Magical Dilemma of Victor Neuburg, 2nd Edition: Aleister Crowley's Magical Brother and Lover

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Budi Darma secara tegas membedakan dua genre karya sastra, yaitu karya sastra serius dan sastra hiburan atau populer. Sastra hiburan atau populer adalah karya sastra untuk pelarian atau escape dari kebosanan, dari rutinitas sehari-hari, atau dari masalah yang sukar diselesaikan. Victor E. Neuburg, Chapbooks: a guide to reference material on English, Scottish and American chapbook literature of the eighteenth and nineteenth centuries (2nd edn., London: Woburn Press, 1972)

None of Neuburg’s authors doubt the influence of Crowley on him. As none of them knew him at the time, this speaks to Neuburg’s reflections, not all of which must have been negative. Neuburg was drafted into the British Army, Croft-Cooke describes him serving “uncomfortably but happily,” and believed the Army molded his character as much as Crowley. Crowley was within a few months of forty when the war broke out, too old for meaningful military service for a man who has had no military career. He went West to America. Victor Neuburg, Gone for a soldier: a history of life in the British ranks since 1660 (London: Cassell, 1989)

Crowley and Neuburg may only be comprehensible in the framework of a D/s relationship, however it was a relationship carried out before most of the modern language for describing D/s was developed. Seperti yang sudah disebutkan, sastra jenis ini hanya sebagai hiburan untuk menghilangkan kejenuhan semata. 4. Struktur

He had then had only one poem and no prose published in London. The poem was “And death shall have no dominion,” in its original form, which he later revised drastically before including it in Twenty-five Poems. It had appeared the previous May in The New English Weekly, of which A. R, Orage was then editor. Politically rather eccentric — Orage advocated a sort of guild socialism and also Major Douglas’ ideas on Social Credit — the N.E.W.’s literary side was very good. Ezra Pound kept a benevolent eye on it, and later George Orwell was its unofficial literary adviser. But unfortunately it could not afford to pay its contributors anything at all. Other outlets were essential. in the next few years he produced some of the finest poetry of which the English language can boast. He had an extraordinary delicacy of rhythm, an unrivalled sense of perception, a purity and intensity of passion second to none, and a remarkable command of the English language. [3]Novel merupakan bentuk karya sastra populer yang memiliki unsur intrinsik dan ekstrinsik. Novel memiliki isi lebih panjang dan kompleks dibandingkan cerpen dan tidak memiliki batas struktural dan persajakan. Novel menggambarkan dan menceritakan tentang kehidupan manusia yang berinteraksi dengan lingkungan dan sesamanya. Neuburg was part of the genesis of the Rites of Artemis, a musical ritual and dance performed at the Equinox Offices in London while guests were served a drink laced with, most likely, peyote. Neuburg’s association with Crowley was a key awakening for both men. That their relationship is poorly understood and that outsiders tend to avoid it entirely or dismiss it with a few words is not surprising. Even a casual glance suggests that Neuburg must be treated as Leila Waddell or Leah Hirsig as one of the major romances and working partnerships of Crowley’s life, and his influence on the development of pre-War Thelema considered in that light.

The Sanctuary, near Storrington in West Sussex, England, was a utopian community which was founded in 1923 and lasted about a decade. Menurut Clifford Geertz, istilah sastra populer merupakan turunan dari istilah kebudayaan masa yang terdapat di dalam pengkategorian kebudayaan menjadi kebudayaan elit/adiluhung (tinggi) atau high culture dan kebudayaan massa (rendah) atau mass culture. 2. Victor Neuburg Vera Pragnell was inspired both by Christianity (in particular William E. Orchard and the Fellowship of Reconciliation) [2] as well as the principles of pioneering socialist Edward Carpenter. [1] She imposed no conditions or rules on prospective settlers and insisted that The Sanctuary was open to everyone. Initially, all who came to live there were given a half-acre plot on which they would park a caravan or build a simple house. Eventually communal facilities were created such as a shop, a school and a building used for theatre and dancing. By 1907 Crowley was in search of a following and, looking to Cambridge for potential recruits, simply turned up one day in Victor Neuburg's room at Trinity. Neuburg was already a published poet, and Crowley had been attracted by the mystical leanings in his work. Victor Benjamin Neuburg was then in his midtwenties, not having gone up to Cambridge until 1906, when he was twenty-three and his family had finally admitted that he was not cut out for a business career. He came from a comfortable middle-class home in North London, and had been raised by his mother following the departure of his father for his native Vienna shortly after the arranged marriage. The bulk of the family money on his mother's side lay with Victor's Uncle Edward, who financed his nephew's education and gave his mother a cottage in Sussex as a supplement to the Hove flat to which she had moved in 1903. Victor's family, however, while undoubtedly kind and generous, had little in common with a young man who rejected conventional Judaism along with all organized religion, espoused Freethought views and progressive values, and yet had experienced mystical states since childhood. It was in Swansea, living the somewhat anomalous life of an adolescent still at home but no longer at school, that he wrote all the poems in his first volume, 18 Poems, most of those in his second, Twenty-five Poems, and, in embryonic form at least, a considerable number of his later ones. Not only was this his most productive period, but it was also the one in which his style became set, and it was to be scarcely modified until about the middle of the war. Thereafter he wrote about twenty poems in all, and these seem to me to mark a new departure. It is therefore no exaggeration to say that three quarters of his work as a poet dates in style, in concept, and often in composition from this Swansea period. Its importance is thus obvious.

DYLAN THOMAS first went to live in London in November of 1934. Until then his home remained his parents’ house at No. 5 Cwmdonkin Drive, in Swansea. The three years from the time he left grammar school until he went to London were the most important period of his life as a poet. Victor E. Neuburg, Points & pitfalls: a first notebook in French composition (n.p.: University Tutorial Press, 1965)