The Picture of Dorian Gray Page #45

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

								


Hallward turned again to the portrait and gazed at it.  "My God!  If it is true," he exclaimed, "and this is what you have done with your life, why, you must be worse even than those who talk against you fancy you to be!" He held the light up again to the canvas and examined it.  The surface seemed to be quite undisturbed and as he had left it.  It was from within, apparently, that the foulness and horror had come. Through some strange quickening of inner life the leprosies of sin were slowly eating the thing away.  The rotting of a corpse in a watery grave was not so fearful.

His hand shook, and the candle fell from its socket on the floor and lay there sputtering.  He placed his foot on it and put it out.  Then he flung himself into the rickety chair that was standing by the table and buried his face in his hands.

"Good God, Dorian, what a lesson!  What an awful lesson!" There was no answer, but he could hear the young man sobbing at the window.  "Pray, Dorian, pray," he murmured.  "What is it that one was taught to say in one's boyhood?  'Lead us not into temptation.  Forgive us our sins. Wash away our iniquities.'  Let us say that together.  The prayer of your pride has been answered.  The prayer of your repentance will be answered also.  I worshipped you too much.  I am punished for it.  You worshipped yourself too much.  We are both punished."

Dorian Gray turned slowly around and looked at him with tear-dimmed eyes.  "It is too late, Basil," he faltered.

"It is never too late, Dorian.  Let us kneel down and try if we cannot remember a prayer.  Isn't there a verse somewhere, 'Though your sins be as scarlet, yet I will make them as white as snow'?"

"Those words mean nothing to me now."

"Hush!  Don't say that.  You have done enough evil in your life.  My God!  Don't you see that accursed thing leering at us?"

Dorian Gray glanced at the picture, and suddenly an uncontrollable feeling of hatred for Basil Hallward came over him, as though it had been suggested to him by the image on the canvas, whispered into his ear by those grinning lips.  The mad passions of a hunted animal stirred within him, and he loathed the man who was seated at the table, more than in his whole life he had ever loathed anything.  He glanced wildly around.  Something glimmered on the top of the painted chest that faced him.  His eye fell on it.  He knew what it was.  It was a knife that he had brought up, some days before, to cut a piece of cord, and had forgotten to take away with him.  He moved slowly towards it, passing Hallward as he did so.  As soon as he got behind him, he seized it and turned round.  Hallward stirred in his chair as if he was going to rise.  He rushed at him and dug the knife into the great vein that is behind the ear, crushing the man's head down on the table and stabbing again and again.

There was a stifled groan and the horrible sound of some one choking with blood.  Three times the outstretched arms shot up convulsively, waving grotesque, stiff-fingered hands in the air.  He stabbed him twice more, but the man did not move.  Something began to trickle on the floor.  He waited for a moment, still pressing the head down.  Then he threw the knife on the table, and listened.

He could hear nothing, but the drip, drip on the threadbare carpet.  He opened the door and went out on the landing.  The house was absolutely quiet.  No one was about.  For a few seconds he stood bending over the balustrade and peering down into the black seething well of darkness. Then he took out the key and returned to the room, locking himself in as he did so.

The thing was still seated in the chair, straining over the table with bowed head, and humped back, and long fantastic arms.  Had it not been for the red jagged tear in the neck and the clotted black pool that was slowly widening on the table, one would have said that the man was simply asleep.

How quickly it had all been done!  He felt strangely calm, and walking over to the window, opened it and stepped out on the balcony.  The wind had blown the fog away, and the sky was like a monstrous peacock's tail, starred with myriads of golden eyes.  He looked down and saw the policeman going his rounds and flashing the long beam of his lantern on the doors of the silent houses.  The crimson spot of a prowling hansom gleamed at the corner and then vanished.  A woman in a fluttering shawl was creeping slowly by the railings, staggering as she went.  Now and then she stopped and peered back.  Once, she began to sing in a hoarse voice.  The policeman strolled over and said something to her.  She stumbled away, laughing.  A bitter blast swept across the square.  The gas-lamps flickered and became blue, and the leafless trees shook their black iron branches to and fro.  He shivered and went back, closing the window behind him.

Having reached the door, he turned the key and opened it.  He did not even glance at the murdered man.  He felt that the secret of the whole thing was not to realize the situation.  The friend who had painted the fatal portrait to which all his misery had been due had gone out of his life.  That was enough.

Then he remembered the lamp.  It was a rather curious one of Moorish workmanship, made of dull silver inlaid with arabesques of burnished steel, and studded with coarse turquoises.  Perhaps it might be missed by his servant, and questions would be asked.  He hesitated for a moment, then he turned back and took it from the table.  He could not help seeing the dead thing.  How still it was!  How horribly white the long hands looked!  It was like a dreadful wax image.

Having locked the door behind him, he crept quietly downstairs.  The woodwork creaked and seemed to cry out as if in pain.  He stopped several times and waited.  No:  everything was still.  It was merely the sound of his own footsteps.

When he reached the library, he saw the bag and coat in the corner. They must be hidden away somewhere.  He unlocked a secret press that was in the wainscoting, a press in which he kept his own curious disguises, and put them into it.  He could easily burn them afterwards. Then he pulled out his watch.  It was twenty minutes to two.

He sat down and began to think.  Every year--every month, almost--men were strangled in England for what he had done.  There had been a madness of murder in the air.  Some red star had come too close to the earth.... And yet, what evidence was there against him?  Basil Hallward had left the house at eleven.  No one had seen him come in again.  Most of the servants were at Selby Royal.  His valet had gone to bed.... Paris!  Yes.  It was to Paris that Basil had gone, and by the midnight train, as he had intended.  With his curious reserved habits, it would be months before any suspicions would be roused.  Months!  Everything could be destroyed long before then.

A sudden thought struck him.  He put on his fur coat and hat and went out into the hall.  There he paused, hearing the slow heavy tread of the policeman on the pavement outside and seeing the flash of the bull's-eye reflected in the window.  He waited and held his breath.
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