll,-

r'-i:1
 RBeUTRED Rrruer Toors

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
communes with the spatial energy of the'Consensual Reality
Matrix'.It is through these vital elements that the Magician
--.res reality around him. Magical tools are energetic pieces of the whole,
,.ich contain specific energetic properties that correspond to one another,
-,: -vagician and to the magical rite itself, thus empowering it.
They are
:..igned as well, to draw out energy from the Magician to be focused on a
::;ific magical task.
This system has few magical tools employed, it is powerfully simple, and
:ocuses on the Magician being the magical energy source for the rites in-
:-r'ed. The tools that are utilized, are used for evocation, direction/com-
::nd and protection, and are drawn from ancient magical praxis. They are
'-: simple key elements that help provide and manipulate the power of the
: :;k Magician to the Magical Engine that is the Triangle of Arte.
Magical tools have also been seen as beneficial visual props, they help to
: -t the Magician into the correct state of mind in order to unlock and fully
-:rlize the hidden energy forces that are already at his command, that lie
r -)rmant until stimulated/activated.
This system utilizes a bit of both of those practices, combining them in a
;:.r'that is potent magically as well as visually, emerging the Magician into
:e deep needed state of mind to perform the task at hand. The magical tools
.: combination with the incense, words of power, circle and Triangle of
r-rte, create the ideal gathering of energy. These
elements set and prepare the
.:rnosphere for the Magician to open the passageway 'Between the spaces',

-< 75 >-
 Tur Boor or Srvroxpruss FrRB

allowing for interaction to occur between intelligences, be they spiritual, .i:: : I€preSefltati0n :,

alien, or other. i:=- and that he ,-cl

:---:iat. It is there to ,
Csarx/Froun/Cnusnpo EccsHELLs: Chalk, flour and crushed - : f e on the sar:le s
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 lrooo: Thish;sI
consider where the ritual is to be held when deciding, as some materials may
be applied better than the others. ! lcRtrrcl.rr Bo
:-:ing ritual. nl rs :r
Bness Leup/IrvcBNsE Drsn: Staying close to tradition,I have found " : black silk cloi::
that using an Arabic brass lamp for an incense burner adds a lot visually to . .:-tplor-ed.
the ritual. However any brass incense holder will work. The lamp is not spe- This assorlne::
cifically needed, and can be considered a magical prop, though as stated such ilcill. These t.-.',-c,l.s
:-,

props can be beneficial to the Magician. A second brass incense dish is also :c:ind al1 this o;;u-
needed for the Magician to burn the words of Power, Sigils and Evocations. -.. engines ,,o-ithrn
The lamp and dish can be inscribed with Lunate Script to empower them. --::e . though ;: :-s t:
:-"gical engine rha:
Srnrps Op PencnMENT Pepsn: Cut strips of parchment paper is -.-,-s ihat the \las:ic
used to inscribe Sigils, Evocations and words of power onto. These are burnt -:.. Of course as i,i
before, during and after a rite. :,-..:efbre the 1faslc
,.-;" leel ther- a:e :-re
BrlcxrnonN/Eromv/oer Scrprnn: A scepter of blackthorn, ebo-
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.

Macrcer, Swonn: A sword is used in this system as a show of strength

and authority. Because these Djinn carry out the Magician's command does
not mean that they don't wish to tear him apart as well. These entities are
dangerous and wish all humanity pain and death, the Magician is no excep-
tion. However, they will be guided by a Black Magician as they are pleased at
any opportunity to spread disease and death, especially ifthey know that the
Magician will call them forth again. Djinn can be hurt, possibly killed with
oNE strike of a sword, any additional strikes will render the Djinn immune
to attack and it will surely be upon you. However, the sword truly is utilized

<76F
 Rlil r. i q rr i-1. ir rrAL i'..1 or:;

' t,:t,, spr rii ii;. i r'.p:'.seitlatisl io rhrl ,i.lji*r ilai'ihr Black h{*giciari is l,l lvartir,;: r,s :ir.t '
:, t,-t rirat i',r.,.,,iiiiigiil it is:l sll*vs r,i persol;ir,i strengtli, raihe ahari ;l

iri. lt is irri:ltio esrabii:,1: ;: :i ier.:i rr-riirr.:ct bei-,'r,een i1's$ i,iirrril)rs rrh.,-. r,,.r,'
,irri1 cr'*shed l'i i-,n liit'sali;:;1d,e, tlir.iiSh trrrrg* a tr:11,:e to:ica{ilnpl rlrh lilnlliir qr-rirl.r.
:r r.i i'riangie s
-,r.,ur: Iiiri i:;iit
r r.:ilil ShOif ld
; Lrer:1, ,,,i.i,.;e ,.r::;,,'i.1

rr.ltitfiais mai
i ii IFICi,,i,..i- .Bo?./.1 : .\ q;ir-ii'ficiill l-.i-.lrl ls useci ii: cc.[1.ii1i ihe trloo,J i;piil
,r!. littiitl. Il i:.r n*'l L,-, be i.i:,r:,,.,l if,;i ar.-i"1,+iircr pill'ur. se, r;lrJ kt:pi',,,,r-lip:-;e,;i,
i. larre iouiril i-.i:it:i. siilt ".1$li r.,|.1g;1 ;-.rr.-:i';l-i use. Tc *lnpo''tcr ii tiri"Nl-rc::. 1-,'rittit l!;ii"jt
, /t visr-raiiy to : l1.l1i1'rrE{.
'liiis rssl;itilent r-if irrlgir.:ii1 :rrstruirrenls is ali ih;:Lt is neerieei it ilril'
. rp is no[ spe -
.rs si;tted such iill.'lil{:se lc-ols rli havc.r.1n in'l1.ri;r-ia:rt rr-rle, hc,,ircler, the pourer sr-}L'rrr:{:
':: ish ts also
r-.i ri'ril ali lhis occuil si.reilcc. hi:s,,,,.ithin ttrie I]tracl< h4agician. 'lhere ::re inag
.,1 Flvocaliorrs. r';lil,ines ir,jil:in tli;s st,slem $r.r.i,1 ils ijir: thrce T-r'ialFiel and Cirrids ol
-,ri,i!l:t' lheir. ,, , ii:+'*gh ji is lhe Lil;:rr-ir. i\4argit-iiir tlr;ri is the'k.,:,v', the co;:e;lrri i-*rrirr,l
.: r-"ii ergilir tll;li. rjr:i,,'e::,,i1 tisr: f*rth. i'i is r,!riXl the ir-se oithr:iie ri--rLgiciri

:',.:iri p;rper is .ii-raitl-ri;-1,,'iay.,.r;irlrl;is*:sa;r<jcii'eci--ctLlerrrecledrliieigl:,iocl;rr:plt'x.,1 -

r:\| tre bu-rnt Of rrrirrse;1:, stair:ci , thls;;,lstenr mr:st b*: pei'sonalized io'br: efi' ',',,'
r,.'lirre ihe l.,lagician llust;'d,-.L iheii'r,.7r,11 ei.;r'rlents irtti ii:e sy.Lrfii '1i:..r-
. l.-:eX i-ire",, ili'e -nci:aidd.
,..lhcrn. ebo-
,r! iei-. that are
.:.;i il aile'tr ille
I .' r rlecl +,,ith

. ri'sil*nEtll
,

r .r Lalid rioes
,. ,_.ntil.ies a"re
,:. IiO e,{Cfi)-
, ir i,)lfescd ai
. .tr ; it: il'iat the
, ivith
,..r1ied
Iiti-r illimLirle
. ,- i:, Ltt r.1itle {:tr
 ffi
LuxerE ScRrpr

@
\S J/
F
 Tnn Boor or Suornross FrRs

l"\
ftN
'tI
\/
/l \\ .,4\'.
1r'
ffi
-V
,A
r

e&AAeeAe&"

G H I,Y, I

\*r L*l
,1\
\\ l/
Y
w l^

WN
\:,lN
L
r-) M

A 6
1i \\/l\ A
.4h ,-

o -*^ z_1\ (r\l

vv-i
a,

N o

<8o>:
 77
V'
i1n
v

A t/"\r /1"
i--i:-*{}
- i\, Lr, ,!\
\ "'--* -r' /'
,/., \\
/ I i\t\
.r!
r-i-C
li i / 'r".'
i**r.***_I*.__}'
1'\!n
L-.,iI
'...*,, i /
l\ -
i\,'('- " /i
j\, !- -."

\t/1
\--l--/"
t
./ t\ ,r'.'
AF'rl'''\'\'
t/
\?/
'\**/' \ tt, \#- / ,/1 tn"
\j/

\*'--l
-r,/
t -r*-zY-jr__\ \
T U,V"W X

Y---i------"7*v
\l
t1
tJ
'" !./
V
/4,/X
4. \]
,,
\\ 'i]\

Divinityi Unlrnorvn

r-r.'ii't ..--,
 ,-*:53$1,1 i$*agq"-.q**'..
t----- .,-'ni'.\.-j*-" ''.''
..-. .-.J
i1

$$ q:? qru : ic€

Hffi.&-
..E'.

"f,'*+E.
Ii i.i,,f ,3,,.gu-.?"hiE&TG $rEg.gp -TfuLX, ["] rg,N;u;

i-. 'i
 ;&rxmrusruG WIs'ma TnqJm Craecs

to aiign
or more e_ccr:rately,, re_align the A.{agi-
Jfft l::],:,. l"'*.signed
ti:llr r c*erq1- to ih;rt of the ir-ur: crraos curre*t ih;r.t f ox.s
.4 e tir.orrgh
x usi *il -,qho are of'tlre .u{F. T}is;:ite is designeel to connect the A4agi_
..: cran wir,, rhe p*re Bracir srrake ciiri*nt
fui
.i, ifusted o1.chaos" trIere tlie ma*-
furm r:f Chaos ls seen and :,,r'rkecl wirh as
'rrtr,t, repl:e senting a Blackenertr
thc true tornl ,rrf cir-il.s. Tllis rite does not neecl to ire
:ior"irerl il*mecliatei;,'betore evoking the
Djinil, but is recommended icr
: '-r .ulti'"rate e*ergv l^,,if_hi;r the ,|"{agiciar:" This
rituai h;rs been adapted fron:
l''r':irlatitcrep lvr-t,i';jpr, thor-lgh thele ls
ii*le diif€r"ence betlreen i..iyaria_
iep as ;-i. feee of Cha*s iLnir ciracs itsetrf
and so reactriiy appries r.,,ithin
: :(tilet]1
ihis.,v*rkir-.i:. is to be Lteicl *uLsi,le, a1
dusk rurhere il is q*iet ancl r.or,t r,.,.ili
L* c'hsturi:'etj" you ri'i1r need,;r reetr r:al'ri1re;inctr
snral trrl.,,r,r of consecrateci
.;:i. irinel '1'r,,ur PIi.,,:i:' by r,,ir31;.1r.,, the area .fbeling,
aitd rr,hich speci{ic spot
I b; suitrl-.1,: ,i;r
).c"ur r,,rork. lr r:our<1 ra-i<c time, biit clo rrot rni this pro,
'', ii is vr;.i' ir.l:1.;or:r:ni i* lc.'*tc th.e ct:;:ii:ci area
*pon the earth which you
I ;--,r:i:flrlr r,.ttLr :-ite.
iilc:e -,,,oir. ira.,-* ii_rt_ilrrl
)/sul proper r,vori< space, create ;i circle ilpcn the
r'iil ni.e fbei i-il c'hamr:ter' of r.nrhatever lrarura[ ,nrr..;Jrn.y*o"
iii'ar';liiabl*, such as r*clss 'ur ,ilr branciles ri:*m nearb,v toir;rge.
rrr"u-
Fr:ur- tlle ccr.,
r';rr-cd ir:to;i r:1ea:n bor,i,tr {ililot elread.,,there), ancl
'v;iter star;ci or-r,lsirre the
iie r./itr11 lt befuri- yol:, state ciearly ivith int.entron,

"'l.ei ihis clrcie

o{Ai:i i;e empowered and cleanseci by
ihe sl:arlows o1'these d;rrk r.rraters of the
In-Betrr,.eni,

..,,, .!5 ;_
 Tup Boor or Suorrrr,ss Frns '-.,

Sprinkle the sacred water in the closed circle with your first and middle '-'rger then leveli--
fingers, covering its entirety, though being careful to reserve some. Once - .t has nearlv d:a----=
done, place your fingers upon your forehead where your third spiritual eye -- its strength tl^.r -.
rests and state, . unworldly Bla;. .:
- .:. leaving its esi::.::
"Let this vessel of flesh be cleansed and prepared - 'ugh You, com:'=:'
for the sinister Spirit of the Blackened Snake that :r the hole oi i:' .i-
winds His way ever through this reality" -r chest in all cl:::-..
-: ', our back. out .:-: -
Walk into the circle of Art and sit down cross legged, slow your pulse -: down each a::- :
and breathe deep. Light the red candle and place it just inside the edge ofthe ' - -l. OVer )OUr ia.: :L
circle directly in front of you, making sure to place the sacred water bowl to - it has washeJ - . =
the left of it, and state, ..r the Po\\'er dr-.J ::
, ... You have n,''.'. :.-=
"Black flame of Chaos eternal, ignite the fires This meditat:; : .'
in the realms of Twilight and permit passage - .'erent wav tha:. :c:'
into this world from Spaces In-Between" : ::1- three mont:i ,-

-.:-: of Chaos.
Dig down and put a small amount of top soil in the palm of 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 the center of your chest, where your solar plexus is located. Visualize
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 eyes with the serpent, 'see' it and connect with it - invite it in, for it
is Chaos manifest. Watch as the snake slithers silently toward you, the circle
is not there to keep it out, but to concentrate energy into a purified area, the
blackened serpent has no trouble crossing the boundary that divides you.
It stops inches from you and raises its head up to the level of the hole that
resides within you, and you see its head enter your body, feel the black scales
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 strength from you in waves, getting stronger then leveling out, getting

<86>-
 ArtculNc WtrH TRue CH,qos

ind middie lrnger then leveling out, urrtil you can hold the Serpent back no more.
:rl1Ie" OnCe , it has nearly drained vou of ail energy, it trursts forth from ),-ou, shoot-
''riritual eye : its strength throughout all your limbs, filling your empt)r shell "t'ith
s unworldly Biack strength. As the serpent leaves your bod-v it sheds its
l1t, leaving its essence to ever reside within. See the Btrack current fiowing
:.,ough you, completely filling you. Visualize that abundant energy tlolr''
,rI the hole of its exit begin to coyer your bociy. See it expand oLIt across
and
'tr chest in ali directions' quickly flowing over )/our stomach' around
. \.our back, out and down each leg through your feet, over your shoulders
i-tiur pulse 'd down each arm, through your hands ancl flngers, feel it race up your
, :.ig'e of the -;k, over your face and through )rour hair' open your mouth and drink it
.',:er bowl tcr - it has washed over anci through you. You are now cleansecl and fi11ed
rh the power and essence of the tslacked Serpent of Chaos...Open vour
:s. You have nolv the primal force of darkness fbrever within'
This meditaiion is very powerful, and leaves one 'seeing' ihe world in a
Jerent way than before it began. It is recommendertr that thls rite be done
:ry three months to reenergize and align your energy with the Biack crlr-
..rt of Chaos"
.,'.;h oi your
. i-arth and
- .oiir mind
-. ,'.meter just
,,-. \'is.laiize
. i'isualize
,,,

. re circle of
. rr in, {or it
... the r:ircle
..1 area, the
-l ',-ides 1'6111.
--r iroie that

, .ilck scaies
,; r'ou harre
- i"our chest
'- iLisating. it
- irt, getting

-".8/ y-
 Tnp CoNJuRATIoN Or THn
Ernnxer BIACK FrelrB

"Fire, in all things, and through all things, comes and goes
away bright; it is in all things bright, and at the same time
occult and unknown."
DroNvsIus

ire is a violent force of elemental energy, it destroys, and yet from

the scorched Earth it brings forth new life. Fire is transition; it is
a change in a drastic and often instant manner, creating new form
from old. It is Alchemical in both its essence and action, existent
I opot the physical plane, yet holding properties that are ethereal
as the Spirits themselves. The Black Magician who is in tune
with his envi-
ronment is able to feel these occult essences, and have for aeons worshiped
and given honor to this 'spirit of Fire' that they instinctively are aware of.
The conjuration of the Eternal Black Flame/The conjuration of Fire
presented here takes on a different meaning than what is normally associat-
.a *itt the rite. The Conjuration of Fire within the "Goetia" is designed to
threaten Demons with an ever increasing degree of pain and wrath, if they
The
do not appear to the Magician when first called. This rite is horrendous.
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 known. First the 'constraint' is given threatening to,

<91>-
 Tsp Boor< or SuorErnss Frnp Tns CosJun-'.:

".,.curse and deprive you (the Demon),

from all your ofice, loy 6 The rite described her
place, and binde you in the depth of ye Bottomless pit There to
Conjuration of Fire'. it is
remaine unto the day of the last ludgement, and I will bind you
essence of the'Eternal BIa
into Eternalfire 6 into the lake offire and Brimstone, unless you
Fire is the elemental esten
come forthwith and appeare heere before this Circle to doe my rt is a purifying ethereal f
will in all things." also cleanses, these Dj:r-n
"Trua Lpssr-nKry or Soroa.rorv', set loose with the creal:ot
Eortro nv fosErn PprpRsoN new growth.
As the Alignine r-te .
After reading this, is it any wonder why the Demons wourd despise the
rhe true force of Char.:. -
]udeo/christian Magician, and why he would need protection from them ? respect to 'The Eternai tsl;
The conjuration almost reads like a spoiled child throwing a fit, demanding
Djinn, but also of all ::-,:',
he get his way 'or else'. Following the'constraint', there remains'The Invo-
ing Ritual' with'The C.-:
cation of the King', followed by'The General curse', folrowed by'The conju-
:he Magician increa:e. :
ration of Fire', ending with 'The curse'. Each round of threats become more 'source' of both 'True C:
degrading and promise more pain. Though the Djinn within this system dif-
Chaos is the bodl', rri:-le :
fer from the Demons of the Goetia, they are also dangerous and would glad-
v,isdom that flou's rsithin-
ly tear the Magician apart, they are not to be threatened or disrespected, it is
This rite is to be p"e:
not the way to work with them and will yield negative results, not to mention
desert like area where tht
gain enemies the Magician surly would not desire...nor have for long.
-\rte employed is designe
There is a very fine balance of power between the Brack Magician and the
Flame', this is accomplisL
Djinn, it is more of a partnership or silent understanding between the two,
the Triangle of Arte. a rri
than it is a master and servant relationship. The Magician conjures them to
trapezoid is a ven' Po-,{€r
destroy; they come because they enjoy inflicting great pain upon humanity.
g,v. This particular trarcr
The Magician is human; they overlook this as they wish to be called again
triangles on both oi it= ;:.
for the opportunity to be directed at new targets. However, if they are disre-
vet none on its top. ri:e:'
spected, there really are no safeguards that can hold them at bay; this is why
trapped energy can be co
these rites must be undertaken with such great caution. of course the sword
representative of the male
implemented does offer some protection, though very little. Imagine if you
complete the union repre
will, fighting an incredibly malicious, interdimensional, shape-shifting and
union were to be achien en
sometimes invisible entity that is as old as time, that has seventy-one angry
out of the now complete :
brothers and sisters...only armed with a sword. It's possible the Magician
force within esoteric me!
could get lucky, but it's not likely. The sword is a representation to the Djinn,
ing form, dualitv becomi'
that the Black Magician is a warrior as they are, and that he will fight. It is
Of course all of the'e
a show of strength. showing weakness and fear in this situation will only
are within one large inr
result in ruin.
energy of all within is b,or

<92>
 .iue L,cniun.A'l ror.: (Jt, '['ill E:enr.l.t. Br-acti. ]ri.alutt:

ice , [oy (z 'iJre r:il.e ilcscrrbed here ha.s ri conlplcteli.,-iiffr:rent artn thiril iili: Goti.ir:
- , lltere to
.-Llnjuratioir of Fire', it i"c not used to i,hreate* thr.: Djinn, biii tii r:arsr:: rhe
, ittncl you :,:.rrice of'the'Elerr-ra) Blaeli Flalrr'ttral iies in the Dalrkness of i']:ue {,1:r,.rs.
., ititss you r:e is the elemeirtal essen{-e of Diinn, it i}o',r,s as Lrl*oel thror-lgi-i thc'ri'i-r.lrir.
,--t i],ite fiU rs a rurili'ing ethereal flalne -rvh.icir qives off nc smclitr" i"irr: ijetrii,rl.:. i:,rI
. sc i:leiinsrs, Lhesr iljinrr are of tirat, esseilce, and ti:at is '"vhr they ,;r: herlie
,:I loose y,itii the cre;l'iion otti.his torne: trr clearisi:;ind prep;ri'e tlle E,ri:tii ti,r
.3r1r g1"rl-*,'r,h.

As lire Algning riLe alread1. described trrarrnoniees ihe Magictati ',l,'ith

-r191 ilespise the :rc i-rur'{orce,:f Chaos. iire intention hrle is !.r: ccnjure anet giire h*iir:r anri
:t trorn them ? -repeci io "ihe Eternai Ri;lck Flame'that is no{ uiil-v thc pr-rre essencr r:i'the
, r. demanciing ;.tinn, "b,-li ais$ o:f a1i thc,qe 1-rue Llorn of {-liraos. P,y pr-rf+rming th,' ,\iign
. .ns 'The Invo- rrg,fiiruai'.,\,'ith'Tne Conjurirtion ol'the Eternal illarck lrlame'(riot a1. otrrel.
- -.r "ihr Conju- ire i\.,'[agician in{.:re:tscs his sr;iritual pierso;ral e1]ergy b1r er-runeciing t* l.iie
..: DeCOfne more -lLrrce'of bctir'l'rue Chaos'anC that oi"-fhe lller:nai l:liaci,' Fianre'. True
ris systern dif- i':aos is t"hebod1t, lr,hiie ihe F.l-r:rna1 Eiack irllarue isthe core, tlie ll*sd arrri
rJ rvoul<lgiad- ,:,lL;,rt liial il\t\\'!,^,tiriI.
.t e spected, it is
lhis rite is to be perforrneel at night r.lnder tire stars, preferabl;r rn a
r:r-.t to fi]ention .icsert like area rvhere the idagiciair .,r,ill not he clisturbecl. The 'i'riangle of
: -l,-1ong. -rte emploled is clesigneci tc conceirtrate tire essellee on"'lhe Eternal Blirci<
,.:rcian and the :Lame', this is acconiplisireci by the r-rse of 'lhe trntbrnal'frapezoicl'. \Vitiiin
- '.r rie n tire tr,vo, :ie Triangle of Ar're, a trapczoicl is il:coi:porated. As aireardy discussell, the
' riires them to r.apezoid is aver,vpowertiri geermetric design that l.ias br-riit up statiL ener-
:,.rn hurnanity. .r. Ttris particular trape;u:id is furiher'ftustraierl'by being s,;rroun<1r:ri by
,,- cirlled again r'1;rrigles on both of its sides as ureli as iis'oase,:1,hiie the u,'hole is a tliangle,
-:..:t,
. are cliore- r'i- none *r its top, lvher:e ellergv rn'oulcl ficrti itrt:re smcothiy. itric ;giliiieri
'. ihis is u,hy
,.'r
r.ipped energ)'ce n be conr;i;!lrf6{ to sexual frustration; the trai:ezolri i;einit
- . -ir ilre sl\'or:d .,,rrresenlalive of the rr:ale, r,vhile the missing or unaligned triangle that ig to
:rrruine if you ..iimplete the union represenis the female, Lrei;rg placed just t.rut of .reach. trf
: ,shiffin* un,1 -rnion -overe to [ne achieveci, a'reJease'o-i'static encrgylvould then be radlateil
: l.\--OilC angry ,"rrl of the noll, cornplete iriangle. 1-Xris is u,hy the'rriangle is such a porverful
. ::re .tMagieian -'rrcc wilhin escleric magica,l r,rcrrk, i[ is a unioi-r. of opposites ii-lto oue llcivr-
: to the Djinn, i'rg fr:rm, duallty becomlng one as is represenlecl in the Bapiromet.
rll fight. it is Llf course ali of these geometric <lesigns (three triangles anC a trapezoid)
.. 10n lvill onll. :i'e lvithin one iarge triangle, seahng and concentrating lhe built uu siiilic
;lrcrgy of all witi:in is borders.

93 '''=
 Tnn Boox or SuoxErBss Frnn Tur Cot

Searing
I coni"t
To forever te
Thr.

}t'1

I cali yo'
I call rcu

within the trapezoid a fire is to be built so the pure elemental essence of

the flame may be made manifest, truly concentrating great elemental
force
within the Triangle in combination with the 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 the conjuration.

TuB CoNIURATToN:

"I call to the Eternal Black Flame,

The obsidian Fire that ever burns deep within the heart This coniurati
of chaos,
recited the \Iagici
I conjure the essence of the Abyss, the rifebrood of the Brackness, alogue, feeling Th
come forth and 'Be' the Flames within the Infernal Trapezoid before me. should be allort-ed
burns down, the I
Devouring Light of never ending Wisdom, until all the energ
Burning Flame of All, ual within.
Come forth on this Night before the Stars...

<94>
IRE
TuE CoNluRArIoN Or THs EtnnNer Brac< Frelre

Searing Darkness that guards the pure gnosis of Truth,

I conjure youforth to burn magnificently before me,
To forever be a representation of the Divine Spark of lllumination,
flesh, as well as without.

7
That resides within my

Scorching essence of Chaos,

I call you forth to raise the black Jlames
within me to match your blindingbrilliance,
I call youforth to engulf me in your tJnholy Black Ligltt,
I call you forth to cleanse me with your purity in Darkness'

Destroyer of Lies,
Guardian of Truth,
Spirit of Darkness...

Come forth and Jlow through me as Fire in my veins,

Blazing with a ferocity that has no equal.

xrre elemental essence of

SPirit of the Eternal Black Flame,
ing ereat elemental force
I call you forth !
en€rE\- of the combined
r& to 'The Eternal Black
Unholy Ghost of the Abyss,
giu of -\rte, in the large
I call you forth !
f,L

Divine Darkness of Light,

I call you forth !
trIlg-
This conjuration should be recited three times with true reverence. Once
tfu 'qeart of Chaos,
recited the Magician should meditate, clearing his mind of all internal di-
d af the Blackness,
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
d, Trtr.pezoid before me,
burns down, the Eternal Black Flame within the Magician grows stronger,
l'isri,prn.
until all the energy has been transferred from the physical fire to the spirit-
ual within.
r Sfc.-.,..

-< 95 >-
 THp Spvnxrv-TWo
INppnNAL DIINN

1. MAHMAS - Appears as a tall and confident man havinga goats

head. He has long black hair that hangs down past his chest. He
resides in the deep shadows of holy places, showing 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
painful death. His sigil is:

-4.97 .e-
 Tns Boor op SnaorBrsss Frno

2. MUNIS - Appears as a tall man having only one eye, with the \-li-r-

cloven feet of a mule. A black serpent is entwined around him, a ...-". --

,--1

sign of the powers of Chaos. He resides in ionesome graves and

desecrated burial grounds. When he attacks his victims he chang-
es his appearance to that of a black viper. He causes painful death
like that of one dying of a venomous snake bite. His sigil is:

*.98
=-
 'iu p S r v e x r v -'i-,n' c i t"i r. i. q,rl e I i) I I r't N

'e
. l^,,iih the 3. lfiAQf Q - Appear-c as a i:eautlltti u,orlan vrith long triack hair,
,.tit.1 him, a having the body of a large anri pol,rerf-r-tl iiorr. She resides in rtraters
{ral"res and that lie along ihe shore iines of an,v coalst. V\,rhell she attacks her
.. he chang- victims while ar,r,a,ke, shr: caLrses paralysis. Floi.o,,ever n hen the r''ic-
.rntiri rleath iirn is sleeping, stre c;il.lses 'sinl<ing cle;rth'" Fier sigii is:
r i ?{'
/'

\\
\i
ti
!i
/t

-:: iJg <::-

 TUE Boox or SrrorErsss FtRB

4. MAJID - Appears as a tall man w-ith a canine's head' His 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 the stomach with pain so terrible, that it renders his victim
senseless. His sigil is:

-< 100 >:

 TrIr' SEvnNrv-Two INrrnNel DIINN

rr.rcl. His left 5. JADHBAH - Appears as a tall man with a single eye, having the
.,:d his right powerful hind legs of a golden lion. He stares intently at the Magi-
-.laces and in cian when evoked. He resides in dark water filled canals. When he
,. rnflamma- attacks his victim he causes paralysis, then feasts on the flesh and
,'.. his victim infects the biood while the victim iies helpless until death ensues.
His sigil is:

\
\\

i)

€< 1o1 >

 TnE Boox or Suoxrrpss Frnn Tri r S:

6. QEL - Appears as a tall man holding a large black horn used for ALGHUL - {P
calling. He inhabits roads, both physical and dimensional, though and the legs and i
is not the road itself. He causes extreme weight to befall his vic- hangs dort-n to *
tim, giving the sensation of being crushed under a large boulder, desolate rockr- ar

leaving the victim paralyzed. His sigil is: be lead astral-. []:
this can be take:

< 102 >@

Frn r THE SsvpNry-Two Iuprnuer Dlrrvn

ge black horn used for 7. ALGHUL - Appears as alarge blackcrowhavinghuman hands,

ldirnensional, though and the legs and head of a mule. It has long matted dirty hair that
eight to befall his vic- hangs down to the ground. It resides in lonesome dark ruins and
under a large boulder, desolate rocky areas. When it attacks its victims it causes men to
be lead astray, opening other paths that lead to ruin. Of course
this can be taken literally or symbolically. His sigil is:

< 1o3 >-

 Tup Boor op Srrorsrrss Finn

8. SAJIZ - Appears as a large black raven having human hands 9. \::

and the ears of a donkey. It resides in the extreme elevation of all
mountains. when it attacks its victirns it causes violent sickness
and horrible disfiguring, spreading disease to engulf the victim,s
body. Its sigil is:

rli

]ii
il
il

:< 1O4 >,

 'I'us S lvl ur v -'l'r'r, o liorrantolei- Ditrvru

:L1m.rn hands q AT RAW'AH / AI-I{U'f{ - Api:eai',q as a lar11e beautilul pea-

. .i'ation of aiI csck wearing a granci goklen cror{il, hoiding a herdsn-lan's stafl ,
..,lent sickness
ro,,itlr a large coicrful spreacl or-it [ai1" It re.cid<]s in t]:re dark elepths of
.,i the victim's caves, grottos a::r,l u-n<ieigrounci areas. !i,/iren it attacks iis victLru
i{ causes extreine fiighr f"or three seerningtr,; endless ,.lavs tt'ithr"u.t
causirrg oi-te lo tea"r ;rny iighi, lea-,,ing ltrrern in irorr:ib[e d;lr:h-
rr:str-,
iroih of the r:rir"lr1 .-,nri Liocll: if nai cu:r"er-l ill three clays time ,
i:ress
ihe vii:tim's siglrt i,",,iii becocre ;;ei'nra"ireittiy damagerl cr losl. iis
sigi: is:

.=. 105 x,-

 Tur: Brrou rlr Slrroi<nr-ass Fttt

1u MilYAhi * Appeilrs a.c a tall nlan hal.ing {rre eye, nith the bo<iy
ct a Lriackerred serpent. tne hclds a drarvn sil,,,er bow poiseei to
strii:e" Ide resieles in the waste and mL,ble ,r rrren. when he ar-
t;rcks his vii:tim he causes paiiifi-il parall-;,-ati,-xr ald complete loss
o1'bodiiy co*t-ro}, thcii e::ters thern as : serpent. possess;ng thci:-r
fiir up tc three "1ea,,s His sigil is:
 Tnp. StivEl',rv-Trvo INpsnr'r,qL DJTNN

. ith the body ll. LATUSH - Appears as a dark hooded monk with long biack
-,rv poised to hair, having a crow upon his head. He hoids an elaborate goiden
'r\-heir he at- staffin his treft hand" He inhabits isiands that reside cradled within
-.mplete loss the seas. When he attacks his victims he causes painful strangula-
: \.ssing them tion until death. His sigil is:

: 1O/:e-
 THp Boox or Slro<nrnss FrRn

t2. ALDUTAT WA HIRAM ALSEBYAN - Appearsasawom- 13. ALt Q

an from the waist down, the remaining upper half is that of hid- ioinec :
eous a seven headed goat with black human hair that hangs down beautrr.
to the ground. She carries a scared boy in her arms. She inhabits righr 1eg
all mountainous regions. When she attacks her female victims, side :.:l i
she attaches to the skin of a pregnant woman until she gives birth, ther an
then she painfully pinches the child until it bleeds, whereupon she ens'Je!.
feeds on it. Upon feeding she infects the child with a putrid sick-
ness that leaves it horribly disfigured until painful death ensures.
This particular Djinn is striking in appearance. Her sigil is:

q ro8;-
 Tue SsvrxrY-'lwo iNrnnNar DJtlx

Appears as t\'vo beings embracing one

another' though
,:-:liaSa\\iom- 13. ALUQ -
. :hat of hid- joined i,-t ior*, o,* a hideous diseased man' and the other a
"r-t. upon her back' The
.. r.lngs dorvn beautiful lvoman with large black bat rvings
powerful lior-rs' They re-
. :;re inhabits right ieg is that of a mule, whll" the left a
as in desolate ruins" When
-. r-..1e victirns, side in thick bushes and brush as well
fright until insanity
. '.. grves birth, they attack their victims, they cause extreme
-r'l€Llpon She ensues. Their sigil is:
. ., '-,utrid sick-
- -.:,-ih ensures.

=r 1O9 >E
 T-- -
THs Boox or Slrornrnss FrnB l:-:

14. DANHASH - Appears as a massive silver lion with sharp black 15. NAZJUSH I
horns, clenched between his fangs is the head of a man. He re- woman ha',-i::
sides in all darkness upon the Earth. When he attacks his victims two vicious k::.
he causes darkness to befall them, their blindness leads them to She has t\\-o 1\-j
see horrible dark phantomous beings and shades. He also resides if the victin -
within the womb, causing the loss of pregnancy due to the victims ,iort. lf 3 ,';:
excessive lust for intercourse. His sigil is: covering rer :'

<11oF
 'fns SBVL:Nr rr-, Trvo INr, sirua r I)1ruN

.rarp black
15. NAZ|USH IIENIT DANHASH - Appears as a bear_rril'ui
:"_.rn. FIe re-
l\ioman having a single foot, and fbur human hands. She carries
. lis t ictirns
two vicious knives. She inhatrits abairdoned run down bathrooms.
- ,Js them to She has two ways of attacking her victims ciepending on their sex;
, .:i:o resides if iire victirn is a nlan she causes delirium anql heart complica-
:ite victims
lions" If ;i woman is her l,ictim, she causes extrelne sickness by
cor.ering her hoeir l{er sigil rs:

:='.l Ii i'rr.
 TnB Boox or SuorErBss Frn r'

17. ALMUSRIF
ALDABAH i ALWAHENAH - Appears as an enormous
16. cious canire. :

man' His habitation

rugged man with the head of a normal sized her waist. S:;
to
l, ii. a".p.st of seas. He attacks children' by causing sickness rule orter he: ;
thembywayofblowingblackdiseaseintotheirnostrils.Hissig- extreme si:sa
il is: for solituCe :-

.< 112 >e

 TH c SsrrE xrv- f1,il Ilrp r-,Rxer- D I rNlr,{

rr enolmous 17. ALMUSRIF - Appears as a fair lArornan with the head of a vi-
' habitation cious canine, having long black huinan hirir tl"rat hangs dor,vn to
. sickness io her r,vaist" She resides in ail holy tempies, showing Order has no
: -ls. His sig, rule over her essence. lVhen she aiiacks her r.ictims she causes an
extreme sense of p;:ide. self importance. short temper and a l,l,ant
l^ur soiitrrde. [ !sr 5igii is:

:r.1jl ),:,.
i],.,i-i;r-lli/ii.i].--i...,rl)i:-ll:]:lIi;]l:;.,,..t,..-.
,blll, Z,lill:'.iill;il !r "r,itl :;:'t';;,..:,',' li,' :' l,lr,,:lr-:il::1'l.llj tr;ll.ir.''.i-'ri' 1-'1-';:ir:t; '111

i,i:i;l i3li i,llnzr: ::i::r' i ' .- - .,',.. i.-.r).lr.l;il li:''':i , ;..l' .lr-itli i:;ilii

itill?.,-11 i.i:;i,.,i:,1 l;'.'iiilllr;:.1,, 1:',1:; r-1r;.,;: i:-iii.: ,rrrl"' "-'"i r"liril';ri:i :ii-

':'iiili -,'l;111'1';i i'1i;-,1,'.1'; i..::1 r.:,,11 'rt.1 ..:'"r,i

'. ';,1 : , ,1,",'l r, r"r':,1 . qli 'r:-1i::ilil'-;.-'

'r.a ..ri''

..!.) ii:.

;i,"-..."
 THE, SpvrNrv-Two INTERNIT DJINN

f th< )ark Trinity that is 19. ALHAJA - Appears as a tall man having long black hair from
r ani daughter. Appears the waist up, the remaining lower half is that of a powerful golden
m hrs :'eet, he rides upon lion. He carries two gold staffs, one in each hand that have large
l]n :a'i'ing two ferocious red rubies on the end. He inhabits all areas of solitude and deso-
lr-ons ;nd valleys. He is lation. He attacks by corrupting the birth of children. His sigil is:
are ::e .ompany of four
'r-ic::::r< he strikes them
:et:t l', ',t-av of snapping

q 11! \o
 'Ies Boox t;r Srvro r<r-rL;:ss Ft gE

2()" A]-'Utr,&H - Appears as a biackeneri serpent having the head,

hands and t"eet of a vicir:us canitte. it resides in abandoned run
down bathr:c,orns allcl cliseased lveils. Wiren it attacks ltromen it
causes them io appear pregnant'uy enterrng their u'omb. It aiso
eauses then:r to have i-leart iluctuations, and positions itself be-
t\A/een their shoulder blaeies, theu 'melts' inio tireir bodl', giving
the unirnaginabie sens;ation of crawling anis throughout. Its sig-
il is:

.-,i 115 :r-

 THE Spr.ENrv-Two INrEnNlr DrrNN

-:rq the head, 2t. BQAR DHAT ALASQAM - Appears as a fairwoman having
'-'.]l.]orled run the head as a fierce iion with long black harir, and elongated nasal
.,--\-\ lvomen it trunk, like that of an elephant. She appears to have defbrmities.
.ornb.
It also She resides in abandoned run down bathrooms. When she attacks
, rs itself be- pregnant women she causes them to loose their chiid by extencl-
-.odr., givir-lg ing her trunk inside their womb. She then blows into the woman's
-:rrlut. its sig- petrvis, giving her the appearance of a man. Fier sigil is:

+ 111 *e
 ra-
Tnn Boox or StrorprEss FtnE

)) ALZUBDAH Appears as a tall man and woman with their 23. ALQOO-q.I
- one the heac
heads and hands melting together' They are seen
riding upon the
follow funer- stands large
back of a large camel. They reside in graveyards and
women from large talon:
als and the essence of death. They attackbyblocking
and attack;
becoming pregnant. Their sigil is:
mutation ar

q118p
 Tnn Ssvlr,'r r- I'tyo {urpxuar }-)lrnr.t

r\-ith their
23. A t H - Appears as a large black raven having two heacis;
Q O OA
. 'Lipon the
one the iread of a peacock, and the other like that of a man.
iuner- He
-i-rt,,
stands large u''ith extended biach wings and is held fast by
,nten frorn rhree
iarge talons r:pon the ground. i-{e resides ivithin hu'ran mLlcus
and attacks b,v r:ausing ihe blor:d to become inlbcted ieaeling
to
mutation:rnd delormation" ilis sigil is:

11 I tr9 ))::-,
 ;'r F

't,
tit.-.
':
..
't
.':

:.' l.
. 'i,
1

i1

'ia!t'

r'l:|
.;;,i
{t 'i

-,i:i._
 Tus Srvl,Ntv-T1'rt0 li"r!aRN-{I- l)trxN

-ril \{raist LIp 25. *QEI-NEMAT'AH - A great king ol"Diinn, faster and more
r,e" a ia-rge dangerous than ;lnv other. rie i.as 1ull reign r:rver all, being; liL-
lilei-i irreas' nar, gloomv, lvind)', terrestrial, celestial ancl cloudy' Ile appears in
i',,s iiepres- thirteen forms, being among t.her"ir a great serperit, bulI' canine'
r. l, ihal the woman, horse, camei anci a mule. F{e possesses seveu heads' and
mighty extenetred biack rvings' lte inhabits the deepest regions ol
oceans. lVhefl he atlacks his viciircs he catlses seizures, strangu-
]ation anrl unconscrt)rlsness u.ntil contrr.:i of the boily is lost, caus-
ing suicicie b-1,' rvav ci'itrro-'"ving oneseil frotn a clifl, or by some
other form of seif ini-Iicted encl' t{is sigi} is:

lilt
ll
1.,
ri

:::::127';=,.
 THs Boor op Suoxr,rsss FInr 1:-

F'JYAN - Appears in the form of a beautiful woman who has )7 S'IH - -{Pr
a golden collar round her neck and anklets upon her feet. She upon her he;
inhabits ancient tombs and places containing water' When she is entwined
attacks she causes men to be enraged and women to go mad by deep forests
hearing shrill, unstoppable, disembodied voices. Her sigil is: or mo\rernen
as she mor e
of greed. atrc
bring death 1

<122'F-
 Tup SpvEN-Ty-Two IxprRNar Dlrxu

,,tt \fho has 27. S'IH - Appears as a beautiful woman having two long horns
:: t-eet. She
upon her head, with a tail like that of a monke1.. A b,lack serpent
-,\"hen
she is entwined around her; a symbol of Chaos. She inhabits the
.L-r lllild by deep forests upon the Earth, and piaces devoid of any presence
jrl is:
or movement. She is a very por,r,erful Djinn to use against Order,
as she moves in the yeins of the children of Ariam, whispering
of greed, alcohol, self importance, lust and ail things that would
bring death by their own hand. Her sigil is:

-.< 123 )r.-

 '' .t' ' i\ : ''lr\ :
il{ ,6, _{-.,ilij,,i. i:{ - .i.r-..},:ais itt 'i,:'

iiav i
-;ir,i i a-.r'c;a j
i-, ;,,:l L,"i ; ;:.,i:r i:r i.i;t, ii:i:i ir.t:rli ]:l.r: i:-l;,r!l'i.!'.l, ;L
l;rrgs ilr-.r: ba'r. iit,:l iiitrr I i i1 Itt tE lrr: i,-'rii iiiL. r!:ii:: I nil ;tl -
i:t .r

i1,g ii:t CtlrlSiilrir: ii: :i:l .i!rr,:i- : r'!11..i,. 1'ji, i:::l :,"tci'rl;:.tl ]ie a;-ii'iJr':i
tiit:r:i, ilt i1ir i):i''.i i,-I:II iir1i1r- II
ItiollLi i.r iil iril;r:;e, ili::'ir;'ii!;'' :\ :t..::,. i.: ; ; : .l t {r].,; l1i.i! i:l',' ilil ! ir l-:llf s li: jii
),. :-'! 1

i,i ' ,: ,1 i,,. ,:, iir.,'::l :lril.,\'il' liiri-i l'.)l ll: ihl;il '
i-]!:, sliiii li

r*-i'i'!'i:i!!
;_. i{;i;rt:

.. ,$f'. "{r.,
.U"rJt,.rf*'t''d'"'-"i!',.!!iqu{,=\ -''orr.
_i",
J{,'_1...j ,I -4. \- ad,

I -. -t" e: \..'",,-
r ,i " i ; I
.!.r' * \\ .r
. ilI
,tn il \\". ',,:l\
Sf -. i$ qb
3t
ff
ef \
ii i?' ",1
;;<\*: i i_ hF BE
;*
ii r ; jj
i '.t1.. ,ir"'
t,,,
." *"'-;:"' : ,' j
',***:i;r*"
,.r,,o ,/ln
\' -1i{
\ nta'r', t{' i J
\.\i.,;rtr"rf
-\'
\ ,ja=' ;i.
',".a', *-,****.o.,rr1-*.,-'' "
**o/
 'lnn Srv u s r r' -'i'r,r-o I.' lrRt,rl i)It rx

: ses head, '29"

A LQAR.SA - Appears as a grrst u'ei fish,'with a face like tirat ol
-..'
aarries a a human. Little is knorvn cf this lliinn. i{is si54i1 is:
-lt inhab-
. :re causes
: r: the neytr
,irsession
:rs ihem.

,r.r 1 7-{ )::..,

 i'rir IlLl{li{ t:; llr,;rq,rKr.: i-Ess FiF.L

l0 i{UIM}JAF{ - Appears ;ts il il,jalitliul lvor;larr rvith tr,vo curieci

horns uporr ihe Xreaei anil iargi: biack i,r,itigs. iln l:e.r.bacl< is also
the face of a lvorylan. She rr: irlct ir: ;:itcient r-;in: oi'a.ii kinds. She
rloes not at{i,i"ck irer rriefi nis th*--',,;:ri; ui.iier" J,}iiiin rii;; i;:stearl, she
sedi-rces and irr::ssesses the rlincis l,f .,,,11.ri-,o icen lo d,: her biclciing.
F{er: sigil is:

:-i' I f.il ..i

 THE SrvsNrY-Two INrEnNer DIINN

\rith two curled 31. ALEKHNAMEN - Appears as a tall man with the head' hands
rnan
- On her back is also and feet of a great lion. He inhabits medicine of all types' When
uins of all kinds. She he attacks his victims he causes men to be stripped of all reason,
lrinn do; instead, she understanding and comprehension. If a man starts to understand,
rn to do her bidding. ALEKHNAMEN distances his mind from it. He also causes pain-
ful strangulation. His sigil is:

< 127 >-

 T,
Tup Boor or SuoxBress Frnr,

32. HABSHAHESH - Appears as a tall man having a mule's head 33. LAHIF - .I
and two large white feathered wings upon his back. He inhabits cious monke
homes. When he attacks his victims, he flows in them like the the seas. \t-h,
flow of their blood, whispering until madness ensues, leaving his causes thern
victim helpless. His sigil is: painfui sick:
mind that 'e'

-q 128 e
 THE SsvtsNrv -Trvo INrnRNal Dltxr.I

r lnule's head" JJ. LAHIF - Appears as a tali man with a head like that of a fero-
.. IIe inhabits cious monkey, having the feet of a canine. I{e inhabits the deep of
:hem iike the the seas. when he attacks his victims, he possesses thetr mind and
... leaving his causes them heart fluctuations. He also causes fever, shivers and
painfui sickness. He overtakes his victims with whispers in the
mind that seem like a warm wind" His sigil is:

-- 129 ,r'
 Tur. Booia {iF liitrorl,l-.t ss irrRi-l

34. SeiAF{El, * Appears a.r a iaii rnan $riih ir iar:ge black serpent
*ntrvineC iou.seiy aroxlnei hinr; ;r sytni:ol of ,.jhaos. I{e hoids in his
lert irancl a niule's taii" F{e intrahjts br:ictges ancl- covereri lvarer\,',ays.
tr\rhen he attacks his victilns, lie c:tuses c,riretne strar.gulation anri
ioss ol the rnind, r'vhere they run jlile ir rnar-i ruan unril the,v cannct
ccmprehencl tli,^ir ovrn ae tions, r.;or io,,here they irre. t{is sigii is:

::r'l iltl ;--

 THp Sr,vrx:'v--fwo Irqpr,nxer Dl tNt't

. :.lack serpent 35. BEQASMIN - Appears as a tali rnan with the head of a vicious
n. holds in his canine having trvo large black horns, two large black r'vings'
and
.:.-d 1\,aterways. three eyes cer-tle.e.1 in his chest. Fle resides in the wombs ofwhores'
lvho
..::gLrlation and When he attacks his victims, he causes painful death to those
: :ri they cannot have had their fill r:f alcohoi and fallen asleep' His sigil is:
, ilis sigil is:

-:r' 131 :':-

 l'l: -,,' il

! i',
 Tsr. Srvl.xrv -l'v,ro lr.lre,nN.qr, DitNx

rhe hands 37" TAI-YAEA - Appears as a tallblack rvrimat with one eYe' ha\'
S [,: caus- ing the fierce e1'gs of tire crow, the nostriis o{ the canine' and the
:t',:,Und in feet iike that of the ir-iule" stre resides in al1 kinds of ancient ruins.
;r'caming. when she atLacks her victims, she causes extreme terror ir-r both
waking an<i in eirearn b)' attacking with the face of a hideous pig'
f.ion, serpent ilnci cat. Her sigil is:

=< 1lj lr+,

 .i'r r: Ei-- () ii,.l r': l'.rl;iiIi-B:s I;I iiI

IU ,!,XiriF" * 1\1:1li:;.:.19 a'i ir,il

-{--.iliittfirii-i""'i t''uilLriih rii--toi'lllities ic"

llie iace, he ir;rl :i iij-rg' i'prea'C pta!-{r'i'!' I;ril" "

lt1t::'1 ''L' i1':: l-'t;i1r '

1ic a1-i.a(;!.:i liiii'.'ictin:a kr* c:1';ses

tlreii:
*1., i:-,rgr: txio.tlntairus. V{!.r,:;.i
rli:rrttL1l-v Llrilr3if,l1eCC, lli1li:'':'i1i:g
i:l'l'lt l-t:t:ia'ncholl' a*d
i<l becstrr.ne
gh.ter siril".i lttr::eoii si-t''' irl i s si 4'r I
is :
i ;Lu

1
I

i
I
l
\
 Tun Ssvrxrv-Two lupr,nset IlltNN

.leibrmities to 39. HAMUDI - Appears as a lvoman having large black \^Iings

.:its the peaks and one leg. She carries two black serpents in her hands; a s,Ym-
rt causes them bol of Chaos. She inhabits wombs" When she attacks her victims
relancholy and she causes women to faint, have heart problems and cause harn-t
to themselves. She also attacks infants by squeezing their hearts,
sometimes until death. Her sigil is:

=< 135 ):.

 T---.
I rt
Tnp Boox or SuorErnss FrnB
-

40. ALNEFIS - Appears in the form of a tall man, having the hoofs 41. HURTA - -{9
ban. He carrirs
of a mule as hands. Upon him is entwined a black serpent; a sym-
Chaos. He resid
bol 0f chaos. He inhabits all rivers and streams. when he attacks
his victims he causes unrelenting sleeplessness, both day and tims he causei
night so no rest is given, driving his victims insane' His sigil is: worry and ter

4 t36'p-
 Fir.= Tun SsvpNrv-Two INrnnller DJTNN

I man, having the hoofs 41. HURTA - Appears as a tall bearded man wearing a scarlet tur-
a biack serpent; a sym- ban. He carries a large black serpent in his left hand; a symbol of
eams. \\-hen he attacks chaos. He resides in the hot coals of fire. when he attacks his vic-
eisness, both day and tims he causes them to experience self importance, whispering'
rs insane. His sigil is: worry and terrible nightmares. His sigil is:

-i r37 F
 Tns Boox or Suornr.sss Frnn LH

42. ALRAHIAH - Appears as a tall, very fair noble man with long 43. ALDARBA
vic- his neck. He
black hair. He resides within the lungs. when he attacks his
tacks women
tims he causes extreme pain all over their body' His sigil is:
causing conl-

.< 138 >-

 r___
r1-i . THB SnvsNrv-Two INrenNer DITNN

ff noble man with long 43. ALDARBAN - Appears as a tall man whose hands lock around
-:e:.
he attacks his vic- his neck. He inhabits black wells and in deep caves. When he at-
b.,.c,,-. His sigil is: tacks women he causes false pregnancy pretending to be a fetus,
causing confusion, delirium and madness' His sigil is:

<139 >
 l'n r lJ oo!{ {.) t' sivio i'-i.-r-;: lls -FlE

14. A,tr,f.l{ Ai'.&ii - .A-ppears as a taii man r"rifir iarge black wirtgs' i. ,r
beirrg ver"'beau-
ii:.1.1nq i,i:e her,d ri oarerr. Flis iorm is str"1l:i:.ing,
" entryr,vails Crf hr.iu.s.
l- I
iiiul;,1c1 riu:;ied in goici. i{e diveils cl-l{siele ihe
.rr,.,/ile::r he atta.:k"s his vrctims he causes'i.rmiling' laintlng and
eS.
i-ariij1:xc:lthlng,-'vliislel.l.r:gandei.,:.c.[iti.l,:-lllistresg"}{issigitris:

.-,'.'l l 4{,1 !':,

 THr SsvENrv-Two INrsnNeL DJrNn

ith large black wings, 45. ALWISWAS - Appears as woman with two long black horns,
a
dng" being verybeau- long curved black wings, she stands upon seven feet. Tied around
l€ entr\-rvays of hous- her waist hangs a noose that dangles behind her. She dwells in all
omiting, fainting and forms of true darkness. When she attacks her victims she causes
di<tress. His sigil is: insanity, drunkenness and love of death. Her sigil is:

*< 141 >*

 l:l:
TsB Boox op SNtoxsrsss FrnB

47. ALZU'AH.
YED UM MELDEM - Appears as a very large fleshy woman' leg in Pain. I-,
having yellowish skin and red hair. She inhabits the vast fields of causes e\trel:
fruit orchards. When she attacks her victims, she flows in them as disabled. Hi'
blood rushing through their veins, relaxing them to paralyzation'
Once done, she enters their flesh, leaving one crippled and forever
tainted with her diseased essence. Her sigil is:

-4,t42 >-.
 Tnp SrvnNrv-Two INrEnNet DitNN
ih:

-; large fleshy woman, 47. ALZIJ'A}l - Appears as a weak limping man, holding his right
leg in pain. He inhabits the seas. When he attacks his victims he
,af:is the vast fields of
causes extreme pain in the legs, knees and feet, leaving one forever
s. flou,s in them as
'he disabled. His sigil is:
t:en to paralyzation.
e ;r:opled and forever
; --

< 143 >*

 Tun Boox or Suorernss FInr

48. ALNABAH - Appears as a man having his right foot like that 49. ALJ\IL L

of a hoof, and the left like a lions. He resides at crossroads. when a canine-

he attacks his victims he causes great depression and grief' His Chaos. Si"
sigil is: tacks he:
appearinr
variou: c

-< 144 >-

 TnE SEvsNrv-Two INrenNer DIrNN

::= ::ght foot Iike that 49. ALMUL - Appears as a beautiful woman with feet like that of
3: a: .rossroads. When
a canine. There is a large black serpent on her back; a symbol of
::ession and grief. His
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 >-

 Tnn Boor or Suoxrr-Pss Frne

51. ALKH A\ {I
head of a bla;
50. ALWISWASALAKBAR_Appearsasalargemanwiththe
strong body of a taiffess tro"t'
hu'i'g large black wings extend- night' \Vhe;r :
When he attacks his victims flicts ulcers tu
ed. He inhabits utt ttto""tuinsides'
he causes them to worry until
it grows to the point of inflicting His sigil is:
;.pl.rr""rs and the iniinty to describe the consuming concern'
,.r"f,t"g in madness that overtakes the mind'

4L46>
 THp SnvsNrv-Two INpsnNer DIINN

rEe man with the 51. ALKHANAS ALASGHAR - Appears as a tall man with the
r;k rrings extend- head of a black ram. He dwells within the terror that stalks the
rtacks his victims night. When he attacks his victims he causes paralyzation and in-
:oint of inflicting flicts ulcers within the intestines, causing great pain and misery.
:suming concern, His sigil is:

-< 147 >-

 Tnr S,
Tnr Boox or SMorsrsss Ftnn

53. HASEN --{Pq

52. ALHAMQA - Appears as a woman with the head of a black
the hands oi a ;
canine, with deep set red eyes. she inhabits areas around seas. She
attacks his \-i!--i;
causes the heart to slow to the point of near death, leaving one
ones back and c:
appearing dead to all who observe them. They are 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:

< 148 >-

 TuE Ssve,ulY-Two Juptnx,ql DitNN

has
: of a black 53. HASEN - Appears as a tall man with large black rvings'-he
of a canine. FIe inhabits the courts of iarv' When
he
rd seas. She the hands
and extreme pain to
-!'i1\'ing one attacks his victims he causes sti:angulatiot-l
ren buried ones back and knees. His sigil is:
:rce buried,
the victim

.*. LQ) ),;:--.

 T,-
1:-: -
Tnr Boor op Suornrsss FrR.E

55. BALENI _ ..!

54. ALMASUR - Appears as a large, tall abomination of conjunc-

ing a monker'
tions; with a vicious monkeys head, a torso like an ant, and a mans
When he at'-;
legs. He resides in the blackest filth and waste. when he attacks
unseen, call!:i
his victims he causes sickness to the stomach by residing within
and uncc,n;;:
it like feces. when he attacks his victims he causes sleeplessness
with srvil-tr.Es
and an inability to enjoy any pleasure in life' He inflames the body
with a wild uncontrollable itch that cannot be relieved, and causes
an attraction to wine. The Magician should be aware and warned'
that although these entities all have their own foreboding dark
presence, this particular Djinn is especially
'striking' and can
cause great terror by simply manifesting' His sigil is:

< 15O >-

 THs SnvrNrv-Two INpnnNer DIrNN

i:r-' ::- - : at ion of conjunc- 55. BALEM - Appears as a tall man with large black wings, hav-
: ,:,<= in ant, and a mans ing a monkey's head and taloned bird feet. He dwells in all water.
,":::r \\'hen he attacks When he attacks his victims, he attacks extremely quickly and
i:-: r'! residing within unseen, causing tearing of the flesh, disorientation, altered vision
1= ;:uses sleeplessness and unconsciousness. He restlessly attacks both night and day
::. l-,: :nflames the body with swiftness. His sigil is:
:i," :r-teIed, and causes
a'-.. :"tare and warned,
r ,-',\: loreboding dark
:.--', srriking' and can
i.t.::i1 is:

-< 151 F
 Tur Boor or Suornrsss FrnE

57. BARDL ]

SHAKHYA - Appears as a tall man with large white wings' nostrils ar

having a head like a horned bull with one foot. He inhabits all ers and dc
water. When he attacks his victims he descends upon the sleep- a wild car
ing, putting them into unwaking nightmare, then throws their causing =e
Uoay u.orrrrd, twisting and contorting it into horrible unnatural
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:

.e.$2>
xrge \vhite wings,
rt. He inhabits all
[s upon the sleeP-
rhen throws their
lorrible unnatural
nc and depressed.
r rriuch resembles
ciir t-eats that one
:ances. His sigil is:
 THB Boor or SuoxnrBss FrRr'

58. BEZID ALMAIUSI - Appears as a rugged man with the head 59. M,RL Z -
dwells in all riv-
of a canine, having small wings upon his feet' He canine. Fr.-
once' hard and
ers. When he attacks his victims, He strikes only is human- l

of the stomach'
strong, causing diarrhea along with extreme pain his victirn,
His sigil is: of all tbcc
month. i-i:

.&. r54F
INRE
THp SsvrNrv-Two INrsnNer DJTNN

Fd man with the head Appears as a tall single eyed man, with the feet of a
n He drvells in all riv-
59. M'RUZ -
canine. From within his open jaws is positioned another head that
s onlv once, hard and
is human. He dwells in hills and mountain tops. When he attacks
e pain of the stomach.
his victims he causes strangulation, and ceases the consumption
of all food and drink. He tortures his victims for the period of one
month. His sigil is:

< 155 >*

 Tup Boor op SMorsrBss FrRs

60. ALMLIAH ALNAFEDHA - Appears as a large blackened 61. MAR\\'

serpent. He dwells alongside the 'sheep'. When he attacks his vic- that of a:
tims he causes severe headache and trauma, also causing heart tims he;
troubles. His sigil is: and rn"--
mind a.
His sisr-

*. 156,*-
 THs SevBNrY-Two INrBnN.q.r DItNI'I

r -rrqe blackened 61. MARWEYA - Appears as a tall thin man having talons like
his vic-
:: :ttacks his vic- that of an eagle. He dwells in mountains' When he attacks
tims he causes them to become lost, forever wandering the
deserts
.-.--, causing heart
his
and mountainsides. He causes his victim to eventually loose
mind as he looses his way, so no companionship may
be found'
His sigil is:

-< 157 >*

 THn Boor or SMorsrnss FrRs

63. AL\\ AI
62. ALFATIJ - Appears as a tall manwith large blackwings, having
having :
a head like a monkey with a fierce gaze.He dwells among the hills.
inhab'its
When he attacks men he strikes them from one side only, then
he caure
sexually excites and drains their body of all seamen until they are
ot\'\forr
painfully dried out. His sigil is:

.< 158 >-

 THB SEvst{rv-Two INprnNet DIINN

".','inqs, having 63. ALWATHEQ - Appears as a tall man with large black wings'
:,:rg the hills. having the head of a horned bull. His presence is stunning' He
:,:e onl,v, then inhabits churches and holy places. When he attacks his victims
he causes his them to loose recognition of anyone or comprehend
-:ti1they are
any words being spoken. His sigil is:

*. r59 )-
 T-
TnE Boor or Slroxsrnss Frr.n

64. ALS'ARI ALYAHUDI - Appears as a short woman with the

LUQ - --r.r:'
cro\\'n ulc,: :
body of a shaggy black goat. She inhabits black wells and bodies of
he attacks i:,
salted waters. When she attacks her victims, she bites on them un-
sleep. Ht. t-:-
til their flesh is infected and ignites their insides with what seems
like fire, causing headaches and hallucinations. Her sigil is:

qr6op
 Tnn SsvrNrv-Two INprnNer DItNN

i -,l-L.rrnan with the 65. LUQ - Appears as a well kept man, having a beard and a gold
;.,-s and bodies of crown upon his head. He dwells on the peaks of mountains. When
rr:es on them un- he attacks his victims he causes strangulation and death in their
i ;rl:h \\'hat Seems sleep. His sigil is:
r:: sigii is:

q 16r;=,
 TUB Boox or Slroxrless FlnE

Appears as a tall noble man with large spread 67. MER ABL
66. ALMARIKH -
pears as a =
black wings. He appears wearing full golden armor and carrying
lion. He clr',
a golden shield bearing his sigil. He inhabits ancient ruins and
be seen. :i. '
abandoned bathrooms. When he attacks his victims he causes
gregate. \'i:
strangulation,leaving them in a state between life and death, de-
eyes, depr..
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:

.*, 16z'p
 THs SBvlNrY-Two INrnnNer DITNN

ALJEBEL MER - AP-

.:rqe spread 67. MER ABU AL-SHISFAN SAHEB
his lower half being like a powerful
i:i carrying pears as a muscular man with
so that his features may not
:: :uins and iion. U. covers his face with his hands
and places where humans con-
:s he causes be seen. He dwells in open markets
he causes infections of the
'": ieath, de- gregate. When he attacks his victims
and distortion of their views on
life' His sigil is:
- :-,i be seen
!r"i, a"r*rsion,
.l: <tate'. His

-4.163>*
 Tsr Boor or SltoxeLnss FinP'

69. QODS-\ - -r'

68.ALHILYAH ALZAHERAH - Appears as two massrve ing also a =:l-
small heads'
winged mighty horses, one being larger' both having is the ele::,t:-:
U. tftuUit, the wilderness and vast dry lands' When he attacks ness to be:.--
problems,
his victims he causes swelling of the abdomen, heart
intense headaches and fever. His sigil is:

*. 164;:
 DJrNN
Tue SsvsNrY-Two INrBnNer

with a man's head' hav-

69. QOD SA - Appears as a large black crow
there
trs as two masslve his back' He resides wherever
ing also a gnawing ftt"a opJ" causes blind-
he attacks his victims he
is the element of fire' Wft*
r ha'i-ing small heads.
rds- \\ hen he attacks
ness to befall them' His sigil
is:
nen, heart Problems,

< 165 >:

 Tnp Boor op Suor<p,rnss FrRp

70. SHRAHI - Appears as a tall well dressed man, wearing clothes 71. MAGH SF{
en lion ',,''-.:.
of gold from the waist down. He has two small golden wings on
his feet, and carries alarge magical flat board, that changes sym- and n:. '*:.
bols as he speaks. He dwells in the Syrian mountains. When he childre : .:.
attacks women, he whispers to their hearts and causes them to
disrobe. His sigil is:

qr66p
 THE SpvsNrY-Two INrsnNer DIrNN

.:" ',,.aring clothes 7t. MAGHSHAGHAS - He appears as a magnificent mighty gold-

ruins
- ;-.ae n rvings on en lionwith the face of a beautiful woman. He dwells among
male unborn
:.-.:. ;hanges sym- and mountains. He attacks his victims by slaying
wife' His sigil is:
"::trrns. When he children and causes separation between man and
1: -:JSes them to

."<. t67 >*

 THp Boor or Slrorprsss Frnr

72. *SHARA - Daughter of Iblis - one of the Dark Trinity that

is Iblis, Zoobaghah and Shara; Iblis his son and daughter. Ap_
pears as a beautiful woman with the head of a black raven, having
two black horns protruding from her head. she resides in the air.
when she attacks her victims she causes heart probrems and also
projects ideas of grandeur into their minds, causing them to ex-
cite themselves into an ecstatic frenzy until their heart fails. Her
sigil is:

q168p
 THe SEVENTy-Two INFERNAt- DJtNr'l

lnity that
:irter. Ap-
en. having IBLIS
in the air.
and also
'
iem to ex-
:ai1s. Her

<169F
 TnB THnnp CressEs Oe DltxN

he Djinn that are presented in this voiume are not what I would
consider truly 'evil'. 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
suppression of Order, and in this sense, they are 'good'. I am not

simply feel that the force of Order is overwhelming that of Chaos, and this
suppression is what is'evil'.
One of the forms Order takes is through |udeoiChristian 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 upon the earth that must be cleansed, the balance must be regained.

TnB Frnsr Crass or DJrNN do not kill outright, though theirvictims

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 thing a human can experience; these Djinn know this and exploit this
knowledge to the fullest. These particular Djinn make up the main body of
the seventy-two, containing fifty-three in total. They are:

*<r73'tr-
 THB Boox op SuorBrsss Frpe

QEL, ALGHUL, SAJIZ, ALRAW'AH, MDYAN, ALUQ, NAZJUSH

BENT DANHASH, ALDABAH, ALMUSRIF, ATUIAH, ALQOOAH,
ALSISAN, F'IYAN, S'IH, ALRUAH, ALEKHNAMEN, RUIMNAH,
HABSHAHESH, LAHIF, SMAHEL, ALJUND, TALYABA, SEFIR,
ALNEFIS, HURTA, ALRAHIAH, ALKHATAF, ALWISWAS, YED UM
MELDEM, ALZU'AH, ALUABAH, ALMUL, ATWISWAS ALAKBAR,
ALKHANSAS ALASGHAR, ALHAMQA, HASEN, ALMASUR,
BALEM, SHAKHYA, BARDUN, BEZID AIMAJUSI, M'RUZ,
F
ALMLIAH ALNAFEDHA, MARWEYA, ALFALIJ, ALWATHEQ,
ALSARI ALYAHUDI, MER ABU AL-SHISFAN SAHEB ALJEBEL
MER, QODSA, SHRAHI, SHARA, ALQARSA

TnB SrcoNn crass or DJrNN kill in cold blood, no

are deadly. They
mercy is known or acknowledged in them, they are true killers waiting to be
set free. Their total number is eleven. They are:

MAHMAS, MUNIS, NAQIQ, MAJID, JADHBAH, LATUSH,

to a coastli:: :.
ZOOBAGHAH, QELNEMATAH, BEQASMIN, LUQ, ALMARIKH 'deeds'anJ. :..'
one that sr-.,:, ".
Tsr Turno cr,ess or DIrNN are unique in that they concentrate on task that ca: r:
pregnant women, causing death or deformation among other atrocities.
The \l:.":.
They number eight in total. They are:
and la1' oL: ::.:
needs. Ar.-,':--
ALDULAT WA HIRAM ALSEBYAN, DANHASH, AL-
Magician " -"'::
HAJA, BQAR DHAT ALASQAM, ALZUBDAH, HA-
The Trians... .
MUDI, ALDARBAN, MAGHSHAGHAS
given, so uri ', -

It can be seen that the Magician would apply the correct Djinn, or class
angles anJ. --::
they musi :r -
of Djinn to the circumstance at hand, each Djinn is unique and has its own
the lines. -i: -.
personal chaotic touch. The vast amount of horrors that these Djinn can
evocation.
accomplish is unnumbered, there are many. It is easy for the Magician to be
Once ::.
able to select the specific and correct Djinn for the act of bane that is to be
lines mee:. :.,:
carried out, with a particular victim in mind. Essentially there are so many
sonal ene:i-,. -
applications and diversity, that this system is easily customizable to exactly
sonal ener.-, .-
what the Black Magician wishes to accomplish.
energv rr hc:- --

.4. r74 :-.

 L-Q. NAZIUSH
\H. {LQOOAH,
:\. RL-IMNAH,
L} {BA, SEFIR,
IS\\,{S, YED UM
tT-TS ALAKBAR,
;..{1.\IASUR,
L SI. }I'RUZ, Rrrns Or EvocATroN
-{[\\ATHEQ,
HEB _{LlEBEt
, RS-{
o begin, the Magician must first have decided which Djinn is
. ... .old blood, no needed, that he wishes to summon. in making this choice one
must consider the landscape that is available to them, and where
-.-.:. rraiting to be
the specific Djinn may be found. No, this isn't convenient, and
you cannot perform all the rites within your bedroom, unless
I. L.{TUSH, . If specific Djinn are only found along coastlines, you must go
I. \I.\IARIKH to a coastline to summon them. Though many Djinn perform very similar
'deeds' and have various locations in which they may be found,
so finding
one that suits your needs along with an accessible environment should be a
:-, ;,.rncentfate On
task that can be fulfilled without too much trouble.
: . .:.r atrocities.
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
sH. -{L-
H. H.\-
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
i
given, so use your best judgment. Take your time to draw the lines of the Tri-
angles and circles well, remember, angles are key in this system for success,
:: . -)'tnn, Of CIaSS
they must be drawn correctly (straight) to be effective. Also, when tracing
: .:ttj' has its own
the lines, focus on what the Triangle is going to be used for and your goal of
:-...e Djinn can
evocation.
:= l,laqician to be
Once the Triangle is drawn, find a central point or apex r,r,here many
:.:r that is to be
lines meet, and trace an outline of whichever hand you use to project per-
,-,::. afe SO many
sonal energy, on that central point. It is here where you rvill push your per-
..-.:le to exactly
sonal energy into the Triangle, activating it and filling it u,ith vour personal
energy when in ritual.

*< 175 >*

 THE Boox or SMorsLE'ss FlnB

focus your ener-

At thl' : -

When you have completed the Triangle, you must now the Circi: '- -,
focus your energy on the
gy or.otr,ructing the Circle. As with the Triangle' 1 :
around i:- *
--

C-1r.1.', function and visualize it as an amplifier

and storehouse of energy'
fortress that energ\- lll :-'r':
However, first you may wish to visualize it as an impenetrable around ti'c ' '
This should be a
none can breach. Again, take your time to lay the lines' to strengi:-::'
not rushed' but with
meditative process' much like creating aZert garden is' a maSS lr- - -':
out the Triangle and
focus. From my experience, I have found it best to lay to be di:. : -. :
Circle one day, and return the next to perform the rite'
A great deal ofen-
you, feei -:-: .
ergygoesintotheconstructionofthesevehicleswhichleavestheMagician 'knorv' \'a : -..
effect of what the
drained by their completion. of course this is the opposite ning ene::-
is best' Ifthis isn't
rite is designed to do,:o to return refreshed and energized
'

blades. r---- -
Triangle and Circle'
possible do to time constraints, I advise laying out the \\-a,i . -.
meditating awhile, and then performing the rite' made a::: ::'
by placing your
After the Triangle and Circle have been laid down, begin pefSOlla-: -:'
magical tools, sigils, etc. within' The Triangle should
contain the brass lamp
andmo.::".
withthenamedincenseatthereadywhichrestsupontheDjinn,ssigilwhich erg)" pu::- r'
The Circle is to con-
can be painted on a mirror, parchment or other surface. into the -:-'
that all other tools
tain a simple altar which can be made of wood or stone huge su::.
Script' on the
will rest on. Of course this can also be sigilized with Lunate
spreadir:= - -
incense burning
right side of the altar rests the scepter, on the left, the brass The Tri":---.
dish.Theswordcanrestonyoursideattheready,andwillbedrawnbefore and the :,::
theevocationbegins.Afterall,surroundtheareawithenoughcandlesto ,\oa :'.
see, but not so many aS to make it bright.
At this point the rite has been fully
ready' though it is ad-
and rel:::
prepared, and the Black Magician may begin when andlou:.''
vised that the ritual begin after midnight and end before five in the morning' touche. -'" -
and contact can
It is in these small houis of the night that the veil is thinnest scribei. " .:
is at its lowest level'
be more easily made. The interference of the mundane in Inte:,: :
LighttheincensewithintheTriangle'returntotheCircleandsitcom- must i: *,':
add two strips of the
fortabiy behind the altar. Light the incense there and ing th": -:-:
WordsofPowerwhichshouldhaveevocationcommandsandsigilswritten one in::. -'
uponthem.ThisisanexampleofstripsusedforcallingforthZoOBAGHAH: utterlr c: '.
1i11s5 r'''---. -
"ln the name of IB-
"Come forth ZOOBAGHAH",
I,1S, f (N.N.) call you forth to be before me ZOOBAGHAH"'
OB AGH AIf "
"ZO OB AGH AH ZO OB AGH AH ZO

-<176'F-
 Rrrns Or EvocarroN

',"' :ocus your ener- At this point the magician must cumulate his personal energy within
i ',.:;r energy on the the Circle, it is important to draw it all out and bring it forth to circulate
- :;lr)use of energy. around and through the lines of the Circle, surrounding the Magician in
.:::rle fbrtress that energy and strength. Visualize this energy as silver waves or strings swirling
' liis should be a around the inside of the Circle. As stated the lines of the Circle are designed
.: :rshed, but with to strengthen the energy that is being released by the Magician, resulting in
-: :ie Triangle and a mass of bursting personal energy, spinning around the Magician waiting
,r- :ieat deal of en- to be directed. Meditate on feeling this energy surround and spin around
::.'. <s the Magician you, feel the earth move under you, know you wield true power. When you
:: =:-ect of what the 'know' you have reached an energetic climax, visualize all the silver spin-
i .. :est. If this isn't ning energy enter your body through your back between your shoulder
:-.:g1e and Circle, blades, filling you with strength and the gnosis of being.

.,-r
Walk out of the circle to the Triangle, personal blood sacrifice is now
a.: placing your made and presented in the sacrificial offering bowl. It is at this point when
::-a :ne brass lamp personal energy is at its highest peak within you, that your blood is charged
l ::n's sigil which and most potent. When you feel you can no longer contain the surging en-
... iircie is to con- ergy, push all of that spinning silver internal energy out through your hand
::.: all other tools into the Triangle through the outlined handprint already laid. Visualize a
:.:= S;ript. On the huge surge of energy being pushed from you into the Triangle, and rapidly
i: -:.ense burning spreading out through all the lines until they are pulsating with silver power.
". :: drawn before The Triangle is now activated and flowing with energy waiting to be snapped
': -:gh candies to and the barriers broken. Once done, return to the Circle.
:-:. has been fully Add more incense and two more strips of Words of Power to the coals
', ::ough it is ad- and return to a standing position. Holding your scepter in your left hand
" : ,:: the morning. and your sword in your right, positioned across your chest so that the blade
.: .:d contact can touches your left shoulder, call the Djinn forth that you require. As de-
,: ::: iorr'est level. scribed, vibration is a key element in the success of this system, however, so
":;-: and sit com- in Intent. Be loud when you recite the evocation, but most importantly you
: li',:, strips of the must infuse your words and vibrations with true meaning and emotion. Be-
.:: sigils written ing that these particular entities are only of pure wrath, I can only imagine
]JOBAGHAH: one infusing their words with the emotion of hatred and anger, wishing to
utterly destroy the target subject in mind. The evocation is to be recited three
times with reverence,

--,{.. t77 >*

 TnE Boor or Suoi<ErBss Frnn

"(Djinn's Name Repeated ln Three Sets Of Seven, ln Low Guttural Voice), (Djinn s )
I i,;
I call out to the Blackest Spirits that roam the
darkest recesses of the hidden Earth !
Spirits that seethe and slither in shadowed timeless chambers Ltnseen,

I call out to the ancient one of the bloody house of Taw - AU !

Who despises the burning Holy Light of Order,
Thrs .', - :,
I summon forth (Djinn's Name), from the blackest designed.- :.
pits of nightmare to be present before me, strong, ti.,- -.:,
I callforth (Djinn's Name) in the name of the Unholy father IBLIS, to be ant enouq:- . -
made manfest in terrible visible form within the Triangle of Spaces, able. The .:: :
air. It rr l-, ,..,
(Djinn's Name Three Times), Hear my voice, Hear My Voice ! non-real::', ':,
Come to me warrior of old, whose heart is filled with boundless anger, in existe::::
honorab = ',".:'
Comeforth (Djinn's Name) ! tri i:. a-
Fill this temple with your sinister presence ! equal iti ::: : .
i- .. -

I call to you with the purest rage ablaze from within, forth, sta:. ', :

I call to you with the purest hatred for those who love the Ligfit, strips oi ','"-, :

entities a:: ".

(Djinn's l{ame),1 call to you in this twilight hour, out for tc * .

This hour offorsaken silence, O:--:

"
appearaa-- ::
(Djinn's Name), I summon youforthfrom the sincere. b*, ..
Abyss of terror that is your abode, titles ca*.;. :
I call you forth from the clan of Taw - All to strike but erpe; " .
pain and death into my enemy (N.N.), be utilize: .:
be perio::-..;
(Djinn's Name), Come forth and release your hatred have tha:...:
onto the one who has come against me !
Bring them dark shadows of unearthly fright,

.< 178 >-

IE RrrEs Or EvocerIoN

Lon' Guttural Voice), (Djinn's Name), I summon you forth from the desolate wastes of lahannam,
I call you from the smokeless fire, from which you are composed,
nm ilte
*! (Djinn's Name Three Times), Spirit of darkness manifest !
s chambers Ltnseen, Become in the Triangle of SPaces !

c of Tary - All ! Manifust !

f Order,
This evocation is strong and has proven itself effective; it does what it is
e bh*est designed to do. Once the Djinn has made itself known, remember to stand
? me, strong, though this can be easier said then done. Even ifone is not clairvoy-
ly-iather IBLIS, to be ant enough to visibly see the Spirit with their eyes, its presence is unmistak-
Triangle of Spaces, able. The entire area will become'darker', and a strange weight will fillthe
air. It will feel like the world has stopped, Iike time and space, reality and
lcar\[v Voice ! non-reality are no longer in motion. For this brief, frozen, stolen moment
lh boundless anger, in existence...there is only the Djinn and yourself. Greet the Djinn in an
honorable way,
"Greetings (Djinn's Name) I (N.N.) welcome you here as a warrior and
ence ! 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
tm x'ithin, forth, state your reason and direct it to your desired target. Add two more
t lote the Light, 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
!* hour, out for you. They only work with you to satisfy their own ravaging hunger.
Once you have stated your reason for calling, thank the Djinn for its
appearance and the deeds it is about to unleash on your target victim, being
nr the sincere, but short if you don't wish to bond. Prolonged exposure to these en-
tities causes the Magician to breathe them 'in'. These effects can be desired,
to strike but expect a 'dark shift' to occur within the psyche. This communion can
i-g be utilized to gain in personal strength, allowing for greater Black Magic to
be performed, as these entities are of the raw force of Chaos itself. After you
w hatred have thanked the Djinn, simply state,
u!
bight, ' "My Intent has been directed, and you are now LLn-
leashed upon the world and my target victim, I thank you
for your action, (N.N.), we are now done here."

<179>
i ltr le put into place.
r-:.dies, burn the last
:i:::;i-iplate and visu-
:. s<e the Djinn sur-
:. -{lso take this time
::.
:tervous system.
e \laqician requires,
:;;s It is best as with
::. -{s an example if
ii':,il or within how
- i'cie erpecting the
i=:e:s. and do as they
: ;::ects them.
 CoNIURATIoN Or IsrIs

blis...Shaitan, The First Opposer, the one to first speak out against
Order. The first one to sav 'No, I reject the reality I am being pre-
sented and forced into'. He is a figure head, a mask, an anthropo-
morphic face for the raw energy of Chaos. Chaos has many faces,
as does C)rder. One must rea]lize that all the faces of Chaos share
the same 'body', all the different ri',,ers have the same source. Shaitan is an
ancient name for Chaos, He has been worked with for centuries, honored by
the truthful, feared by the ignorant and weak. To be born of Chaos means
to be born a lone wanderer in this torld fu1l of those who would gladly be
food for a corrupted force. It means to walk alone amongst the blind, to be
a lone wolf amongst the sheep...that r,r,ishes to devour the 'Sheppard' who
keeps all in line.
Iblis is the Father...He is Lucifer, Satan, Samael, Shaitan, The Dark Lord.
He is Commander of the Djinn. He can be accessed by all who have a deeper
understanding of the multiple t-aces 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...

Demon Angel of Darkness, Opposer of the False Light,

I call 1-ou fbrth trom the starless Abyss...

Iblis...

Father of lone Nightshades, Destroyer of the Great Illusion,

< 183 >:

 Tsr Boor< or SuornrEss Frnu

I call you forth from your hollowed sanctuary...

I call you forth from the Blackness of My Heart,

Father, Bless me with your presence,

Come forth and embrace this venerated land,

Come forth and behold the glory I shower upon you,

Iblis..l

I call you to stand before me in all your Infernal Might,

I summon you forth from hidden spaces of the Earth I

Iblis Hear My Voice !

Iblis See Thy Veneration I

Iblis Taste Mv Blood !

Iblis Smell Thv Incense !

Iblis Feel My Anger !

iblis Come Forth !

I who am of the True Chaos Spirit call you forth from dark-
ened lands to bestow upon me your blessing,
I who walk in Death's Shadow summon you to com-
mune with me, to guide me, to embrace me.

I your unholy son, call you, my unholy Father...

Destroy mine enemies; bring down upon

them your hatred of the mundane,
'Wipe them from the face of the Earth,
Cover them with burning blisters,

-< 184 >-

 CoNJunertoN OF IBLIS

Curse them to eternal pain,

Scar thy name upon their skin,
For they deserve your wrath,
Iblis...

Master of all Djinn,

Lord ofall Chaos,

I call you forth,

.- I,l:eht,
':--tl-' I

Father of the Sinister !

I call you forth I

-I-B-L-I-S-
Come Forth...

-< 185 >-

 FrNar Wonp

s a )'ouns child I recall having thought; 'what if everyone

around me \rere not real, but simply there to fool me, so 'they'
could u'atch mr- reactions to various situations'. I didn't fully
trust that the ps6pls around me were 'genuine'. Who would do
this,I did not knol-, though then again, how could one if they

repeatedly, or I shor,rld sav that the thought would periodically reoccur from
time to time throughout mr-childhood,vears on into my adult life. I hold this
thought to still be son-rerr-hat true, though it has grown far more complex
over the years.
Reflecting or-r this. I ask rr-rvseli l'here did I get such an idea with no
outside influence ? Hort rtas I arr-are of the concept, that perhaps I was in a
simulated realitr- at such a \-oung age ? I see this now with open eyes, and
know that one is either born oi Order or of Chaos; it is not a choice. This was
taught to me br.a good triend and mentor of sorts. I am born of Chaos, and I
understand nou-, that I have brought u,ith me into this incarnation, collective
knowledge of mv 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 alreadi- instillediprogrammed within me. I know now, this
is the essence of Chaos that erists rvithin the 'awake'. It is an ingrained truth
that exists within the construct of ones very being. Some could call this ac-
cessinq ones'Holy Guardian Angel' or higher self, though I do not see it as
such, but as tapping into oneself and receiving the pure truth that resides
inside, untainted by the illusion that surrounds. It is born Gnosis...
My'reality' is my or,r.n, and stil1, i do not believe it to be'real', as I can no
longer define what is real. \Vhat is 'real' is left up to the individual. Who is

-< 187 >-

 Tnn Boor op Sl.rorprsss FrnE

to say what is real? How can one define what is real ? with all the scientific
to do, ii,' --;
and magical advancements, who can definitively say what is possible ? It is a
grain, if -,
.';
ridiculous concept that is limiting, if one only spends the time to consider it.
expect tl: :--
one of my most cherished quotes from H.P. Lovecraft perfectly captures the
this rtiti .:",-
essence of that, which I am speaking,
that rtili i:.
thing ti.t '.''
". . .All life is only a set of pictures in the brain, among which there
If you ar. a-,,
is no dffirence betwixt those born of real things and those born
cidences ..
of inward dreaming, and no cause to value one above the other,',
result be;a;
H.P. LovpcRAFr, 'Tur, SrLvrn Krr, you are aL:=,
Consensu.-
I believe in the consensual Reality Matrix. The consensual Reality Ma-
press on. :: ;
trix is order. It is the sustained illusion that'all' around us is 'real' and. tan- ael ;
en, \\ e
gible. It is sustained mostly by the mundane; those who wilr neyer 'see' or \ f.- '.-.:
awaken from their dream, only to be recycled again and again. And perhaps
p€rl€flce5. ;r
my childhood thoughts are true, that when I watch my neighbors go into
of us ha. ,:'
their houses, they cease to exist until it is time again for them to reappear li.:
nesses.
and perform their functions; to sustain 'the illusion'. I believe that the en-
one musi i-:
ergy that creates this 'reality/illusion' can be tapped into and manipulated/
rules, hc,i';:
reprogrammed. The way this happens is through the science of magic. once
this jou:::t
we get past the general connotations one normally associates with Magic, we 'realitr" :s -:
can see it for what it is; an energetic working that is pushed out into the ener-
and des;:::
gy field that is the consensual Reality Matrix to change/rewrite it to a Magi-
cannot la .
cian's specific needs. Magicians are reality manipulators, and no, this is not
hold the ".:
looked upon with welcoming eyes from the'system'that is the consensual
complett--,-
Reality Matrix/Illusion. It has been said by Magicians that when they started .
values t"-,
practicing Magic that they had horrible things occur to them, bad luck so
all the sa=
to speak. Many will abandon their practice at this point and return to their f:c:
values
christian roots and find happiness in slavery. However for those who were shallor', :"-
strong and kept on, they gained in personal power through each working,
order tLr tr:
and the 'bad luck' calmed down, though never is entirely removed. Howev-
and its o.:
er, this 'bad luck' is the consensual Reality Matrix's defense system. It will
manipui.;:,
manipulate your reality to make it difficult for you to continue on your own
yOUr're,r.-::
'independent'path; the path of enlightenment where you become awake and
yout' o"\': '-

can 'see' the reility around you for what it is; a system that can be changed.
In -::--
In other words, if you step out of line of what you are intended/programmed
withtn::c

qr88p
 FrNer Wono

.-- the scientific

to do, if you start to think for yoursell become self aware and go against the
:,-,ssibleIt is a
?
grain, if you begin to rewrite the code of 'reality' through energy working,
:-.: :0 Consider it.
expect the system's security to try and smack you back into place. It will do
. ..'.' ;aptures the
this with all it can, be it f,nances, 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.
,.:;lt there
If you are aware of this going in, you u,ill easily see these unfortunate 'coin-
:. .):..se born
cidences' as the defense system I am speaking of. However, this is a positive
, the other."
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 Reaiity Matrix. I can only say that if this is occurring to you,
*.l- Reaiity Ma-
press on, it doesn't get easier, but you will be free, and if enough of us awak-
: ::al'and tan- en, we can change it all.
. :er-er 'see' or My'reality' is different than yours. This is based upon my collective ex-
. r.nd perhaps periences, which I must say, have been quite different than most others. Each
.. rors go into of us has our own 'reality'; no two realities are the same despite their like-
::-. io re0ppe&r
nesses. Therefore, before one can manipulate their'reality' through Magic,
= :hat the en- one must first come to understand the'reality' in which they dwell; know the
: ::::nipulated/
':ragic. rules, how things work. This can be difficult as when one first starts out upon
Once
this journey, there are many who would guide them astray by saying that
::: -\lagic, we 'reality' is like 'this', or like 'that'. One cannot be misguided by these words
.::-:o the ener-
and descriptions, for they are the author's own view of 'his' reality, which
.: .: to a Magi-
cannot be completely yours. This being said, one can relate to another and
". . this is not hold the same beliefs, but understand that you will never view something
-.: Consensual
completely in the same \'va}', or connect and hold the same emotions and
:,--- :ley Started
values to a subject, e\rent or object as the other/s" This is because we are not
.: :ad luck so all the same, and each har.e had difrerent experiences and learned different
:;:*rn to their values from one another at different times. Some are deep while others are
' ::- \rho were
shallow; all depends upon experiet-ice, in whatever form it takes to teach. In
..:l rvOrking,
order to practice Magic, one must first understand their personal 'reality'
.:d, Howev-
and its set of rules so that they may be bent or broken and the Magician
:'.:.im. It wiil
manipulate the Consensual Reality Matrix in their personal favor. Knowing
: ll \-OUI OWII
your 'reality' cannot be taught, vou must pash your ownboundaries to gain
:'.. :rvake and
your own irnderstanding of ivhere you are; no one can teach you this.
* :.. changed. In my reality, Order and Chaos are on the 'board/field/grid', infused
::_rqrammed
within the very programming of the Consensual Reality Matrix, ever raging

*< 189 >:

alance, giving
ger force, lock-
rression. Thus,
po\rer it needs

nderstood and
fitr-that is my
I these entities
Order,I would
;norv,2013C.E
been brought
keedom being
rrible weapon,
dir-ersity, free
:rist. We must
ir-ing' and the
liment of this
: thought and

of the purest,
heir olvn real-
restraint, and
rLo the side of
1 of mercy, no
prcrrerful and
p to complete

iL and now in
rr-ar'. i bid you
ded. and may
P must stand
is being con-