The Picture of Dorian Gray Page #23

The Picture of Dorian Gray is a Gothic and philosophical novel by Oscar Wilde, first published complete in the July 1890 issue of Lippincott's Monthly Magazine. Fearing the story was indecent, prior to publication the magazine's editor deleted roughly five hundred words without Wilde's knowledge.

• Fiction
• Philosophy

								


CHAPTER 7

For some reason or other, the house was crowded that night, and the fat Jew manager who met them at the door was beaming from ear to ear with an oily tremulous smile.  He escorted them to their box with a sort of pompous humility, waving his fat jewelled hands and talking at the top of his voice.  Dorian Gray loathed him more than ever.  He felt as if he had come to look for Miranda and had been met by Caliban.  Lord Henry, upon the other hand, rather liked him.  At least he declared he did, and insisted on shaking him by the hand and assuring him that he was proud to meet a man who had discovered a real genius and gone bankrupt over a poet.  Hallward amused himself with watching the faces in the pit.  The heat was terribly oppressive, and the huge sunlight flamed like a monstrous dahlia with petals of yellow fire.  The youths in the gallery had taken off their coats and waistcoats and hung them over the side.  They talked to each other across the theatre and shared their oranges with the tawdry girls who sat beside them.  Some women were laughing in the pit.  Their voices were horribly shrill and discordant.  The sound of the popping of corks came from the bar.

"What a place to find one's divinity in!" said Lord Henry.

"Yes!" answered Dorian Gray.  "It was here I found her, and she is divine beyond all living things.  When she acts, you will forget everything.  These common rough people, with their coarse faces and brutal gestures, become quite different when she is on the stage.  They sit silently and watch her.  They weep and laugh as she wills them to do.  She makes them as responsive as a violin.  She spiritualizes them, and one feels that they are of the same flesh and blood as one's self."

"The same flesh and blood as one's self!  Oh, I hope not!" exclaimed Lord Henry, who was scanning the occupants of the gallery through his opera-glass.

"Don't pay any attention to him, Dorian," said the painter.  "I understand what you mean, and I believe in this girl.  Any one you love must be marvellous, and any girl who has the effect you describe must be fine and noble.  To spiritualize one's age--that is something worth doing.  If this girl can give a soul to those who have lived without one, if she can create the sense of beauty in people whose lives have been sordid and ugly, if she can strip them of their selfishness and lend them tears for sorrows that are not their own, she is worthy of all your adoration, worthy of the adoration of the world.  This marriage is quite right.  I did not think so at first, but I admit it now.  The gods made Sibyl Vane for you.  Without her you would have been incomplete."

"Thanks, Basil," answered Dorian Gray, pressing his hand.  "I knew that you would understand me.  Harry is so cynical, he terrifies me.  But here is the orchestra.  It is quite dreadful, but it only lasts for about five minutes.  Then the curtain rises, and you will see the girl to whom I am going to give all my life, to whom I have given everything that is good in me."

A quarter of an hour afterwards, amidst an extraordinary turmoil of applause, Sibyl Vane stepped on to the stage.  Yes, she was certainly lovely to look at--one of the loveliest creatures, Lord Henry thought, that he had ever seen.  There was something of the fawn in her shy grace and startled eyes.  A faint blush, like the shadow of a rose in a mirror of silver, came to her cheeks as she glanced at the crowded enthusiastic house.  She stepped back a few paces and her lips seemed to tremble.  Basil Hallward leaped to his feet and began to applaud. Motionless, and as one in a dream, sat Dorian Gray, gazing at her. Lord Henry peered through his glasses, murmuring, "Charming! charming!"

The scene was the hall of Capulet's house, and Romeo in his pilgrim's dress had entered with Mercutio and his other friends.  The band, such as it was, struck up a few bars of music, and the dance began.  Through the crowd of ungainly, shabbily dressed actors, Sibyl Vane moved like a creature from a finer world.  Her body swayed, while she danced, as a plant sways in the water.  The curves of her throat were the curves of a white lily.  Her hands seemed to be made of cool ivory.

Yet she was curiously listless.  She showed no sign of joy when her eyes rested on Romeo.  The few words she had to speak--

    Good pilgrim, you do wrong your hand too much,
        Which mannerly devotion shows in this;
    For saints have hands that pilgrims' hands do touch,
        And palm to palm is holy palmers' kiss--

with the brief dialogue that follows, were spoken in a thoroughly artificial manner.  The voice was exquisite, but from the point of view of tone it was absolutely false.  It was wrong in colour.  It took away all the life from the verse.  It made the passion unreal.

Dorian Gray grew pale as he watched her.  He was puzzled and anxious. Neither of his friends dared to say anything to him.  She seemed to them to be absolutely incompetent.  They were horribly disappointed.

Yet they felt that the true test of any Juliet is the balcony scene of the second act.  They waited for that.  If she failed there, there was nothing in her.

She looked charming as she came out in the moonlight.  That could not be denied.  But the staginess of her acting was unbearable, and grew worse as she went on.  Her gestures became absurdly artificial.  She overemphasized everything that she had to say.  The beautiful passage--

    Thou knowest the mask of night is on my face,
    Else would a maiden blush bepaint my cheek
    For that which thou hast heard me speak to-night--

was declaimed with the painful precision of a schoolgirl who has been taught to recite by some second-rate professor of elocution. When she leaned over the balcony and came to those wonderful lines--

        Although I joy in thee,
    I have no joy of this contract to-night:
    It is too rash, too unadvised, too sudden;
    Too like the lightning, which doth cease to be
    Ere one can say, "It lightens."  Sweet, good-night!
    This bud of love by summer's ripening breath
    May prove a beauteous flower when next we meet--

she spoke the words as though they conveyed no meaning to her. It was not nervousness. Indeed, so far from being nervous, she was absolutely self-contained. It was simply bad art. She was a complete failure.

Even the common uneducated audience of the pit and gallery lost their interest in the play. They got restless, and began to talk loudly and to whistle. The Jew manager, who was standing at the back of the dress-circle, stamped and swore with rage. The only person unmoved was the girl herself.
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