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.However, imageryof color and light reemerges prominently in Time Must Have a Stop (1944).Softer, yet still luminous and transparent colors in Time Must Have aStop signal progress on the journey to the crystal, pure white light of spiritualunion with the Divine.The color blue emerges as a passive/aggressive hound of heaven spiritual entity.The color is associated not only with thespiritual mystic Bruno Rontini, but also with the mystical presence that willnot let Eustace Barnack rest after his death.As Huxley draws his readersdeeper into a mystical experience of the clear pure light, the bright gemlikecolors recede in favor of a more tranquil yet piercing blue.In his quest for spiritual synthesis, Huxley offers several spiritualmodels in various stages of their religious journeys in Time Must Have a Stop:Bruno Rontini, the mystic; Eustace Barnack, the spiritual resister; andSebastian Barnack, the poet in the process of achieving mystical union.Twoof these models appear in earlier novels, for example, the mystic depicted byMiller (Eyeless) and Propter (After) and the searching poet depicted byCalamy (Those) and Beavis (Eyeless).The spiritual resister, however, who isaware of and troubled by the mystical dimension and yet struggles tomaintain his ego and his identity, adds a new dimension to Huxley scharacters.Bruno Rontini, a second-hand bookshop owner who basks in a crystal silence even in the midst of city noises, has a great compassion forEustace.Huxley describes Bruno s remarks to Eustace about the freedom ofthe will to resist spirituality: 43Color and Light: Huxley s Pathway to Spiritual RealityPeople had been able to say no even to Filippo Neri and Francoisde Sales, even to the Christ and the Buddha.As he named themto himself, the little flame in his heart seemed to expand, as itwere, and aspire, until it touched that other light beyond it andwithin, and for a moment it was still in the timeless intensity of ayearning that was also consummation.(96)This sparkling little flame within Bruno, which expands at the thought ofChrist and the Buddha, brings him into contact with the visionary world andstimulates visions of that other light. He urges Eustace to drop hisresistance and experience this same paradoxical yearning/consummation.Because of the energy expended in Bruno s concern for the salvation ofothers, he always looks physically tired and emaciated; however, there is apeace and gaiety about him, and his eyes are always blue and bright (91).When Sebastian meets Bruno he notices the eyes were blue and very bright.Blue fires in bone-cups (211).Subsequently, when Sebastian sees Brunoafter his ten years of imprisonment, Bruno is very ill, but the blue brighteyes were full of joy, alive with an intense and yet somehow disinterestedtenderness (253).The blue here is probably related to Christian symbolism,which somewhat arbitrarily has been taken to represent eternity, faith,fidelity, loyalty, truth and spotless reputation (Hulme 29).As Eustace Barnack lies dying on a dark bathroom floor, he has a faintawareness of God or what he always derisively refers to as the GaseousVertebrate.This awareness turns into a bright light bringing with it aneternity of joy (125 26).Later, in the Bardo state (that intermediate stagebetween this world and rebirth into another incarnation), he feels himself incontact with Bruno, and the overpowering light becomes tenderly blue (154).Eustace resists the seductive power of the blue light:Out there, in here, the silence shone with a blue imploringtenderness.But none of that, none of that! The light was alwayshis enemy.Always, whether it was blue or white, pink or peagreen.He was shaken by another long, harrowing convulsion ofderision.(207)Eustace will not let himself be fooled by the special color of the light becauseall light threatens to engulf him.The light s liveliness and transparency leadto the pure white light of the void.Later, He knew what the light was up to.He knew what that blue tenderness of silence was beseeching him to do (209).In Eustace s last thoughts from his purgatorial/Bardo Thodol 44SALLY A.PAULSELLexistence, he still resists salvation/reincarnation: But there was the lightagain, the shining of the silence.None of that, none of that.Firmly and withdecision, he averted his attention (237).Huxley introduces Eustace s nephew, Sebastian Barnack, into thenovel as a self-centered, baby-faced adolescent who writes poetry.Brunoinitiates Sebastian s spiritual journey because the young poet senses the depthof the bookseller s mystical spirituality.When Sebastian goes to see Brunofor the first time after his uncle s death, he notices a square of sunlight,glowing like a huge ruby on the tiled floor (211).This combination of colorand light provides Bruno with the only luxury he desires.At the end of thatvisit Bruno advises Sebastian to Try to be more honest, to think less ofhimself.To live with people and real events and not so exclusively withwords (227).On the way home, Sebastian composes the last verse recordedin the novel:Walking on Grape Nuts and imaginationAmong recollected crucifixion and these jewelsOf horizontal sunlight.(227)Through the incandescent brilliance of the jewels and the sunlight, Sebastian, the young poet, begins his long spiritual journey toward salvationand the world of visions. Eventually he stops writing poetry altogether todevote himself to the completion of Bruno Rontini s philosophical andspiritual writings the Minimum Working Hypothesis a prototype forHuxley s Perennial Philosophy, published the following year.Huxley s efforts to maintain his vision were tested in Ape and Essence(1948) which reflects Huxley s anguish over World War II and its aftermath.In the frame story a producer looks for the author of a discarded Hollywoodmovie script.The narrator for this frame story observes the spectacular viewas he and the producer drive through the desert:Out there, on the floor of the desert, there had been a noiseless, butalmost explosive transformation.The clouds had shifted and the sunwas now shining on the nearest of those abrupt and jagged buttes,which rose so inexplicably, like islands, out of the enormous plain.Amoment before they had been black and dead.Now suddenly theycame to life between a shadowed foreground and a background ofcloudy darkness.They shone as if with their own incandescence.(17 18) 45Color and Light: Huxley s Pathway to Spiritual RealityReflecting Huxley s own mystical experience in his beloved California desert,a scene (or person) which had seemed black and dead could suddenly betransformed by the sun bursting through the clouds (or an illuminationwithin the soul) [ Pobierz całość w formacie PDF ]
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.However, imageryof color and light reemerges prominently in Time Must Have a Stop (1944).Softer, yet still luminous and transparent colors in Time Must Have aStop signal progress on the journey to the crystal, pure white light of spiritualunion with the Divine.The color blue emerges as a passive/aggressive hound of heaven spiritual entity.The color is associated not only with thespiritual mystic Bruno Rontini, but also with the mystical presence that willnot let Eustace Barnack rest after his death.As Huxley draws his readersdeeper into a mystical experience of the clear pure light, the bright gemlikecolors recede in favor of a more tranquil yet piercing blue.In his quest for spiritual synthesis, Huxley offers several spiritualmodels in various stages of their religious journeys in Time Must Have a Stop:Bruno Rontini, the mystic; Eustace Barnack, the spiritual resister; andSebastian Barnack, the poet in the process of achieving mystical union.Twoof these models appear in earlier novels, for example, the mystic depicted byMiller (Eyeless) and Propter (After) and the searching poet depicted byCalamy (Those) and Beavis (Eyeless).The spiritual resister, however, who isaware of and troubled by the mystical dimension and yet struggles tomaintain his ego and his identity, adds a new dimension to Huxley scharacters.Bruno Rontini, a second-hand bookshop owner who basks in a crystal silence even in the midst of city noises, has a great compassion forEustace.Huxley describes Bruno s remarks to Eustace about the freedom ofthe will to resist spirituality: 43Color and Light: Huxley s Pathway to Spiritual RealityPeople had been able to say no even to Filippo Neri and Francoisde Sales, even to the Christ and the Buddha.As he named themto himself, the little flame in his heart seemed to expand, as itwere, and aspire, until it touched that other light beyond it andwithin, and for a moment it was still in the timeless intensity of ayearning that was also consummation.(96)This sparkling little flame within Bruno, which expands at the thought ofChrist and the Buddha, brings him into contact with the visionary world andstimulates visions of that other light. He urges Eustace to drop hisresistance and experience this same paradoxical yearning/consummation.Because of the energy expended in Bruno s concern for the salvation ofothers, he always looks physically tired and emaciated; however, there is apeace and gaiety about him, and his eyes are always blue and bright (91).When Sebastian meets Bruno he notices the eyes were blue and very bright.Blue fires in bone-cups (211).Subsequently, when Sebastian sees Brunoafter his ten years of imprisonment, Bruno is very ill, but the blue brighteyes were full of joy, alive with an intense and yet somehow disinterestedtenderness (253).The blue here is probably related to Christian symbolism,which somewhat arbitrarily has been taken to represent eternity, faith,fidelity, loyalty, truth and spotless reputation (Hulme 29).As Eustace Barnack lies dying on a dark bathroom floor, he has a faintawareness of God or what he always derisively refers to as the GaseousVertebrate.This awareness turns into a bright light bringing with it aneternity of joy (125 26).Later, in the Bardo state (that intermediate stagebetween this world and rebirth into another incarnation), he feels himself incontact with Bruno, and the overpowering light becomes tenderly blue (154).Eustace resists the seductive power of the blue light:Out there, in here, the silence shone with a blue imploringtenderness.But none of that, none of that! The light was alwayshis enemy.Always, whether it was blue or white, pink or peagreen.He was shaken by another long, harrowing convulsion ofderision.(207)Eustace will not let himself be fooled by the special color of the light becauseall light threatens to engulf him.The light s liveliness and transparency leadto the pure white light of the void.Later, He knew what the light was up to.He knew what that blue tenderness of silence was beseeching him to do (209).In Eustace s last thoughts from his purgatorial/Bardo Thodol 44SALLY A.PAULSELLexistence, he still resists salvation/reincarnation: But there was the lightagain, the shining of the silence.None of that, none of that.Firmly and withdecision, he averted his attention (237).Huxley introduces Eustace s nephew, Sebastian Barnack, into thenovel as a self-centered, baby-faced adolescent who writes poetry.Brunoinitiates Sebastian s spiritual journey because the young poet senses the depthof the bookseller s mystical spirituality.When Sebastian goes to see Brunofor the first time after his uncle s death, he notices a square of sunlight,glowing like a huge ruby on the tiled floor (211).This combination of colorand light provides Bruno with the only luxury he desires.At the end of thatvisit Bruno advises Sebastian to Try to be more honest, to think less ofhimself.To live with people and real events and not so exclusively withwords (227).On the way home, Sebastian composes the last verse recordedin the novel:Walking on Grape Nuts and imaginationAmong recollected crucifixion and these jewelsOf horizontal sunlight.(227)Through the incandescent brilliance of the jewels and the sunlight, Sebastian, the young poet, begins his long spiritual journey toward salvationand the world of visions. Eventually he stops writing poetry altogether todevote himself to the completion of Bruno Rontini s philosophical andspiritual writings the Minimum Working Hypothesis a prototype forHuxley s Perennial Philosophy, published the following year.Huxley s efforts to maintain his vision were tested in Ape and Essence(1948) which reflects Huxley s anguish over World War II and its aftermath.In the frame story a producer looks for the author of a discarded Hollywoodmovie script.The narrator for this frame story observes the spectacular viewas he and the producer drive through the desert:Out there, on the floor of the desert, there had been a noiseless, butalmost explosive transformation.The clouds had shifted and the sunwas now shining on the nearest of those abrupt and jagged buttes,which rose so inexplicably, like islands, out of the enormous plain.Amoment before they had been black and dead.Now suddenly theycame to life between a shadowed foreground and a background ofcloudy darkness.They shone as if with their own incandescence.(17 18) 45Color and Light: Huxley s Pathway to Spiritual RealityReflecting Huxley s own mystical experience in his beloved California desert,a scene (or person) which had seemed black and dead could suddenly betransformed by the sun bursting through the clouds (or an illuminationwithin the soul) [ Pobierz całość w formacie PDF ]