The Picture of Dorian Gray
stored away many rare and beautiful specimens of what is really the
raiment of the Bride of Christ, who must wear purple and jewels and
fine linen that she may hide the pallid macerated body that is worn by
the suffering that she seeks for and wounded by self-inflicted pain. He
possessed a gorgeous cope of crimson silk and gold-thread damask,
figured with a repeating pattern of golden pomegranates set in
six-petalled formal blossoms, beyond which on either side was the
pine-apple device wrought in seed-pearls. The orphreys were divided
into panels representing scenes from the life of the Virgin, and the
coronation of the Virgin was figured in coloured silks upon the hood.
This was Italian work of the fifteenth century. Another cope was of
green velvet, embroidered with heart-shaped groups of acanthus-leaves,
from which spread long-stemmed white blossoms, the details of which
were picked out with silver thread and coloured crystals. The morse
bore a seraph’s head in gold-thread raised work. The orphreys were
woven in a diaper of red and gold silk, and were starred with
medallions of many saints and martyrs, among whom was St. Sebastian. He
had chasubles, also, of amber-coloured silk, and blue silk and gold
brocade, and yellow silk damask and cloth of gold, figured with
representations of the Passion and Crucifixion of Christ, and
embroidered with lions and peacocks and other emblems; dalmatics of
white satin and pink silk damask, decorated with tulips and dolphins
and _fleurs-de-lis_; altar frontals of crimson velvet and blue linen;
and many corporals, chalice-veils, and sudaria. In the mystic offices
to which such things were put, there was something that quickened his
imagination.
For these treasures, and everything that he collected in his lovely
house, were to be to him means of forgetfulness, modes by which he
could escape, for a season, from the fear that seemed to him at times
to be almost too great to be borne. Upon the walls of the lonely locked
room where he had spent so much of his boyhood, he had hung with his
own hands the terrible portrait whose changing features showed him the
real degradation of his life, and in front of it had draped the
purple-and-gold pall as a curtain. For weeks he would not go there,
would forget the hideous painted thing, and get back his light heart,
his wonderful joyousness, his passionate absorption in mere existence.
Then, suddenly, some night he would creep out of the house, go down to
dreadful places near Blue Gate Fields, and stay there, day after day,
until he was driven away. On his return he would sit in front of the
picture, sometimes loathing it and himself, but filled, at other times,
with that pride of individualism that is half the fascination of sin,
and smiling with secret pleasure at the misshapen shadow that had to
bear the burden that should have been his own.
After a few years he could not endure to be long out of England, and
gave up the villa that he had shared at Trouville with Lord Henry, as
well as the little white walled-in house at Algiers where they had more
than once spent the winter. He hated to be separated from the picture
that was such a part of his life, and was also afraid that during his
absence some one might gain access to the room, in spite of the
elaborate bars that he had caused to be placed upon the door.
He was quite conscious that this would tell them nothing. It was true
that the portrait still preserved, under all the foulness and ugliness
of the face, its marked likeness to himself; but what could they learn
from that? He would laugh at any one who tried to taunt him. He had not
painted it. What was it to him how vile and full of shame it looked?
Even if he told them, would they believe it?
Yet he was afraid. Sometimes when he was down at his great house in
Nottinghamshire, entertaining the fashionable young men of his own rank
who were his chief companions, and astounding the county by the wanton
luxury and gorgeous splendour of his mode of life, he would suddenly
leave his guests and rush back to town to see that the door had not
been tampered with and that the picture was still there. What if it
should be stolen? The mere thought made him cold with horror. Surely
the world would know his secret then. Perhaps the world already
suspected it.
For, while he fascinated many, there were not a few who distrusted him.
He was very nearly blackballed at a West End club of which his birth
and social position fully entitled him to become a member, and it was
said that on one occasion, when he was brought by a friend into the
smoking-room of the Churchill, the Duke of Berwick and another
gentleman got up in a marked manner and went out. Curious stories
became current about him after he had passed his twenty-fifth year. It
was rumoured that he had been seen brawling with foreign sailors in a
low den in the distant parts of Whitechapel, and that he consorted with
thieves and coiners and knew the mysteries of their trade. His
extraordinary absences became notorious, and, when he used to reappear
again in society, men would whisper to each other in corners, or pass
him with a sneer, or look at him with cold searching eyes, as though
they were determined to discover his secret.
Of such insolences and attempted slights he, of course, took no notice,
and in the opinion of most people his frank debonair manner, his
charming boyish smile, and the infinite grace of that wonderful youth
that seemed never to leave him, were in themselves a sufficient answer
to the calumnies, for so they termed them, that were circulated about
him. It was remarked, however, that some of those who had been most
intimate with him appeared, after a time, to shun him. Women who had
wildly adored him, and for his sake had braved all social censure and
set convention at defiance, were seen to grow pallid with shame or
horror if Dorian Gray entered the room.
Yet these whispered scandals only increased in the eyes of many his
strange and dangerous charm. His great wealth was a certain element of
security. Society—civilized society, at least—is never very ready to
believe anything to the detriment of those who are both rich and
fascinating. It feels instinctively that manners are of more importance
than morals, and, in its opinion, the highest respectability is of much
less value than the possession of a good _chef_. And, after all, it is
a very poor consolation to be told that the man who has given one a bad
dinner, or poor wine, is irreproachable in his private life. Even the
cardinal virtues cannot atone for half-cold _entrées_, as Lord Henry
remarked once, in a discussion on the subject, and there is possibly a
good deal to be said for his view. For the canons of good society are,
or should be, the same as the canons of art. Form is absolutely
essential to it. It should have the dignity of a ceremony, as well as
its unreality, and should combine the insincere character of a romantic
play with the wit and beauty that make such plays delightful to us. Is
insincerity such a terrible thing? I think not. It is merely a method
by which we can multiply our personalities.
Such, at any rate, was Dorian Gray’s opinion. He used to wonder at the
shallow psychology of those who conceive the ego in man as a thing
simple, permanent, reliable, and of one essence. To him, man was a
being with myriad lives and myriad sensations, a complex multiform
creature that bore within itself strange legacies of thought and
passion, and whose very flesh was tainted with the monstrous maladies
of the dead. He loved to stroll through the gaunt cold picture-gallery
of his country house and look at the various portraits of those whose
blood flowed in his veins. Here was Philip Herbert, described by
Francis Osborne, in his Memoires on the Reigns of Queen Elizabeth and
King James, as one who was “caressed by the Court for his handsome
face, which kept him not long company.” Was it young Herbert’s life
that he sometimes led? Had some strange poisonous germ crept from body
to body till it had reached his own? Was it some dim sense of that
ruined grace that had made him so suddenly, and almost without cause,
give utterance, in Basil Hallward’s studio, to the mad prayer that had
so changed his life? Here, in gold-embroidered red doublet, jewelled
surcoat, and gilt-edged ruff and wristbands, stood Sir Anthony Sherard,
with his silver-and-black armour piled at his feet. What had this man’s
legacy been? Had the lover of Giovanna of Naples bequeathed him some
inheritance of sin and shame? Were his own actions merely the dreams
that the dead man had not dared to realize? Here, from the fading
canvas, smiled Lady Elizabeth Devereux, in her gauze hood, pearl
stomacher, and pink slashed sleeves. A flower was in her right hand,
and her left clasped an enamelled collar of white and damask roses. On
a table by her side lay a mandolin and an apple. There were large green
rosettes upon her little pointed shoes. He knew her life, and the
strange stories that were told about her lovers. Had he something of
her temperament in him? These oval, heavy-lidded eyes seemed to look
curiously at him. What of George Willoughby, with his powdered hair and
fantastic patches? How evil he looked! The face was saturnine and
swarthy, and the sensual lips seemed to be twisted with disdain.
Delicate lace ruffles fell over the lean yellow hands that were so
overladen with rings. He had been a macaroni of the eighteenth century,
and the friend, in his youth, of Lord Ferrars. What of the second Lord
Beckenham, the companion of the Prince Regent in his wildest days, and
one of the witnesses at the secret marriage with Mrs. Fitzherbert? How
proud and handsome he was, with his chestnut curls and insolent pose!
What passions had he bequeathed? The world had looked upon him as
infamous. He had led the orgies at Carlton House. The star of the
Garter glittered upon his breast. Beside him hung the portrait of his
wife, a pallid, thin-lipped woman in black. Her blood, also, stirred
within him. How curious it all seemed! And his mother with her Lady
Hamilton face and her moist, wine-dashed lips—he knew what he had got
from her. He had got from her his beauty, and his passion for the
beauty of others. She laughed at him in her loose Bacchante dress.
There were vine leaves in her hair. The purple spilled from the cup she
was holding. The carnations of the painting had withered, but the eyes
were still wonderful in their depth and brilliancy of colour. They
seemed to follow him wherever he went.
Yet one had ancestors in literature as well as in one’s own race,
nearer perhaps in type and temperament, many of them, and certainly
with an influence of which one was more absolutely conscious. There
were times when it appeared to Dorian Gray that the whole of history
was merely the record of his own life, not as he had lived it in act
and circumstance, but as his imagination had created it for him, as it
had been in his brain and in his passions. He felt that he had known
them all, those strange terrible figures that had passed across the
stage of the world and made sin so marvellous and evil so full of
subtlety. It seemed to him that in some mysterious way their lives had
been his own.
The hero of the wonderful novel that had so influenced his life had
himself known this curious fancy. In the seventh chapter he tells how,
crowned with laurel, lest lightning might strike him, he had sat, as
Tiberius, in a garden at Capri, reading the shameful books of
Elephantis, while dwarfs and peacocks strutted round him and the
flute-player mocked the swinger of the censer; and, as Caligula, had
caroused with the green-shirted jockeys in their stables and supped in
an ivory manger with a jewel-frontleted horse; and, as Domitian, had