Point Counter Point - Aldous Huxley [235]
Philip smiled as he read the letter, and ‘Thank goodness,’ he thought, ‘that’s settled.’ But the last phrase made him feel ashamed of his amusement and his sense of relief. ‘What bottomless selfishness’ he reproached himself. And as though to make some amends, he limped upstairs to the nursery to sit for a while with Elinor. Little Phil lay in a stupor. His face was almost unrecognizably fleshless and shrunken, and the paralysed side of it was twisted into a kind of crooked grin. His little hands plucked unceasingly at the bedclothes. He breathed now very quickly, now so slowly that one began to wonder whether he was breathing at all.
Nurse Butler had gone to take a nap; for her nights were half sleepless. They sat together in silence. Philip took his wife’s hand and held it. Measured by that light irregular breathing from the bed, time slowly passed.
In the garden John Bidlake was painting—his wife had finally induced him to make the experiment—for the first time since his arrival at Gattenden. And for the first time, forgetting himself and his illness, he was happy. What an enchantment! he was thinking. The landscape was all curves and bulges and round recessions, like a body. Orbism, by God, orbism! The clouds were cherubic backsides; and that sleek down was a Nereid’s glaucous belly; and Gattenden Punch Bowl was an enormous navel; and each of those elms in the middle distance was a paunchy great Silenus straight out of Jordaens; and these absurd round bushes of evergreen in the foreground were the multitudinous breasts of a green Diana of the Ephesians. Whole chunks of anatomy in leaves and vapour and swelling earth. Marvellous! And by God, what one could make of it! Those seraphic buttocks should be the heavenly reflection of Diana’s breasts; one orbic theme, with variations; the buttocks slanting outwards and across the canvas towards the surface of the picture; the breasts slanting inwards, towards the interior. And the sleek belly should be a transverse and horizontal reconciliation of the two diagonal movements, with the great Sileni, zigzagging a little, disposed in front of it. And in the foreground on the left there’d be the silhouetted edge of the Wellingtonia, imaginatively transplanted there to stop the movements from running