Aldous Huxley

Aldous Huxley

Summary

Portrait of Aldous Huxley Aldous Huxley Those barren leaves (1925)

Everything arises from a great primeval animal stupidity. That is the deepest of all realities—stupidity, the being unaware.
And the aware, the not stupid—they are the odd exceptions, they are irrelevant to the great reality, they are lies like the ideal of love, like dreams of the future, like belief in justice. To live among their works is to live in a world of bright falsehoods, apart from the real world, it is to escape. Escape is cowardly; to be comforted by what is untrue or what is irrelevant to the world in which we live is stupid.
Source: Gutenberg

Portrait of Aldous Huxley Aldous Huxley Those barren leaves (1925)

The guide put out his lamp and shut the door upon the Etruscan ghosts. They walked for a few hundred yards through geological time—between the sea and the hills, under the floating clouds; on the sky-line the Middle Ages pricked up their towers; the smudged and flattened relics of Etruria undulated almost imperceptibly under the grass; from the Roman road in the plain below came up the distant hooting of a motor car.
The sound of the motor horn aroused Irene from the thoughtful trance in which, sad-faced and childish, this time, pathetically, she was walking.
Source: Gutenberg

Portrait of Aldous Huxley Aldous Huxley Those barren leaves (1925)

It was the same with the landscape. It was hers down to the remote horizon, and nobody but she could really give it its due. And then, how she appreciated the Italians! Ever since she had bought a house in Italy, she had become the one foreigner who knew them intimately. The whole peninsula and everything it contained were her property and her secret. She had bought its arts, its music, its melodious language, its literature, its wine and cooking, the beauty of its women and the virility of its Fascists. She had acquired Italian passion: cuore, amore and dolore were hers.
Source: Gutenberg

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