Those Barren Leaves, Aldous Huxley [best ereader for textbooks .txt] 📗

intimate conviction that anything may happen, anything may be discovered⁠—another war, the artificial creation of life, the proof of continued existence after death⁠—why, it’s all infinitely exhilarating.”

“And the possibility that everything may be destroyed?” questioned Mr. Cardan.

“That’s exhilarating too,” Calamy answered, smiling.

Mr. Cardan shook his head. “It may be rather tame of me,” he said, “but I confess, I prefer a more quiet life. I persist that you made a mistake in so timing your entry into the world that the period of your youth coincided with the war and your early maturity with this horribly insecure and unprosperous peace. How incomparably better I managed my existence! I made my entry in the late fifties⁠—almost a twin to The Origin of Species.⁠ ⁠… I was brought up in the simple faith of nineteenth-century materialism; a faith untroubled by doubts and as yet unsophisticated by that disquieting scientific modernism which is now turning the staunchest mathematical physicists into mystics. We were all wonderfully optimistic then; believed in progress and the ultimate explicability of everything in terms of physics and chemistry, believed in Mr. Gladstone and our own moral and intellectual superiority over every other age. And no wonder. For we were growing richer and richer every day. The lower classes, whom it was still permissible to call by that delightful name, were still respectful, and the prospect of revolution was still exceedingly remote. True, we were at the same time becoming faintly but uncomfortably aware that these lower classes led a rather disagreeable life, and that perhaps the economic laws were not quite so unalterable by human agency as Mr. Buckle had so comfortingly supposed. And when our dividends came rolling in⁠—I still had dividends at that time,” said Mr. Cardan parenthetically and sighed⁠—“came rolling in as regular as the solstices, we did, it is true, feel almost a twinge of social conscience. But we triumphantly allayed those twinges by subscribing to Settlements in the slums, or building, with a little of our redundant cash, a quite superfluous number of white-tiled lavatories for our workers. Those lavatories were to us what papal indulgences were to the less enlightened contemporaries of Chaucer. With the bill for those lavatories in our waistcoat pocket we could draw our next quarter’s dividends with a conscience perfectly serene. It justified us, too, even in our little frolics. And what frolics we had! Discreetly, of course. For in those days we couldn’t do things quite as openly as you do now. But it was very good fun, all the same. I seem to remember a quite phenomenal number of bachelor dinner parties at which ravishing young creatures used to come popping out of giant pies and dance pas seuls among the crockery on the table.” Mr. Cardan slowly shook his head and was silent in an ecstasy of recollection.

“It sounds quite idyl‑lic,” said Miss Thriplow, drawlingly. She had a way of lovingly lingering over any particularly rare or juicy word that might find its way into her sentences.

“It was,” Mr. Cardan affirmed. “And the more so, I think, because it was so entirely against the rules of those good old days, and because so much discretion did have to be used. It may be merely that I’m old and that my wits have thickened with my arteries; but it does seem to me that love isn’t quite so exciting now as it used to be in my youth. When skirts touch the ground, the toe of a protruding shoe is an allurement. And there were skirts, in those days, draping everything. There was no frankness, no seen reality; only imagination. We were powder magazines of repression and the smallest hint was a spark. Nowadays, when young women go about in kilts and are as barebacked as wild horses, there’s no excitement. The cards are all on the table, nothing’s left to fancy. All’s aboveboard and consequently boring. Hypocrisy, besides being the tribute vice pays to virtue, is also one of the artifices by which vice renders itself more interesting. And between ourselves,” said Mr. Cardan, taking the whole table into his confidence, “it can’t do without those artifices. There’s a most interesting passage on this subject in Balzac’s Cousine Bette. You remember the story?”

“Such a wonderful⁠ ⁠… !” exclaimed Mrs. Aldwinkle, with that large and indistinct enthusiasm evoked in her by every masterpiece of art.

“It’s where Baron Hulot falls under the spell of Madame Marneffe: the old beau of the empire and the young woman brought up on the Romantic Revival and early Victorian virtues. Let me see if I can remember it.” Mr. Cardan thoughtfully frowned, was silent for a moment, then proceeded in an almost flawless French. “ ‘Cet homme de l’empire, habitué au genre empire, devait ignorer absolument les façons de l’amour moderne, les nouveaux scrupules, les différentes conversations inventées depuis 1830, et où la “pauvre faible femme” finit par se faire considérer comme la victime des désirs de son amant, comme une sœur de charité qui panse des blessures, comme un ange qui se dévoue. Ce nouvel art d’aimer consomme énormément de paroles évangéliques à l’œuvre du diable. La passion est un martyre. On aspire à l’idéal, à l’infini de part et d’autre; l’on veut devenir meilleur par l’amour. Toutes ces belles phrases sont un prétexte à mettre encore plus d’ardeur dans la pratique, plus de rage dans les chutes (Mr. Cardan rolled out these words with a particular sonority) que par le passé. Cette hypocrisie, le caractère de notre temps a gangrené la galanterie.’ How sharp that is,” said Mr. Cardan, “how wide and how deep! Only I can’t agree with the sentiment expressed in the last sentence. For if, as he says, hypocrisy puts more ardour into the practice of love and more ‘rage in the chutes,’ then it cannot be said to have gangrened gallantry. It has improved it, revivified it, made it interesting. Nineteenth-century hypocrisy was a concomitant of nineteenth-century literary romanticism: an inevitable reaction, like that, against the excessive classicism of the eighteenth century. Classicism in