Those Barren Leaves by Aldous Huxley (100 books to read txt) 📕
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Mrs. Aldwinkle, an English aristocrat of a certain age, has purchased a mansion in the Italian countryside. She wishes to bring a salon of intellectual luminaries into her orbit, and to that end she invites a strange cast of characters to spend time with her in her palazzo: Irene, her young niece; Ms. Thriplow, a governess-turned-novelist; Mr. Calamy, a handsome young man of great privilege and even greater ennui; Mr. Cardan, a worldly gentleman whose main talent seems to be the enjoyment of life; Hovenden, a young motorcar-obsessed lord with a speech impediment; and Mr. Falx, a socialist leader. To this unlikely cast is soon added Mr. Chelifer, an author with an especially florid, overwrought style that is wasted on his day job as editor of The Rabbit Fancier’s Gazette, and the Elvers, a scheming brother who is the guardian of his mentally-challenged sister.
As this unlikely group mingles, they discuss a great many grand topics: love, art, language, life, culture. Yet very early on the reader comes to realize that behind the pompousness of their elaborate discussions lies nothing but vacuity—these characters are a satire of the self-important intellectuals of Huxley’s era.
His skewering of their intellectual barrenness continues as the group moves on to a trip around the surrounding country, in a satire of the Grand Tour tradition. The party brings their English snobbery out in full force as they traipse around Rome, sure of nothing else except in their belief that Italy is culturally superior simply because it’s Italy.
As the vacation winds down, we’re left with a biting lampoon of the elites who suppose themselves to be at the height of art and culture—the kinds of personalities that arise in every generation, sure of their own greatness but unable to actually contribute anything to the world of art and culture that they feel is so important.
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- Author: Aldous Huxley
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Calamy agreed. Agreeing, he had found, was a laboursaving device—positively a necessity in this Ideal Home. He always tried to agree with Mrs. Aldwinkle.
“And how clearly one sees the Great Bear!” Mrs. Aldwinkle went on, speaking almost perpendicularly upwards into the height of heaven. The Bear and Orion were the only constellations she could recognize. “Such a strange and beautiful shape, isn’t it?” It might almost have been designed by the architect of the Malaspina palace.
“Very strange,” said Calamy.
Mrs. Aldwinkle dropped her eyes from the zenith, turned and smiled at him, penetratingly, forgetting that in the profound and moonless darkness her charm would be entirely wasted.
Miss Thriplow’s voice spoke softly, with a kind of childish drawl through the darkness. “They might be Italian tenors,” she said, “tremoloing away like that so passionately in the sky. No wonder, with those stars overhead, no wonder life tends to become a bit operatic in this country at times.”
Mrs. Aldwinkle was indignant. “How can you blaspheme like that against the stars?” she said. Then, remembering that she had also bought Italian music, not to mention the habits and customs of the whole Italian people, she went on: “Besides, it’s such a cheap joke about the tenors. After all, this is the only country where bel canto is still …” She waved her hand. “And you remember how much Wagner admired what’s-his-name. …”
“Bellini,” prompted the little niece as self-effacingly as possible. She had heard her aunt speak of Wagner’s admiration before.
“Bellini,” repeated Mrs. Aldwinkle. “Besides, life isn’t operatic in Italy. It’s genuinely passionate.”
Miss Thriplow was, for a moment, rather at a loss for an answer. She had a faculty for making these little jokes; but at the same time she was so very much afraid that people might regard her as merely clever and unfeeling, a hard and glittering young woman. Half a dozen smart repartees were possible, of course; but then she mustn’t forget that she was fundamentally so simple, so Wordsworthian, such a violet by a mossy stone—particularly this evening, in her shawl.
However much we should like to do so, however highly, in private, we think of our abilities, we generally feel that it is bad form to boast of our intelligence. But in regard to our qualities of heart we feel no such shame; we talk freely of our kindness, bordering on weakness, of our generosity carried almost to the point of folly (tempering our boasting a little by making out that our qualities are so excessive as to be defects). Miss Thriplow, however, was one of those rare people so obviously and admittedly clever that there could be no objection to her mentioning the fact as often as she liked; people would have called it only justifiable self-esteem. But Miss Thriplow, perversely, did not want to be praised or to praise herself for her intelligence. She was chiefly anxious to make the world appreciative of her heart. When, as on this occasion, she followed her natural bent towards smartness too far, or when, carried away by the desire to make herself agreeable in flashing company, she found herself saying something whose brilliance was not in harmony with the possession of simple and entirely natural emotions, she would recollect herself and hastily try to correct the misapprehension she had created among her hearers. Now, therefore, at the end of a moment’s lightning meditation, she managed to think of a remark which admirably combined, she flattered herself, the most genuine feeling for Nature with an elegantly recondite allusion—this last for the benefit particularly of Mr. Cardan, who as a scholarly gentleman of the old school was a great appreciator and admirer of learning.
“Yes, Bellini,” she said rapturously, picking up the reference from the middle of Mrs. Aldwinkle’s last sentence. “What a wonderful gift of melody! Casta diva—do you remember that?” And in a thin voice she sang the first long phrase. “What a lovely line the melody traces out! Like the line of those hills against the sky.” She pointed.
On the further side of the valley to westward of the promontory of hill on which the palace stood, projected a longer and higher headland. From the terrace one looked up at its huge impending mass. … It was at this that Miss Thriplow now pointed. With her forefinger she followed the scalloped and undulating outline of its silhouette.
“Even Nature, in Italy, is like a work of art,” she added.
Mrs. Aldwinkle was mollified. “That’s very true,” she said; and stepping out, she began the evening’s promenading along the terrace. The train of her velvet robe rustled after her over the dusty flagstones. Mrs. Aldwinkle didn’t mind in the least if it got dirty. It was the general effect that mattered; stains, dust, clinging twigs and millepedes—those were mere details. She treated her clothes, in consequence, with a fine aristocratic carelessness. The little troop followed her.
There was no moon; only stars in a dark blue firmament. Black and flat against the sky, the Herculeses and the bowed Atlases, the kilted Dianas and the Venuses who concealed their charms with a two-handed gesture of alluring modesty, stood, like as many petrified dancers, on the piers of the balustrade. The stars looked between them. Below, in the blackness of the plain, burned constellations of yellow lights. Unremittingly, the croaking of frogs came up, thin, remote, but very clear, from invisible waters.
“Nights like this,” said Mrs. Aldwinkle, halting and addressing herself with intensity to Calamy, “make one understand the passion of the South.” She had an alarming habit, when she spoke to anyone at all intimately or seriously, of approaching her face very close to that of her interlocutor, opening her eyes to their fullest extent and staring for a moment with the fixed penetrating stare of an oculist examining his patient.
Like trucks at the tail of a suddenly braked locomotive, Mrs. Aldwinkle’s guests came joltingly to a stop when she stopped.
Calamy nodded. “Quite,” he said, “quite.” Even in this faint starlight, he noticed, Mrs. Aldwinkle’s eyes glittered
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