Aldous Huxley: Frasi in inglese

Aldous Huxley era scrittore britannico. Frasi in inglese.
Aldous Huxley: 442 citazioni61 Mi piace

“Death is the only thing we haven't succeeded in completely vulgarizing.”

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Aldous Huxley libro Eyeless in Gaza

Eyeless in Gaza (1936)
Eyeless in Gaza (1936)

“These effects of mescalin are the sort of effects you could expect to follow the administration of a drug having the power to impair the efficiency of the cerebral reducing valve. When the brain runs out of sugar, the undernourished ego grows weak, can't be bothered to undertake the necessary chores, and loses all interest in those spatial and temporal relationships which mean so much to an organism bent on getting on in the world. As Mind at Large seeps past the no longer watertight valve, all kinds of biologically useless things start to happen. … Other persons discover a world of visionary beauty. To others again is revealed the glory, the infinite value and meaningfulness of naked existence, of the given, unconceptualized event.”

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Aldous Huxley libro Le porte della percezione

describing his experiment with mescaline, p. 26
The Doors of Perception (1954)

“The greater a man's talents, the greater his power to lead astray. It is better that one should suffer than that many be corrupted.”

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Aldous Huxley libro Il mondo nuovo

The Director, in Ch 10
Brave New World (1932)

“There has been a general trend in recent times toward a Unitarian mythology and the worship of one God. This is the tendency which it is customary to regard as spiritual progress. On what grounds? Chiefly, so far as one can see, because we in the Twentieth Century West are officially the worshippers of a single divinity. A movement whose consummation is Us must be progressive. Quod erat demonstrandum.”

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Aldous Huxley

“One and Many,” p. 16
Do What You Will (1928)

“It had been, when I read it, only a vaguely pregnant piece of nonsense. Now it was all as clear as day, as evident as Euclid. Of course the Dharma-Body of the Buddha was the hedge at the bottom of the garden. At the same time, and no less obviously, it was these flowers, it was anything that I—or rather the blessed Not-I, released for a moment from my throttling embrace—cared to look at.”

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Aldous Huxley libro Le porte della percezione

describing his experiment with mescaline, pp. 18-19
The Doors of Perception (1954)

“There was a time when I should have felt terribly ashamed of not being up-to-date. I lived in a chronic apprehension lest I might, so to speak, miss the last bus, and so find myself stranded and benighted, in a desert of demodedness, while others, more nimble than myself, had already climbed on board, taken their tickets and set out toward those bright but, alas, ever receding goals of Modernity and Sophistication. Now, however, I have grown shameless, I have lost my fears. I can watch unmoved the departure of the last social-cultural bus—the innumerable last buses, which are starting at every instant in all the world’s capitals. I make no effort to board them, and when the noise of each departure has died down, “Thank goodness!” is what I say to myself in the solitude. I find nowadays that I simply don’t want to be up-to-date. I have lost all desire to see and do the things, the seeing and doing of which entitle a man to regard himself as superiorly knowing, sophisticated, unprovincial; I have lost all desire to frequent the places and people that a man simply must frequent, if he is not to be regarded as a poor creature hopelessly out of the swim. “Be up-to-date!” is the categorical imperative of those who scramble for the last bus. But it is an imperative whose cogency I refuse to admit. When it is a question of doing something which I regard as a duty I am as ready as anyone else to put up with discomfort. But being up-to-date and in the swim has ceased, so far as I am concerned, to be a duty. Why should I have my feelings outraged, why should I submit to being bored and disgusted for the sake of somebody else’s categorical imperative? Why? There is no reason. So I simply avoid most of the manifestations of that so-called “life” which my contemporaries seem to be so unaccountably anxious to “see”; I keep out of range of the “art” they think is so vitally necessary to “keep up with”; I flee from those “good times” in the “having” of which they are prepared to spend so lavishly of their energy and cash.”

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Aldous Huxley

“Silence is Golden,” p. 55
Do What You Will (1928)

“To see ourselves as others see us is a most salutary gift. Hardly less important is the capacity to see others as they see themselves.”

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Aldous Huxley libro Le porte della percezione

Page 159
The Doors of Perception (1954)

“Never give children a chance of imagining that anything exists in isolation. Make it plain from the very beginning that all living is relationship. Show them relationships in the woods, in the fields, in the ponds and streams, in the village and in the country around it. Rub it in.”

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Aldous Huxley libro L'isola

Island (1962)

“My sympathies are, of course, with the Government side, especially the Anarchists; for Anarchism seems to me more likely to lead to desirable social change than highly centralized, dictatorial Communism.”

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Aldous Huxley

Authors Take Sides on the Spanish War (1937) edited by Nancy Cunard and publisehd by the Left Review

“To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as they are apprehended, directly and unconditionally, by Mind at Large — this is an experience of inestimable value to everyone and especially to the intellectual.”

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Aldous Huxley libro Le porte della percezione

The Doors of Perception (1954)

“Half of the human race lives in manifest obedience to the lunar rhythm; and there is evidence to show that the psychological and therefore the spiritual life, not only of women, but of men too, mysteriously ebbs and flows with the changes of the moon. There are unreasoned joys, inexplicable miseries, laughters and remorses without a cause. Their sudden and fantastic alternations constitute the ordinary weather of our minds. These moods, of which the more gravely numinous may be hypostasized as gods, the lighter, if we will, as hobgoblins and fairies, are the children of the blood and humours. But the blood and humours obey, among many other masters, the changing moon. Touching the soul directly through the eyes and, indirectly, along the dark channels of the blood, the moon is doubly a divinity.”

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Aldous Huxley

"Meditation on the Moon"
Music at Night and Other Essays (1931)

“To the gross senses the chair seems solid and substantial. But the gross senses and be refined by means of instruments. Closer observations are made, as the result of which we are forced to conclude that the chair is “really” a swarm of electric charges whizzing about in empty space. … While the substantial chair is an abstraction easily made from the memories of innumerable sensations of sight and touch, the electric charge chair is a difficult and far-fetched abstraction from certain visual sensations so excessively rare (they can only come to us in the course of elaborate experiments) that not one man in a million has ever been in the position to make it for himself. The overwhelming majority of us accept the electric-charge chair on authority, as good Catholics accept transubstantiation.”

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Aldous Huxley

“One and Many,” pp. 8–9
Do What You Will (1928)

“The modern world is still suffering from the native incapacity of the Jews to be political. The art of making and preserving a City, which we call be the Greek name, “Politics,” was never an indigenous growth among the Hebrews. The City of the Greeks and the other civilized nations of antiquity was hateful to them. Their ideas were essentially anti-political. The politics of Judaea, when there were any, were borrowed from the Egyptians and Babylonians and, later, from the Greeks. These borrowings were regarded with violent disapproval by the champions of Hebrew orthodoxy, who objected to organized civilization on two grounds. Some, like Amos, hated it just because it was civilization and not nomadic barbarism. It was in the desert that God had made his covenant with the Chosen Race, and in the desert there was nothing else to think about but God. So, Back to the Desert! was their war-cry. Others, the Ebionites, objected to civilization because it was hierarchical, because it made for social inequality. They gave prophetically indignant utterance to the envious hatred of the poor in cash and in spirit against the rich and talented and cultured. A pious and universal mediocrity was their ideal.”

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Aldous Huxley

“One and Many,” pp. 17–18
Do What You Will (1928)

“Sleep teaching was actually prohibited in England. There was something called liberalism. Parliament, if you know what that was, passed a law against it. The records survive. Speeches about liberty of the subject. Liberty to be inefficient and miserable. Freedom to be a round peg in a square hole.”

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Aldous Huxley libro Il mondo nuovo

Origine: Brave New World (1932), Ch. 3

“Words are good servants but bad masters.”

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Aldous Huxley

As quoted by Laura Huxley, in conversation with Alan Watts about her memoir This Timeless Moment (1968), in Pacifica Archives #BB2037 [sometime between 1968-1973])

“Well, I'd rather be unhappy than have the sort of false, lying happiness you were having here.”

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Aldous Huxley libro Il mondo nuovo

John, in Ch. 12
Brave New World (1932)

“Most kings and priests have been despotic, and all religions have been riddled with superstition.”

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Aldous Huxley libro Ritorno al mondo nuovo

Origine: Brave New World Revisited (1958), Chapter 6 (pp. 52-53)

“One right-thinking man thinks like all other right-thinking men of his time—that is to say, in most cases, like some wrong-thinking man of another time.”

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Aldous Huxley

“One and Many,” p. 12
Do What You Will (1928)

“I was sitting on the seashore, half listening to a friend arguing violently about something which merely bored me. Unconsciously to myself, I looked at a film, of sand I had picked up on my hand, when I suddenly saw the exquisite beauty of every little grain of it; instead of being dull, I saw that each particle was made up on a perfect geometrical pattern, with sharp angles, from each of which a brilliant shaft of light was reflected, while each tiny crystal shone like a rainbow.... The rays crossed and recrossed, making exquisite patterns of such beauty that they left me breathless. … Then, suddenly, my consciousness was lighted up from within and I saw in a vivid way how the whole universe was made up of particles of material which, no matter how dull and lifeless they might seem, were nevertheless filled with this intense and vital beauty. For a second or two the whole world appeared as a blaze of glory. When it died down, it left me with something I have never forgotten and which constantly reminds me of the beauty locked up in every minute speck of material around us.”

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Aldous Huxley libro Heaven and Hell

Origine: Heaven and Hell (essay) (1954), p. 77-78