Project Gutenberg #60483
Antic Hay
Aldous Huxley
1923Huxley's postwar London satire, prepared chapter by chapter from Project Gutenberg plaintext.
Project Gutenberg #60483 Public domain in the United States Cover source Local typographic cover created for MojiMori from public-domain source metadata
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AI Summary
Chapter 6 — CHAPTER VI Central question What does Gumbril’s mews and workroom reveal? Main argument The novel shifts to Lypiatt’s poor, cramped artistic quarters and the city’s improvised habitats. The environment...
hand, blow a kiss and away you’d
go, forging ahead along the smooth, polished rails. But instead of that,
there were these dreadful accidents; the points were wrongly set, the
trains came crashing together; or people jumped on as you were passing
through the stations and made a nuisance of themselves and wouldn’t
allow themselves to be turned off. Poor Casimir! But he irritated her,
he was a horrible bore. She ought to have stopped seeing him.
“You can’t wholly dislike me, then?”
“But of course not, my poor Casimir!”
“If you knew how horribly I loved you!” He looked up at her
despairingly.
“But what’s the good?” said Mrs. Viveash.
“Have you ever known what it’s like to love some one so much that you
feel you could die of it? So that it hurts all the time. As though there
were a wound. Have you ever known that?”
Mrs. Viveash smiled her agonizing smile, nodded slowly and said,
“Perhaps. And one doesn’t die, you know. One doesn’t die.”
Lypiatt was leaning back, staring fixedly up at her. The tears were dry
on his face, his cheeks were flushed. “Do you know what it is,” he
asked, “to love so much, that you begin to long for the anodyne of
physical pain to quench the pain in the soul? You don’t know that.” And
suddenly, with his clenched fist, he began to bang the wooden dais on
which he was kneeling, blow after blow, with all his strength.
Mrs. Viveash leant forward and tried to arrest his hand. “You’re mad,
Casimir,” she said. “You’re mad. Don’t do that.” She spoke with anger.
Lypiatt laughed till his face was all broken up with the grimace, and
proffered for her inspection his bleeding knuckles. The skin hung in
little white tags and tatters, and from below the blood was slowly
oozing up to the surface. “Look,” he said, and laughed again. Then
suddenly, with an extraordinary agility, he jumped to his feet, bounded
from the dais and began once more to stride up and down the fairway
between his easel and the door.
“By God,” he kept repeating, “by God, by God. I feel it in me. I can
face the whole lot of you; the whole damned lot. Yes, and I shall get
the better of you yet. An Artist”—he called up that traditional ghost
and it comforted him; he wrapped himself with a protective gesture
within the ample folds of its bright mantle—“an Artist doesn’t fail
under unhappiness. He gets new strength from it. The torture makes him
sweat new masterpieces....”
He began to talk about his books, his poems and pictures; all the great
things in his head, the things he had already done. He talked about his
exhibition—ah, by God, that would astonish them, that would bowl them
over, this time. The blood mounted to his face; there was a flush over
the high projecting cheek-bones. He could feel the warm blood behind his
eyes. He laughed aloud; he was a laughing lion. He stretched out his
arms; he was enormous, his arms reached out like the branches of a
cedar. The Artist walked across the world and the mangy dogs ran yelping
and snapping behind him. The great wind blew and blew, driving him on;
it lifted him and he began to fly.
Mrs. Viveash listened. It didn’t look as though he would get much
further with the portrait.