By Harold Bloom
Aldous Huxley has been referred to as the 20 th century's resolution to the Renaissance philosopher. He won repute from his utopian and dystopian fiction, together with courageous New international, element Counter element, Crome Yellow, and Ape and Essence. examine extra approximately Huxley in the course of the paintings of revered critics integrated during this textual content. This identify, Aldous Huxley, a part of Chelsea apartment Publishers’ glossy severe perspectives sequence, examines the key works of Aldous Huxley via full-length severe essays by way of professional literary critics. moreover, this name incorporates a brief biography on Aldous Huxley, a chronology of the author’s lifestyles, and an introductory essay written by way of Harold Bloom, Sterling Professor of the arts, Yale college.
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Additional info for Aldous Huxley (Bloom's Modern Critical Views)
The mountains and stones have a richer gloss, a livelier transparency and intensity of hue” (217). Plato writes not merely about a metaphysical idea but also about another inner world which has landscape and beautiful regions of memory, fantasy, imagination, dreams, and—most remote—“the world of visions” (218). Huxley explains the importance of light and color in this world of visions: This experience of the pure light of the void is a visionary experience of what may be called the highest, the most mystical, kind.
NOTES 1. ), ix. 2. ), 1–2. 3. , 1971), 166–167. 4. Brave New World, viii–ix. 5. Tomorrow and Tomorrow and Tomorrow (New York, 1956), 1. 6. Ends and Means (New York, 1937), 11. 7. The Devils of Loudun (New York, 1953), 67. 8. , 69. 9. , 313–327. 10. “Obstacle Race,” The Adelphi, April 1931, 40, 41. 24 JOHN ATTARIAN 11. Democracy and Leadership (Indianapolis, 1979), 28. 12. “Obstacle Race,” 40. 13. , 1931), 101–102, 105. 14. “The Substitutes for Religion,” in Huxley, Proper Studies (London, 1927), 207–229.
Denis prostitutes his art while Gombauld strives to complete his creative vision. Gombauld’s half-ﬁnished picture inspired by Caravaggio involves a man fallen from a horse: A white, relentless light poured down from a point in the right foreground. The beast, the fallen man, were sharply illuminated; round them, beyond and behind them, was the night. … A central gulf of darkness surrounded by luminous forms. (53) According to Sir Kenneth Clark, the picture being imitated is Caravaggio’s “Conversion of St.
Aldous Huxley (Bloom's Modern Critical Views) by Harold Bloom