The Picture of Dorian Gray (14 page)

‘I am going,' he said at last, in his calm, clear voice. ‘I don't wish to be unkind, but I can't see you again. You have disappointed me.'

She wept silently, and made no answer, but crept nearer. Her little hands stretched blindly out, and appeared to be seeking for him. He turned on his heel, and left the room. In a few moments he was out of the theatre.

Where he went to he hardly knew. He remembered wandering through dimly-lit streets, past gaunt black-shadowed archways and evil-looking houses. Women with hoarse voices and harsh laughter had called after him. Drunkards had reeled by cursing, and chattering to themselves like monstrous apes. He had seen grotesque children huddled upon doorsteps, and heard shrieks and oaths from gloomy courts.

As the dawn was just breaking he found himself close to Covent Garden.
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The darkness lifted, and, flushed with faint fires, the sky hollowed itself into a perfect pearl. Huge carts filled with nodding lilies rumbled slowly down the polished empty street. The air was heavy with the perfume of the flowers, and their beauty seemed to bring him an anodyne for his pain. He followed into the market, and watched the men unloading their waggons. A white-smocked carter offered him some cherries. He thanked him, wondered why he refused to accept any money for them, and began to eat them listlessly. They had been plucked at midnight, and the coldness of the moon had entered into them. A long thin line of boys carrying crates of striped
tulips, and of yellow and red roses, defiled in front of him, threading their way through the huge jade-green piles of vegetables. Under the portico, with its grey sun-bleached pillars, loitered a troop of draggled bareheaded girls, waiting for the auction to be over. Others crowded round the swinging doors of the coffee-house in the Piazza. The heavy cart-horses slipped and stamped upon the rough stones, shaking their bells and trappings. Some of the drivers were lying asleep on a pile of sacks. Iris-necked, and pink-footed, the pigeons ran about picking up seeds.

After a little while, he hailed a hansom, and drove home. For a few moments he loitered upon the doorstep, looking round at the silent Square with its blank close-shuttered windows, and its staring blinds. The sky was pure opal now, and the roofs of the houses glistened like silver against it. From some chimney opposite a thin wreath of smoke was rising. It curled, a violet riband, through the nacre-coloured air.

In the huge gilt Venetian lantern, spoil of some Doge's barge, that hung from the ceiling of the great oak-panelled hall of entrance, lights were still burning from three flickering jets: thin blue petals of flame they seemed, rimmed with white fire. He turned them out, and, having thrown his hat and cape on the table, passed through the library towards the door of his bedroom, a large octagonal chamber on the ground floor that, in his new-born feeling for luxury, he had just had decorated for himself, and hung with some curious Renaissance tapestries that had been discovered stored in a disused attic at Selby Royal. As he was turning the handle of the door, his eye fell upon the portrait Basil Hallward had painted of him. He started back as if in surprise. Then he went on into his own room, looking somewhat puzzled. After he had taken the buttonhole out of his coat, he seemed to hesitate. Finally he came back, went over to the picture, and examined it. In the dim arrested light that struggled through the cream-coloured silk blinds, the face appeared to him to be a little changed. The expression looked different. One would have said that there was a touch of cruelty in the mouth. It was certainly strange.
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He turned round, and, walking to the window, drew up the blind. The bright dawn flooded the room, and swept the fantastic shadows into dusky corners, where they lay shuddering. But the strange
expression that he had noticed in the face of the portrait seemed to linger there, to be more intensified even. The quivering, ardent sunlight showed him the lines of cruelty round the mouth as clearly as if he had been looking into a mirror after he had done some dreadful thing.

He winced, and, taking up from the table an oval glass framed in ivory Cupids, one of Lord Henry's many presents to him, glanced hurriedly into its polished depths. No line like that warped his red lips. What did it mean?

He rubbed his eyes, and came close to the picture, and examined it again. There were no signs of any change when he looked into the actual painting, and yet there was no doubt that the whole expression had altered. It was not a mere fancy of his own. The thing was horribly apparent.

He threw himself into a chair, and began to think. Suddenly there flashed across his mind what he had said in Basil Hallward's studio the day the picture had been finished. Yes, he remembered it perfectly. He had uttered a mad wish that he himself might remain young, and the portrait grow old; that his own beauty might be untarnished, and the face on the canvas bear the burden of his passions and his sins; that the painted image might be seared with the lines of suffering and thought, and that he might keep all the delicate bloom and loveliness of his then just conscious boyhood. Surely his wish had not been fulfilled? Such things were impossible. It seemed monstrous even to think of them. And, yet, there was the picture before him, with the touch of cruelty in the mouth.

Cruelty! Had he been cruel? It was the girl's fault, not his. He had dreamed of her as a great artist, had given his love to her because he had thought her great. Then she had disappointed him. She had been shallow and unworthy. And, yet, a feeling of infinite regret came over him, as he thought of her lying at his feet sobbing like a little child. He remembered with what callousness he had watched her. Why had he been made like that? Why had such a soul been given to him? But he had suffered also. During the three terrible hours that the play had lasted, he had lived centuries of pain, æon upon æon of torture. His life was well worth hers. She had marred him for a moment, if he had
wounded her for an age. Besides, women were better suited to bear sorrow than men. They lived on their emotions. They only thought of their emotions. When they took lovers, it was merely to have some one with whom they could have scenes. Lord Henry had told him that, and Lord Henry knew what women were. Why should he trouble about Sibyl Vane? She was nothing to him now.

But the picture? What was he to say of that? It held the secret of his life, and told his story. It had taught him to love his own beauty. Would it teach him to loathe his own soul? Would he ever look at it again?

No; it was merely an illusion wrought on the troubled senses. The horrible night that he had passed had left phantoms behind it. Suddenly there had fallen upon his brain that tiny scarlet speck that makes men mad. The picture had not changed. It was folly to think so.

Yet it was watching him, with its beautiful marred face and its cruel smile. Its bright hair gleamed in the early sunlight. Its blue eyes met his own. A sense of infinite pity, not for himself, but for the painted image of himself, came over him. It had altered already, and would alter more. Its gold would wither into grey. Its red and white roses would die. For every sin that he committed, a stain would fleck and wreck its fairness. But he would not sin. The picture, changed or unchanged, would be to him the visible emblem of conscience. He would resist temptation. He would not see Lord Henry any more – would not, at any rate, listen to those subtle poisonous theories that in Basil Hallward's garden had first stirred within him the passion for impossible things. He would go back to Sibyl Vane, make her amends, marry her, try to love her again. Yes, it was his duty to do so. She must have suffered more than he had. The fascination that she had exercised over him would return. They would be happy together. His life with her would be beautiful and pure.

He got up from his chair, and drew a large screen right in front of the portrait, shuddering as he glanced at it. ‘How horrible!' he murmured to himself, and he walked across to the window and opened it. When he stepped out on to the grass, he drew a deep breath. The fresh morning air seemed to drive away all his sombre passions. He
thought only of Sibyl. A faint echo of his love came back to him. He repeated her name over and over again. The birds that were singing in the dew-drenched garden seemed to be telling the flowers about her.

It was long past noon when he awoke. His valet had crept several times on tiptoe into the room to see if he was stirring, and had wondered what made his young master sleep so late. Finally his bell sounded, and Victor came in softly with a cup of tea, and a pile of letters, on a small tray of old Sèvres china, and drew back the olive-satin curtains, with their shimmering blue lining, that hung in front of the three tall windows.

‘Monsieur has well slept this morning,' he said, smiling.

‘What o'clock is it, Victor?' asked Dorian Gray, drowsily.

‘One hour and a quarter, Monsieur.'

How late it was! He sat up, and, having sipped some tea, turned over his letters. One of them was from Lord Henry, and had been brought by hand that morning. He hesitated for a moment, and then put it aside. The others he opened listlessly. They contained the usual collection of cards, invitations to dinner, tickets for private views, programmes of charity concerts, and the like, that are showered on fashionable young men every morning during the season. There was a rather heavy bill, for a chased silver Louis-Quinze toilet-set, that he had not yet had the courage to send on to his guardians, who were extremely old-fashioned people and did not realize that we live in an age when unnecessary things are our only necessities; and there were several very courteously worded communications from Jermyn Street money-lenders offering to advance any sum of money at a moment's notice and at the most reasonable rates of interest.

After about ten minutes he got up, and, throwing on an elaborate dressing-gown of silk-embroidered cashmere wool, passed into the
onyx-paved bathroom. The cool water refreshed him after his long sleep. He seemed to have forgotten all that he had gone through. A dim sense of having taken part in some strange tragedy came to him once or twice, but there was the unreality of a dream about it.

As soon as he was dressed, he went into the library and sat down to a light French breakfast, that had been laid out for him on a small round table close to the open window. It was an exquisite day. The warm air seemed laden with spices. A bee flew in, and buzzed round the blue-dragon bowl that, filled with sulphur-yellow roses, stood before him. He felt perfectly happy.

Suddenly his eye fell on the screen that he had placed in front of the portrait, and he started.

‘Too cold for Monsieur?' asked his valet, putting an omelette on the table. ‘I shut the window?'

Dorian shook his head. ‘I am not cold,' he murmured.

Was it all true? Had the portrait really changed? Or had it been simply his own imagination that had made him see a look of evil where there had been a look of joy? Surely a painted canvas could not alter? The thing was absurd. It would serve as a tale to tell Basil some day. It would make him smile.

And, yet, how vivid was his recollection of the whole thing! First in the dim twilight, and then in the bright dawn, he had seen the touch of cruelty round the warped lips. He almost dreaded his valet leaving the room. He knew that when he was alone he would have to examine the portrait. He was afraid of certainty. When the coffee and cigarettes had been brought and the man turned to go, he felt a wild desire to tell him to remain. As the door was closing behind him he called him back. The man stood waiting for his orders. Dorian looked at him for a moment. ‘I am not at home to any one, Victor,' he said, with a sigh. The man bowed and retired.

Then he rose from the table, lit a cigarette, and flung himself down on a luxuriously-cushioned couch that stood facing the screen. The screen was an old one, of gilt Spanish leather, stamped and wrought with a rather florid Louis-Quatorze pattern. He scanned it curiously, wondering if ever before it had concealed the secret of a man's life.

Should he move it aside, after all? Why not let it stay there? What was
the use of knowing? If the thing was true, it was terrible. If it was not true, why trouble about it? But what if, by some fate or deadlier chance, eyes other than his spied behind, and saw the horrible change? What should he do if Basil Hallward came and asked to look at his own picture? Basil would be sure to do that. No; the thing had to be examined, and at once. Anything would be better than this dreadful state of doubt.

He got up, and locked both doors. At least he would be alone when he looked upon the mask of his shame. Then he drew the screen aside, and saw himself face to face. It was perfectly true. The portrait had altered.

As he often remembered afterwards, and always with no small wonder, he found himself at first gazing at the portrait with a feeling of almost scientific interest. That such a change should have taken place was incredible to him. And yet it was a fact. Was there some subtle affinity between the chemical atoms, that shaped themselves into form and colour on the canvas, and the soul that was within him? Could it be that what that soul thought, they realized?
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– that what it dreamed, they made true? Or was there some other, more terrible reason? He shuddered, and felt afraid, and, going back to the couch, lay there, gazing at the picture in sickened horror.

One thing, however, he felt that it had done for him. It had made him conscious how unjust, how cruel, he had been to Sibyl Vane. It was not too late to make reparation for that. She could still be his wife. His unreal and selfish love would yield to some higher influence, would be transformed into some nobler passion, and the portrait that Basil Hallward had painted of him would be a guide to him through life, would be to him what holiness is to some, and conscience to others, and the fear of God to us all. There were opiates for remorse, drugs that could lull the moral sense to sleep. But here was a visible symbol of the degradation of sin. Here was an ever-present sign of the ruin men brought upon their souls.

Three o'clock struck, and four, and the half-hour rang its double chime, but Dorian Gray did not stir. He was trying to gather up the scarlet threads of life, and to weave them into a pattern; to find his way through the sanguine labyrinth of passion through which he was wandering. He did not know what to do, or what to think. Finally, he
went over to the table and wrote a passionate letter to the girl he had loved, imploring her forgiveness, and accusing himself of madness. He covered page after page with wild words of sorrow, and wilder words of pain. There is a luxury in self-reproach. When we blame ourselves we feel that no one else has a right to blame us. It is the confession, not the priest, that gives us absolution. When Dorian had finished the letter, he felt that he had been forgiven.

Suddenly there came a knock to the door, and he heard Lord Henry's voice outside. ‘My dear boy, I must see you. Let me in at once. I can't bear your shutting yourself up like this.'

He made no answer at first, but remained quite still. The knocking still continued, and grew louder. Yes, it was better to let Lord Henry in, and to explain to him the new life he was going to lead, to quarrel with him if it became necessary to quarrel, to part if parting was inevitable. He jumped up, drew the screen hastily across the picture, and unlocked the door.

‘I am so sorry for it all, Dorian,' said Lord Henry, as he entered. ‘But you must not think too much about it.'

‘Do you mean about Sibyl Vane?' asked the lad.

‘Yes, of course,' answered Lord Henry, sinking into a chair, and slowly pulling off his yellow gloves. ‘It is dreadful, from one point of view, but it was not your fault. Tell me, did you go behind and see her, after the play was over?'

‘Yes.'

‘I felt sure you had. Did you make a scene with her?'

‘I was brutal, Harry – perfectly brutal. But it is all right now. I am not sorry for anything that has happened. It has taught me to know myself better.'

‘Ah, Dorian, I am so glad you take it in that way! I was afraid I would find you plunged in remorse, and tearing that nice curly hair of yours.'

‘I have got through all that,' said Dorian, shaking his head, and smiling. ‘I am perfectly happy now. I know what conscience is, to begin with. It is not what you told me it was. It is the divinest thing in us. Don't sneer at it, Harry, any more – at least not before me. I want to be good. I can't bear the idea of my soul being hideous.'

‘A very charming artistic basis for ethics, Dorian! I congratulate you on it. But how are you going to begin?'

‘By marrying Sibyl Vane.'

‘Marrying Sibyl Vane!' cried Lord Henry, standing up, and looking at him in perplexed amazement. ‘But, my dear Dorian –'

‘Yes, Harry, I know what you are going to say. Something dreadful about marriage. Don't say it. Don't ever say things of that kind to me again. Two days ago I asked Sibyl to marry me. I am not going to break my word to her. She is to be my wife.'

‘Your wife! Dorian!… Didn't you get my letter? I wrote to you this morning, and sent the note down, by my own man.'

‘Your letter? Oh, yes, I remember. I have not read it yet, Harry. I was afraid there might be something in it that I wouldn't like. You cut life to pieces with your epigrams.'

‘You know nothing then?'

‘What do you mean?'

Lord Henry walked across the room, and, sitting down by Dorian Gray, took both his hands in his own, and held them tightly. ‘Dorian,' he said, ‘my letter – don't be frightened – was to tell you that Sibyl Vane is dead.'

A cry of pain broke from the lad's lips, and he leaped to his feet, tearing his hands away from Lord Henry's grasp. ‘Dead! Sibyl dead! It is not true! It is a horrible lie! How dare you say it?'

‘It is quite true, Dorian,' said Lord Henry, gravely. ‘It is in all the morning papers. I wrote down to you to ask you not to see any one till I came. There will have to be an inquest, of course, and you must not be mixed up in it. Things like that make a man fashionable in Paris. But in London people are so prejudiced. Here, one should never make one's
début
with a scandal. One should reserve that to give an interest to one's old age. I suppose they don't know your name at the theatre? If they don't, it is all right. Did any one see you going round to her room? That is an important point.'

Dorian did not answer for a few moments. He was dazed with horror. Finally he stammered, in a stifled voice, ‘Harry, did you say an inquest? What did you mean by that? Did Sibyl –? Oh, Harry, I can't bear it! But be quick. Tell me everything at once.'

‘I have no doubt it was not an accident, Dorian, though it must be put in that way to the public. It seems that as she was leaving the theatre with her mother, about half-past twelve or so, she said she had forgotten something upstairs. They waited some time for her, but she did not come down again. They ultimately found her lying dead on the floor of her dressing-room. She had swallowed something by mistake, some dreadful thing they use at theatres. I don't know what it was, but it had either prussic acid or white lead in it. I should fancy it was prussic acid, as she seems to have died instantaneously.'

‘Harry, Harry, it is terrible!' cried the lad.

‘Yes; it is very tragic, of course, but you must not get yourself mixed up in it. I see by
The Standard
that she was seventeen. I should have thought she was almost younger than that. She looked such a child, and seemed to know so little about acting. Dorian, you mustn't let this thing get on your nerves. You must come and dine with me, and afterwards we will look in at the Opera. It is a Patti
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night, and everybody will be there. You can come to my sister's box. She has got some smart women with her.'

‘So I have murdered Sibyl Vane,' said Dorian Gray, half to himself – ‘murdered her as surely as if I had cut her little throat with a knife. Yet the roses are not less lovely for all that. The birds sing just as happily in my garden. And to-night I am to dine with you, and then go on to the Opera, and sup somewhere, I suppose, afterwards. How extraordinarily dramatic life is! If I had read all this in a book, Harry, I think I would have wept over it. Somehow, now that it has happened actually, and to me, it seems far too wonderful for tears. Here is the first passionate love-letter I have ever written in my life. Strange, that my first passionate love-letter should have been addressed to a dead girl. Can they feel, I wonder, those white silent people we call the dead? Sibyl! Can she feel, or know, or listen? Oh, Harry, how I loved her once! It seems years ago to me now. She was everything to me. Then came that dreadful night – was it really only last night? – when she played so badly, and my heart almost broke. She explained it all to me. It was terribly pathetic. But I was not moved a bit. I thought her shallow. Suddenly something happened that made me afraid. I can't tell you what it was, but it was terrible. I said I would go back to
her. I felt I had done wrong. And now she is dead. My God! my God! Harry, what shall I do? You don't know the danger I am in, and there is nothing to keep me straight. She would have done that for me. She had no right to kill herself. It was selfish of her.'

‘My dear Dorian,' answered Lord Henry, taking a cigarette from his case, and producing a gold-latten matchbox, ‘the only way a woman can ever reform a man is by boring him so completely that he loses all possible interest in life. If you had married this girl you would have been wretched. Of course you would have treated her kindly. One can always be kind to people about whom one cares nothing. But she would have soon found out that you were absolutely indifferent to her. And when a woman finds that out about her husband, she either becomes dreadfully dowdy, or wears very smart bonnets that some other woman's husband has to pay for. I say nothing about the social mistake, which would have been abject, which, of course, I would not have allowed, but I assure you that in any case the whole thing would have been an absolute failure.'

‘I suppose it would,' muttered the lad, walking up and down the room, and looking horribly pale. ‘But I thought it was my duty. It is not my fault that this terrible tragedy has prevented my doing what was right. I remember your saying once that there is a fatality about good resolutions – that they are always made too late. Mine certainly were.'