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

How charming is divine philosophy! Astrology, alchemy, phrenology and animal magnetism, the N-rays, ectoplasm and the calculating horses of Elberfield⁠—these have had their turn and passed. We need not regret them; for we can boast of a science as richly popular, as easy and as all-explanatory as ever were phrenology or magic. Gall and Mesmer have given place to Freud. Filippo Lippi once had a bump of art. He is now an incestuous homosexualist with a bent towards anal-erotism. Can we doubt any longer that human intelligence progresses and grows greater? Fifty years hence, what will be the current explanation of Filippo Lippi? Something profounder, something more fundamental even than faeces and infantile incestuousness; of that we may be certain. But what, precisely what, God alone knows. How charming is divine philosophy!

“I like vese paintings,” Lord Hovenden whispered to Irene.

They set out again. Over the pass of the Somma, down the long winding gorge to Terni.

On across the plain (the mountains bristling jaggedly all round) and up the hill to Narni; Narni that hangs precariously on the brink of its deep precipitous valley; on into the Sabine hills.

Sabine, Sabine⁠—how wildly the mere word deviated the machine from its course! Eheu, fugaces, how the days draw in⁠—was not that first said, first elegantly and compellingly said, in a Sabine farm? And the Sabine women! Only Rubens knew what they looked like and how they ought to be raped. How large and blonde they were! What glossy satin dresses they had on, what pearls! And their Roman ravishers were tanned as brown as Indians. Their muscles bulged; their eyes, their polished armour flashed. From the backs of their prancing horses they fairly dived into the foaming sea of female flesh that splashed and wildly undulated around them. The very architecture became tumultuous and orgiastic. Those were the high old times. Climbing from Narni, they drove into the heart of them.

But other artists than Peter Paul had passed this way. He painted only the Sabine name; they, the scene. An ancient shepherd, strayed from one of Piranesi’s ruins, watched them from a rock above the road, leaning on his staff. A flock of goats, kneeling ruminatively in the shade of an oak tree, their black bearded faces, their twisted horns sharply outlined against the bright blue sky, grouped themselves professionally⁠—good beasts! they had studied the art of pictorial composition under the best masters⁠—in momentary expectation of Rosa da Tivoli’s arrival. And the same Italianizing Dutchman was surely responsible for that flock of dusty sheep, those dogs, those lads with staves and that burly master shepherd, dressed like a capripede in goatskin breeches and mounted on the back of a little donkey, whose smallness contributed by contrast to the portly dignity of its rider. Nor were Dutchmen and Flemings the only foreign painters in this Italian scene. There were trees, there were glades in the woods, there were rocks that belonged by right of conquest to Nicolas Poussin. Half close the eyes, and that grey stone becomes a ruined sepulchre: Et ego in Arcadia⁠ ⁠… ; the village there, on the hilltop, across the valley, flowers into a little city of colonnades and cupolas and triumphal arches, and the peasants working in the fields are the people of a transcendental Arcadia gravely and soberly engaged in pursuing the True, the rationally Good and Beautiful. So much for the foreground and the middle distance. But suddenly, from the crest of a long descent, the remote wide background of Poussin’s ideal world revealed itself: the vale of the Tiber, the broken plain of the Campagna, and in the midst⁠—fantastic, improbable⁠—the solitary cone of Mount Soracte, dim and blue against the blue of the sky.

III

From the heights of the Pincio Mr. Falx denounced the city that lay spread out below him.

“Marvellous, isn’t it?” Mrs. Aldwinkle had said. Rome was one of her private properties.

“But every stone of it,” said Mr. Falx, “raised by slave labour. Every stone! Millions of wretches have sweated and toiled and died”⁠—Mr. Falx’s voice rose, his language became richer and richer, he gesticulated as though he were addressing a public meeting⁠—“in order that these palaces, these stately churches, these forums, amphitheatres, cloaca maximas and what-nots might be here today to gratify your idle eyes. Is it worth it, I ask you? Is the momentary gratification of a few idlers a sufficient reason for the secular oppression of millions of human beings, their brothers, their equals in the eyes of God? Is it, I ask again? No, a thousand times no.” With his right fist Mr. Falx thumped the open palm of his left hand. “No!”

“But you forget,” said Mr. Cardan, “there’s such a thing as a natural hierarchy.” The words seemed to remind him of something. He looked round. At one of the little tea-tables grouped round the bandstand at the other side of the road, Miss Elver, dressed in her sack of flowered upholstery, was eating chocolate éclairs and meringues, messily, with an expression of rapture on her cream-smeared face. Mr. Cardan turned back and continued: “There are a few choice Britons who never never will be slaves, and a great many who not only will be slaves, but would be utterly lost if they were made free. Isn’t it so?”

“Specious,” said Mr. Falx severely. “But does the argument justify you in grinding the life out of a million human beings for the sake of a few works of art? How many thousand workmen and their wives and children lived degraded lives in order that St. Peter’s might be what it is?”

“Well, as a matter of fact, St. Peter’s isn’t much of a work of art,” said Mrs. Aldwinkle scornfully, feeling that she had scored a decided point in the argument.

“If it’s a question of degraded lives,” put in Chelifer, “let me make a claim for the middle classes rather than the workers. Materially, perhaps, they may live a little better; but morally and spiritually, I assure you, they stand at the very heart of reality. Intellectually,