finished_summaries/gradesaver/The Picture of Dorian Gray/section_0_part_0.txt
The Picture of Dorian Gray.chapters 1-2
chapters 1-2
{"name": "the Preface & Chapters 1 & 2", "url": "https://web.archive.org/web/20210421171214/https://www.gradesaver.com/the-picture-of-dorian-gray/study-guide/summary-the-preface-and-chapters-1-and-2", "summary": "The preface is a collection of free-standing statements that form a manifesto about the purpose of art, the role of the artist, and the value of beauty. Signed by Oscar Wilde, the preface serves as a primer for how Wilde intends the novel to be read. He defines the artist as \"the creator of beautiful things,\" and the critic as \"he who can translate into another manner or new material his impression of beautiful things.\" He condemns anyone who finds ugliness where there is beauty as \"corrupt.\" He states that a book can be neither moral or immoral, and that morality itself serves only as \"part of the subject matter\" of art. Since art exists solely to communicate beauty, Wilde warns against reading too much into any work of art: \"Those who go beneath the surface do so at their peril.\" The preface ends with the whimsical statement that \"All art is quite useless\"; earlier, however, we are told that the \"only excuse for making a useless thing is that one admires it intensely.\" Chapter 1 opens with a description of Basil Hallward, a respected but reclusive painter, who is entertaining his friend, Lord Henry Wotton. It is a beautiful spring day. Lord Henry admires Basil's latest work-in-progress, a full-length portrait of a beautiful young man, and urges him to show it at a gallery. Basil says that he never will because he has \"put too much of myself into it.\" Lord Henry laughs at him, mistaking his meaning, and says that the painter is nothing like the boy in the picture. In the following discussion, it becomes clear that Lord Henry often speaks in elaborate, cynical, even paradoxical aphorisms, while Basil is a simpler man with more purely romantic values. Basil clarifies his earlier statement by saying that \"every portrait that is painted with feeling is a portrait of the artist, not of the sitter.\" The discussion turns towards the sitter, whom Basil describes as a delightfully pure and naive young man named Dorian Gray. Lord Henry insists on meeting the man, but Basil refuses. He wants to protect the boy's innocent purity from Lord Henry's cynical, sensualist influence. It becomes clear that Basil has very strong feelings for Dorian, bordering on adulation. To Basil's chagrin, the butler announces Dorian's unexpected arrival, and the artist implores of Lord Henry: \"He has a simple and a beautiful nature...Don't spoil him...Don't take away from me the one person who gives my art whatever charm it posseses.\" Lord Henry and Dorian are introduced, and begin talking as Basil prepares his paints and brushes. Henry is immediately taken by the boy's charm and good looks, and Dorian is quickly impressed with Henry's conversational acumen and firmly unorthodox views of morality. Controlling his jealousy, Basil asks Henry to leave so that Dorian can pose for the picture in peace. Dorian insists that Henry stay, Basil relents, and Henry continues to dazzle the model with an impromtu lecture on how people ought to be less inhibited so that one might \"realise one's nature perfectly.\" As he paints, Basil notes that \"a look had come into the lad's face that he had never seen before.\" It is this look of revelation that the artist captures in his painting. Lord Henry's lecture makes Dorian feel that \"entirly fresh influences were at work within him,\" and he marvels that \"mere words\" could have this effect. Lord Henry sees clearly the effect that he has on Dorian, and is proud of it. Dorian and his new friend adjourn to the garden as Basil puts the finishing touches on his work. In the garden, Henry tells the boy that \"Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul,\" and that he has \"the most marvellous youth, and youth is the one thing worth having.\" The conversation then turns towards beauty, and Henry asserts that it has \"the divine right of soverignity,\" that beauty gives power to those who have it, and that nothing in the world is greater. He warns Dorian that his beauty will someday fade, a prospect that horrifies the impressionable young man. Basil then informs the pair that the painting is complete. Upon seeing the painting, Dorian is overwhelmed with joy and wonder at its beauty. It is his first unabashed immersion into vanity. As soon as he thinks of how precious his beauty is, however, he remembers Lord Henry's statement about the fleetingness of youth and flies into a fit, becoming enraged at the portrait because it will always retain its beauty, while he is destined to grow old. In a fit of passion, he thinks, \"If only it were the other way! If only it were I who was to be always young, and the picture was to grow old! For that...I would give my soul for that!\" Seeing Dorian's distress, Basil grabs a knife and moves to destroy the painting. Dorian stops him, saying that it would be murder, and that he is in love with the work. Basil promises to give the picture to Dorian as a gift, and tells him that it will be delivered to him as soon as it is dried and lacquered. Lord Henry is fascinated by Dorian's behavior, and the two make plans to go to the theater together that night. Basil objects, and asks Dorian to dine with him instead. Dorian declines and leaves with Lord Henry, saying that he will call on Basil tomorrow.", "analysis": "The preface was not included in the first printings of the novel, but was added later by Wilde as a direct response to accusations of immorality and indecency.  Several of the statements made in the preface are thus purely defensive: for example, Wilde writes that \"When critics disagree the artist is in accordance with himself.\"  However, the preface also establishes many of the novel's major themes and provides the reader with a means of interpreting different aspects of the story. The opening chapters introduce us to the novel's major players.  We learn a great deal about Lord Henry, Basil, and Dorian, and are provided with information that will inform the development of the story.  The ways that Wilde portrays each character's personality are particularly notable.  For instance, the reader meets the incomplete portrait of Dorian before Dorian himself even makes his first appearance.  Dorian exists as a beautiful but essentially superficial image first and foremost, even before he exists as a human being.  After all, the title of the book is The Picture of Dorian Gray, suggesting that the novel is about the image of the man, rather than about the man himself.  In this manner, Wilde begins to blur the distinction between man and image , raising questions as to the true location of one's identity, and the value of superficiality.  Lord Henry remarks that \"It is only shallow people who do not judge by appearances\" , and Wilde offers the reader no choice but to do so in this instance.  Like Basil, who seems more smitten with Dorian as a model than as a person, like Lord Henry, who claims to value beauty above all else, and like Victorian society in general, the book itself seems more concerned with the image of the protagonist than with the man himself. At times, both Basil and Lord Henry seem to ascribe to ideals consistent with those of the author.  Basil asserts that \"there is nothing that art cannot express\"; is a dirct rephrasing of the line \"the artist can express everything\" from the preface.  Lord Henry's habit of constantly spouting \"profound\" aphorisms and his languid, sensual personality recall Wilde's own social persona.  However, to assume that either character is intended to be read as a representation of Wilde himself is a fallacy.  Both characters also express opinions that directly contradict with the beliefs found in the preface; a fact that becomes clearer as the novel progresses. Basil's reclusiveness is mentioned early on almost as an afterthought, but plays an important role later in the novel.  Since he customarily withdraws from society on a regular basis, his absence is unremarkable when he eventually disappears for good.  Another notable aspect of Basil's character is his personal devotion to Dorian.  There are a number of indications that the painter is smitten with Dorian on more than a professional level.  These feelings, based on Dorian's beauty and purity, eventually lead to rejection by the boy, and ultimately to Basil's alleged inability to create any more great art. The second chapter, in which Dorian himself makes his first appearance, describes the beginning of Dorian's corruption at the hands of Lord Henry.  It also introduces Dorian's inadvertantly faustian bargain, as the boy pleads for the picture to age in his place.  Worth noting is the fact that Lord Henry invites Dorian into Basil's garden as he delivers his lecture on youth, beauty, and the value of immorality.  This Eden-like setting emphasizes the fact that Dorian's response to Henry's words represents the boy's fall from grace; it is Dorian's original sin. Dorian's initial response to the portrait recalls the statement made in the preface that \"Those who find ugly meanings in beautiful things are corrupt without being charming.\"  The painting is a masterpiece, certainly a \"beautiful thing,\" but the image sparks jealousy and hatred in Dorian because it reminds him of the fleeting nature of his own youth.  He is already \"corrupt without being charming,\" but this marks the starting point of his steady fall from grace.  Basil's attempt to destroy the painting with a knife, and Dorian's exclamation that \"It would be murder\" foreshadows the events that take place in chapters 13 and 20."}

The studio was filled with the rich odour of roses, and when the light
summer wind stirred amidst the trees of the garden, there came through
the open door the heavy scent of the lilac, or the more delicate
perfume of the pink-flowering thorn.

From the corner of the divan of Persian saddle-bags on which he was
lying, smoking, as was his custom, innumerable cigarettes, Lord Henry
Wotton could just catch the gleam of the honey-sweet and honey-coloured
blossoms of a laburnum, whose tremulous branches seemed hardly able to
bear the burden of a beauty so flamelike as theirs; and now and then
the fantastic shadows of birds in flight flitted across the long
tussore-silk curtains that were stretched in front of the huge window,
producing a kind of momentary Japanese effect, and making him think of
those pallid, jade-faced painters of Tokyo who, through the medium of
an art that is necessarily immobile, seek to convey the sense of
swiftness and motion.  The sullen murmur of the bees shouldering their
way through the long unmown grass, or circling with monotonous
insistence round the dusty gilt horns of the straggling woodbine,
seemed to make the stillness more oppressive.  The dim roar of London
was like the bourdon note of a distant organ.

In the centre of the room, clamped to an upright easel, stood the
full-length portrait of a young man of extraordinary personal beauty,
and in front of it, some little distance away, was sitting the artist
himself, Basil Hallward, whose sudden disappearance some years ago
caused, at the time, such public excitement and gave rise to so many
strange conjectures.

As the painter looked at the gracious and comely form he had so
skilfully mirrored in his art, a smile of pleasure passed across his
face, and seemed about to linger there.  But he suddenly started up,
and closing his eyes, placed his fingers upon the lids, as though he
sought to imprison within his brain some curious dream from which he
feared he might awake.

"It is your best work, Basil, the best thing you have ever done," said
Lord Henry languidly.  "You must certainly send it next year to the
Grosvenor.  The Academy is too large and too vulgar.  Whenever I have
gone there, there have been either so many people that I have not been
able to see the pictures, which was dreadful, or so many pictures that
I have not been able to see the people, which was worse.  The Grosvenor
is really the only place."

"I don't think I shall send it anywhere," he answered, tossing his head
back in that odd way that used to make his friends laugh at him at
Oxford.  "No, I won't send it anywhere."

Lord Henry elevated his eyebrows and looked at him in amazement through
the thin blue wreaths of smoke that curled up in such fanciful whorls
from his heavy, opium-tainted cigarette.  "Not send it anywhere?  My
dear fellow, why?  Have you any reason?  What odd chaps you painters
are!  You do anything in the world to gain a reputation.  As soon as
you have one, you seem to want to throw it away.  It is silly of you,
for there is only one thing in the world worse than being talked about,
and that is not being talked about.  A portrait like this would set you
far above all the young men in England, and make the old men quite
jealous, if old men are ever capable of any emotion."

"I know you will laugh at me," he replied, "but I really can't exhibit
it.  I have put too much of myself into it."

Lord Henry stretched himself out on the divan and laughed.

"Yes, I knew you would; but it is quite true, all the same."

"Too much of yourself in it! Upon my word, Basil, I didn't know you
were so vain; and I really can't see any resemblance between you, with
your rugged strong face and your coal-black hair, and this young
Adonis, who looks as if he was made out of ivory and rose-leaves. Why,
my dear Basil, he is a Narcissus, and you--well, of course you have an
intellectual expression and all that.  But beauty, real beauty, ends
where an intellectual expression begins.  Intellect is in itself a mode
of exaggeration, and destroys the harmony of any face.  The moment one
sits down to think, one becomes all nose, or all forehead, or something
horrid.  Look at the successful men in any of the learned professions.
How perfectly hideous they are!  Except, of course, in the Church.  But
then in the Church they don't think.  A bishop keeps on saying at the
age of eighty what he was told to say when he was a boy of eighteen,
and as a natural consequence he always looks absolutely delightful.
Your mysterious young friend, whose name you have never told me, but
whose picture really fascinates me, never thinks.  I feel quite sure of
that.  He is some brainless beautiful creature who should be always
here in winter when we have no flowers to look at, and always here in
summer when we want something to chill our intelligence.  Don't flatter
yourself, Basil:  you are not in the least like him."

"You don't understand me, Harry," answered the artist.  "Of course I am
not like him.  I know that perfectly well.  Indeed, I should be sorry
to look like him.  You shrug your shoulders?  I am telling you the
truth.  There is a fatality about all physical and intellectual
distinction, the sort of fatality that seems to dog through history the
faltering steps of kings.  It is better not to be different from one's
fellows.  The ugly and the stupid have the best of it in this world.
They can sit at their ease and gape at the play.  If they know nothing
of victory, they are at least spared the knowledge of defeat.  They
live as we all should live--undisturbed, indifferent, and without
disquiet.  They neither bring ruin upon others, nor ever receive it
from alien hands.  Your rank and wealth, Harry; my brains, such as they
are--my art, whatever it may be worth; Dorian Gray's good looks--we
shall all suffer for what the gods have given us, suffer terribly."

"Dorian Gray?  Is that his name?" asked Lord Henry, walking across the
studio towards Basil Hallward.

"Yes, that is his name.  I didn't intend to tell it to you."

"But why not?"

"Oh, I can't explain.  When I like people immensely, I never tell their
names to any one.  It is like surrendering a part of them.  I have
grown to love secrecy.  It seems to be the one thing that can make
modern life mysterious or marvellous to us.  The commonest thing is
delightful if one only hides it.  When I leave town now I never tell my
people where I am going.  If I did, I would lose all my pleasure.  It
is a silly habit, I dare say, but somehow it seems to bring a great
deal of romance into one's life.  I suppose you think me awfully
foolish about it?"

"Not at all," answered Lord Henry, "not at all, my dear Basil.  You
seem to forget that I am married, and the one charm of marriage is that
it makes a life of deception absolutely necessary for both parties.  I
never know where my wife is, and my wife never knows what I am doing.
When we meet--we do meet occasionally, when we dine out together, or go
down to the Duke's--we tell each other the most absurd stories with the
most serious faces.  My wife is very good at it--much better, in fact,
than I am.  She never gets confused over her dates, and I always do.
But when she does find me out, she makes no row at all.  I sometimes
wish she would; but she merely laughs at me."

"I hate the way you talk about your married life, Harry," said Basil
Hallward, strolling towards the door that led into the garden.  "I
believe that you are really a very good husband, but that you are
thoroughly ashamed of your own virtues.  You are an extraordinary
fellow.  You never say a moral thing, and you never do a wrong thing.
Your cynicism is simply a pose."

"Being natural is simply a pose, and the most irritating pose I know,"
cried Lord Henry, laughing; and the two young men went out into the
garden together and ensconced themselves on a long bamboo seat that
stood in the shade of a tall laurel bush.  The sunlight slipped over
the polished leaves.  In the grass, white daisies were tremulous.

After a pause, Lord Henry pulled out his watch.  "I am afraid I must be
going, Basil," he murmured, "and before I go, I insist on your
answering a question I put to you some time ago."

"What is that?" said the painter, keeping his eyes fixed on the ground.

"You know quite well."

"I do not, Harry."

"Well, I will tell you what it is.  I want you to explain to me why you
won't exhibit Dorian Gray's picture.  I want the real reason."

"I told you the real reason."

"No, you did not.  You said it was because there was too much of
yourself in it.  Now, that is childish."

"Harry," said Basil Hallward, looking him straight in the face, "every
portrait that is painted with feeling is a portrait of the artist, not
of the sitter.  The sitter is merely the accident, the occasion.  It is
not he who is revealed by the painter; it is rather the painter who, on
the coloured canvas, reveals himself.  The reason I will not exhibit
this picture is that I am afraid that I have shown in it the secret of
my own soul."

Lord Henry laughed.  "And what is that?" he asked.

"I will tell you," said Hallward; but an expression of perplexity came
over his face.

"I am all expectation, Basil," continued his companion, glancing at him.

"Oh, there is really very little to tell, Harry," answered the painter;
"and I am afraid you will hardly understand it.  Perhaps you will
hardly believe it."

Lord Henry smiled, and leaning down, plucked a pink-petalled daisy from
the grass and examined it.  "I am quite sure I shall understand it," he
replied, gazing intently at the little golden, white-feathered disk,
"and as for believing things, I can believe anything, provided that it
is quite incredible."

The wind shook some blossoms from the trees, and the heavy
lilac-blooms, with their clustering stars, moved to and fro in the
languid air.  A grasshopper began to chirrup by the wall, and like a
blue thread a long thin dragon-fly floated past on its brown gauze
wings.  Lord Henry felt as if he could hear Basil Hallward's heart
beating, and wondered what was coming.

"The story is simply this," said the painter after some time.  "Two
months ago I went to a crush at Lady Brandon's. You know we poor
artists have to show ourselves in society from time to time, just to
remind the public that we are not savages.  With an evening coat and a
white tie, as you told me once, anybody, even a stock-broker, can gain
a reputation for being civilized.  Well, after I had been in the room
about ten minutes, talking to huge overdressed dowagers and tedious
academicians, I suddenly became conscious that some one was looking at
me.  I turned half-way round and saw Dorian Gray for the first time.
When our eyes met, I felt that I was growing pale.  A curious sensation
of terror came over me.  I knew that I had come face to face with some
one whose mere personality was so fascinating that, if I allowed it to
do so, it would absorb my whole nature, my whole soul, my very art
itself.  I did not want any external influence in my life.  You know
yourself, Harry, how independent I am by nature.  I have always been my
own master; had at least always been so, till I met Dorian Gray.
Then--but I don't know how to explain it to you.  Something seemed to
tell me that I was on the verge of a terrible crisis in my life.  I had
a strange feeling that fate had in store for me exquisite joys and
exquisite sorrows.  I grew afraid and turned to quit the room.  It was
not conscience that made me do so:  it was a sort of cowardice.  I take
no credit to myself for trying to escape."

"Conscience and cowardice are really the same things, Basil.
Conscience is the trade-name of the firm.  That is all."

"I don't believe that, Harry, and I don't believe you do either.
However, whatever was my motive--and it may have been pride, for I used
to be very proud--I certainly struggled to the door.  There, of course,
I stumbled against Lady Brandon.  'You are not going to run away so
soon, Mr. Hallward?' she screamed out.  You know her curiously shrill
voice?"

"Yes; she is a peacock in everything but beauty," said Lord Henry,
pulling the daisy to bits with his long nervous fingers.

"I could not get rid of her.  She brought me up to royalties, and
people with stars and garters, and elderly ladies with gigantic tiaras
and parrot noses.  She spoke of me as her dearest friend.  I had only
met her once before, but she took it into her head to lionize me.  I
believe some picture of mine had made a great success at the time, at
least had been chattered about in the penny newspapers, which is the
nineteenth-century standard of immortality.  Suddenly I found myself
face to face with the young man whose personality had so strangely
stirred me.  We were quite close, almost touching.  Our eyes met again.
It was reckless of me, but I asked Lady Brandon to introduce me to him.
Perhaps it was not so reckless, after all.  It was simply inevitable.
We would have spoken to each other without any introduction.  I am sure
of that.  Dorian told me so afterwards.  He, too, felt that we were
destined to know each other."

"And how did Lady Brandon describe this wonderful young man?" asked his
companion.  "I know she goes in for giving a rapid _precis_ of all her
guests.  I remember her bringing me up to a truculent and red-faced old
gentleman covered all over with orders and ribbons, and hissing into my
ear, in a tragic whisper which must have been perfectly audible to
everybody in the room, the most astounding details.  I simply fled.  I
like to find out people for myself.  But Lady Brandon treats her guests
exactly as an auctioneer treats his goods.  She either explains them
entirely away, or tells one everything about them except what one wants
to know."

"Poor Lady Brandon!  You are hard on her, Harry!" said Hallward
listlessly.

"My dear fellow, she tried to found a _salon_, and only succeeded in
opening a restaurant.  How could I admire her?  But tell me, what did
she say about Mr. Dorian Gray?"

"Oh, something like, 'Charming boy--poor dear mother and I absolutely
inseparable.  Quite forget what he does--afraid he--doesn't do
anything--oh, yes, plays the piano--or is it the violin, dear Mr.
Gray?'  Neither of us could help laughing, and we became friends at
once."

"Laughter is not at all a bad beginning for a friendship, and it is far
the best ending for one," said the young lord, plucking another daisy.

Hallward shook his head.  "You don't understand what friendship is,
Harry," he murmured--"or what enmity is, for that matter.  You like
every one; that is to say, you are indifferent to every one."

"How horribly unjust of you!" cried Lord Henry, tilting his hat back
and looking up at the little clouds that, like ravelled skeins of
glossy white silk, were drifting across the hollowed turquoise of the
summer sky.  "Yes; horribly unjust of you.  I make a great difference
between people.  I choose my friends for their good looks, my
acquaintances for their good characters, and my enemies for their good
intellects.  A man cannot be too careful in the choice of his enemies.
I have not got one who is a fool.  They are all men of some
intellectual power, and consequently they all appreciate me.  Is that
very vain of me?  I think it is rather vain."

"I should think it was, Harry.  But according to your category I must
be merely an acquaintance."

"My dear old Basil, you are much more than an acquaintance."

"And much less than a friend.  A sort of brother, I suppose?"

"Oh, brothers!  I don't care for brothers.  My elder brother won't die,
and my younger brothers seem never to do anything else."

"Harry!" exclaimed Hallward, frowning.

"My dear fellow, I am not quite serious.  But I can't help detesting my
relations.  I suppose it comes from the fact that none of us can stand
other people having the same faults as ourselves.  I quite sympathize
with the rage of the English democracy against what they call the vices
of the upper orders.  The masses feel that drunkenness, stupidity, and
immorality should be their own special property, and that if any one of
us makes an ass of himself, he is poaching on their preserves.  When
poor Southwark got into the divorce court, their indignation was quite
magnificent.  And yet I don't suppose that ten per cent of the
proletariat live correctly."

"I don't agree with a single word that you have said, and, what is
more, Harry, I feel sure you don't either."

Lord Henry stroked his pointed brown beard and tapped the toe of his
patent-leather boot with a tasselled ebony cane.  "How English you are
Basil!  That is the second time you have made that observation.  If one
puts forward an idea to a true Englishman--always a rash thing to
do--he never dreams of considering whether the idea is right or wrong.
The only thing he considers of any importance is whether one believes
it oneself.  Now, the value of an idea has nothing whatsoever to do
with the sincerity of the man who expresses it.  Indeed, the
probabilities are that the more insincere the man is, the more purely
intellectual will the idea be, as in that case it will not be coloured
by either his wants, his desires, or his prejudices.  However, I don't
propose to discuss politics, sociology, or metaphysics with you.  I
like persons better than principles, and I like persons with no
principles better than anything else in the world.  Tell me more about
Mr. Dorian Gray.  How often do you see him?"

"Every day.  I couldn't be happy if I didn't see him every day.  He is
absolutely necessary to me."

"How extraordinary!  I thought you would never care for anything but
your art."

"He is all my art to me now," said the painter gravely.  "I sometimes
think, Harry, that there are only two eras of any importance in the
world's history.  The first is the appearance of a new medium for art,
and the second is the appearance of a new personality for art also.
What the invention of oil-painting was to the Venetians, the face of
Antinous was to late Greek sculpture, and the face of Dorian Gray will
some day be to me.  It is not merely that I paint from him, draw from
him, sketch from him.  Of course, I have done all that.  But he is much
more to me than a model or a sitter.  I won't tell you that I am
dissatisfied with what I have done of him, or that his beauty is such
that art cannot express it.  There is nothing that art cannot express,
and I know that the work I have done, since I met Dorian Gray, is good
work, is the best work of my life.  But in some curious way--I wonder
will you understand me?--his personality has suggested to me an
entirely new manner in art, an entirely new mode of style.  I see
things differently, I think of them differently.  I can now recreate
life in a way that was hidden from me before.  'A dream of form in days
of thought'--who is it who says that?  I forget; but it is what Dorian
Gray has been to me.  The merely visible presence of this lad--for he
seems to me little more than a lad, though he is really over
twenty--his merely visible presence--ah!  I wonder can you realize all
that that means?  Unconsciously he defines for me the lines of a fresh
school, a school that is to have in it all the passion of the romantic
spirit, all the perfection of the spirit that is Greek.  The harmony of
soul and body--how much that is!  We in our madness have separated the
two, and have invented a realism that is vulgar, an ideality that is
void.  Harry! if you only knew what Dorian Gray is to me!  You remember
that landscape of mine, for which Agnew offered me such a huge price
but which I would not part with?  It is one of the best things I have
ever done.  And why is it so?  Because, while I was painting it, Dorian
Gray sat beside me.  Some subtle influence passed from him to me, and
for the first time in my life I saw in the plain woodland the wonder I
had always looked for and always missed."

"Basil, this is extraordinary!  I must see Dorian Gray."

Hallward got up from the seat and walked up and down the garden.  After
some time he came back.  "Harry," he said, "Dorian Gray is to me simply
a motive in art.  You might see nothing in him.  I see everything in
him.  He is never more present in my work than when no image of him is
there.  He is a suggestion, as I have said, of a new manner.  I find
him in the curves of certain lines, in the loveliness and subtleties of
certain colours.  That is all."

"Then why won't you exhibit his portrait?" asked Lord Henry.

"Because, without intending it, I have put into it some expression of
all this curious artistic idolatry, of which, of course, I have never
cared to speak to him.  He knows nothing about it.  He shall never know
anything about it.  But the world might guess it, and I will not bare
my soul to their shallow prying eyes.  My heart shall never be put
under their microscope.  There is too much of myself in the thing,
Harry--too much of myself!"

"Poets are not so scrupulous as you are.  They know how useful passion
is for publication.  Nowadays a broken heart will run to many editions."

"I hate them for it," cried Hallward.  "An artist should create
beautiful things, but should put nothing of his own life into them.  We
live in an age when men treat art as if it were meant to be a form of
autobiography.  We have lost the abstract sense of beauty.  Some day I
will show the world what it is; and for that reason the world shall
never see my portrait of Dorian Gray."

"I think you are wrong, Basil, but I won't argue with you.  It is only
the intellectually lost who ever argue.  Tell me, is Dorian Gray very
fond of you?"

The painter considered for a few moments.  "He likes me," he answered
after a pause; "I know he likes me.  Of course I flatter him
dreadfully.  I find a strange pleasure in saying things to him that I
know I shall be sorry for having said.  As a rule, he is charming to
me, and we sit in the studio and talk of a thousand things.  Now and
then, however, he is horribly thoughtless, and seems to take a real
delight in giving me pain.  Then I feel, Harry, that I have given away
my whole soul to some one who treats it as if it were a flower to put
in his coat, a bit of decoration to charm his vanity, an ornament for a
summer's day."

"Days in summer, Basil, are apt to linger," murmured Lord Henry.
"Perhaps you will tire sooner than he will.  It is a sad thing to think
of, but there is no doubt that genius lasts longer than beauty.  That
accounts for the fact that we all take such pains to over-educate
ourselves.  In the wild struggle for existence, we want to have
something that endures, and so we fill our minds with rubbish and
facts, in the silly hope of keeping our place.  The thoroughly
well-informed man--that is the modern ideal.  And the mind of the
thoroughly well-informed man is a dreadful thing.  It is like a
_bric-a-brac_ shop, all monsters and dust, with everything priced above
its proper value.  I think you will tire first, all the same.  Some day
you will look at your friend, and he will seem to you to be a little
out of drawing, or you won't like his tone of colour, or something.
You will bitterly reproach him in your own heart, and seriously think
that he has behaved very badly to you.  The next time he calls, you
will be perfectly cold and indifferent.  It will be a great pity, for
it will alter you.  What you have told me is quite a romance, a romance
of art one might call it, and the worst of having a romance of any kind
is that it leaves one so unromantic."

"Harry, don't talk like that.  As long as I live, the personality of
Dorian Gray will dominate me.  You can't feel what I feel.  You change
too often."

"Ah, my dear Basil, that is exactly why I can feel it.  Those who are
faithful know only the trivial side of love: it is the faithless who
know love's tragedies."  And Lord Henry struck a light on a dainty
silver case and began to smoke a cigarette with a self-conscious and
satisfied air, as if he had summed up the world in a phrase.  There was
a rustle of chirruping sparrows in the green lacquer leaves of the ivy,
and the blue cloud-shadows chased themselves across the grass like
swallows.  How pleasant it was in the garden!  And how delightful other
people's emotions were!--much more delightful than their ideas, it
seemed to him.  One's own soul, and the passions of one's
friends--those were the fascinating things in life.  He pictured to
himself with silent amusement the tedious luncheon that he had missed
by staying so long with Basil Hallward.  Had he gone to his aunt's, he
would have been sure to have met Lord Goodbody there, and the whole
conversation would have been about the feeding of the poor and the
necessity for model lodging-houses. Each class would have preached the
importance of those virtues, for whose exercise there was no necessity
in their own lives.  The rich would have spoken on the value of thrift,
and the idle grown eloquent over the dignity of labour.  It was
charming to have escaped all that!  As he thought of his aunt, an idea
seemed to strike him.  He turned to Hallward and said, "My dear fellow,
I have just remembered."

"Remembered what, Harry?"

"Where I heard the name of Dorian Gray."

"Where was it?" asked Hallward, with a slight frown.

"Don't look so angry, Basil.  It was at my aunt, Lady Agatha's.  She
told me she had discovered a wonderful young man who was going to help
her in the East End, and that his name was Dorian Gray.  I am bound to
state that she never told me he was good-looking. Women have no
appreciation of good looks; at least, good women have not.  She said
that he was very earnest and had a beautiful nature.  I at once
pictured to myself a creature with spectacles and lank hair, horribly
freckled, and tramping about on huge feet.  I wish I had known it was
your friend."

"I am very glad you didn't, Harry."

"Why?"

"I don't want you to meet him."

"You don't want me to meet him?"

"No."

"Mr. Dorian Gray is in the studio, sir," said the butler, coming into
the garden.

"You must introduce me now," cried Lord Henry, laughing.

The painter turned to his servant, who stood blinking in the sunlight.
"Ask Mr. Gray to wait, Parker:  I shall be in in a few moments." The
man bowed and went up the walk.

Then he looked at Lord Henry.  "Dorian Gray is my dearest friend," he
said.  "He has a simple and a beautiful nature.  Your aunt was quite
right in what she said of him.  Don't spoil him.  Don't try to
influence him.  Your influence would be bad.  The world is wide, and
has many marvellous people in it.  Don't take away from me the one
person who gives to my art whatever charm it possesses:  my life as an
artist depends on him.  Mind, Harry, I trust you."  He spoke very
slowly, and the words seemed wrung out of him almost against his will.

"What nonsense you talk!" said Lord Henry, smiling, and taking Hallward
by the arm, he almost led him into the house.



As they entered they saw Dorian Gray.  He was seated at the piano, with
his back to them, turning over the pages of a volume of Schumann's
"Forest Scenes."  "You must lend me these, Basil," he cried.  "I want
to learn them.  They are perfectly charming."

"That entirely depends on how you sit to-day, Dorian."

"Oh, I am tired of sitting, and I don't want a life-sized portrait of
myself," answered the lad, swinging round on the music-stool in a
wilful, petulant manner.  When he caught sight of Lord Henry, a faint
blush coloured his cheeks for a moment, and he started up.  "I beg your
pardon, Basil, but I didn't know you had any one with you."

"This is Lord Henry Wotton, Dorian, an old Oxford friend of mine.  I
have just been telling him what a capital sitter you were, and now you
have spoiled everything."

"You have not spoiled my pleasure in meeting you, Mr. Gray," said Lord
Henry, stepping forward and extending his hand.  "My aunt has often
spoken to me about you.  You are one of her favourites, and, I am
afraid, one of her victims also."

"I am in Lady Agatha's black books at present," answered Dorian with a
funny look of penitence.  "I promised to go to a club in Whitechapel
with her last Tuesday, and I really forgot all about it.  We were to
have played a duet together--three duets, I believe.  I don't know what
she will say to me.  I am far too frightened to call."

"Oh, I will make your peace with my aunt.  She is quite devoted to you.
And I don't think it really matters about your not being there.  The
audience probably thought it was a duet.  When Aunt Agatha sits down to
the piano, she makes quite enough noise for two people."

"That is very horrid to her, and not very nice to me," answered Dorian,
laughing.

Lord Henry looked at him.  Yes, he was certainly wonderfully handsome,
with his finely curved scarlet lips, his frank blue eyes, his crisp
gold hair.  There was something in his face that made one trust him at
once.  All the candour of youth was there, as well as all youth's
passionate purity.  One felt that he had kept himself unspotted from
the world.  No wonder Basil Hallward worshipped him.

"You are too charming to go in for philanthropy, Mr. Gray--far too
charming." And Lord Henry flung himself down on the divan and opened
his cigarette-case.

The painter had been busy mixing his colours and getting his brushes
ready.  He was looking worried, and when he heard Lord Henry's last
remark, he glanced at him, hesitated for a moment, and then said,
"Harry, I want to finish this picture to-day. Would you think it
awfully rude of me if I asked you to go away?"

Lord Henry smiled and looked at Dorian Gray.  "Am I to go, Mr. Gray?"
he asked.

"Oh, please don't, Lord Henry.  I see that Basil is in one of his sulky
moods, and I can't bear him when he sulks.  Besides, I want you to tell
me why I should not go in for philanthropy."

"I don't know that I shall tell you that, Mr. Gray.  It is so tedious a
subject that one would have to talk seriously about it.  But I
certainly shall not run away, now that you have asked me to stop.  You
don't really mind, Basil, do you?  You have often told me that you
liked your sitters to have some one to chat to."

Hallward bit his lip.  "If Dorian wishes it, of course you must stay.
Dorian's whims are laws to everybody, except himself."

Lord Henry took up his hat and gloves.  "You are very pressing, Basil,
but I am afraid I must go.  I have promised to meet a man at the
Orleans.  Good-bye, Mr. Gray.  Come and see me some afternoon in Curzon
Street.  I am nearly always at home at five o'clock. Write to me when
you are coming.  I should be sorry to miss you."

"Basil," cried Dorian Gray, "if Lord Henry Wotton goes, I shall go,
too.  You never open your lips while you are painting, and it is
horribly dull standing on a platform and trying to look pleasant.  Ask
him to stay.  I insist upon it."

"Stay, Harry, to oblige Dorian, and to oblige me," said Hallward,
gazing intently at his picture.  "It is quite true, I never talk when I
am working, and never listen either, and it must be dreadfully tedious
for my unfortunate sitters.  I beg you to stay."

"But what about my man at the Orleans?"

The painter laughed.  "I don't think there will be any difficulty about
that.  Sit down again, Harry.  And now, Dorian, get up on the platform,
and don't move about too much, or pay any attention to what Lord Henry
says.  He has a very bad influence over all his friends, with the
single exception of myself."

Dorian Gray stepped up on the dais with the air of a young Greek
martyr, and made a little _moue_ of discontent to Lord Henry, to whom he
had rather taken a fancy.  He was so unlike Basil.  They made a
delightful contrast.  And he had such a beautiful voice.  After a few
moments he said to him, "Have you really a very bad influence, Lord
Henry?  As bad as Basil says?"

"There is no such thing as a good influence, Mr. Gray.  All influence
is immoral--immoral from the scientific point of view."

"Why?"

"Because to influence a person is to give him one's own soul.  He does
not think his natural thoughts, or burn with his natural passions.  His
virtues are not real to him.  His sins, if there are such things as
sins, are borrowed.  He becomes an echo of some one else's music, an
actor of a part that has not been written for him.  The aim of life is
self-development. To realize one's nature perfectly--that is what each
of us is here for.  People are afraid of themselves, nowadays.  They
have forgotten the highest of all duties, the duty that one owes to
one's self.  Of course, they are charitable.  They feed the hungry and
clothe the beggar.  But their own souls starve, and are naked.  Courage
has gone out of our race.  Perhaps we never really had it.  The terror
of society, which is the basis of morals, the terror of God, which is
the secret of religion--these are the two things that govern us.  And
yet--"

"Just turn your head a little more to the right, Dorian, like a good
boy," said the painter, deep in his work and conscious only that a look
had come into the lad's face that he had never seen there before.

"And yet," continued Lord Henry, in his low, musical voice, and with
that graceful wave of the hand that was always so characteristic of
him, and that he had even in his Eton days, "I believe that if one man
were to live out his life fully and completely, were to give form to
every feeling, expression to every thought, reality to every dream--I
believe that the world would gain such a fresh impulse of joy that we
would forget all the maladies of mediaevalism, and return to the
Hellenic ideal--to something finer, richer than the Hellenic ideal, it
may be.  But the bravest man amongst us is afraid of himself.  The
mutilation of the savage has its tragic survival in the self-denial
that mars our lives.  We are punished for our refusals.  Every impulse
that we strive to strangle broods in the mind and poisons us.  The body
sins once, and has done with its sin, for action is a mode of
purification.  Nothing remains then but the recollection of a pleasure,
or the luxury of a regret.  The only way to get rid of a temptation is
to yield to it.  Resist it, and your soul grows sick with longing for
the things it has forbidden to itself, with desire for what its
monstrous laws have made monstrous and unlawful.  It has been said that
the great events of the world take place in the brain.  It is in the
brain, and the brain only, that the great sins of the world take place
also.  You, Mr. Gray, you yourself, with your rose-red youth and your
rose-white boyhood, you have had passions that have made you afraid,
thoughts that have filled you with terror, day-dreams and sleeping
dreams whose mere memory might stain your cheek with shame--"

"Stop!" faltered Dorian Gray, "stop! you bewilder me.  I don't know
what to say.  There is some answer to you, but I cannot find it.  Don't
speak.  Let me think.  Or, rather, let me try not to think."

For nearly ten minutes he stood there, motionless, with parted lips and
eyes strangely bright.  He was dimly conscious that entirely fresh
influences were at work within him.  Yet they seemed to him to have
come really from himself.  The few words that Basil's friend had said
to him--words spoken by chance, no doubt, and with wilful paradox in
them--had touched some secret chord that had never been touched before,
but that he felt was now vibrating and throbbing to curious pulses.

Music had stirred him like that.  Music had troubled him many times.
But music was not articulate.  It was not a new world, but rather
another chaos, that it created in us.  Words!  Mere words!  How
terrible they were!  How clear, and vivid, and cruel!  One could not
escape from them.  And yet what a subtle magic there was in them!  They
seemed to be able to give a plastic form to formless things, and to
have a music of their own as sweet as that of viol or of lute.  Mere
words!  Was there anything so real as words?

Yes; there had been things in his boyhood that he had not understood.
He understood them now.  Life suddenly became fiery-coloured to him.
It seemed to him that he had been walking in fire.  Why had he not
known it?

With his subtle smile, Lord Henry watched him.  He knew the precise
psychological moment when to say nothing.  He felt intensely
interested.  He was amazed at the sudden impression that his words had
produced, and, remembering a book that he had read when he was sixteen,
a book which had revealed to him much that he had not known before, he
wondered whether Dorian Gray was passing through a similar experience.
He had merely shot an arrow into the air.  Had it hit the mark?  How
fascinating the lad was!

Hallward painted away with that marvellous bold touch of his, that had
the true refinement and perfect delicacy that in art, at any rate comes
only from strength.  He was unconscious of the silence.

"Basil, I am tired of standing," cried Dorian Gray suddenly.  "I must
go out and sit in the garden.  The air is stifling here."

"My dear fellow, I am so sorry.  When I am painting, I can't think of
anything else.  But you never sat better.  You were perfectly still.
And I have caught the effect I wanted--the half-parted lips and the
bright look in the eyes.  I don't know what Harry has been saying to
you, but he has certainly made you have the most wonderful expression.
I suppose he has been paying you compliments.  You mustn't believe a
word that he says."

"He has certainly not been paying me compliments.  Perhaps that is the
reason that I don't believe anything he has told me."

"You know you believe it all," said Lord Henry, looking at him with his
dreamy languorous eyes.  "I will go out to the garden with you.  It is
horribly hot in the studio.  Basil, let us have something iced to
drink, something with strawberries in it."

"Certainly, Harry.  Just touch the bell, and when Parker comes I will
tell him what you want.  I have got to work up this background, so I
will join you later on.  Don't keep Dorian too long.  I have never been
in better form for painting than I am to-day. This is going to be my
masterpiece.  It is my masterpiece as it stands."

Lord Henry went out to the garden and found Dorian Gray burying his
face in the great cool lilac-blossoms, feverishly drinking in their
perfume as if it had been wine.  He came close to him and put his hand
upon his shoulder.  "You are quite right to do that," he murmured.
"Nothing can cure the soul but the senses, just as nothing can cure the
senses but the soul."

The lad started and drew back.  He was bareheaded, and the leaves had
tossed his rebellious curls and tangled all their gilded threads.
There was a look of fear in his eyes, such as people have when they are
suddenly awakened.  His finely chiselled nostrils quivered, and some
hidden nerve shook the scarlet of his lips and left them trembling.

"Yes," continued Lord Henry, "that is one of the great secrets of
life--to cure the soul by means of the senses, and the senses by means
of the soul.  You are a wonderful creation.  You know more than you
think you know, just as you know less than you want to know."

Dorian Gray frowned and turned his head away.  He could not help liking
the tall, graceful young man who was standing by him.  His romantic,
olive-coloured face and worn expression interested him.  There was
something in his low languid voice that was absolutely fascinating.
His cool, white, flowerlike hands, even, had a curious charm.  They
moved, as he spoke, like music, and seemed to have a language of their
own.  But he felt afraid of him, and ashamed of being afraid.  Why had
it been left for a stranger to reveal him to himself?  He had known
Basil Hallward for months, but the friendship between them had never
altered him.  Suddenly there had come some one across his life who
seemed to have disclosed to him life's mystery.  And, yet, what was
there to be afraid of?  He was not a schoolboy or a girl.  It was
absurd to be frightened.

"Let us go and sit in the shade," said Lord Henry.  "Parker has brought
out the drinks, and if you stay any longer in this glare, you will be
quite spoiled, and Basil will never paint you again.  You really must
not allow yourself to become sunburnt.  It would be unbecoming."

"What can it matter?" cried Dorian Gray, laughing, as he sat down on
the seat at the end of the garden.

"It should matter everything to you, Mr. Gray."

"Why?"

"Because you have the most marvellous youth, and youth is the one thing
worth having."

"I don't feel that, Lord Henry."

"No, you don't feel it now.  Some day, when you are old and wrinkled
and ugly, when thought has seared your forehead with its lines, and
passion branded your lips with its hideous fires, you will feel it, you
will feel it terribly.  Now, wherever you go, you charm the world.
Will it always be so? ... You have a wonderfully beautiful face, Mr.
Gray.  Don't frown.  You have.  And beauty is a form of genius--is
higher, indeed, than genius, as it needs no explanation.  It is of the
great facts of the world, like sunlight, or spring-time, or the
reflection in dark waters of that silver shell we call the moon.  It
cannot be questioned.  It has its divine right of sovereignty.  It
makes princes of those who have it.  You smile?  Ah! when you have lost
it you won't smile.... People say sometimes that beauty is only
superficial.  That may be so, but at least it is not so superficial as
thought is.  To me, beauty is the wonder of wonders.  It is only
shallow people who do not judge by appearances.  The true mystery of
the world is the visible, not the invisible.... Yes, Mr. Gray, the
gods have been good to you.  But what the gods give they quickly take
away.  You have only a few years in which to live really, perfectly,
and fully.  When your youth goes, your beauty will go with it, and then
you will suddenly discover that there are no triumphs left for you, or
have to content yourself with those mean triumphs that the memory of
your past will make more bitter than defeats.  Every month as it wanes
brings you nearer to something dreadful.  Time is jealous of you, and
wars against your lilies and your roses.  You will become sallow, and
hollow-cheeked, and dull-eyed.  You will suffer horribly.... Ah!
realize your youth while you have it.  Don't squander the gold of your
days, listening to the tedious, trying to improve the hopeless failure,
or giving away your life to the ignorant, the common, and the vulgar.
These are the sickly aims, the false ideals, of our age.  Live!  Live
the wonderful life that is in you!  Let nothing be lost upon you.  Be
always searching for new sensations.  Be afraid of nothing.... A new
Hedonism--that is what our century wants.  You might be its visible
symbol.  With your personality there is nothing you could not do.  The
world belongs to you for a season.... The moment I met you I saw that
you were quite unconscious of what you really are, of what you really
might be.  There was so much in you that charmed me that I felt I must
tell you something about yourself.  I thought how tragic it would be if
you were wasted.  For there is such a little time that your youth will
last--such a little time.  The common hill-flowers wither, but they
blossom again.  The laburnum will be as yellow next June as it is now.
In a month there will be purple stars on the clematis, and year after
year the green night of its leaves will hold its purple stars.  But we
never get back our youth.  The pulse of joy that beats in us at twenty
becomes sluggish.  Our limbs fail, our senses rot.  We degenerate into
hideous puppets, haunted by the memory of the passions of which we were
too much afraid, and the exquisite temptations that we had not the
courage to yield to.  Youth!  Youth!  There is absolutely nothing in
the world but youth!"

Dorian Gray listened, open-eyed and wondering.  The spray of lilac fell
from his hand upon the gravel.  A furry bee came and buzzed round it
for a moment.  Then it began to scramble all over the oval stellated
globe of the tiny blossoms.  He watched it with that strange interest
in trivial things that we try to develop when things of high import
make us afraid, or when we are stirred by some new emotion for which we
cannot find expression, or when some thought that terrifies us lays
sudden siege to the brain and calls on us to yield.  After a time the
bee flew away.  He saw it creeping into the stained trumpet of a Tyrian
convolvulus.  The flower seemed to quiver, and then swayed gently to
and fro.

Suddenly the painter appeared at the door of the studio and made
staccato signs for them to come in.  They turned to each other and
smiled.

"I am waiting," he cried.  "Do come in.  The light is quite perfect,
and you can bring your drinks."

They rose up and sauntered down the walk together.  Two green-and-white
butterflies fluttered past them, and in the pear-tree at the corner of
the garden a thrush began to sing.

"You are glad you have met me, Mr. Gray," said Lord Henry, looking at
him.

"Yes, I am glad now.  I wonder shall I always be glad?"

"Always!  That is a dreadful word.  It makes me shudder when I hear it.
Women are so fond of using it.  They spoil every romance by trying to
make it last for ever.  It is a meaningless word, too.  The only
difference between a caprice and a lifelong passion is that the caprice
lasts a little longer."

As they entered the studio, Dorian Gray put his hand upon Lord Henry's
arm.  "In that case, let our friendship be a caprice," he murmured,
flushing at his own boldness, then stepped up on the platform and
resumed his pose.

Lord Henry flung himself into a large wicker arm-chair and watched him.
The sweep and dash of the brush on the canvas made the only sound that
broke the stillness, except when, now and then, Hallward stepped back
to look at his work from a distance.  In the slanting beams that
streamed through the open doorway the dust danced and was golden.  The
heavy scent of the roses seemed to brood over everything.

After about a quarter of an hour Hallward stopped painting, looked for
a long time at Dorian Gray, and then for a long time at the picture,
biting the end of one of his huge brushes and frowning.  "It is quite
finished," he cried at last, and stooping down he wrote his name in
long vermilion letters on the left-hand corner of the canvas.

Lord Henry came over and examined the picture.  It was certainly a
wonderful work of art, and a wonderful likeness as well.

"My dear fellow, I congratulate you most warmly," he said.  "It is the
finest portrait of modern times.  Mr. Gray, come over and look at
yourself."

The lad started, as if awakened from some dream.

"Is it really finished?" he murmured, stepping down from the platform.

"Quite finished," said the painter.  "And you have sat splendidly
to-day. I am awfully obliged to you."

"That is entirely due to me," broke in Lord Henry.  "Isn't it, Mr.
Gray?"

Dorian made no answer, but passed listlessly in front of his picture
and turned towards it.  When he saw it he drew back, and his cheeks
flushed for a moment with pleasure.  A look of joy came into his eyes,
as if he had recognized himself for the first time.  He stood there
motionless and in wonder, dimly conscious that Hallward was speaking to
him, but not catching the meaning of his words.  The sense of his own
beauty came on him like a revelation.  He had never felt it before.
Basil Hallward's compliments had seemed to him to be merely the
charming exaggeration of friendship.  He had listened to them, laughed
at them, forgotten them.  They had not influenced his nature.  Then had
come Lord Henry Wotton with his strange panegyric on youth, his
terrible warning of its brevity.  That had stirred him at the time, and
now, as he stood gazing at the shadow of his own loveliness, the full
reality of the description flashed across him.  Yes, there would be a
day when his face would be wrinkled and wizen, his eyes dim and
colourless, the grace of his figure broken and deformed.  The scarlet
would pass away from his lips and the gold steal from his hair.  The
life that was to make his soul would mar his body.  He would become
dreadful, hideous, and uncouth.

As he thought of it, a sharp pang of pain struck through him like a
knife and made each delicate fibre of his nature quiver.  His eyes
deepened into amethyst, and across them came a mist of tears.  He felt
as if a hand of ice had been laid upon his heart.

"Don't you like it?" cried Hallward at last, stung a little by the
lad's silence, not understanding what it meant.

"Of course he likes it," said Lord Henry.  "Who wouldn't like it?  It
is one of the greatest things in modern art.  I will give you anything
you like to ask for it.  I must have it."

"It is not my property, Harry."

"Whose property is it?"

"Dorian's, of course," answered the painter.

"He is a very lucky fellow."

"How sad it is!" murmured Dorian Gray with his eyes still fixed upon
his own portrait.  "How sad it is!  I shall grow old, and horrible, and
dreadful.  But this picture will remain always young.  It will never be
older than this particular day of June.... If it were only the other
way!  If it were I who was to be always young, and the picture that was
to grow old!  For that--for that--I would give everything!  Yes, there
is nothing in the whole world I would not give!  I would give my soul
for that!"

"You would hardly care for such an arrangement, Basil," cried Lord
Henry, laughing.  "It would be rather hard lines on your work."

"I should object very strongly, Harry," said Hallward.

Dorian Gray turned and looked at him.  "I believe you would, Basil.
You like your art better than your friends.  I am no more to you than a
green bronze figure.  Hardly as much, I dare say."

The painter stared in amazement.  It was so unlike Dorian to speak like
that.  What had happened?  He seemed quite angry.  His face was flushed
and his cheeks burning.

"Yes," he continued, "I am less to you than your ivory Hermes or your
silver Faun.  You will like them always.  How long will you like me?
Till I have my first wrinkle, I suppose.  I know, now, that when one
loses one's good looks, whatever they may be, one loses everything.
Your picture has taught me that.  Lord Henry Wotton is perfectly right.
Youth is the only thing worth having.  When I find that I am growing
old, I shall kill myself."

Hallward turned pale and caught his hand.  "Dorian!  Dorian!" he cried,
"don't talk like that.  I have never had such a friend as you, and I
shall never have such another.  You are not jealous of material things,
are you?--you who are finer than any of them!"

"I am jealous of everything whose beauty does not die.  I am jealous of
the portrait you have painted of me.  Why should it keep what I must
lose?  Every moment that passes takes something from me and gives
something to it.  Oh, if it were only the other way!  If the picture
could change, and I could be always what I am now!  Why did you paint
it?  It will mock me some day--mock me horribly!"  The hot tears welled
into his eyes; he tore his hand away and, flinging himself on the
divan, he buried his face in the cushions, as though he was praying.

"This is your doing, Harry," said the painter bitterly.

Lord Henry shrugged his shoulders.  "It is the real Dorian Gray--that
is all."

"It is not."

"If it is not, what have I to do with it?"

"You should have gone away when I asked you," he muttered.

"I stayed when you asked me," was Lord Henry's answer.

"Harry, I can't quarrel with my two best friends at once, but between
you both you have made me hate the finest piece of work I have ever
done, and I will destroy it.  What is it but canvas and colour?  I will
not let it come across our three lives and mar them."

Dorian Gray lifted his golden head from the pillow, and with pallid
face and tear-stained eyes, looked at him as he walked over to the deal
painting-table that was set beneath the high curtained window.  What
was he doing there?  His fingers were straying about among the litter
of tin tubes and dry brushes, seeking for something.  Yes, it was for
the long palette-knife, with its thin blade of lithe steel.  He had
found it at last.  He was going to rip up the canvas.

With a stifled sob the lad leaped from the couch, and, rushing over to
Hallward, tore the knife out of his hand, and flung it to the end of
the studio.  "Don't, Basil, don't!" he cried.  "It would be murder!"

"I am glad you appreciate my work at last, Dorian," said the painter
coldly when he had recovered from his surprise.  "I never thought you
would."

"Appreciate it?  I am in love with it, Basil.  It is part of myself.  I
feel that."

"Well, as soon as you are dry, you shall be varnished, and framed, and
sent home.  Then you can do what you like with yourself." And he walked
across the room and rang the bell for tea.  "You will have tea, of
course, Dorian?  And so will you, Harry?  Or do you object to such
simple pleasures?"

"I adore simple pleasures," said Lord Henry.  "They are the last refuge
of the complex.  But I don't like scenes, except on the stage.  What
absurd fellows you are, both of you!  I wonder who it was defined man
as a rational animal.  It was the most premature definition ever given.
Man is many things, but he is not rational.  I am glad he is not, after
all--though I wish you chaps would not squabble over the picture.  You
had much better let me have it, Basil.  This silly boy doesn't really
want it, and I really do."

"If you let any one have it but me, Basil, I shall never forgive you!"
cried Dorian Gray; "and I don't allow people to call me a silly boy."

"You know the picture is yours, Dorian.  I gave it to you before it
existed."

"And you know you have been a little silly, Mr. Gray, and that you
don't really object to being reminded that you are extremely young."

"I should have objected very strongly this morning, Lord Henry."

"Ah! this morning!  You have lived since then."

There came a knock at the door, and the butler entered with a laden
tea-tray and set it down upon a small Japanese table.  There was a
rattle of cups and saucers and the hissing of a fluted Georgian urn.
Two globe-shaped china dishes were brought in by a page.  Dorian Gray
went over and poured out the tea.  The two men sauntered languidly to
the table and examined what was under the covers.

"Let us go to the theatre to-night," said Lord Henry.  "There is sure
to be something on, somewhere.  I have promised to dine at White's, but
it is only with an old friend, so I can send him a wire to say that I
am ill, or that I am prevented from coming in consequence of a
subsequent engagement.  I think that would be a rather nice excuse:  it
would have all the surprise of candour."

"It is such a bore putting on one's dress-clothes," muttered Hallward.
"And, when one has them on, they are so horrid."

"Yes," answered Lord Henry dreamily, "the costume of the nineteenth
century is detestable.  It is so sombre, so depressing.  Sin is the
only real colour-element left in modern life."

"You really must not say things like that before Dorian, Harry."

"Before which Dorian?  The one who is pouring out tea for us, or the
one in the picture?"

"Before either."

"I should like to come to the theatre with you, Lord Henry," said the
lad.

"Then you shall come; and you will come, too, Basil, won't you?"

"I can't, really.  I would sooner not.  I have a lot of work to do."

"Well, then, you and I will go alone, Mr. Gray."

"I should like that awfully."

The painter bit his lip and walked over, cup in hand, to the picture.
"I shall stay with the real Dorian," he said, sadly.

"Is it the real Dorian?" cried the original of the portrait, strolling
across to him.  "Am I really like that?"

"Yes; you are just like that."

"How wonderful, Basil!"

"At least you are like it in appearance.  But it will never alter,"
sighed Hallward.  "That is something."

"What a fuss people make about fidelity!" exclaimed Lord Henry.  "Why,
even in love it is purely a question for physiology.  It has nothing to
do with our own will.  Young men want to be faithful, and are not; old
men want to be faithless, and cannot: that is all one can say."

"Don't go to the theatre to-night, Dorian," said Hallward.  "Stop and
dine with me."

"I can't, Basil."

"Why?"

"Because I have promised Lord Henry Wotton to go with him."

"He won't like you the better for keeping your promises.  He always
breaks his own.  I beg you not to go."

Dorian Gray laughed and shook his head.

"I entreat you."

The lad hesitated, and looked over at Lord Henry, who was watching them
from the tea-table with an amused smile.

"I must go, Basil," he answered.

"Very well," said Hallward, and he went over and laid down his cup on
the tray.  "It is rather late, and, as you have to dress, you had
better lose no time.  Good-bye, Harry.  Good-bye, Dorian.  Come and see
me soon.  Come to-morrow."

"Certainly."

"You won't forget?"

"No, of course not," cried Dorian.

"And ... Harry!"

"Yes, Basil?"

"Remember what I asked you, when we were in the garden this morning."

"I have forgotten it."

"I trust you."

"I wish I could trust myself," said Lord Henry, laughing.  "Come, Mr.
Gray, my hansom is outside, and I can drop you at your own place.
Good-bye, Basil.  It has been a most interesting afternoon."

As the door closed behind them, the painter flung himself down on a
sofa, and a look of pain came into his face.



the Preface & Chapters 1 & 2
The preface is a collection of free-standing statements that form a manifesto about the purpose of art, the role of the artist, and the value of beauty. Signed by Oscar Wilde, the preface serves as a primer for how Wilde intends the novel to be read. He defines the artist as "the creator of beautiful things," and the critic as "he who can translate into another manner or new material his impression of beautiful things." He condemns anyone who finds ugliness where there is beauty as "corrupt." He states that a book can be neither moral or immoral, and that morality itself serves only as "part of the subject matter" of art. Since art exists solely to communicate beauty, Wilde warns against reading too much into any work of art: "Those who go beneath the surface do so at their peril." The preface ends with the whimsical statement that "All art is quite useless"; earlier, however, we are told that the "only excuse for making a useless thing is that one admires it intensely." Chapter 1 opens with a description of Basil Hallward, a respected but reclusive painter, who is entertaining his friend, Lord Henry Wotton. It is a beautiful spring day. Lord Henry admires Basil's latest work-in-progress, a full-length portrait of a beautiful young man, and urges him to show it at a gallery. Basil says that he never will because he has "put too much of myself into it." Lord Henry laughs at him, mistaking his meaning, and says that the painter is nothing like the boy in the picture. In the following discussion, it becomes clear that Lord Henry often speaks in elaborate, cynical, even paradoxical aphorisms, while Basil is a simpler man with more purely romantic values. Basil clarifies his earlier statement by saying that "every portrait that is painted with feeling is a portrait of the artist, not of the sitter." The discussion turns towards the sitter, whom Basil describes as a delightfully pure and naive young man named Dorian Gray. Lord Henry insists on meeting the man, but Basil refuses. He wants to protect the boy's innocent purity from Lord Henry's cynical, sensualist influence. It becomes clear that Basil has very strong feelings for Dorian, bordering on adulation. To Basil's chagrin, the butler announces Dorian's unexpected arrival, and the artist implores of Lord Henry: "He has a simple and a beautiful nature...Don't spoil him...Don't take away from me the one person who gives my art whatever charm it posseses." Lord Henry and Dorian are introduced, and begin talking as Basil prepares his paints and brushes. Henry is immediately taken by the boy's charm and good looks, and Dorian is quickly impressed with Henry's conversational acumen and firmly unorthodox views of morality. Controlling his jealousy, Basil asks Henry to leave so that Dorian can pose for the picture in peace. Dorian insists that Henry stay, Basil relents, and Henry continues to dazzle the model with an impromtu lecture on how people ought to be less inhibited so that one might "realise one's nature perfectly." As he paints, Basil notes that "a look had come into the lad's face that he had never seen before." It is this look of revelation that the artist captures in his painting. Lord Henry's lecture makes Dorian feel that "entirly fresh influences were at work within him," and he marvels that "mere words" could have this effect. Lord Henry sees clearly the effect that he has on Dorian, and is proud of it. Dorian and his new friend adjourn to the garden as Basil puts the finishing touches on his work. In the garden, Henry tells the boy that "Nothing can cure the soul but the senses, just as nothing can cure the senses but the soul," and that he has "the most marvellous youth, and youth is the one thing worth having." The conversation then turns towards beauty, and Henry asserts that it has "the divine right of soverignity," that beauty gives power to those who have it, and that nothing in the world is greater. He warns Dorian that his beauty will someday fade, a prospect that horrifies the impressionable young man. Basil then informs the pair that the painting is complete. Upon seeing the painting, Dorian is overwhelmed with joy and wonder at its beauty. It is his first unabashed immersion into vanity. As soon as he thinks of how precious his beauty is, however, he remembers Lord Henry's statement about the fleetingness of youth and flies into a fit, becoming enraged at the portrait because it will always retain its beauty, while he is destined to grow old. In a fit of passion, he thinks, "If only it were the other way! If only it were I who was to be always young, and the picture was to grow old! For that...I would give my soul for that!" Seeing Dorian's distress, Basil grabs a knife and moves to destroy the painting. Dorian stops him, saying that it would be murder, and that he is in love with the work. Basil promises to give the picture to Dorian as a gift, and tells him that it will be delivered to him as soon as it is dried and lacquered. Lord Henry is fascinated by Dorian's behavior, and the two make plans to go to the theater together that night. Basil objects, and asks Dorian to dine with him instead. Dorian declines and leaves with Lord Henry, saying that he will call on Basil tomorrow.
The preface was not included in the first printings of the novel, but was added later by Wilde as a direct response to accusations of immorality and indecency.  Several of the statements made in the preface are thus purely defensive: for example, Wilde writes that "When critics disagree the artist is in accordance with himself."  However, the preface also establishes many of the novel's major themes and provides the reader with a means of interpreting different aspects of the story. The opening chapters introduce us to the novel's major players.  We learn a great deal about Lord Henry, Basil, and Dorian, and are provided with information that will inform the development of the story.  The ways that Wilde portrays each character's personality are particularly notable.  For instance, the reader meets the incomplete portrait of Dorian before Dorian himself even makes his first appearance.  Dorian exists as a beautiful but essentially superficial image first and foremost, even before he exists as a human being.  After all, the title of the book is The Picture of Dorian Gray, suggesting that the novel is about the image of the man, rather than about the man himself.  In this manner, Wilde begins to blur the distinction between man and image , raising questions as to the true location of one's identity, and the value of superficiality.  Lord Henry remarks that "It is only shallow people who do not judge by appearances" , and Wilde offers the reader no choice but to do so in this instance.  Like Basil, who seems more smitten with Dorian as a model than as a person, like Lord Henry, who claims to value beauty above all else, and like Victorian society in general, the book itself seems more concerned with the image of the protagonist than with the man himself. At times, both Basil and Lord Henry seem to ascribe to ideals consistent with those of the author.  Basil asserts that "there is nothing that art cannot express"; is a dirct rephrasing of the line "the artist can express everything" from the preface.  Lord Henry's habit of constantly spouting "profound" aphorisms and his languid, sensual personality recall Wilde's own social persona.  However, to assume that either character is intended to be read as a representation of Wilde himself is a fallacy.  Both characters also express opinions that directly contradict with the beliefs found in the preface; a fact that becomes clearer as the novel progresses. Basil's reclusiveness is mentioned early on almost as an afterthought, but plays an important role later in the novel.  Since he customarily withdraws from society on a regular basis, his absence is unremarkable when he eventually disappears for good.  Another notable aspect of Basil's character is his personal devotion to Dorian.  There are a number of indications that the painter is smitten with Dorian on more than a professional level.  These feelings, based on Dorian's beauty and purity, eventually lead to rejection by the boy, and ultimately to Basil's alleged inability to create any more great art. The second chapter, in which Dorian himself makes his first appearance, describes the beginning of Dorian's corruption at the hands of Lord Henry.  It also introduces Dorian's inadvertantly faustian bargain, as the boy pleads for the picture to age in his place.  Worth noting is the fact that Lord Henry invites Dorian into Basil's garden as he delivers his lecture on youth, beauty, and the value of immorality.  This Eden-like setting emphasizes the fact that Dorian's response to Henry's words represents the boy's fall from grace; it is Dorian's original sin. Dorian's initial response to the portrait recalls the statement made in the preface that "Those who find ugly meanings in beautiful things are corrupt without being charming."  The painting is a masterpiece, certainly a "beautiful thing," but the image sparks jealousy and hatred in Dorian because it reminds him of the fleeting nature of his own youth.  He is already "corrupt without being charming," but this marks the starting point of his steady fall from grace.  Basil's attempt to destroy the painting with a knife, and Dorian's exclamation that "It would be murder" foreshadows the events that take place in chapters 13 and 20.