CHAPTER IX

S he was sitting at breakfast next morning, Basil Hallward was shown into the room.
‘Iam so glad I have found you, Dorian,’ he said gravely. ‘I called last night, and they told me you were at the Opera. Of course I knew that was impossible. But I wish you had left word where you had really gone to. I passed a dreadful evening, half afraid that one tragedy might be followed by another. I think | you might have telegraphed for me when you heard of it first. I read of it quite by chance in a late edition of The Globe, that I picked up at the club. I came here at once, and was miserable at not finding you. I can’t tell you how heart-broken I am about the whole thing. I know what you must suffer. But where were you? Did you go down and see the girl’s mother? Fora moment I thought of following you there. They gave theaddress in the paper. Somewhere in the Euston Road, isn’t it? But I was afraid of intruding upon a sorrow that I
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could not lighten. Poor woman! What a state she must be in! And her only child, too! What did she say about it all?’
‘My dear Basil, how do I know?’ murmured Dorian Gray, sipping some pale-yellow wine from a delicate gold-beaded bubble of Venetian glass, and looking dreadfully bored. ‘I was at the Opera. You should have come on there. I met Lady Gwendolen, Harry’s sister, for the first time. We were in her box. She is perfectly charming; and Patti sang divinely. Don’t talk about horrid subjects. If one doesn’t talk about a thing, it has never happened. It is simply expression, as Harry says, that gives reality to things. I may mention that she was not the woman's only child. There is a son, a charming fellow, I believe. But he is not on the stage. Heisa sailor, or something. And now, tell me about yourself, and what you are painting.’
‘You went to the Opera?’ said Hallward, speaking very slowly, and with a strained touch of pain in his voice. ‘You went to the Opera while Sibyl Vane was lying dead in some sordid lodging? You can talk to me of other women being charming, and of Patti singing divinely, before the girl you loved has even the quiet of a grave to sleep in? Why, man, there are horrors in store for that little white body of hers !’
‘Stop, Basil! I won’t hear it!’ cried Dorian,
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leaping to his feet. ‘You must not tell me about things. What is done is done. What is past is past.’
‘You call yesterday the past ?’
‘What has the actual lapse of time got to do with it? It is only shallow people who require years to get rid of an emotion. A man who is master of himself can end a sorrow as easily as he can invent a pleasure. I don’t want to be at the mercy of my emotions. I want to use them, to enjoy them, and to dominate them.’
‘Dorian, this is horrible! Something has changed you completely. You look exactly the same wonderful boy who, day after day, used to come down to my studio to sit for his picture. 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.’
The lad flushed up, and, going to the window, looked out for a few moments on the green, flickering, sun-lashed garden. ‘I owe a great deal to Harry, Basil,’ he said at last—‘ more than I owe to you. You only taught me to be vain.’
‘Well, I am punished for that, Dorian—or shall be some day.’
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‘1 don’t know what you mean, Basil,’ he ex- claimed, turning round. ‘I don’t know what you want. What do you want?’
‘I want the Dorian Gray I used to paint,’ said the artist sadly.
‘ Basil,’ said the lad, going over to him, and putting his hand on his shoulder, ‘you have come too late. Yesterday when I heard that Sibyl Vane had killed herself: :
‘Killed herself! Good heavens! is there no doubt about that?’ cried Hallward, looking up at him with an expression of horror.
‘My dear Basil! Surely you don’t think it was a vulgar accident? Of course she killed herself.’
The elder man buried his face in his hands. ‘ How fearful,’ he muttered, and a shudder ran through him.
‘No, said Dorian Gray, ‘there is nothing fearful about it. It is one of the great romantic tragedies of the age. As a rule, people who act lead the most commonplace lives. They are good husbands, or faithful wives, or some- thing tedious. You know what I mean— middle-class virtue, and all that kind of thing. How different Sibyl was! She lived her finest tragedy. She was always a heroine. The last night she played—the night you saw her—she acted badly because she had known the reality of love. When she knew its unreality, she
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died, as Juliet might have died. She passed again into the sphere of art. There is some- thing of the martyr about her. Her death has all the pathetic uselessness of martyrdom, all its wasted beauty. But, as I was saying, you must not think I have not suffered. If you had come in yesterday at a_ particular moment—about half-past five, perhaps, or a quarter to six—you would have found me in tears. Even Harry, who was here, who brought me the news, in fact, had no idea what I was going through. I suffered immensely. Then it passed away. I cannot repeat an emotion. No one can, except sentimentalists. And you are awfully unjust, Basil. You -come down here to console me. That is charming of you. You find me consoled, and you are furious. ° How like a sympathetic person! You remind me of a story Harry told me about a certain philanthropist who spent twenty years of his life in trying to get some grievance redressed, or some unjust law altered—I forget exactly what it was. Finally he succeeded, and nothing could exceed his disappointment. He had absolutely nothing to do, almost died of ennui, and became a confirmed misanthrope. And besides, my dear old Basil, if you really want to console me, teach me rather to forget what has happened, or to see it from a proper artistic point of view. Was it not Gautier who used
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to write about Ja consolation des arts? I remember picking up a little vellum-covered