By Harold Bloom
Aldous Huxley has been known as the 20 th century's resolution to the Renaissance philosopher. He won status from his utopian and dystopian fiction, together with courageous New global, element Counter element, Crome Yellow, and Ape and Essence. examine extra approximately Huxley throughout the paintings of revered critics incorporated during this textual content. This name, Aldous Huxley, a part of Chelsea apartment Publishers’ sleek severe perspectives sequence, examines the foremost works of Aldous Huxley via full-length serious essays by way of specialist literary critics. additionally, this identify incorporates a brief biography on Aldous Huxley, a chronology of the author’s existence, and an introductory essay written by way of Harold Bloom, Sterling Professor of the arts, Yale college.
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Extra info for Aldous Huxley (Bloom's Modern Critical Views)
In idyllic moments in “Scenes of the Mind,” a Wordsworthian God is seen in the waterfall or in the ﬂame of a ﬁre. However, in swift counterpoint the scene freezes into stone, causing “the death of gems” (75). Although Huxley cannot ultimately accept these colorﬁlled scenes of the mind as reality, they demonstrate the importance of color to the poet’s emerging mystical vision. Leda (1920) continues with poetry of disillusionment, and Huxley uses the myth of Leda and Jove as a framework for shaping the world’s chaos and Color and Light: Huxley’s Pathway to Spiritual Reality 31 perversion.
The darkness in the second stanza remains “static” and “rather undeveloped,” according to Donald Watt, but he also agrees that it expresses Huxley’s enduring theme of “the need for some guiding light in the dark night of the soul” (Meditative” 116–17). The seeds of Huxley’s developing ideas about the levels of vision in the external world also emerge in a compatible poem in The Burning Wheel. In “Two Realities” “I,” possibly the poet, sees life in its brilliant colors—“A waggon passed with scarlet wheels / And a yellow body, shining new” and feels a sense of the beauty of life.
As Denis and Anne take a morning tour of the grounds at Crome, Denis sees: That part of the garden that sloped down from the foot of the terrace to the pool had a beauty which did not depend on colour 34 SALLY A. PAULSELL so much as on forms. It was as beautiful by moonlight as in the sun. The silver of water, the dark shapes of yew and ilex trees remained, at all hours and seasons, the dominant features of the scene. It was a landscape in black and white. For colour there was the ﬂowergarden; it lay to one side of the pool, separated from it by a huge Babylonian wall of yews.