Cover image for Complete essays
Complete essays
Huxley, Aldous, 1894-1963.
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Physical Description:
volumes <1, 3-6, > : illustrations ; 25 cm
v. 1. 1920-1925 -- v. 2. 1926-1929 -- v. 3. 1930-1935 -- v. 4. 1936-1938 -- v. 5. 1939-1956 -- v. 6. 1956-1963.





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PR6015.U9 A6 2000 Adult Non-Fiction Central Closed Stacks
PR6015.U9 A6 2000 V.2 Adult Non-Fiction Central Closed Stacks
PR6015.U9 A6 2000 V.3 Adult Non-Fiction Central Closed Stacks
PR6015.U9 A6 2000 V.4 Adult Non-Fiction Central Closed Stacks
PR6015.U9 A6 2000 V.5 Adult Non-Fiction Central Closed Stacks
PR6015.U9 A6 2000 V.6 Adult Non-Fiction Central Closed Stacks

On Order



These first two volumes of a projected five, in preparation for several years, begin a major publishing venture, collecting the complete essays of one of the giants of modern English prose and of social commentary in our time. The first two volumes span the most productive period of Huxley's career. Volume I begins with his essays for Gilbert Murray's Athenaeum and his music essays for the New Westminster Gazette. Volume II continues through the 1920s and includes his controversial essays on India and the empire in "Jesting Pilate." The essays of both volumes range from nuanced assessments of art and architecture to political analyses, history, science, religion, and art, and a newly discovered series on music. Wide-ranging, allusive, and witty, they are informed by the probing skepticism of a highly educated and ironically incisive member of the English upper middle class. Huxley's fascination with the codes and conventions of European culture, his growing apprehensions about the menacing collapse of the European political order, and his awareness of the impact of science and technology on the post-Versailles world of England, France, Germany, and the United States form the basis for his critique. His subjects overlap with the satirical novels he wrote during the period between the wars, culminating in Point Counter Point and Brave New World. At their best, these essays stand among the finest examples of the genre in modern literature.

Author Notes

Aldous Huxley was born on July 26, 1894, in Surrey, England, into a distinguished scientific and literary family; his grandfather was the noted scientist and writer, T.H. Huxley. Following an eye illness at age 16 that resulted in near-blindness, Huxley abandoned hope of a career in medicine and turned instead to literature, attending Oxford University and graduating with honors.

While at Oxford, he published two volumes of poetry. Crome Yellow, his first novel, was published in 1927 followed by Antic Hay, Those Barren Leaves, and Point Counter Point. His most famous novel, Brave New World, published in 1932, is a science fiction classic about a futuristic society controlled by technology. In all, Huxley produced 47 works during his long career,

In 1947, Huxley moved with his family to southern California. During the 1950s, he experimented with mescaline and LSD. Doors of Perception and Heaven and Hell, both works of nonfiction, were based on his experiences while taking mescaline under supervision.

In 1959, Aldous Huxley received the Award of Merit for the Novel from the American Academy of Arts and Letters. He died on November 22, 1963.

(Bowker Author Biography)

Reviews 1

Choice Review

Totaling more than 1,000 pages, these first two volumes (of a projected six) comprise Huxley's miscellaneous writings of the 1920s, when he established his reputation as a satirical novelist. Each volume begins with an informative analysis of what concerned and interested Huxley and how his values and views were coalescing into the preoccupations characteristic of his maturity: the irresistible influence of technology, the drift toward political regimentation, the transformation of religious consciousness, and the necessity of some reconciliation of science with religious mysticism (as June Deery discusses in Aldous Huxley and the Mysticism of Science, CH, Jun'97). These volumes show his immensely varied interests in art, literature, architecture, politics, religion, science, psychology, education, and travel to be far from coherent; he appears as a diligent but harried dilettante very much in tune with the literary modernism of the decade. His ready observations and well-turned opinions on every subject--the Taj Mahal, the religion of the future, concerts (the volume includes 125 pages of reviews), kinds of intelligence--display omnivorous curiosity and judgmental facility. Huxley's sophisticated aplomb and ironic distance from his subject matter sharply distinguish him from passionately engaged contemporaries like Lawrence and Orwell. This attractively produced collection fills a real need, and its continuation promises to illuminate subsequent decades of Huxley's remarkable intellectual journey. All collections. A. R. Vogeler emeritus, California State University, Fullerton

Table of Contents

A Note on This Editionp. xiii
Introductionp. xv
I. Architecture, Painting, Literature
Proust: The Eighteenth-Century Methodp. 5
A Ghost of the Ninetiesp. 8
(On Essays)p. 11
(Proust and Best-Sellers)p. 13
(Godwin and Bailey)p. 15
(Balzac and Social History)p. 18
(Aristocracy and Literature)p. 20
(Alfieri)p. 23
(Bacon's Symbolism)p. 26
The Cry for a Messiah in the Artsp. 28
The Modern Spirit and a Family Partyp. 32
Marie Laurencin: A Woman of Geniusp. 38
A Film with a Warningp. 40
The Salzburg Festivalp. 46
The Portraits of Augustus Johnp. 50
Royalty and a Caricaturep. 54
Centenariesp. 59
On Re-reading Candidep. 63
Subject-Matter of Poetryp. 66
Water Musicp. 70
Bibliophilyp. 73
Accumulationsp. 75
On Deviating into Sensep. 77
Polite Conversationp. 80
Nationality in Lovep. 84
How the Days Draw Inp. 86
Beauty in 1920p. 90
Great Thoughtsp. 93
Advertisementsp. 95
Euphues Redivivusp. 98
The Author of Eminent Victoriansp. 101
Edward Thomasp. 104
A Wordsworth Anthologyp. 107
Verhaerenp. 109
Edward Learp. 112
Sir Christopher Wrenp. 115
Ben Jonsonp. 119
Chaucerp. 126
How to Write a Tragedyp. 139
The Importance of the Comic Geniusp. 146
A Ballet in the Modernist Mannerp. 150
Fashions in Visual Imageryp. 153
Popular Literaturep. 157
Art and Lifep. 161
The Spread of Bad Artp. 166
What, Exactly, Is Modern?p. 170
Where Are the Movies Moving?p. 174
The Pleasant and the Unpleasantp. 177
Books for the Journeyp. 180
Sabbionetap. 184
Breughelp. 190
Rimini and Albertip. 199
Conxolusp. 205
The Best Picturep. 209
The Pierian Springp. 215
The Mystery of the Theaterp. 220
II. Music
Brahmsp. 227
Busoni, Dr. Burney, and Othersp. 229
The Interpreter and the Creatorp. 230
Good-Popular Musicp. 232
Instruction with Pleasurep. 233
Emotional Contributionsp. 235
Light Opera and the New Stravinskyp. 237
The Mysteries of Musicp. 238
Some Easter Musicp. 240
Music and Machineryp. 242
Beethoven's Quartetsp. 243
Singing and Things Sungp. 245
Patriotism and Criticismp. 247
The Criticism of Musicp. 249
A Problem of Musical Historyp. 252
The Question of Formp. 253
Literary Musicp. 255
A Few Complaintsp. 257
Mr. Lawrence's Marchionessp. 259
Supplementing the Concertsp. 261
Orientalism in Musicp. 263
Music in a Museump. 265
Popular Tunes--Past and Presentp. 267
Let Us Now Praise Famous Menp. 269
Thayer's Beethovenp. 272
The Salzburg Festival--Ip. 274
The Salzburg Festival--IIp. 276
The Salzburg Festival--IIIp. 278
Mozart at Salzburgp. 280
Popular Music in Italyp. 282
Some Very Young Musicp. 284
Reflections in the Promenadep. 286
Busoni Againp. 288
Reflections in the Concert Roomp. 290
New Friends and Oldp. 292
Variationsp. 294
Music and Politicsp. 295
An Orlando Gibbons Concertp. 297
The Arnold Bax Concertp. 299
Temporaries and Eternalsp. 301
Verdi and Palestrinap. 303
Round About Don Juanp. 305
Delius and the Nature-Emotionp. 307
Bad Musicp. 309
Music in the Encyclopaediap. 311
Going to the Operap. 313
Handel, Polly, and Ourselvesp. 315
Music Clubsp. 316
Cherubini--Emotion and Formp. 318
Madrigals and Program Musicp. 320
The Hymn and the Dreamp. 321
Barbarism in Musicp. 323
Notes on a Pianist and on Pianosp. 325
A Mozart Programp. 327
Contemporaneousnessp. 329
Bach and Handelp. 332
Books About Musicp. 334
What Are the Wild Waves Saying?p. 336
Brahms's Birthdayp. 337
Opera, Marionettes, and Battistinip. 339
Eclecticismp. 341
Music and the Interpretative Mediump. 343
Popular Musicp. 345
III. History, Politics, Social Criticism
Accidiep. 351
Pleasuresp. 354
Modern Folk Poetryp. 357
Democratic Artp. 361
Follow My Leaderp. 364
The Dangers of Workp. 369
On Not Being Up-to-Datep. 372
Fashions in Lovep. 375
By Their Speech Ye Shall Know Themp. 379
The Importance of Being Nordicp. 383
The Horrors of Societyp. 388
The Psychology of Suggestionp. 391
Talking of Monkeysp. 394
A Night at Pietramalap. 399
Work and Leisurep. 410
IV. Travel
Tibetp. 419
Why Not Stay at Home?p. 421
Wander-Birdsp. 426
The Traveler's-Eye Viewp. 430
Guide-Booksp. 436
Spectaclesp. 441
The Countryp. 443
Montesenariop. 448
Patinir's Riverp. 450
Portoferraiop. 451
The Palio at Sienap. 453
Views of Hollandp. 459
Appendixp. 465
Indexp. 467