[...86] At nine o'clock the next morning his servant came in with a cup
of chocolate on a tray, and opened the shutters. Dorian was sleeping
quite peacefully, lying on his right side, with one hand underneath his
cheek. He looked like a boy who had been tired out with play, or study.
The man had to touch him twice on the shoulder before he woke, and as
he opened his eyes a faint smile passed across his lips, as though he
had been having some delightful dream. Yet he had not dreamed at all.
His night had been untroubled by any images of pleasure or of pain.
But youth smiles without any reason. It is one of its chiefest charms.
He turned round, and, leaning on his elbow, began to drink his
chocolate. The mellow November sun was streaming into the room. The
sky was bright blue, and there was a genial warmth in the air. It was
almost like a morning in May.
Gradually the events of the preceding night crept with silent
blood-stained feet into his brain, and reconstructed themselves there
with terrible distinctness. He winced at the memory of all that he had
suffered, and for a moment the same curious feeling of loathing for
Basil Hallward, that had made him kill him as he sat in the chair, came
back to him, and he grew cold with passion. The dead man was still
sitting there, too, and in the sunlight now. How horrible that was!
Such hideous things were for the darkness, not for the day.
He felt that if he brooded on what he had gone through he would sicken
or grow mad. There were sins whose fascination was more in the memory
than in the doing of them, strange triumphs that gratified the pride
more than the passions, and gave to the intellect a quickened sense of
joy, greater than any joy they brought, or could ever bring, to the
senses. But this was not one of them. It was a thing to be driven out
of the mind, to be drugged with poppies, to be strangled lest it might
strangle one itself.
He passed his hand across his forehead, and then got up hastily, and
dressed himself with even more than his usual attention, giving a good
deal of care to the selection of his necktie and scarf-pin, and
changing his rings more than once.
He spent a long time over breakfast, tasting the various dishes,
talking to his valet about some new liveries that he was thinking of
[87] getting made for the servants at Selby, and going through his
correspondence. Over some of the letters he smiled. Three of them
bored him. One he read several times over, and then tore up with a
slight look of annoyance in his face. "That awful thing, a woman's
memory!" as Lord Henry had once said.
When he had drunk his coffee, he sat down at the table, and wrote two
letters. One he put in his pocket, the other he handed to the valet.
"Take this round to 152, Hertford Street, Francis, and if Mr. Campbell
is out of town, get his address."
As soon as he was alone, he lit a cigarette, and began sketching upon a
piece of paper, drawing flowers, and bits of architecture, first, and
then faces. Suddenly he remarked that every face that he drew seemed
to have an extraordinary likeness to Basil Hallward. He frowned, and,
getting up, went over to the bookcase and took out a volume at hazard.
He was determined that he would not think about what had happened, till
it became absolutely necessary to do so.
When he had stretched himself on the sofa, he looked at the title-page
of the book. It was Gautier's "Emaux et Camées," Charpentier's
Japanese-paper edition, with the Jacquemart etching. The binding was
of citron-green leather with a design of gilt trellis-work and dotted
pomegranates. It had been given to him by Adrian Singleton. As he
turned over the pages his eye fell on the poem about the hand of
Lacenaire, the cold yellow hand "du supplice encore mal lavée," with
its downy red hairs and its "doigts de faune." He glanced at his own
white taper fingers, and passed on, till he came to those lovely verses
upon Venice:
Sur une gamme chromatique,
Le sein de perles ruisselant,
La Vénus de l'Adriatique
Sort de l'eau son corps rose et blanc.
Les dômes, sur l'azur des ondes
Suivant la phrase au pur contour,
S'enflent comme des gorges rondes
Que soulève un soupir d'amour.
L'esquif aborde et me dépose,
Jetant son amarre au pilier,
Devant une façade rose,
Sur le marbre d'un escalier.
How exquisite they were! As one read them, one seemed to be floating
down the green water-ways of the pink and pearl city, lying in a black
gondola with silver prow and trailing curtains. The mere lines looked
to him like those straight lines of turquoise-blue that follow one as
one pushes out to the Lido. The sudden flashes of color reminded him
of the gleam of the opal-and-iris-throated birds that flutter round the
tall honey-combed Campanile, or stalk, with such stately grace, through
the dim arcades. Leaning back with half-closed eyes, he kept saying
over and over to himself,--
Devant une façade rose,
Sur le marbre d'un escalier.
[88] The whole of Venice was in those two lines. He remembered the
autumn that he had passed there, and a wonderful love that had stirred
him to delightful fantastic follies. There was romance in every place.
But Venice, like Oxford, had kept the background for romance, and
background was everything, or almost everything. Basil had been with
him part of the time, and had gone wild over Tintoret. Poor Basil! what
a horrible way for a man to die!
He sighed, and took up the book again, and tried to forget. He read of
the swallows that fly in and out of the little café at Smyrna where the
Hadjis sit counting their amber beads and the turbaned merchants smoke
their long tasselled pipes and talk gravely to each other; of the
Obelisk in the Place de la Concorde that weeps tears of granite in its
lonely sunless exile, and longs to be back by the hot lotus-covered
Nile, where there are Sphinxes, and rose-red ibises, and white vultures
with gilded claws, and crocodiles, with small beryl eyes, that crawl
over the green steaming mud; and of that curious statue that Gautier
compares to a contralto voice, the "monstre charmant" that couches in
the porphyry-room of the Louvre. But after a time the book fell from
his hand. He grew nervous, and a horrible fit of terror came over him.
What if Alan Campbell should be out of England? Days would elapse
before he could come back. Perhaps he might refuse to come. What could
he do then? Every moment was of vital importance.
They had been great friends once, five years before,--almost
inseparable, indeed. Then the intimacy had come suddenly to an end.
When they met in society now, it was only Dorian Gray who smiled: Alan
Campbell never did.
He was an extremely clever young man, though he had no real
appreciation of the visible arts, and whatever little sense of the
beauty of poetry he possessed he had gained entirely from Dorian. His
dominant intellectual passion was for science. At Cambridge he had
spent a great deal of his time working in the Laboratory, and had taken
a good class in the Natural Science tripos of his year. Indeed, he was
still devoted to the study of chemistry, and had a laboratory of his
own, in which he used to shut himself up all day long, greatly to the
annoyance of his mother, who had set her heart on his standing for
Parliament and had a vague idea that a chemist was a person who made up
prescriptions. He was an excellent musician, however, as well, and
played both the violin and the piano better than most amateurs. In
fact, it was music that had first brought him and Dorian Gray
together,--music and that indefinable attraction that Dorian seemed to
be able to exercise whenever he wished, and indeed exercised often
without being conscious of it. They had met at Lady Berkshire's the
night that Rubinstein played there, and after that used to be always
seen together at the Opera, and wherever good music was going on. For
eighteen months their intimacy lasted. Campbell was always either at
Selby Royal or in Grosvenor Square. To him, as to many others, Dorian
Gray was the type of everything that is wonderful and fascinating in
life. Whether or not a quarrel had taken place between them no one ever
knew. But suddenly people remarked that they scarcely spoke when [89]
they met, and that Campbell seemed always to go away early from any
party at which Dorian Gray was present. He had changed, too,--was
strangely melancholy at times, appeared almost to dislike hearing music
of any passionate character, and would never himself play, giving as
his excuse, when he was called upon, that he was so absorbed in science
that he had no time left in which to practise. And this was certainly
true. Every day he seemed to become more interested in biology, and
his name appeared once or twice in some of the scientific reviews, in
connection with certain curious experiments.
This was the man that Dorian Gray was waiting for, pacing up and down
the room, glancing every moment at the clock, and becoming horribly
agitated as the minutes went by. At last the door opened, and his
servant entered.
"Mr. Alan Campbell, sir."
A sigh of relief broke from his parched lips, and the color came back
to his cheeks.
"Ask him to come in at once, Francis."
The man bowed, and retired. In a few moments Alan Campbell walked in,
looking very stern and rather pale, his pallor being intensified by his
coal-black hair and dark eyebrows.
"Alan! this is kind of you. I thank you for coming."
"I had intended never to enter your house again, Gray. But you said it
was a matter of life and death." His voice was hard and cold. He
spoke with slow deliberation. There was a look of contempt in the
steady searching gaze that he turned on Dorian. He kept his hands in
the pockets of his Astrakhan coat, and appeared not to have noticed the
gesture with which he had been greeted.
"It is a matter of life and death, Alan, and to more than one person.
Sit down."
Campbell took a chair by the table, and Dorian sat opposite to him. The
two men's eyes met. In Dorian's there was infinite pity. He knew that
what he was going to do was dreadful.
After a strained moment of silence, he leaned across and said, very
quietly, but watching the effect of each word upon the face of the man
he had sent for, "Alan, in a locked room at the top of this house, a
room to which nobody but myself has access, a dead man is seated at a
table. He has been dead ten hours now. Don't stir, and don't look at
me like that. Who the man is, why he died, how he died, are matters
that do not concern you. What you have to do is this--"
"Stop, Gray. I don't want to know anything further. Whether what you
have told me is true or not true, doesn't concern me. I entirely
decline to be mixed up in your life. Keep your horrible secrets to
yourself. They don't interest me any more."
"Alan, they will have to interest you. This one will have to interest
you. I am awfully sorry for you, Alan. But I can't help myself. You
are the one man who is able to save me. I am forced to bring you into
the matter. I have no option. Alan, you are a scientist. You know
about chemistry, and things of that kind. You have made experiments.
What you have got to do is to destroy the [90] thing that is
up-stairs,--to destroy it so that not a vestige will be left of it.
Nobody saw this person come into the house. Indeed, at the present
moment he is supposed to be in Paris. He will not be missed for
months. When he is missed, there must be no trace of him found here.
You, Alan, you must change him, and everything that belongs to him,
into a handful of ashes that I may scatter in the air."
"You are mad, Dorian."
"Ah! I was waiting for you to call me Dorian."
"You are mad, I tell you,--mad to imagine that I would raise a finger
to help you, mad to make this monstrous confession. I will have
nothing to do with this matter, whatever it is. Do you think I am
going to peril my reputation for you? What is it to me what devil's
work you are up to?"
"It was a suicide, Alan."
"I am glad of that. But who drove him to it? You, I should fancy."
"Do you still refuse to do this, for me?"
"Of course I refuse. I will have absolutely nothing to do with it. I
don't care what shame comes on you. You deserve it all. I should not
be sorry to see you disgraced, publicly disgraced. How dare you ask
me, of all men in the world, to mix myself up in this horror? I should
have thought you knew more about people's characters. Your friend Lord
Henry Wotton can't have taught you much about psychology, whatever else
he has taught you. Nothing will induce me to stir a step to help you.
You have come to the wrong man. Go to some of your friends. Don't
come to me."
"Alan, it was murder. I killed him. You don't know what he had made
me suffer. Whatever my life is, he had more to do with the making or
the marring of it than poor Harry has had. He may not have intended
it, the result was the same."
"Murder! Good God, Dorian, is that what you have come to? I shall not
inform upon you. It is not my business. Besides, you are certain to
be arrested, without my stirring in the matter. Nobody ever commits a
murder without doing something stupid. But I will have nothing to do
with it."
"All I ask of you is to perform a certain scientific experiment. You
go to hospitals and dead-houses, and the horrors that you do there
don't affect you. If in some hideous dissecting-room or fetid
laboratory you found this man lying on a leaden table with red gutters
scooped out in it, you would simply look upon him as an admirable
subject. You would not turn a hair. You would not believe that you
were doing anything wrong. On the contrary, you would probably feel
that you were benefiting the human race, or increasing the sum of
knowledge in the world, or gratifying intellectual curiosity, or
something of that kind. What I want you to do is simply what you have
often done before. Indeed, to destroy a body must be less horrible
than what you are accustomed to work at. And, remember, it is the only
piece of evidence against me. If it is discovered, I am lost; and it
is sure to be discovered unless you help me."
[91] "I have no desire to help you. You forget that. I am simply
indifferent to the whole thing. It has nothing to do with me."
"Alan, I entreat you. Think of the position I am in. Just before you
came I almost fainted with terror. No! don't think of that. Look at
the matter purely from the scientific point of view. You don't inquire
where the dead things on which you experiment come from. Don't inquire
now. I have told you too much as it is. But I beg of you to do this.
We were friends once, Alan."
"Don't speak about those days, Dorian: they are dead."
"The dead linger sometimes. The man up-stairs will not go away. He is
sitting at the table with bowed head and outstretched arms. Alan!
Alan! if you don't come to my assistance I am ruined. Why, they will
hang me, Alan! Don't you understand? They will hang me for what I
have done."
"There is no good in prolonging this scene. I refuse absolutely to do
anything in the matter. It is insane of you to ask me."
"You refuse absolutely?"
"Yes."
The same look of pity came into Dorian's eyes, then he stretched out
his hand, took a piece of paper, and wrote something on it. He read it
over twice, folded it carefully, and pushed it across the table. Having
done this, he got up, and went over to the window.
Campbell looked at him in surprise, and then took up the paper, and
opened it. As he read it, his face became ghastly pale, and he fell
back in his chair. A horrible sense of sickness came over him. He
felt as if his heart was beating itself to death in some empty hollow.
After two or three minutes of terrible silence, Dorian turned round,
and came and stood behind him, putting his hand upon his shoulder.
"I am so sorry, Alan," he murmured, "but you leave me no alternative. I
have a letter written already. Here it is. You see the address. If
you don't help me, I must send it. You know what the result will be.
But you are going to help me. It is impossible for you to refuse now.
I tried to spare you. You will do me the justice to admit that. You
were stern, harsh, offensive. You treated me as no man has ever dared
to treat me,--no living man, at any rate. I bore it all. Now it is
for me to dictate terms."
Campbell buried his face in his hands, and a shudder passed through him.
"Yes, it is my turn to dictate terms, Alan. You know what they are.
The thing is quite simple. Come, don't work yourself into this fever.
The thing has to be done. Face it, and do it."
A groan broke from Campbell's lips, and he shivered all over. The
ticking of the clock on the mantel-piece seemed to him to be dividing
time into separate atoms of agony, each of which was too terrible to be
borne. He felt as if an iron ring was being slowly tightened round his
forehead, and as if the disgrace with which he was threatened had
already come upon him. The hand upon his shoulder weighed like a hand
of lead. It was intolerable. It seemed to crush him.
"Come, Alan, you must decide at once."
[92] He hesitated a moment. "Is there a fire in the room up-stairs?"
he murmured.
"Yes, there is a gas-fire with asbestos."
"I will have to go home and get some things from the laboratory."
"No, Alan, you need not leave the house. Write on a sheet of
note-paper what you want, and my servant will take a cab and bring the
things back to you."
Campbell wrote a few lines, blotted them, and addressed an envelope to
his assistant. Dorian took the note up and read it carefully. Then he
rang the bell, and gave it to his valet, with orders to return as soon
as possible, and to bring the things with him.
When the hall door shut, Campbell started, and, having got up from the
chair, went over to the chimney-piece. He was shivering with a sort of
ague. For nearly twenty minutes, neither of the men spoke. A fly
buzzed noisily about the room, and the ticking of the clock was like
the beat of a hammer.
As the chime struck one, Campbell turned around, and, looking at Dorian
Gray, saw that his eyes were filled with tears. There was something in
the purity and refinement of that sad face that seemed to enrage him.
"You are infamous, absolutely infamous!" he muttered.
"Hush, Alan: you have saved my life," said Dorian.
"Your life? Good heavens! what a life that is! You have gone from
corruption to corruption, and now you have culminated in crime. In
doing what I am going to do, what you force me to do, it is not of your
life that I am thinking."
"Ah, Alan," murmured Dorian, with a sigh, "I wish you had a thousandth
part of the pity for me that I have for you." He turned away, as he
spoke, and stood looking out at the garden. Campbell made no answer.
After about ten minutes a knock came to the door, and the servant
entered, carrying a mahogany chest of chemicals, with a small electric
battery set on top of it. He placed it on the table, and went out
again, returning with a long coil of steel and platinum wire and two
rather curiously-shaped iron clamps.
"Shall I leave the things here, sir?" he asked Campbell.
"Yes," said Dorian. "And I am afraid, Francis, that I have another
errand for you. What is the name of the man at Richmond who supplies
Selby with orchids?"
"Harden, sir."
"Yes,--Harden. You must go down to Richmond at once, see Harden
personally, and tell him to send twice as many orchids as I ordered,
and to have as few white ones as possible. In fact, I don't want any
white ones. It is a lovely day, Francis, and Richmond is a very pretty
place, otherwise I wouldn't bother you about it."
"No trouble, sir. At what time shall I be back?"
Dorian looked at Campbell. "How long will your experiment take, Alan?"
he said, in a calm, indifferent voice. The presence of a third person
in the room seemed to give him extraordinary courage.
Campbell frowned, and bit his lip. "It will take about five hours," he
answered.
[93] "It will be time enough, then, if you are back at half-past seven,
Francis. Or stay: just leave my things out for dressing. You can have
the evening to yourself. I am not dining at home, so I shall not want
you."
"Thank you, sir," said the man, leaving the room.
"Now, Alan, there is not a moment to be lost. How heavy this chest is!
I'll take it for you. You bring the other things." He spoke rapidly,
and in an authoritative manner. Campbell felt dominated by him. They
left the room together.
When they reached the top landing, Dorian took out the key and turned
it in the lock. Then he stopped, and a troubled look came into his
eyes. He shuddered. "I don't think I can go in, Alan," he murmured.
"It is nothing to me. I don't require you," said Campbell, coldly.
Dorian half opened the door. As he did so, he saw the face of the
portrait grinning in the sunlight. On the floor in front of it the
torn curtain was lying. He remembered that the night before, for the
first time in his life, he had forgotten to hide it, when he crept out
of the room.
But what was that loathsome red dew that gleamed, wet and glistening,
on one of the hands, as though the canvas had sweated blood? How
horrible it was!--more horrible, it seemed to him for the moment, than
the silent thing that he knew was stretched across the table, the thing
whose grotesque misshapen shadow on the spotted carpet showed him that
it had not stirred, but was still there, as he had left it.
He opened the door a little wider, and walked quickly in, with
half-closed eyes and averted head, determined that he would not look
even once upon the dead man. Then, stooping down, and taking up the
gold-and-purple hanging, he flung it over the picture.
He stopped, feeling afraid to turn round, and his eyes fixed themselves
on the intricacies of the pattern before him. He heard Campbell
bringing in the heavy chest, and the irons, and the other things that
he had required for his dreadful work. He began to wonder if he and
Basil Hallward had ever met, and, if so, what they had thought of each
other.
"Leave me now," said Campbell.
He turned and hurried out, just conscious that the dead man had been
thrust back into the chair and was sitting up in it, with Campbell
gazing into the glistening yellow face. As he was going downstairs he
heard the key being turned in the lock.
It was long after seven o'clock when Campbell came back into the
library. He was pale, but absolutely calm. "I have done what you
asked me to do," he muttered. "And now, good-by. Let us never see
each other again."
"You have saved me from ruin, Alan. I cannot forget that," said
Dorian, simply.
As soon as Campbell had left, he went up-stairs. There was a horrible
smell of chemicals in the room. But the thing that had been sitting at
the table was gone.