Kathleen Raine (1908–2003)
Autor von William Blake
Über den Autor
Bildnachweis: Photo from 1945 (Poetry since 1939, British Council)
Werke von Kathleen Raine
Temenos (2) 11 Exemplare
Blake and tradition. Vol.2 4 Exemplare
Temenos Academy Review (1) 4 Exemplare
Death-in Life and Life-in Death: "Cuchulain Comforted" AND "News for the Delphic Oracle" (New Yeats papers) (1974) 4 Exemplare
A choice of blake’s Verse 2 Exemplare
Living in time ; poems 2 Exemplare
Lost Illusions Honore de Balzac 2 Exemplare
The collected poems of Kathleen Raine 1 Exemplar
William Blake's Fourfold Vision of London 1 Exemplar
The Imagination According to William Blake 1 Exemplar
William Blake : Prophetic Voice of England 1 Exemplar
Yeats's Holy City of Byzantium 1 Exemplar
The Oval Portrait 1 Exemplar
Poetry and the Frontiers of Consciousness 1 Exemplar
Poetry in relation to Traditional Wisdom 1 Exemplar
The Little Girl Lost and Found 1 Exemplar
Six dreams : an other poems 1 Exemplar
Le royaume inconnu 1 Exemplar
Zugehörige Werke
The Book of Fairy and Folk Tales of Ireland. (1888) — Vorwort, einige Ausgaben; Vorwort — 2,699 Exemplare
In the Wake of Jung: A Selection of Articles from Jungian Analysts (1983) — Mitwirkender, einige Ausgaben — 19 Exemplare
Poet to Poet : Shelley, selected by Kathleen Raine (1978) — Herausgeber, einige Ausgaben — 16 Exemplare
Every man an artist : readings in the traditional philosophy of art (2005) — Mitwirkender, einige Ausgaben — 10 Exemplare
In'hui, No.9 — Mitwirkender — 1 Exemplar
Getagged
Wissenswertes
- Rechtmäßiger Name
- Raine, Kathleen Jessie
- Geburtstag
- 1908-06-14
- Todestag
- 2003-07-06
- Geschlecht
- female
- Nationalität
- UK
- Geburtsort
- Ilford, Essex, England, UK
- Sterbeort
- London, England, UK
- Wohnorte
- Great Bavington, Northumberland, England, UK
- Ausbildung
- University of Cambridge (Girton College) (MA)
- Berufe
- poet
critic
autobiographer - Beziehungen
- Davies, Hugh Sykes (first husband)
Madge, Charles (second husband) - Organisationen
- Temenos Academy (founding member)
- Preise und Auszeichnungen
- Harriet Monroe Memorial Prize (1952)
Edna St. Vincent Millay Prize
Arts Council Award (1953)
Oscar Blumenthal Prize (1961)
Smith Literary Award (1972)
Queen's Gold Medal for Poetry (1992) (Zeige alle 8)
Order of the British Empire (Commander, 2000)
Commandeur de L'Ordre des Arts et des Lettres (2000)
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Raine's preliminary remarks on the historical sources and general applications of Tarot symbolism are sensible and well-informed. She follows these with a history of the Hermetic Order of the Golden Dawn, citing reliable sources from among those available in the 1960s and 70s, but here she makes a few odd blunders. For example, she takes the "Roseae Rubeae" and "Aureae Crucis" to have been the "two higher degrees" of the Inner Order (5), when the Inner Order in fact had three grades and "The Ruby Rose and Cross of Gold" was the name of the Order itself.
The 1976 second edition is very amply illustrated in black and white with images of Tarot cards and drawings from Golden Dawn ritual manuscripts. These are all fascinating and well chosen to support the text. I was especially intrigued by the inclusion of cards from the Tarot packs actually owned and used by Yeats and his wife, even though his was a quite conventional Italian deck and hers was the familiar Marseilles design.
At the outset of the second of the text's two sections, Raine demonstrates that the Stella Matutina ritual for the Zelator grade includes conscious paraphrasing from William Blake (42-3). Her suggestion that pioneering Blake editor Yeats was then necessarily involved in the original composition of the ritual depends crucially on the rather dubious "if the passage belongs to the original text and is not a later addition." As a general matter, her analyses are weakened by taking the Regardie exposures of the later Stella Matutina rituals as authentic texts of the Golden Dawn order in which Yeats had been initiated. She would have been better served, in fact, to work from Aleister Crowley's exposures published in The Equinox as Book II of "The Temple of Solomon the King."
Although Raine consistently disparages Yeats's esoteric antagonist Crowley as an author of "bad verse" (46), she did find it worthwhile to include reproductions of many Frieda Harris Tarot cards with long captions quoting Crowley on the cards' symbolism. She even surprised me by suggesting that Yeats's The Resurrection (1931) may have had a debt to Crowley (47-8). However, I think she erred in pointing to Liber Legis III:34 as the influential text, when Yeats was quite evidently riffing on the Hellas chorus by Shelley ("The world's great age begins anew")--a text familiar and dear to Crowley, who used it for the solar benediction at the end of his theatrical ceremony "The Rite of Mars." (A corollary question: Was Liber Legis influenced by Shelley?)
The most important element of Raine's study, and one with which I take no exception, is her explanation of the relationship of Yeats's magical training to his literary production. I am now perhaps sufficiently motivated to read Yeats's A Vision, which has been on my shelf for decades.… (mehr)