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.

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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.

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Yes, Basil could have saved him. But it was too late now.

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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.

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Gold hair, blue eyes, and rose-red lips--they all were there. It was simply the expression that had altered. That was horrible in its cruelty.

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How well he remembered it all! Every moment of his lonely childhood came back to him as he looked round. He recalled the stainless purity of his boyish life, and it seemed horrible to him that it was here the fatal portrait was to be hidden away. How little he had thought, in those dead days, of all that was in store for him!

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No; that was impossible. Hour by hour, and week by week, the thing upon the canvas was growing old. It might escape the hideousness of sin, but the hideousness of age was in store for it. The cheeks would become hollow or flaccid. Yellow crow‘s feet would creep round the fading eyes and make them horrible. The hair would lose its brightness, the mouth would gape or droop, would be foolish or gross, as the mouths of old men are. There would be the wrinkled throat, the cold, blue-veined hands, the twisted body, that he remembered in the grandfather who had been so stern to him in his boyhood. The picture had to be concealed. There was no help for it.
  

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It was a novel without a plot and with only one character, being, indeed, simply a psychological study of a certain young Parisian who spent his life trying to realize in the nineteenth century all the passions and modes of thought that belonged to every century except his own, and to sum up, as it were, in himself the various moods through which the world-spirit had ever passed, loving for their mere artificiality those renunciations that men have unwisely called virtue, as much as those natural rebellions that wise men still call sin.

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One hardly knew at times whether one was reading the spiritual ecstasies of some mediaeval saint or the morbid confessions of a modern sinner. It was a poisonous book.

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After about ten minutes he got up, and throwing on an elaborate dressing-gown of silk-embroidered cashmere wool, passed into the onyx-paved bathroom. The cool water refreshed him after his long sleep. He seemed to have forgotten all that he had gone through. A dim sense of having taken part in some strange tragedy came to him once or twice, but there was the unreality of a dream about it.

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It was an exquisite day. The warm air seemed laden with spices. A bee flew in and buzzed round the blue-dragon bowl that, filled with sulphur-yellow roses, stood before him. He felt perfectly happy.

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Was it all true? Had the portrait really changed? Or had it been simply his own imagination that had made him see a look of evil where there had been a look of joy? Surely a painted canvas could not alter? The thing was absurd. It would serve as a tale to tell Basil some day. It would make him smile.

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Then he drew the screen aside and saw himself face to face. It was perfectly true. The portrait had altered.


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He shuddered, and felt afraid, and, going back to the couch, lay there, gazing at the picture in sickened horror.
  

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It was not too late to make reparation for that. She could still be his wife. His unreal and selfish love would yield to some higher influence, would be transformed into some nobler passion, and the portrait that Basil Hallward had painted of him would be a guide to him through life, would be to him what holiness is to some, and conscience to others, and the fear of God to us all.

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There were opiates for remorse, drugs that could lull the moral sense to sleep. But here was a visible symbol of the degradation of sin. Here was an ever-present sign of the ruin men brought upon their souls.

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Finally, he went over to the table and wrote a passionate letter to the girl he had loved, imploring her forgiveness and accusing himself of madness. He covered page after page with wild words of sorrow and wilder words of pain. There is a luxury in self-reproach. When we blame ourselves, we feel that no one else has a right to blame us. It is the confession, not the priest, that gives us absolution. When Dorian had finished the letter, he felt that he had been forgiven.

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I remember your saying once that there is a fatality about good resolutions--that they are always made too late. Mine certainly were.

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"Good resolutions are useless attempts to interfere with scientific laws. Their origin is pure vanity. Their result is absolutely nil. They give us, now and then, some of those luxurious sterile emotions that have a certain charm for the weak. That is all that can be said for them. They are simply cheques that men draw on a bank where they have no account."

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One should absorb the colour of life, but one should never remember its details. Details are always vulgar.

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Ordinary women always console themselves. Some of them do it by going in for sentimental colours. Never trust a woman who wears mauve, whatever her age may be, or a woman over thirty-five who is fond of pink ribbons. It always means that they have a history. Others find a great consolation in suddenly discovering the good qualities of their husbands.

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Conscience makes egotists of us all.

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They make one believe in the reality of the things we all play with, such as romance, passion, and love.

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The vicious cruelty that marred the fine lines of the mouth had, no doubt, appeared at the very moment that the girl had drunk the poison, whatever it was.

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She had atoned for everything by the sacrifice she had made of her life.

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Eternal youth, infinite passion, pleasures subtle and secret, wild joys and wilder sins--he was to have all these things. The portrait was to bear the burden of his shame: that was all.

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This portrait would be to him the most magical of mirrors. As it had revealed to him his own body, so it would reveal to him his own soul.

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But you were simple, natural, and affectionate then. You were the most unspoiled creature in the whole world. Now, I don‘t know what has come over you. You talk as if you had no heart, no pity in you. It is all Harry‘s influence. I see that

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To become the spectator of one‘s own life, as Harry says, is to escape the suffering of life.

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Dorian, from the moment I met you, your personality had the most extraordinary influence over me. I was dominated, soul, brain, and power, by you. You became to me the visible incarnation of that unseen ideal whose memory haunts us artists like an exquisite dream. I worshipped you. I grew jealous of every one to whom you spoke. I wanted to have you all to myself. I was only happy when I was with you.

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One day, a fatal day I sometimes think, I determined to paint a wonderful portrait of you as you actually are, not in the costume of dead ages, but in your own dress and in your own time.

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There is something fatal about a portrait. It has a life of its own.

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The heat was terribly oppressive, and the huge sunlight flamed like a monstrous dahlia with petals of yellow fire.

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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.

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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.

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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.

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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.

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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.

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There are only two kinds of people who are really fascinating--people who know absolutely everything, and people who know absolutely nothing.

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Where he went to he hardly knew. He remembered wandering through dimly lit streets, past gaunt, black-shadowed archways and evil-looking houses. Women with hoarse voices and harsh laughter had called after him. Drunkards had reeled by, cursing and chattering to themselves like monstrous apes. He had seen grotesque children huddled upon door-steps, and heard shrieks and oaths from gloomy courts.

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In the dim arrested light that struggled through the cream-coloured silk blinds, the face appeared to him to be a little changed. The expression looked different. One would have said that there was a touch of cruelty in the mouth. It was certainly strange.

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The quivering ardent sunlight showed him the lines of cruelty round the mouth as clearly as if he had been looking into a mirror after he had done some dreadful thing.

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There were no signs of any change when he looked into the actual painting, and yet there was no doubt that the whole expression had altered. It was not a mere fancy of his own. The thing was horribly apparent.
  

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He had uttered a mad wish that he himself might remain young, and the portrait grow old; that his own beauty might be untarnished, and the face on the canvas bear the burden of his passions and his sins; that the painted image might be seared with the lines of suffering and thought, and that he might keep all the delicate bloom and loveliness of his then just conscious boyhood.

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The real drawback to marriage is that it makes one unselfish. And unselfish people are colourless. They lack individuality. Still, there are certain temperaments that marriage makes more complex.

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The basis of optimism is sheer terror.

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When she came on in her boy‘s clothes, she was perfectly wonderful. She wore a moss-coloured velvet jerkin with cinnamon sleeves, slim, brown, cross-gartered hose, a dainty little green cap with a hawk‘s feather caught in a jewel, and a hooded cloak lined with dull red. She had never seemed to me more exquisite. She had all the delicate grace of that Tanagra figurine that you have in your studio, Basil. Her hair clustered round her face like dark leaves round a pale rose.

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It seemed to me that all my life had been narrowed to one perfect point of rose-coloured joy.

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"Women are wonderfully practical," murmured Lord Henry, "much more practical than we are. In situations of that kind we often forget to say anything about marriage, and they always remind us."

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Her trust makes me faithful, her belief makes me good. When I am with her, I regret all that you have taught me. I become different from what you have known me to be. I am changed, and the mere touch of Sibyl Vane‘s hand makes me forget you and all your wrong, fascinating, poisonous, delightful theories

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"To be good is to be in harmony with one‘s self," he replied, touching the thin stem of his glass with his pale, fine-pointed fingers. "Discord is to be forced to be in harmony with others. One‘s own life--that is the important thing.

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A cigarette is the perfect type of a perfect pleasure. It is exquisite, and it leaves one unsatisfied.

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A strange sense of loss came over him. He felt that Dorian Gray would never again be to him all that he had been in the past. Life had come between them.... His eyes darkened, and the crowded flaring streets became blurred to his eyes.

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Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are. A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realize.

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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 psychical 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.

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