Those Barren Leaves - Aldous Huxley (e reader pdf best .TXT) 📗

in the hot shallows⁠—half-naked men like statues of copper, girls in bright tunics, little boiled shrimps instead of little boys, and sleek ponderous walruses with red heads, who were the matrons in their rubber caps and their wet black bathing garments. Here and there over the surface of the sea moved what the natives called patini⁠—catamarans made of a pair of boxed-in pontoons joined together near the ends and with a high seat for the rower in the middle. Slowly, trailing behind them as they went loud wafts of Italian gallantry, giggles and song, they crawled across the flat blueness. Sometimes, at the head of its white wake, its noise and its stink, a motor boat would pass, and suddenly my transparent mattress would rock beneath me, as the waves of its passage lifted me and let me drop and lifted me up again, more and ever more languidly, till all was once more smooth.

So much for that. The description, as I see now that I come to reread it, is not inelegant. For though I may not have played a hand of Bridge since I was eight and have never learned Mah Jong, I can claim at least to have studied the rules of style. I have learned the art of writing well, which is the art of saying nothing elaborately. I have acquired all the literary accomplishments. But then, if I may say so without fatuity, I also have a talent. “Nothing profits more than self-esteem founded on just and right.” I have Milton on my side to justify me in my assertion. When I write well, it is not merely another way of writing badly about nothing. In this respect my effusions differ a little from those of my cultured colleagues. I occasionally have something to say, and I find that the elegant but florid saying of it is as easy to me as walking. Not, of course, that I attach the slightest importance to that. I might have as much to say as La Rochefoucauld and as much facility for saying it as Shelley. But what of that? It would be great art, you say. No doubt; but what of that? It’s a queer prejudice, this one of ours in favour of art. Religion, patriotism, the moral order, humanitarianism, social reform⁠—we have all of us, I imagine, dropped all those overboard long ago. But we still cling pathetically to art. Quite unreasonably; for the thing has far less reason for existence than most of the objects of worship we have got rid of, is utterly senseless, indeed, without their support and justification. Art for art’s sake⁠—halma for halma’s sake. It is time to smash the last and silliest of the idols. My friends, I adjure you, put away the ultimate and sweetest of the inebriants and wake up at last completely sober⁠—among the dustbins at the bottom of the area steps.

This little digression will suffice, I hope, to show that I labour, while writing, under no illusions. I do not suppose that anything I do has the slightest importance, and if I take so much pains in imparting beauty and elegance to these autobiographical fragments, it is chiefly from force of habit. I have practised the art of literature so long that it comes natural to me to take the pains I have always taken. You may ask why I write at all, if I regard the process as being without importance? It is a pertinent question. Why do you do this inconsistent thing? I can only plead weakness in justification. On principle I disapprove of writing; on principle I desire to live brutishly like any other ordinary human being. The flesh is willing, but the spirit is weak. I confess I grow bored. I pine for amusements other than those legitimate distractions offered by the cinema and the Palais de Danse. I struggle, I try to resist the temptation; but in the end I succumb. I read a page of Wittgenstein, I play a little Bach; I write a poem, a few aphorisms, a fable, a fragment of autobiography. I write with care, earnestly, with passion even, just as if there were some point in what I were doing, just as if it were important for the world to know my thoughts, just as if I had a soul to save by giving expression to them. But I am well aware, of course, that all these delightful hypotheses are inadmissible. In reality I write as I do merely to kill time and amuse a mind that is still, in spite of all my efforts, a prey to intellectual self-indulgence. I look forward to a placid middle age when, having finally overcome the old Adam in me, finally quenched all the extravagant spiritual cravings, I shall be able to settle down in tranquillity to that life of the flesh, that natural human existence which still, I fear, seems to me so forbidding, so austerely monotonous, so tedious. I have not yet attained to that blessed state. Hence these divagations into art; let me beg forgiveness for them. And above all, let me implore you once more not to imagine that I attach the slightest importance to them. My vanity would be hurt if I thought you did.

Poor Mrs. Aldwinkle, for example⁠—there was someone who could never believe that I was not an art-for-arter. “But Chelifer,” she used to say to me in her aimed, intent, breathless way, “how can you blaspheme like that against your own talent?” And I would put on my most Egyptian air⁠—I have always been accused of looking like an Egyptian sculpture⁠—my most Sphingine smile, and say: “But I am a democrat; how can I allow my talent to blaspheme against my humanity?”⁠—or something enigmatic of that kind. Poor Mrs. Aldwinkle! But I run on too fast. I have begun to talk of Mrs. Aldwinkle and you do not know who Mrs. Aldwinkle is. Nor did I, for that matter, as I reclined that