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

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The mighty Choronzon announced himself from within the shew-stone with a great cry, "Zazas, Zazas, Nasatanada Zazas":

Pernyataannya langsung, artinya tanpa kualifikasi dan dengan jelas dipaparkan secara langsung serta tidak bertele-tele.

Drama merupakan perpaduan karya sastra bentuk puisi dan mengisahkan atau menggambarkan kehidupan melalui watak dan lakon di dalam dialog para tokohnya. Drama dirancang untuk pementasan panggung. Meski demikian, sifat drama hanya sementara, karena naskah yang ditulis hanya sebagai dasar untuk dipentaskan. A considerable period lies between the writing of some of the enclosed poems, as perhaps you will be able to see. Whether time has shown any improvement I find it hard to say, as I have developed, intellectually at least, in the smug darkness of a provincial town, and have only on rare occasions shown any of my work to any critics, generally uninterested or incompetent. If you could see your way clear to publish any of these poems, or find in them sufficient merit to the reading of some more, you would be doing me a very great favour. Grinding out poetry, whether good or bad, in such an atmosphere as surrounds me, is depressing and disheartening.

Selain ciri-ciri atau karakteristik secara umum, para ahli juga menjabarkan ciri-ciri dan karakteristik sastra populer menurut pandangannya masing-masing. Berikut ini ciri-ciri dan karakteristik karya sastra populer menurut para ahli. 1. Budi Dharma

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The conventional narrative would be one of Crowley “falling in” to depravity, hungering for ever darker and more twisted sexual experiences or fantasies. His early writing, however guarded, shows there was never a shortage of such fantasy, though in some cases it required experience to name. An understanding of actual human psychology would suggest that Crowley was in the process of understanding and accepting himself, becoming comfortable both his homosexuality and his darker urges, both sadistic and masochistic. This acceptance of the entire self is an underlying concept of modern psychology but it appears strongly in Thelema, and is a major theme in Crowley’s work from this point on. 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. In his letters Dylan soon was adopting what he must have regarded as a masterful, masculine tone. It is typical that he should have done this through poetry, or rather through his sensitive, intelligent, kind, but extremely firm criticism of the poems she sent him. Poems were his world, and here he was the dominant male. Although Pamela was then a much-better-known poet than he, and was soon to have a book of her poems published, this literary relationship was established almost at once and lasted as long as their friendship. It surely says much for her, both as a woman and as a writer, that she accepted it without hesitation.