The Picture of Dorian Gray - Oscar Wilde (e reading malayalam books .TXT) 📗

with that pride of rebellion that is half the fascination of sin, and smiling, with secret pleasure, at the 179 of 250

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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 he had more than once spent his winter. He hated to be separated from the picture that was such a part of his life, and he was also afraid that during his absence some one might gain access to the room, in spite of the elaborate bolts and 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 splendor of his mode of life, he would suddenly leave his guests and rush back to town 180 of 250

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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 blackballed at a West End club of which his birth and social position fully entitled him to become a member, and on one occasion, when he was brought by a friend into the smoking-room of the Carlton, 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 said 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 if 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 181 of 250

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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 called them) that were circulated about him. It was remarked, however, that those who had been most intimate with him appeared, after a time, to shun him. Of all his friends, or so-called friends, Lord Henry Wotton was the only one who remained loyal to 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 lent him, 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 charming. It feels instinctively that manners are of more importance than morals, and the highest respectability is of less value in its opinion 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 cold entrées, as Lord Henry remarked 182 of 250

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The Picture of Dorian Gray

 

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 charming. 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 183 of 250

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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 that mad prayer that had so changed his life? Here, in gold-embroidered red doublet, jewelled surcoat, and gilt- edged ruff and wrist-bands, stood Sir Anthony Sherard, with his silver-and-black armor 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? Those 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, 184 of 250

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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 Sherard, 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!

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 seemed 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 185 of 250

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figures that had passed across the stage of the world and made sin so marvellous and evil so full of wonder. It seemed to him that in some mysterious way their lives had been his own.

The hero of the dangerous novel that had so influenced his life had himself had this curious fancy. In a chapter of the book 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 wandered through a corridor lined with marble mirrors, looking round with haggard eyes for the reflection of the dagger that was to end his days, and sick with that ennui, that taedium vitae, that comes on those to whom life denies nothing; and had peered through a clear emerald at the red shambles of the Circus, and then, in a litter of pearl and purple drawn by silver-shod mules, been carried through the Street of Pomegranates to a House of Gold, and heard men cry on Nero Caesar as he passed by; and, as Elagabalus, had painted his face with colors, and plied the distaff among 186 of 250

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the women, and brought the Moon from Carthage, and given her in mystic marriage to the Sun.

Over and over again Dorian used to read this fantastic chapter, and the chapter immediately following, in which the hero describes the curious tapestries that he had had woven for him from Gustave Moreau’s designs, and on which were pictured the awful and beautiful forms of those whom Vice and Blood and Weariness had made monstrous or mad: Filippo, Duke of Milan, who slew his wife, and painted her lips with a scarlet poison; Pietro Barbi, the Venetian, known as Paul the Second, who sought in his vanity to assume the title of Formosus, and whose tiara, valued at two hundred thousand florins, was bought at the price of a terrible sin; Gian Maria Visconti, who used hounds to chase living men, and whose murdered body was covered with roses by a harlot who had loved him; the Borgia on his white horse, with Fratricide riding beside him, and his mantle stained with the blood of Perotto; Pietro Riario, the young Cardinal Archbishop of Florence, child and minion of Sixtus IV., whose beauty was equalled only by his debauchery, and who received Leonora of Aragon in a pavilion of white and crimson silk, filled with nymphs and centaurs, and gilded a boy that he might serve her at the feast as 187 of 250

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Ganymede or Hylas; Ezzelin, whose melancholy could be cured only by the spectacle of death, and who had a passion for red blood, as other men have for red wine,—

the son of the Fiend, as was reported, and one who had cheated his