Over the past few days I've been researching the rite known as The Birhatiya, or Conjuration Oath, as found in Al Buni's "Wellspring Sources of Wisdom", and I have to say I'm intrigued. Its origins are largely unknown, although it predates most of the classical grimoires. Al Buni classifies it with the earliest of Solomonic material, and it has appeared in such widely differing tongues as Persian and Albanian. Other than this, little is known of it and yet Mages of the Ruhaniya tradition revere it greatly, ascribing to it immeasurable power as one of the three greatest rites in their school.
Quoting the translator's notes "Finally we should emphasize the importance of the conjuration oath - and specifically the names - should never be underestimated by practitioners, students or scholars...."
Until now, the only translations from these Arabic Grimoires that I've been exposed to are those being done by Shadrach, and for several reasons I've decided not to pursue those any further despite my interest in what they contain. So I was understandably thrilled when a friend referred me to alternative translations, and even moreso to find extensive commentary about the rite itself and its provenance, and meanings of the divine names used therein.
I am surprised that more Grimoiric Mages don't make much effort to work with these rites; They do seem more involved than their modern widely accepted counterparts, in some cases requiring several thousand repetitions of a divine name during the course of the working. But despite that, something about them fascinates me and I am moved to attempt to incorporate them in my own magickal repertoire. I have made use of some of the lesser workings from The Grand Key of Solomon the King and from The Book of Deadly Names, and been both surprised and pleased with the outcome as well as the power that seems to emanate from them when correctly performed. (I actually had to find an Iraqi born practitioner from Boston to coach me on correct pronunciation and other elements since the Ishtar series offer little guidance) That being the case, I am looking forward to getting deeper into this field of practice; Despite being of the Ruhaniya line, it very closely resembles the early Grimoiric material, and understandably, makes use of many of the same divine names as the Solomonic materials I'm more accustomed to.
I don't know precisely when I'll get to work with The Birhatiya, given the number of other pots in which my hands are presently occupied, but it's going to be as soon as possible and I am going to begin the planning component immediately.