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

On Easter Sunday my father, who considered a walk among the mountains as the equivalent of churchgoing, suggested that we should climb to the top of Snowdon. We started early; it was cold; white misty clouds shut off the distant prospects. Silently we trudged upwards through the snow. Like the page of King Wenceslas I followed in my father’s footsteps, treading in the holes he had kicked in the snow. Every now and then he would look round to see how I was getting on. Icy dewdrops hung in his brown beard. Gravely he smiled down on me as I came panting up, planting my small feet in his large tracks. He was a huge man, tall and broad-shouldered, with a face that might have been the curly-bearded original of one of those Greek busts of middle-aged statesmen or philosophers. Standing beside him, I always felt particularly small and insignificant. When I had come up with him, he would pat me affectionately on the shoulder with his large heavy hand, then turning his face towards the heights he addressed himself once more to the climb. Not a word was spoken.

As the sun mounted higher, the clouds dispersed. Through the rifted mist we saw the sky. Great beams of yellow light went stalking across the slopes of snow. By the time we reached the summit the sky was completely clear; the landscape opened out beneath us. The sun was shining brightly, but without heat; the sky was pale blue, remote and icy. Every northern slope of the glittering hills was shadowed with transparent blues or purples. Far down, to the westward, was the scalloped and indented coast, and seeming in its remoteness utterly calm, the grey sea stretched upwards and away towards the horizon. We stood there for a long time in silence, gazing at the astonishing landscape. Sometimes, I remember, I stole an anxious look at my father. What was he thinking about? I wondered. Huge and formidable he stood there, leaning on his ice-axe, turning his dark bright eyes slowly and meditatively this way and that. He spoke no word. I did not dare to break the silence. In the end he straightened himself up. He raised his ice-axe and with an emphatic gesture dug the pointed ferrule into the snow. “Bloody fine!” he said slowly in his deep, cavernous voice. He said no more. In silence we retraced our steps towards the Pen-y-pass Hotel.

But my father had not, as I supposed, spoken his last word. When we were about halfway down I was startled and a little alarmed to hear him suddenly begin to speak. “For I have learned,” he began abruptly (and he seemed to be speaking less for my benefit than to himself), “to look on nature, not as in the hour of thoughtless youth; but hearing oftentimes the still sad music of humanity, not harsh, nor grating, but of ample power to chasten and subdue. And I have felt a presence that disturbs me with the joy of elevated thoughts; a sense sublime of something far more deeply interfused, whose dwelling is the light of setting suns and the round ocean and the living air, and the blue sky, and in the minds of men.” I listened to him with a kind of terror. The strange words (I had no idea at that time whence they came) reverberated mysteriously in my mind. It seemed an oracle, a divine revelation. My father ceased speaking as abruptly as he had begun. The words hung, as it were, isolated in the midst of his portentous silence. We walked on. My father spoke no more till on the threshold of the inn, sniffing the frozen air, he remarked with a profound satisfaction: “Onions!” And then, after a second sniff: “Fried.”

“A sense of something far more deeply interfused.” Ever since that day those words, pronounced in my father’s cavernous voice, have rumbled through my mind. It took me a long time to discover that they were as meaningless as so many hiccups. Such is the nefarious influence of early training.

My father, however, who never contrived to rid himself of the prejudices instilled into him in childhood, went on believing in his Wordsworthian formulas till the end. Yes, he too, I am afraid, would have preferred the precocious larks to my maturer lucubrations. And yet, how competently I have learned to write! In mere justice to myself I must insist on it. Not, of course, that it matters in the least. The larks might be my masterpiece; it would not matter a pin. Still, I insist. I insist.⁠ ⁠…

V

“Quite the little poet”⁠—how bitterly poor Keats resented the remark! Perhaps because he secretly knew that it was just. For Keats, after all, was that strange, unhappy chimaera⁠—a little artist and a large man. Between the writer of the Odes and the writer of the letters there is all the gulf that separates a halma player from a hero.

Personally, I do not go in for heroic letters. I only modestly lay claim to being a competent second-class halma player⁠—but a good deal more competent, I insist (though of course it doesn’t matter), than when I wrote about the larks. “Quite the little poet”⁠—always and, alas, incorrigibly I am that.

Let me offer you a specimen of my matured competence. I select it at random, as the reviewers say, from my long-projected and never-to-be-concluded series of poems on the first six Caesars. My father, I flatter myself, would have liked the title. That, at any rate, is thoroughly Wordsworthian; it is in the great tradition of that immortal “Needle Case in the Form of a Harp.” “Caligula Crossing the Bridge of Boats Between Baiae and Puteoli. By Peter Paul Rubens (b. 1577: d. 1640).” The poem itself, however, is not very reminiscent of the Lake District.

Prow after prow the floating ships
Bridge the blue gulf; the road is laid.
And Caesar on a piebald horse
Prances with all his cavalcade.

Drunk with their own quick