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MYSTICRAFT was formed from the early afternoon towards the evening, a night that welcomes silence when a bottle of vodka and cigarettes are still a mix of quiet and haunted night. no exaggeration life is about struggle. was initiated in the City of Blitar, East Java, still with all the shortcomings and pain if this misery becomes a confusing perception of life. nothing is offered more than just appearing terrible as a bearer of dark music that intersects with mystique and demons. music is just music you don't have to be satanic for you to be considered a devil worshipper.

A consideration of the place of mysticism in literature poses some initial difficulties in the matter of definition (for the characteristics of mysticism, properly so called, see mysticism). It should therefore be these qualities that imbue works that can properly be called both literary and mystical. The habit is quite current, unfortunately, for any literary work to be called "mystical" as long as it manifests a deep religious attitude or experience, deals with the supernatural or even the preter-natural, or sees nature as a veil that at once conceals and reveals the Absolute. In the strictest sense, mysticism is the direct, intuitional experience of God through unifying love. There have been and are mystics in this strict sense outside the Catholic Church, even among non-Christians (e.g., Muslims or pagan Greeks). Such experiences, however, are difficult to identify. When absorptions in the Soul of the universe or in some universal Mind are described, it is difficult to determine whether these are an experience of a personal God in charity. Oftentimes there is question only of a religious experience in the realm of ideas and feelings. Without prejudging the mystical quality in this strict sense in the writings of Blake, Huysmans, Emerson, or Goethe (to take these as representatives of different literatures), it seems possible and even necessary to distinguish their vague and often pantheistictinged absorption from the more effective union with a personal God that gives depth and fire to the writings of such mystics as st. john of the cross, St. francis of assisi, and St. catherine of siena.

It may not be an oversimplification to say that the first type of mysticism is an "I-It" relationship, the second an "I-Thou" realization, and that consequently from this second more intimate confrontation a more profound, moving, and universally significant literature would be expected to arise. This expectation is largely fulfilled in the writings of the "I-Thou" mystics; the frustration that so often hampers the efforts of these mystics to state their experiences arises from the very fact that their union with God in intuitive love has been so intimate, so unique, so literally ineffable that it defies capture in human words.

"I-It" Mystics. The whole course of world literature has been definitely shaped by those who wrote what may be called mysticism in a broad sense. This mysticism is specified by an intense realization of the difference between things of this world and the great otherworldly spiritual realities. Since many of these writers receive separate treatment in this encyclopedia, they cannot be singled out here for extensive consideration. To give but a sampling, and restricting mention to those who are of acknowledged literary importance, there are from ancient times and up to the 12th century plato and plotinus, philo judaeus, avicebron (Ibn Gabirol), and maimonides (Moses ben Maimon); in later times, Samuel coleridge and blake in England, Jonathan edwards and emerson in the United States, Johann herder and Klopstock in Germany, and the Symbolists in France. Many more, without being clearly Christian, have spoken eloquently of a world beyond sense, and their collective testimony to these invisible realities has been a force constantly and powerfully working against the materialistic and positivistic influences that always threaten to infiltrate a literature written by sense-fettered and earthbound men.

"I-Thou" Mystics. It is, however, with mystics in the strictest sense of the word that one enters the realm of a literature that is unique in its intrinsic beauty and significance. The Epistles of St. Paul and St. John and the Revelation open the way to the subsequent attempts of Christian mystics to recount in human language the sublimity of their experience of direct knowledge of God. St. Paul distills the literary difficulty that all Christian mystics have faced when he states (almost in complaint) that he was "caught up into paradise, and heard secret words, which it is not granted to man to utter" (2 Cor 12.3). His account of his raptures and visions is nevertheless magnificent prose. St. Augustine hints at something of the same difficulty in expressing the ineffable when he says: "Thee when first I saw, Thou liftedst me up, that I might see there was something which I might see, and that as yet I was not the man to see it" (Confessions, tr. Watts [London 1912] 1.373). But Augustine overleaped the barrier of expression to give the world in the Confessions, and indeed in much of his other work, abiding literary masterpieces. The influence of neoplatonism gave a distinct literary quality to the work of Dionysius the Areopagite (see pseudo-dionysius), one of the great shapers of subsequent Christian mysticism.

The Middle Ages saw a great flowering of mysticism. Most of the accounts of mystical experience are superb in the fervent tenderness and modesty that make them gems of affective literature.