The book of smokeless fire pdf download

In "The Book of Smokeless Fire," the ancient manuscript has now been reworked into a completely new system, utilizing revolutionary evocation technology, to again call upon the ancient and destructive Djinn, whose names have been concealed for centuries Ben Qayin has outdone himself with this stunning interpretation and cohesive reworking of a long lost magickal discipline.

The Book of Smokeless Fire is over pages of pure magickal knowledge laid out in an easy to read format that really flows. With no fluff, filler, and no nonsense, Qayin manages to take what some have dabbled in and written about in the past and open it up into a fully workable system of magick.

There are no reviews yet. Be the first one to write a review. As with hum an differences regarding religion, Djinn have many differ- er. And indeed Iblis did find them Djinn were said to have been created before man of the element of Earth , from the burning element 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.

Traditionally they are depicted as enormous fiery winged beings that are generally associated with walking the dark path of Iblis.

Some are simple in appearance, while others are complex and of horrendous conjuncture. The Ghoul stated,. Ghouls have long been associated with blood drinking and the dead. It : uncommon to hear of rituals concerning bloodletting and blood as a rce of energy when dealing in close work with dark spirits. He stated,. 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.

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 N orth 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. And though these entities are not known by their Middle Eastern titles, they never the less have been recorded throughout history. This is a segment of conversation between Don Juan and Carlos Castaneda on the subject,.

These magical practices -:re byfar the most dangerous. They dealt with entities without :'panic life. Yet they have emanations of awareness in them and characteristics of life other than ' eproduction and metabolism. I asked. Under those circumstances there is no possible interaction.

The Sorcerer in this r. Diinn are mysterious entities that have shadowed the hum an race since. The belief in Djinn is strong still today, though until now, the. There are and have been, dark men who worship and work with Infernal Djinn who are aligned to the current of Iblis. These men have practiced their rites in the shadows for centuries. It is in honor of these dark Sorcerers that this book is released and their dark tradition upheld. O utline O f The M agical System.

Yes, they indeed deal with the sum m oning of Demonic entities, but only in a m anner that is abusive and degragating to ' ae Spirits being called. Michael W. Ford writes,. I f you are other than Christian, this would be defeating to evoke a spirit of wisdom and power to then threaten it with the name ofYahweh! His server is a woman with whom he should have been intimate.

A black three-cornered host and a chalice containing water are the elements of the offering. The water must be of polluted origin preferably taken from a well wherein an unbaptized child has been drowned. Fringe Magic is simply and complexly mystical science. Magic is subjective 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.

Ironically, that is the science of the magic. It is being in a. Dray describes this type of magic well,. Most will touch and toy with its energies and potentials without knowing what it really is, but very few will grasp its true power and their own ability to wield it as part of their sorcery arsenal. It is oj the highest forms of true Witchcraft and its methods 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 flame of a single candle and perfectly projects their will into the rising flame; these are examples of Medial Black Magic in motion.

However, to cause. As well, techniques of Vampir- m have also been employed as a means to help gather such energy. 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.

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. W ithin my spiritual beliefs, I kneel before no God, though offer them my essence out of respect and to empower the rite. 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 m any different curious entities.

It is such a personal offering that the Magician can fully immerse him self 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.

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 Magician Blood , conjoined with the essence of the Spirit Sigil. Therefore, blood will be a central element when working with these particular Djinn in the ritual chamber, as well as when creating sigils, talismans, etc.

Several different incense are used which -de frankincense, myrrh and coriander seed. Or so the story goes. Irem or what is thought to be r was actually found in southern Om an in proving the ancient -. M yrrh has also been used throughout Arabia.

It is seen as a connecting -ger. And lastly there. Coriander seed has generally been associated with the planet Mars, and has its origins in the i rcient Orient, it has been applied for m any medicinal and magical uses - r rughout the ages. Hence the burning of incense, of the right kind, is also able to affect the denizens of the other world.

The evocations and words of power are transform ed into sum m oning incense through the purification and alchemical transform ation of fire, the element of Djinn. In this way, the energy circulates throughout the ritual chamber empowering it.

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 transm utes 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. One m ust make magic their own, the rituals I present can and should be altered to the custom needs of the individual using them. Be free of the Traditional Magic Dogma.

Therefore in a sense, it is their Magic. So, one must make these rituals their own by personalizing them with their own individualistic elements. Either way, the effect would be the same. The Lunate Script that is employed w ithin this system is very powerful w crgetically.

Its symbolic nature connects with the energy of the Waxing w scent Moon and that of the night and darkness. The rr. W ithin the present work, they are used as letters and are i en an English translation to be utilized within the Djinn sigils, on talis- - m s. The Djinn listed w ithin this grimoire are purely destructive by nature, m e the Magician must use utm ost caution when working with them.

They we to be deployed when nothing less devastating will do. They are hate, pain m i disease waiting to be released upon the world with a rage that is un- - etched.

As stated this grimoire is a weapon, and does not make apologies r its existence. Those times are no longer on the horizon, wee are here and are creeping in more little by little, day by day. The Black Magician who is in touch with his surroundings will know when to unleash ms forbidden power; they will feel it deep w ithin th em.. Each W arrior Magician will utilize this strength at different wmes, when the battle is at their door.

There are no specific times to use this Magic, no Sabbats to attend, no nights to honor.. As with all energy, Magic can be -. There has always been a struggle of science vs. This is ridiculous, they are the same. Nothing simply occurs,. This is Magic.

We only see the outcome, though scientifically cannot explain it, yet. Sympathetic magic has been practiced for centuries. 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. 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. I believe the author felt it -ir-eded the legitimacy of a pre-existing culture and tradition to be accepted. Of course Fringe Magic does encompass such literary works from au-. Ripel, Michael maux, H. Blavatsky, Kenneth Grant and others who have been to the : age of creation and reality, and come back to write of it.

The practice of Magic dealing with the evocation of spirits, both benev-. By using these key components, por-. I believe the key to opening these. It is much as a twig being squeezed between two fingers, that begins to bend from the pressure, but not yet break. Concerning entities and traveling between the planes, H. Lovecraft again writes,.

Such a step, he said, would require only two stages; first, a passage out of the three-dimensional sphere. That this could be accomplished without loss of life was in many cases conceivable. Any beingfrom any part of three-dimensional space could probably survive in the fourth dimension; and its survival of the second stage would depend upon what alien part of three- dimensional space it might select for its re-entry.

Denizens of some planets might be able to live on certain others - even planets belonging to other galaxies, or to similar dimensional phases of other space-time continua - though of course there must be vast numbers of mutually uninhabitable even though mathematically juxtaposed bodies or zones of space.

It was also possible that the inhabitants of a given dimensional realm could survive entry to many unknown and incomprehensible realms of additional or indefinitely multiplied dimensions - be they within or outside the given space-time continuum - and that the converse would be likewise true.

This was a matter for speculation, though one could be fairly certain that the type of mutation involved in a passage from any given dimensional plane to the next higher one would not be destructive of biological integrity as we understand it.. Professor Upham especially liked his demonstration of the kinship of higher mathematics to certain phases of magical lore transmitted down the ages from an ineffable antiquity - human or pre-human - whose knowledge of the cosmos and its laws was greater than ours.

As well, it has also been studied, that angles have a und effect upon the hum an m ind, its perceptions and emotions. Exceptions occur where a sort of reverse polarity exists in a creature: extreme mental imbalance or perversity, or perhaps even extreme rationality and awareness. Though not only is the hum an m ind 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 follows,. Like fire, 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. Avert your gaze from the pyramids and look to the trapezoid, and you shall be moved. It is very apparent that a polarity is produced within the individual.

Some are attracted to the environment and others are repelled. Along with attraction comes mental imagery that tries to encompass infinite concepts. Those who are repelled go to the opposite with imagery that has a profound morbid aspect connected to it.

Feelings of impending death on a individual and species wide scale, theirs is a finite image. These are generalizations; I have seen extremes with both polarities. The bottom line is that there is an effect produced, no one really understands the actual nature of the effects, nor its boundaries, we will find out.

Many symbols incorporate angular features into their m otif and most certainly we have all felt moved by particular music forms in a manner 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.

The ability to unlock the secret of the angles will allow a more precise refining of their exhilarating -and thus inspiring- properties This attraction is not a negative effect, the Magician should allow himself to be drawn into the angles and become open to their energies. He is the central force the rite is based around.

W ithout the power of the Operator, the Circles and Triangles are simply designs upon the ground. This also includes interaction between Organic and In-Organic entities, i.

Obviously this technology can and should be applied to other workings outside of this system. There are three Triangles of Arte that are employed within this system which the Magician will utilize when sum m oning Djinn. Each has a design that concentrates the flow of static energy within the angles, m aking them a powerful vortex, or portal when activated.

The Triangles can be seen as machines or circuit boards that require energy to be activated. It will take time to correctly lay out the Circle and Triangle configurations, but it must be remembered that Magic should not be seen as a chore, but an embracement of godhood.

Take the time, it is sacred. W hen drawing out the Triangles, do not let your m ind wander to what you will do after the rite, what you are doing next week with friends, or other subjects that divert your energy away from the task at hand. Instead, one must concentrate on the rite to be preformed, the desired results, and subjects related to the work.

The Magical Circles employed are as the Triangles, also having a specific function. Though unlike the Triangles which are designed to open rifts, the.

Escher es- Thev have angles, planes and perspectives that cannot exist simulta-. I personally believe the r. It is an instilled knowledge. Indeed, it is an unspoken - :: nsciously known truth with the very absence of reason, of why or how, it extends its reach deeper than any conventional understanding of the.

W ithout knowing why, we. They are a Magical Engine waiting to be activated 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 of squares 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 of angles create the perspective of the top of a three dimensional cube. W hen viewing the total image or Triangle, the m ind cannot rest upon one perspective alone, shifting from a two dimensional view, to a three dimensional view, and then impossibly..

T h e S e c o n d T r i a n g l e is of a simpler design, though again sharing both a two and three dimensional perspective or space as the above described Triangle. The best way to describe this Triangle would be to split it in half, top to bottom. Overlaid symmetrically w ithin 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.

The right side of the m ain 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 m ain 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 m ain Triangle, there is one smaller isosceles triangle to be positioned on the bottom of the right larger isosceles triangle, its apex like its m irrored twin extending no farther than the base of the larger isosceles triangle. 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. T h e F i r s t C i r c l e Rests in an angular cradle of compressed static energy, having yet another circle partially surround it.

T h e S e c o n d C i r c l e is also very angular; having four intertwined isosceles offset triangles, equally run through two oine circle Rather than drawing in energy, the function of this Circle is to enhance the M agicians own stored energy.

On the top and bottom of the circle are two isosceles triangles with a bowed base to match the curve of the m ain circle. Ib is is also used when calling upon a particular entity; names have power because they are a specific vibration sequence that is connected to the entity being called forth. An entities name as powerful and connected to it as its magical seal or sigil,. The members of many primitive tribes have two names, one for public use, the other jealously concealed, known only to the man who bears it.

To know the name of a man is to exercise power over him alone; to know the name of a higher, supernatural being is to dominate the entire province over which that being presides. The more such names a magician has garnered, the greater the number of spirits that are subject to his call and command. This simple theory is at the bottom of the magic which operates through the mystical names and words that are believed to control the forces which in turn control our world.

The spirits guarded their names as jealously as ever did a primitive tribe. 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 wave, and while true, this term does not accurately describe how sound truly behaves. Sound waves exist as variations of pressure in a medium such as air. The semi autobiographical work chronicles the adventures of two young men, Khalid and Shakib, who leave Lebanon for the United States to find work as peddlers in Lower Manhattan.

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