The Picture of Dorian Gray

He was conscious—and the thought brought a gleam of pleasure into his brown agate eyes—that it was through certain words of his, musical words said with musical utterance, that Dorian Gray’s soul had turned to this white girl and bowed in worship before her. To a large extent the lad was his own creation. He had made him premature. That was something. Ordinary people waited till life disclosed to them its secrets, but to the few, to the elect, the mysteries of life were revealed before the veil was drawn away. Sometimes this was the effect of art, and chiefly of the art of literature, which dealt immediately with the passions and the intellect. But now and then a complex personality took the place and assumed the office of art; was indeed, in its way, a real work of art, Life having its elaborate masterpieces, just as poetry has, or sculpture, or painting.

Yes, the lad was premature. He was gathering his harvest while it was yet spring. The pulse and passion of youth were in him, but he was becoming self-conscious. It was delightful to watch him. With his beautiful face, and his beautiful soul, he was a thing to wonder at. It was no matter how it all ended, or was destined to end. He was like one of those gracious figures in a pageant or a play, whose joys seem to be remote from one, but whose sorrows stir one’s sense of beauty and whose wounds are like red roses.

Soul and body, body and soul—how mysterious they were! There was animalism in the soul, and the body had its moments of spirituality. The senses could refine, and the intellect could degrade. Who could say where the fleshly impulse ceased, or the physical impulse began? How shallow were the arbitrary definitions of ordinary psychologists! And yet how difficult to decide between the claims of the various schools! Was the soul a shadow seated in the house of sin? Or was the body really in the soul, as Giordano Bruno thought? The separation of spirit from matter was a mystery, and the union of spirit with matter was a mystery also.

He began to wonder whether we could ever make psychology so absolute a science that each little spring of life would be revealed to us. As it was, we always misunderstood ourselves, and rarely understood others. Experience was of no ethical value. It was merely the name men gave to their mistakes. Moralists had, as a rule, regarded it as a mode of warning, had claimed for it a certain ethical efficacy in the formation of character, had praised it as something that taught us what to follow and showed us what to avoid. But there was no motive power in experience. It was as little of an active cause as conscience itself. All that it really demonstrated was that our future would be the same as our past, and that the sin we had done once, and with loathing, we would do many times, and with joy.

It was clear to him that the experimental method was the only method by which one could arrive at any scientific analysis of the passions; and certainly Dorian Gray was a subject made to his hand and seemed to promise rich and fruitful results. His sudden mad love for Sibyl Vane was a psychological phenomenon of no small interest. There was no doubt that curiosity had much to do with it, curiosity and the desire for new experiences; yet it was not a simple but rather a very complex passion. What there was in it of the purely sensuous instinct of boyhood had been transformed by the workings of the imagination, changed into something that seemed to the lad himself to be remote from sense, and was for that very reason all the more dangerous. It was the passions about whose origin we deceived ourselves that tyrannised most strongly over us. Our weakest motives were those of whose nature we were conscious. It often happened that when we thought we were experimenting on others we were really experimenting on ourselves.

While Lord Henry sat dreaming on these things, a knock came to the door, and his valet entered, and reminded him it was time to dress for dinner. He got up and looked out into the street. The sunset had smitten into scarlet gold the upper windows of the houses opposite. The panes glowed like plates of heated metal. The sky above was like a faded rose. He thought of his friend’s young fiery-coloured life, and wondered how it was all going to end.

When he arrived home, about half-past twelve o’clock, he saw a telegram lying on the hall table. He opened it, and found it was from Dorian Gray. It was to tell him that he was engaged to be married to Sybil Vane.

CHAPTER 5 (#ulink_1253dbcf-8cf1-5418-8a82-2d9e63890e28)

‘Mother, mother, I am so happy!’ whispered the girl, burying her face in the lap of the faded, tired-looking woman who, with back turned to the shrill intrusive light, was sitting in the one arm-chair that their dingy sitting-room contained. ‘I am so happy!’ she repeated, ‘and you must be happy too!’

Mrs. Vane winced, and put her thin bismuth-whitened hands on her daughter’s head. ‘Happy!’ she echoed, ‘I am only happy, Sibyl, when I see you act. You must not think of anything but your acting. Mr. Isaacs has been very good to us, and we owe him money.’

The girl looked up and pouted. ‘Money, mother?’ she cried, ‘what does money matter? Love is more than money.’

‘Mr. Isaacs has advanced us fifty pounds to pay off our debts, and to get a proper outfit for James. You must not forget that, Sibyl. Fifty pounds is a very large sum. Mr. Isaacs has been most considerate.’

‘He is not a gentleman, mother, and I hate the way he talks to me,’ said the girl, rising to her feet, and going over to the window.

‘I don’t know how we could manage without him,’ answered the elder woman, querulously.

Sibyl Vane tossed her head and laughed. ‘We don’t want him any more, mother. Prince Charming rules life for us now.’ Then she paused. A rose shook in her blood, and shadowed her cheeks. Quick breath parted the petals of her lips. They trembled. Some southern wind of passion swept over her, and stirred the dainty folds of her dress. ‘I love him,’ she said, simply.

‘Foolish child! foolish child!’ was the parrot-phrase flung in answer. The waving of crooked, false-jewelled fingers gave grotesqueness to the words.