The Genius and the Goddess

by Aldous Huxley

  “How could she? With no virtue, no life in her, nothing but her will and her anxiety. Which is worse, I wonder—being desperately ill yourself, or watching somebody you love being desperately ill? One has to begin by defining the word ‘you.’ I say you’re desperately ill. But do I mean you? Isn’t it, in fact, the new, limited personality created by the fever and the toxins? A personality without intellectual interests, without social obligations, without material concerns. Whereas the loving nurse remains her normal self, with all her memories of past happiness, all her fears for the future, all her worried awareness of a world beyond the four walls of the sickroom. And then there’s the question of death. How do you react to the prospect of death? If you’re sick enough, you reach a point where, however passionately you may be fighting for life, a part of you wouldn’t be at all sorry to die. Anything rather than this misery, this interminably squalid nightmare of finding oneself reduced to a mere lump of suffering matter! ‘Give me liberty or give me death.’ But in this case the two are identical. Liberty equals death equals the pursuit of happiness—but only, of course, for the patient, never for the nurse who loves him. She has no right to the luxury of death, to deliverance, through surrender, from her sickroom-prison. Her business is to go on fighting even when it’s perfectly obvious that the battle is lost; to go on hoping, even when there are no reasons for anything but despair; to go on praying, even when God has manifestly turned against her, even when she knows for certain that He doesn’t exist. She may be sick with grief and foreboding but she must act as though she were cheerful and serenely confident. She may have lost courage; but she must still inspire it. And meanwhile she’s working and waking beyond the limits of physical endurance. And there’s no respite; she must be constantly there, constantly available, constantly ready to give and give—to go on giving, even when she’s completely bankrupt. Yes, bankrupt,” he repeated. “That’s what Katy was. Absolutely bankrupt, but compelled by circumstances and her own will to go on spending. And, to make matters worse, the spending was fruitless. Henry didn’t get well; he merely refrained from dying. And meanwhile she was killing herself with the long, sustained effort to keep him alive. The days passed—three days, four days, I can’t remember how many. And then came the day I shall never forget. April 23rd, 1923.”

  “Shakespeare’s birthday.”

  “Mine too.”

  “Yours?”

  “Not my physical birthday,” Rivers explained. “That’s in October. My spiritual birthday. The day of my emergence from half-baked imbecility into something more nearly resembling the human form. I think,” he added, “we deserve a little more Scotch.”

  He refilled our glasses.

  “April the twenty-third,” he repeated. “What a day of miseries! Henry had had a bad night and was definitely worse. And when, at lunchtime, Katy’s sister telephoned from Chicago, it was to announce that the end was very close. That evening I had to read a paper before one of the local scientific societies. When I got home at eleven, I found only the nurse. Katy, she told me, was in her room, trying to get a little sleep. There was nothing I could do. I went to bed.

  “Two hours later I was startled out of unconsciousness by the groping touch of a hand. The room was pitch dark; but my nostrils immediately recognized the aura of womanhood and orrisroot surrounding the unseen presence. I sat up. ‘Mrs. Maartens?’ (I still called her Mrs. Maartens) The silence was pregnant with tragedy. ‘Is Dr. Maartens worse?’ I asked anxiously. There was no immediate answer, only a movement in the darkness, only the creaking of springs as she sat down on the edge of the bed. The fringes of the Spanish shawl she had thrown over her shoulders brushed my face; the field of her fragrance enveloped me. Suddenly and with horror, I found myself remembering Henry’s soliliquy. Beatrice had appetites, Laura was a graduate of Miss Floggy’s. What blasphemy, what a hideous desecration! I was overcome by shame, and my shame deepened to an intense, remorseful self-loathing when, breaking the long silence, Katy told me in a flat expressionless voice that there had been another call from Chicago: her mother was dead. I muttered some kind of a condolence. Then the flat voice spoke again. ‘I’ve been trying to go to sleep,’ it said. ‘But I can’t; I’m too tired to sleep.’ There was a sigh of hopeless weariness, then another silence.

  “‘Have you ever seen anyone die?’ the voice went on at last. But my military service hadn’t taken me to France, and when my father died, I had been staying at my grandmother’s place. At twenty-eight I knew as little of death as of that other great encroachment of the organic upon the verbal, of experience upon our notions and conventions—the act of love. ‘It’s the cutoffness that’s so terrible,’ I heard her saying. ‘You sit there helplessly, watching the connections being broken, one after the other. The connection with people, the connection with language, the connection with the physical universe. They can’t see the light, they can’t feel the warmth, they can’t breathe the air. And finally the connection with their own body begins to give way. They’re left at last hanging by a single thread—and it’s fraying away, fraying away, minute by minute.’ The voice broke and, by the muffled sound of the last words, I knew that Katy had covered her face with her hands. ‘All alone,’ she whispered, ‘absolutely alone.’ The dying, the living—everyone is alone always. There was a little whimper in the darkness, then a shuddering, convulsive movement, a hardly human cry. She was sobbing. I loved her and she was in anguish. And yet the only thing I could find to say was, ‘Don’t cry.’” Rivers shrugged his shoulders. “If you don’t believe in God or an afterlife—which of course as a minister’s son, I didn’t, except in a strictly Pickwickian sense—what else can you say in the presence of death? Besides, in this particular case, there was the grotesquely embarrassing fact that I couldn’t decide what to call her. Her grief and my compassion had made it impossible to say ‘Mrs. Maartens,’ but on the other hand ‘Katy’ might seem presumptuous, might even sound as though I were trying to exploit her tragedy for the baser purposes of a scoundrel, who found it impossible to forget Miss Floggy and the dung-slide of Henry’s subhuman soliloquy. ‘Don’t cry,’ I went on whispering, and in lieu of the prohibited endearments, of the Christian name which I dared not pronounce, I laid a timid hand on her shoulder and clumsily patted her. ‘I’m sorry,’ she said. And then, brokenly, ‘I promise I’ll behave properly tomorrow.’ And after another paroxysm of weeping, ‘I haven’t cried like this since before I was married.’ It was only later that the full significance of that last phrase began to dawn on me. A wife who permitted herself to cry would never have done for poor old Henry. His chronic weakness had compelled her to be unremittingly strong. But even the most stoical fortitude has its limits. That night Katy was at the end of her tether. She had suffered a total defeat—but a defeat for which, in a sense, she was grateful. Circumstances had been too much for her. But, by way of compensation, she had been granted a holiday from responsibility, had been permitted, if only for a few brief minutes, to indulge in the, for her, unprecedented luxury of tears. ‘Don’t cry,’ I kept repeating. But actually she wanted to cry, she felt the need of crying. Not to mention the fact that she had the best possible reasons for crying. Death was all around her—it had come for her mother, it was coming, inevitably, so it seemed, for her husband, it would be there in a few years for herself, in a few more years for her children. They were all moving toward the same consummation—toward the progressive cutting of the lines of communications, toward the slow, sure attrition of the sustaining threads, toward the final plunge, alone, into the emptiness.

  “From somewhere far away over the housetops a clock struck the three-quarters. The chimes were a man-made insult added gratuitously to a cosmic injury—a symbol of time’s incessant passage, a reminder of the inevitable end. ‘Don’t cry,’ I implored her, and forgetting everything but my compassion, I moved my hand from the nearer to the further of her shoulders, and drew her closer. Shaken by sobs and trembling, she pressed herself against me. The clock had struck,
time was bleeding away and even the living are utterly alone. Our only advantage over the dead woman up there in Chicago, over the dying man at the other end of the house, consisted in the fact that we could be alone in company, could juxtapose our solitudes and pretend that we had fused them into a community. But these, of course, were not the thoughts I was thinking then. Then there was no room in my mind for anything but love and pity and an intensely practical concern for the well-being of this goddess who had suddenly become a weeping child, this adored Beatrice who was now trembling, in just the way that little dogs can tremble, within the circle of my protecting arm. I touched the hands with which she was covering her face; they were stone cold. And the bare feet—cold as ice. ‘But you’re frozen!’ I said almost indignantly. And then, thankful that at last it was possible for me to translate my pity into useful action, ‘You must get under the bedclothes,’ I commanded. ‘At once.’ I visualized myself tenderly tucking her in, then drawing up a chair and sitting, quietly watchful, like a mother, while she went to sleep. But when I moved to get out of bed, she clung to me, she wouldn’t let me go. I tried to disengage myself, I tried to protest. ‘Mrs. Maartens!’ But it was like protesting against the clutch of a drowning child; the act was at once inhuman and useless. And meanwhile she was chilled to the bone and trembling—trembling uncontrollably. I did the only thing that was left for me to do.”

  “You mean, you got under the covers too?”

  “Under the covers,” he repeated, “with two cold bare arms round my neck and a shuddering, sob-shaken body pressed against my own.”

  Rivers drank some whisky and leaning back in his chair, sat for a long time smoking in silence.

  “The truth,” he said at last, “the whole truth and nothing but the truth. All the witnesses take the same oath and testify about the same events. The result, of course, is fifty-seven varieties of fiction. Which of them is nearest the truth? Stendhal or Meredith? Anatole France or D. H. Lawrence? The fountains of our deepest life shall be Confused in Passion’s golden purity or the Sexual Behavior in the Human Female?”

  “Do you know the answer?” I inquired.

  He shook his head.

  “Maybe one could describe the event in relation to three co-ordinates.” In the air before him Rivers traced with the stem of his pipe two lines at right angles to one another, then from their point of intersection, added a vertical that took his hand above the level of his head. “Let one of these lines represent Katy, another the John Rivers of thirty years ago, and the third, John Rivers as I am today. Now, within this frame of reference, what can we say about the night of April 23rd, 1923? Not the whole truth, of course. But a good deal more of the truth than can be conveyed in terms of any single fiction. Let’s begin with the Katy line.” He drew it again, and for a moment the smoke of his pipe waveringly marked its position in space. “It’s the line,” he said, “of a born pagan forced by circumstances into a situation with which only a thoroughgoing Christian or Buddhist could adequately deal. It’s the line of a woman who has always been happily at home in the world and who suddenly finds herself standing on the brink of the abyss and invaded, body and mind, by the horrible black emptiness confronting her. Poor thing! She felt herself abandoned, not by God (for she was congenitally incapable of monotheism) but by the gods—all of them, from the little domestic lares and penates to the high Olympians. They had left her and taken everything with them. She had to find her gods again. She had to become a part once more of the natural, and therefore divine, order of things. She had to re-establish her contacts with life—with life at its simplest, life in its most unequivocal manifestations, as physical companionship, as the experience of animal warmth, as strong sensation, as hunger and the satisfaction of hunger. It was a matter of self-preservation. And that isn’t the whole story,” Rivers added. “She was in tears, grieving for the mother who had just died, grieving for the husband who might die tomorrow. There’s a certain affinity between the more violent emotions. Anger modulates only too easily into aggressive lust, and sorrow, if you give it a chance, will melt almost imperceptibly into the most delicious sensuality. After which, of course, He giveth His beloved sleep. In the context of bereavement, love is the equivalent of barbiturates and a trip to Hawaii. Nobody blames the widow or the orphan for resorting to these alleviations. So why condemn them for trying to preserve their life and sanity by the other simpler method?”

  “I’m not condemning them,” I assured him. “But other people have other views.”

  “And thirty years ago I was one of them.” He ran his pipe up and down the imaginary vertical in front of him. “The line of the virgin prig of twenty-eight, the line of the ex-Lutheran and ex-mother’s boy, the line of the Petrarchian idealist. From that position I had no choice but to think of myself as a treacherous adulterer, and of Katy as—what? The words were too hideous to be articulated. Whereas from Katy’s goddess-eye viewpoint nothing had happened that was not entirely natural, and anything that was natural was morally good. Looking at the matter from here,” (and he indicated the line of John Rivers-Now) “I’d say we were both of us half right and therefore wholly wrong—she by being beyond good and evil on the merely Olympian level (and the Olympians, of course, were nothing but a pack of superhuman animals with miraculous powers), and I by not being beyond good and evil at all, but still mired up to the ears in the all too human notions of sin and social convention. To be wholly right, she should have come down to my level and then gone further, on the other side; whereas I should have climbed to her level and, having found it unsatisfactory, pressed forward to join her at the place where one is genuinely beyond good and evil in the sense of being, not a superhuman animal, but a transfigured man or woman. If we had been at that level, should we have done what we then did? It’s an unanswerable question. And in actual fact we weren’t at that level. She was a goddess who had temporarily broken down and was finding her way home to Olympus by the road of sensuality. I was a divided soul committing a sin all the more enormous for being accompanied by the most ecstatic pleasure. Alternately and even, at moments, simultaneously, I was two people—a novice in love who had had the extraordinary good fortune to find himself in the arms of a woman at once uninhibited and motherly, profoundly tender and profoundly sensual, and a conscience-stricken wretch, ashamed of having succumbed to what he had been taught to regard as his basest passions and shocked, positively outraged (for he was censorious as well as remorseful) by the easy unconcern with which his Beatrice accepted the intrinsic excellence of pleasure, his Laura displayed her proficiency in the arts of love, and displayed it, what was more, in the solemn context of mortality. Mrs. Hanbury was dead, Henry was dying. According to all the rules, she should have been in crape and I should have been offering the consolations of philosophy. But in fact, in brute, paradoxical fact…” There was a moment of silence. “Midgets,” he went on pensively as, behind closed lids, he studied his far-off memories. “Midgets who don’t belong to my universe. And they didn’t really belong to it even then. That night of the twenty-third of April we were in the Other World, she and I, in the dark, wordless heaven of nakedness and touch and fusion. And what revelations in that heaven, what pentecosts! The visitations of her caresses were like sudden angels, like doves descending. And how hesitantly, how tardily I responded. With lips that hardly dared, with hands still fearful of blaspheming against my notions, or rather my mother’s notions, of what a good woman ought to be, of what, in fact, all good women are—in spite of which (and this was as shocking as it was wonderful) my timid blasphemies against the ideal were rewarded by an answering ecstasy of delight, by a bounty of reciprocated tenderness, beyond anything I could have imagined. But over against that nocturnal Other World stood this world—the world in which the John Rivers of 1923 did his daytime thinking and feeling; the world where this kind of thing was obviously criminal, where a pupil had cheated his master and a wife her husband; the world from whose point of view our dark heaven was the most sordid littl
e hell and the visiting angels nothing but the manifestations of lust in a context of adultery. Lust and adultery,” Rivers repeated with a little laugh. “How old-fashioned it sounds! Nowadays we prefer to talk of drives, urges, extramarital intimacies. Is it a good thing? Or a bad thing? Or does it simply not matter one way or another? Fifty years from now Bimbo may know the answer. Meanwhile one can only record the fact that, on the verbal level, morality is simply the systematic use of bad language. Vile, base, foul—those are the linguistic foundations of ethics; and those were the words that haunted my conscience as I lay there, hour after hour, watching over Katy’s sleep. Sleep—that’s also the Other World. Otherer even than the heaven of touch. From love to sleep, from the other to the otherer. It’s that otherer otherness which invests the sleeping beloved with a quality almost of sacredness. Helpless sacredness—the thing that people adore in the Christ Child; the thing that filled me, then, with such an inexpressible tenderness. And yet it was all vile, base, foul. Those hideous monosyllables! They were like woodpeckers, hammering away at me with their cast-iron beaks. Vile, base, foul…But in the silence between two bouts of pecking I could hear Katy quietly breathing; and she was my beloved, asleep and helpless and therefore sacred, sacred in that Other World where all bad language, even all good language, is entirely irrelevant and beside the point. But that didn’t prevent those damned woodpeckers from starting up again with undiminished ferocity.

  “And then, against all the conventions of fiction and good style, I must have fallen asleep. For suddenly it was dawn, and the birds were twittering in the suburban gardens, and there was Katy standing beside the bed in the act of throwing her long-fringed shawl over her shoulders. For a fraction of a second I couldn’t think why she was there. Then I remembered everything—the visitations in the darkness, the ineffable Other Worlds. But now it was morning, and we were in this world again, and I would have to call her Mrs. Maartens. Mrs. Maartens, whose mother had just died, whose husband might be dying. Vile, base, foul! How could I ever look her in the face again? But at that moment she turned and looked me in the face. I had time to see the beginnings of her old, frank, open smile; then, in an agony of shame and embarrassment, I averted my eyes. ‘I’d hoped you wouldn’t wake up,’ she whispered, and bending down, she kissed me, as a grownup kisses a child, on the forehead. I wanted to tell her that, in spite of everything, I still worshiped her; that my love was as intense as my remorse; that my gratitude for what had happened was as deep and strong as my determination that it should never happen again. But no words came; I was dumb. And so, but for quite another reason, was Katy. If she said nothing about what had happened, it was because she judged what had happened was the sort of thing it was best not to talk about. ‘It’s after six’ was all she said, as she straightened herself up. ‘I must go and relieve poor Nurse Kop-pers.’ Then she turned, opened the door noiselessly and, as noiselessly, closed it behind her. I was left alone, at the mercy of my woodpeckers. Vile, base, foul; foul, base, vile…By the time the bell rang for breakfast, my mind was made up. Rather than live a lie, rather than besmirch my ideal, I would go away—forever.