The Picture of Dorian Gray

Dorian Gray drew a long breath. The colour came back to his cheeks, and a smile played about his lips. The peril was over. He was safe for the time. Yet he could not help feeling infinite pity for the painter who had just made this strange confession to him, and wondered if he himself would ever be so dominated by the personality of a friend. Lord Henry had the charm of being very dangerous. But that was all. He was too clever and too cynical to be really fond of. Would there ever be some one who would fill him with a strange idolatry? Was that one of the things that life had in store?

"It is extraordinary to me, Dorian," said Hallward, "that you should have seen this in the portrait. Did you really see it?"

"I saw something in it," he answered, "something that seemed to me very curious."

"Well, you don't mind my looking at the thing now?"

Dorian shook his head. "You must not ask me that, Basil. I could not possibly let you stand in front of that picture."

"You will some day, surely?"

"Never."

"Well, perhaps you are right. And now good-bye, Dorian. You have been the one person in my life who has really influenced my art. Whatever I have done that is good, I owe to you. Ah! you don't know what it cost me to tell you all that I have told you."

"My dear Basil," said Dorian, "what have you told me? Simply that you felt that you admired me too much. That is not even a compliment."

"It was not intended as a compliment. It was a confession. Now that I have made it, something seems to have gone out of me. Perhaps one should never put one's worship into words."

"It was a very disappointing confession."

"Why, what did you expect, Dorian? You didn't see anything else in the picture, did you? There was nothing else to see?"

"No; there was nothing else to see. Why do you ask? But you mustn't talk about worship. It is foolish. You and I are friends, Basil, and we must always remain so."

"You have got Harry," said the painter sadly.

"Oh, Harry!" cried the lad, with a ripple of laughter. "Harry spends his days in saying what is incredible and his evenings in doing what is improbable. Just the sort of life I would like to lead. But still I don't think I would go to Harry if I were in trouble. I would sooner go to you, Basil."

"You will sit to me again?"

"Impossible!"

"You spoil my life as an artist by refusing, Dorian. No man comes across two ideal things. Few come across one."

"I can't explain it to you, Basil, but I must never sit to you again. There is something fatal about a portrait. It has a life of its own. I will come and have tea with you. That will be just as pleasant."

"Pleasanter for you, I am afraid," murmured Hallward regretfully. "And now good-bye. I am sorry you won't let me look at the picture once again. But that can't be helped. I quite understand what you feel about it."

As he left the room, Dorian Gray smiled to himself. Poor Basil! How little he knew of the true reason! And how strange it was that, instead of having been forced to reveal his own secret, he had succeeded, almost by chance, in wresting a secret from his friend! How much that strange confession explained to him! The painter's absurd fits of jealousy, his wild devotion, his extravagant panegyrics, his curious reticences--he understood them all now, and he felt sorry. There seemed to him to be something tragic in a friendship so coloured by romance.

He sighed and touched the bell. The portrait must be hidden away at all costs. He could not run such a risk of discovery again. It had been mad of him to have allowed the thing to remain, even for an hour, in a room to which any of his friends had access.

CHAPTER 10

When his servant entered, he looked at him steadfastly and wondered if he had thought of peering behind the screen. The man was quite impassive and waited for his orders. Dorian lit a cigarette and walked over to the glass and glanced into it. He could see the reflection of Victor's face perfectly. It was like a placid mask of servility. There was nothing to be afraid of, there. Yet he thought it best to be on his guard.

Speaking very slowly, he told him to tell the house-keeper that he wanted to see her, and then to go to the frame-maker and ask him to send two of his men round at once. It seemed to him that as the man left the room his eyes wandered in the direction of the screen. Or was that merely his own fancy?

After a few moments, in her black silk dress, with old-fashioned thread mittens on her wrinkled hands, Mrs. Leaf bustled into the library. He asked her for the key of the schoolroom.

"The old schoolroom, Mr. Dorian?" she exclaimed. "Why, it is full of dust. I must get it arranged and put straight before you go into it. It is not fit for you to see, sir. It is not, indeed."

"I don't want it put straight, Leaf. I only want the key."

"Well, sir, you'll be covered with cobwebs if you go into it. Why, it hasn't been opened for nearly five years--not since his lordship died."

He winced at the mention of his grandfather. He had hateful memories of him. "That does not matter," he answered. "I simply want to see the place--that is all. Give me the key."

"And here is the key, sir," said the old lady, going over the contents of her bunch with tremulously uncertain hands. "Here is the key. I'll have it off the bunch in a moment. But you don't think of living up there, sir, and you so comfortable here?"

"No, no," he cried petulantly. "Thank you, Leaf. That will do."

She lingered for a few moments, and was garrulous over some detail of the household. He sighed and told her to manage things as she thought best. She left the room, wreathed in smiles.

As the door closed, Dorian put the key in his pocket and looked round the room. His eye fell on a large, purple satin coverlet heavily embroidered with gold, a splendid piece of late seventeenth-century Venetian work that his grandfather had found in a convent near Bologna. Yes, that would serve to wrap the dreadful thing in. It had perhaps served often as a pall for the dead. Now it was to hide something that had a corruption of its own, worse than the corruption of death itself--something that would breed horrors and yet would never die. What the worm was to the corpse, his sins would be to the painted image on the canvas. They would mar its beauty and eat away its grace. They would defile it and make it shameful. And yet the thing would still live on. It would be always alive.

He shuddered, and for a moment he regretted that he had not told Basil the true reason why he had wished to hide the picture away. Basil would have helped him to resist Lord Henry's influence, and the still more poisonous influences that came from his own temperament. The love that he bore him--for it was really love--had nothing in it that was not noble and intellectual. It was not that mere physical admiration of beauty that is born of the senses and that dies when the senses tire. It was such love as Michelangelo had known, and Montaigne, and Winckelmann, and Shakespeare himself. Yes, Basil could have saved him. But it was too late now. The past could always be annihilated. Regret, denial, or forgetfulness could do that. But the future was inevitable. There were passions in him that would find their terrible outlet, dreams that would make the shadow of their evil real.