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

vent to his pleasure, Mrs. Aldwinkle, smiling as it were below the surface of her face, led me to the foot of the statue. “Look!” she said. It was one of those pretty peepshows on which, for the sake of five minutes’ amusement and titillation of the eye, Grand Monarchs used to spend the value of a rich province. From the central arch of the arcade a flight of marble steps climbed up to where, set against a semicircle of cypresses, at the crest of the hill, a little round temple played gracefully at paganism, just as the buskined and corseleted statue in the court below played heroically at Plutarch.

“And now look here!” said Mrs. Aldwinkle; and taking me round to the other side of the statue, she led me towards a great door in the centre of the long range of buildings opposite the arcade. It was open; a vaulted corridor, like a tunnel, led clean through the house. Through it I could see the blue sky and the remote horizon of the sea. We walked along it; from the further threshold I found myself looking down the flight of steps which I had seen from below, at the entrance gate. It was a stage scene, but made of solid marble and with growing trees.

“What do you think of that?” asked Mrs. Aldwinkle.

“Magnificent,” I answered, with an enthusiasm that was beginning to be tempered by a growing physical weariness.

“Such a view,” said Mrs. Aldwinkle, poking at it with the tip of her sunshade. “The contrast between the cypresses and the olive trees⁠ ⁠…”

“But the view’s still lovelier from the temple,” said the little niece, who was evidently very anxious to make me realize the full pricelessness of her Aunt Lilian’s possessions.

Mrs. Aldwinkle turned on her. “How utterly thoughtless you are!” she said severely. “Do try to remember that poor Mr. Chelifer is still suffering from the effects of his accident. And you expect him to go climbing up to the temple!”

The little niece blushed and drooped beneath the reproach. We sat down.

“How are you feeling now?” asked Mrs. Aldwinkle, remembering once more to be solicitous.⁠ ⁠… “Too appalling to think,” she added, “how nearly⁠ ⁠… And I’ve always so enormously admired your work.”

“So have I,” declared my colleague in the green frock. “Most awfully. Still, I confess, I find some of your things a little, how shall I say, a little alembicated. I like my poetry to be rather straightforwarder.”

“A very sophisticated desire,” said the red-faced gentleman. “Really simple, primitive people like their poetry to be as complicated, conventional, artificial and remote from the language of everyday affairs as possible. We reproach the eighteenth century with its artificiality. But the fact is that Beowulf is couched in a diction fifty times more complicated and unnatural than that of the Essay on Man. And when you compare the Icelandic Sagas with Dr. Johnson, you find that it’s the Doctor who lisps and prattles. Only the most complicated people, living in the midst of the most artificial surroundings, desire their poetry to be simple and straightforward.”

I shut my eyes and allowed the waves of conversation to roll over me. And what a classy conversation! Prince Papadiamantopoulos could hardly have kept the ball rolling on a higher level. Fatigue was sobering me.

Fatigue, the body’s weariness⁠—some industrious little scientific emmet ought to catalogue and measure all its various effects. All⁠—for it isn’t enough to show that when wage-slaves have worked too long they tend to fall into the machines and get pulped. The fact is interesting, no doubt; but there are other facts of no less significance. There is the fact, for example, that slight fatigue increases our capacity for sentiment. Those compromising love letters are always written in the small hours; it is at night, not when we are fresh and reposed, that we talk about ideal love and indulge our griefs. Under the influence of slight fatigue we feel more ready than at other times to discuss the problems of the universe, to make confidences, to dogmatize about the nature of God and to draw up plans for the future. We are also inclined to be more languidly voluptuous. When, however, the fatigue is increased beyond a certain point, we cease entirely to be sentimental, voluptuous, metaphysical or confiding. We cease to be aware of anything but the decrepitude of our being. We take no further interest in other people or the outside world⁠—no further interest unless they will not leave us in peace, when we come to hate them with a deep but ineffectual loathing, mingled with disgust.

With me, fatigue had almost suddenly passed the critical point. My convalescent’s delight in the world evaporated. My fellow beings no longer seemed to me beautiful, strange and amiable. Mrs. Aldwinkle’s attempts to bring me into the conversation exasperated me; when I looked at her, I thought her a monster. I realized, too late (which made the realization the more vexatious), what I had let myself in for when I accepted Mrs. Aldwinkle’s invitation. Fantastic surroundings, art, classy chats about the cosmos, the intelligentsia, love.⁠ ⁠… It was too much, even on a holiday.

I shut my eyes. Sometimes, when Mrs. Aldwinkle interpellated me, I said yes or no, without much regard to the sense of her remark. Discussion raged around me. From the alembication of my poetry they had gone on to art in general. Crikey, I said to myself, crikey.⁠ ⁠… I did my best to close the ears of my mind; and for some little time I did, indeed, contrive to understand nothing of what was said. I thought of Miss Carruthers, of Fluffy and Mr. Brimstone, of Gog’s Court and Mr. Bosk.

Mrs. Aldwinkle’s voice, raised by irritation to a peculiar loudness, made itself audible to my muffled mind. “How often have I told you, Cardan,” it said, “that you understand nothing of modern art?”

“At least a thousand times,” Mr. Cardan replied cheerfully. “But bless your heart,” he added (and I opened my eyes in time to see his benevolent smile), “I never mind at all.”

The smile was evidently