Biography of Aldous Huxley Essay Example for Free

Biography of Aldous Huxley Essay Aldous Leonard Huxley was born on July 26, 1894 in Surrey, England, as the third son of Dr. Leonard Huxley and Julia Arnold. Huxley was born into a long line of scientists and intellectuals. His grandfather Thomas Henry Huxley had the nickname â€Å"Darwins Bulldog† for his fierce defense of evolutionary science and for his passion for teaching Victorian scientific advancements to Britains working classes. Aldous Huxley was also related to the poet Matthew Arnold on his mothers side of the family. These two disciplines, literature and science, converged at the end of the Victorian era and characterize Huxleys own career and ambitions as an author, journalist, and humanist. Educated at Eton, Aldous Huxley was forced to leave the school at the age of seventeen due to an affliction of the eyes. He was partially blind for two or three years and therefore was unable to complete the rigorous scientific training he had undertaken. Though problems with his eyes would remain with him for the rest of his life, Huxley was able to attend Oxford where he received a degree in English literature. Huxleys career began in journalism and included music and artistic criticism as well as book reviews. He also began writing poems, essays, and historical pieces. Huxleys first introduction to British intellectual society occurred while working as a farm laborer at Garsington Manor, the site of the â€Å"Bloomsbury Society,† a group of public intellectuals that included Bertrand Russell. There he would marry Maria Nys and they would have one child, Matthew Huxley. He also wrote his first book, a volume of poetry called The Burning Wheel. While working as an editor for â€Å"House and Garden† during the1920s, Huxley wrote many novels including Brave New World. Huxley spent several years in Italy where he formed a friendship with D.H. Lawrence. They would remain close friends and Huxley would later edit Lawrences collected letters after his death. In 1937, Huxley moved back to the United States to live in Hollywood, California, where he helped write scripts for several Hollywood movies of the time, although he never had a lasting career in movies. After World War II, he famously became involved with the early psychedelic drug movement. Huxley was an early proponent of the use of LSD, mescaline, and peyote for their mind-altering effects. His 1954 book The Doors of Perception argued that through the use of psychedelic drugs, people would be able to â€Å"cleanse† the doors of perception in order to embrace the infinite reality of the world. A controversial figure for most of his life, Huxley died from cancer on November 22, 1963, only hours after President John F. Kennedy’s assassination in Dallas, Texas. By the time of his death, he was embraced in some circles as an intellectual and writer of the highest class, especially for his creation of the dystopian fantasy in his novel Brave New World and his engagement of the theme of commercialization in modern society. Others, however, saw him as a pseudo-scientist for his work in mystical traditions and his insistence on experiencing alternate realities through meditation, Eastern religions, and drug use. For his accomplishments, Huxley received the Award of Merit for the Novel from the American Academy of Arts and Letters in 1959.

Analysis of Hume’s Critique of Causation Essay -- Philosophy Philosoph

Analysis of Hume’s Critique of Causation Sometimes it is hard to be sure what conclusion to draw from a Humean analysis, and he is easy to misrepresent. This is partly because one argument he is engaged in may raise a number of related issues that he has dealt with elsewhere, and some of his points seem contradictory. My wish is to consider some of the possible readings of David Hume’s critique of causation, as it appears in Section VII of the Enquiry Concerning Human Understanding, â€Å"On Necessary Connexion†, and their relation to the propositions of Section II, â€Å"Of the Origin of Ideas†, and Section X, â€Å"On Miracles†. I will offer criticisms and alternatives to Hume’s account(s) and conclude by picking which interpretation of Section VII best works for Hume, given certain arguments elsewhere in the Enquiry. The following is a summary of the aspects of the problem of induction as presented in the Enquiry which concern my discussion. Our assurance that certain sets of conditions are sufficient to produce certain effects is based on past experience that like has been conjoined with like. The belief in necessary connection entails (Hume will conclude that it amounts to) a belief that events similar to those experienced in the past will be accompanied by similar conjuncts. Such a belief may only be arrived at inductively, and induction does not discover necessity.1[1] This argument is against the supposed necessity of connection. â€Å"Necessity† here may refer to logical necessity, or it may not distinguish between this and physical necessity. To be physically necessary is to be sufficiently caused, but contingent upon the conditions of the event and the properties of all objects involved. Physical... ... but one about reason, that it is not this, but habit, which forms the basis of our beliefs. While it may be the case that denying an empirical fact may not result in a contradiction, Hume seems to be suggesting that it would still be irrational to do so. That abstracting from events to laws is a rational, though inductive, act seems hard to deny. Thus, at best, Hume can only show that it is experience which first provides the matter for reason. Sources Hume, David. An Enquiry Concerning Human Understanding. (Indianapolis: Hackett, 1977) 1[1] David Hume, An Enquiry Concerning Human Understanding, (Indianapolis: Hackett, 1977), p.46 2[2] p.51 3[3] p.49 4[4] I think both Descartes and Kant had perfectly good a priori demonstrations of the existence of the self, which is all one needs to reach the concept of existence. 5[5] p.42

As I Walked Out One Evening †W.H.Auden Essay

The poem in study is As I Walked out One Evening by W.H. Auden. His views projected in this poem are suggested to have not varied since the time he composed this piece. Unlike his other poems, this piece was never revised. Here, Auden exposes the two sides of romance through the manipulation of narrative voices, the poet, the lover’s song and the chiming of the clock personified. As I walked out one evening is composed in a traditional ballad form. It’s consists of 15 quatrain stanzas conforming to an â€Å"abcb† rhyme scheme. The masculine end rhyme employed gives more freedom of wording. It is through these settings that exhibits the song-like quality of a ballad and by this lyrical tune, Auden suggests the theme and theories examined in the poem are of childlike logic and knowledge. With reference to the structure of the poem, it comprises of 15 stanzas split into three distinctive voices. The first and last being the narration by the poet himself, framing the Lover’s Song and the menacing voice of the clock. Through the beginning narration by the persona, W.H. Auden sets the essence of nostalgia with a â€Å"walk down Bristol Street†. The mention of Bristol Street creates the tone of reminiscence as it is a venue of Auden’s childhood. The contrast of â€Å"crowds upon the pavement† that use to be â€Å"fields of harvest wheat† showcases the change taken place during time-lapse. Down by the brimming river, the poet hears a lover sing â€Å"love has no ending†. The transition of narrative position from the initial persona to the Love Song takes place through the marking of inverted commas. The rhythm of the poem also changes away from iambic tri-meter when the love song begins. The love song is hyperbolized, injected with imageries and unconventional similes to exaggerate the affections of a naà ¯ve lover. With suggestions of the uncanny ability to love â€Å"till China and Africa meet†, Auden captures their simplistic and unrealistic minds. The silly and lighthearted tone shown through the alliteration of the line â€Å"salmon sing in the street†. In addition to undermining the forces of nature, the lover’s song seem to believe its love to be pure and immune to time, for â€Å"in my arms I hold The  Flower of the Ages, And the first love of the world†. This love is expressed to be ageless, the Flower of the Ages a Biblical reference to the year of maturity in which a woman can marry. In a sense, the song provokes that the incredibility of love is beyond human entity, but of something greater. However, the tone shifts in the 6th stanza, turning to the narration of the clock and time personified. They seem to be rebuking the ideals embodied by the Lover’s Song as they began to â€Å"whirr and chime†, an onomatopoeia that creates the image of violent and unsettling wind. The wind that could break them apart, hit their faces with a chill. The clock conveys the negative perception of naà ¯ve love as it rings out a series of advice to the lovers. The Clock’s advice is like a progression of a 4 session counselling, speaking to us readers as if we are the young lovers. Marked by the phrase â€Å"O†, he begins with a gentle coaxing. â€Å"O let not time deceive you†, the idealism borne by the love song shall break through time’s passing. â€Å"O plunge your hands in the water† as if washing one’s face in the morning. Wake up from the hyperbolized world of love to reality. â€Å"Stare, stare at the basin,† reflect on your past actions and their indications, what you’ve missed. â€Å"O look, look in the mirror† examine your present self. Finally â€Å"O stand, stand at the window†, see your partner through the barrier of glass. Unclouded and unaffected by cruel words of a quarrel, in the peace of one’s own mind, then we shall see that we are all hypocrites in love. The overall tone of the clock is quite dark and Auden uses the technique of contrasting metaphors to develop the negative effects of time in idealism. The â€Å"green valley† and â€Å"appalling snow† signifying the presence of time will eventually break momentary joy. â€Å"The glacier knocks in the cupboard, the desert sighs in the bed†, the consequences of time will invade one’s privacy and comfort, perhaps even home. Until it becomes overwhelming, one should break down, it’ll â€Å"open a lane to the land of the dead† where qualities of life we once known are twisted into a paradoxical world embodied by stanza 12. There is however, a consolation to these negative aspects, that if we â€Å"wake  up† in time, we shall learn to love truly, for life remains a blessing, even when we’re too focused on our distress. Throughout this entire process, the language suggests the lack of presence of the first persona. But this theory is contradicted by the last stanza where the â€Å"poet† narrates. â€Å"It was late, late in the evening†, the repetition a habit picked up from the clock’s speech. The persona was watching the whole time, now knows better, that the overflowing love of the â€Å"brimming river†, actually has a lot more depth. W.H. Auden through the shift of narrative voices explores the different perspective of love. This technique shows us not only one sided opinions but various views. And readers are shown, that perhaps what is right in the minds of one, may vary to the eyes of another. The image of romance is often twisted to extremes by society. As human beings, we have the tendency to form opinions based on our own favours. To an extent, this poem may resemble a satire to society. Humans tend to be hypocrites and very good liars to even our own minds to justify our wrongdoings.

Aeschylus Seven Against Thebes Plot Summary

Aeschylus Seven Against Thebes (Hepta epi Thēbas; Latinized as Septem contra Thebas) was originally performed at the City Dionysia of 467 B.C., as the final tragedy in a trilogy about the family of Oedipus (aka the House of Labdacus). Aeschylus won 1st prize for his tetralogy (the trilogy and a satyr play). Of these four plays, only Seven Against Thebes has survived. Polynices (a son of the famous Oedipus), leading a band of Greek warriors from Argos, attacks the city of Thebes. There are 7 gates in the protective walls of Thebes and 7 valiant Greeks fight on either side of these entry points. Polynices attack on his native city fulfills a paternal curse, but the action that precipitated it was his brother Eteocles unexpected refusal to surrender the throne at the end of his year. All action in the tragedy takes place inside the city walls. There is controversy about whether the last episode in the play was a later interpolation. Among other issues, it requires the presence of a third speaker, Ismene. Sophocles, who introduced the third actor, had already defeated Aeschylus in the preceding years dramatic competition, so her presence is not necessarily anachronistic and her part is so small that it might have been taken by one of the otherwise non-speaking performers not listed among the regular, speaking actors. Structure The divisions of ancient plays were marked by interludes of choral odes. For this reason, the first song of the chorus is called the parodos (or eisodos because the chorus enters at this time), although the subsequent ones are called stasima, standing songs. The episodes, like acts, follow the parados and stasima. The exodus is the final, leaving-the-stage choral ode. This is based on Thomas George Tuckers edition of Aeschylus The Seven Against Thebes, which includes Greek, English, notes, and details on the transmission of the text. The line numbers do match the Perseus online edition, especially at the point of the funeral dirge. Prologue 1-77Parados 78-1641st Episode 165-2731st Stasimon 274-3552nd Episode 356-7062nd Stasimon 707-7763rd Episode 777-8063rd Stasimon 807-940Threnos (Dirge) 941-9954th Episode 996-1044Exodus 1045-1070 Setting The acropolis of Thebes in front of the royal palace. Prologue 1-77.(Eteocles, the Spy or Messenger or Scout) Eteocles says that he, the ruler steers the ship of state. If things go well the gods are thanked. If badly, the king is blamed. He has ordered all the men who can fight, even those too young and too old. The Spy enters. The Spy says that the Argive warriors are at the walls of Thebes about to choose which gate to man. The Spy and Eteocles exit. Parodos 78-164.The chorus of Theban maidens is in despair hearing the charging army. They behave as though the city is collapsing. They pray to the gods for help so they dont become slaves. First Episode 165-273.(Eteocles) Eteocles chides the chorus for shrieking by the altars saying it doesnt help the army. He then criticizes women in general and these in particular for spreading panic. The chorus says it heard the army at the gates and was afraid and is asking the gods for help since it is in the power of gods to do what humans cant. Eteocles tells them their noise will bring the ruin of the city. He says he will post himself and 6 other men at the gates. Eteocles exits. First Stasimon 274-355.Still worried, they pray to the gods to spread panic among the enemy. They say it would be a pity were the city to be enslaved, sacked, and dishonored, the maidens raped. Second Episode 356-706.(Eteocles, the Spy) The Spy informs Eteocles of the identity of each of the Argives and allies who will attack the gates of Thebes. He describes their characters and their matching shields. Eteocles decides which of his men is best suited to go against the specifics of shield character flaw of the Argives. The chorus responds fearfully to the descriptions (taking the shield device to be an accurate picture of the man carrying it). When the last man is named, it is Polynices, whom Eteocles says he will fight. The chorus begs him not to. The Spy exits. Second Stasimon 707-776.The chorus and reveal the details of the family curse. Eteocles exits. Third Episode 777-806.(The Spy) The Spy enters. The Spy brings news to the chorus of the events at the gates. He says the city is safe thanks to the single-handed combat between the men at each gate. The brothers have each killed each other. The Spy exits. Third Stasimon 807-995.The chorus reiterates the conclusion of the boys fathers curse. The funeral procession comes in. Threnos 941-995.This is the antiphonal dirge sung by the funeral procession, notably Antigone and Ismene.They sing about how each brother was killed at the hand of the others. The chorus says it was at the instigation of the Erinyes (Furies). The sisters then plan for the burial of the brothers in an honored spot by their father. The Herald enters. Fourth Episode 996-1044.(Herald, Antigone) The Herald says that the council of elders have decreed an honorable burial for Eteocles, but that his brother, a traitor, may not be buried. Antigone responds that if none of the Cadmeans will bury Polynices, then she will. The Herald warns her not to be disobedient to the state and Antigone warns the Herald not to order her about. The Herald exits. Exodos 1045-1070.The Chorus reviews the situation and decides to go help Antigone with the illicit burial of Polynices. The End