finished_summaries/shmoop/The Picture of Dorian Gray/section_18_part_0.txt
The Picture of Dorian Gray.chapter 19
chapter 19
{"name": "Chapter 19", "url": "https://web.archive.org/web/20210304030722/https://www.shmoop.com/study-guides/literature/picture-dorian-gray/summary/chapter-19", "summary": "This whole James Vane incident seems to have shaken Dorian significantly. Back in London, he informs Lord Henry that he's going to become a good person again. Henry doesn't believe it, nor does he think Dorian should change at all. In his view, his friend is perfect. For about the thousandth time, we think about how warped Lord Henry is. Apparently, the day before, Dorian was staying out in the countryside by himself, and Henry comments that it's a lot easier to be good out there, since there's nothing to do. Dorian continues, saying that he's altered . Lord Henry demands to know what Dorian's done that's so great. Dorian tells Henry about a young girl that he met and fell in love with in the countryside. She reminded him of Sibyl Vane, and she totally fell for him. However, instead of corrupting her and destroying her life, he decided to let her go--he leaves her in her innocent state. Dorian thinks this good deed is enough to set him on the path to righteousness, despite Henry's doubts. Lord Henry continues to mock Dorian's fantasies. Dorian abruptly changes the subject, and asks Henry what's going on around town. Apparently, the gossip around their club is all about Basil--people are still discussing his disappearance. We also hear in passing that Alan Campbell committed suicide . Dorian plays it cool, and asks Henry what he thinks happened to Basil; Lord Henry's basically like, \"Screw Basil! Listen to me talk about my life.\" But Dorian doesn't want to let it go. He asks Henry if he's ever wondered if Basil was murdered--or, for that matter, if anyone else thinks that. Henry's just not that concerned; besides, he doesn't think Basil was interesting enough to get himself murdered. Dorian asks an interesting hypothetical question: what would Henry think if he said that he had killed Basil? Henry basically laughs this off, too, saying that crime is for the lower classes. He honestly just doesn't care, and even jokes that Basil probably drowned in the river Seine. Since Basil's paintings haven't been that great lately, Henry doesn't think there's anything to be sad about. Henry brings up the portrait, which he identifies as one of Basil's great works. Apparently Dorian told him that it was either lost or stolen. They discuss the painting a bit more, and Dorian confesses that he never liked it . Lord Henry changes the topic slightly to souls--what might it be like to sell one's soul? Little does he know that he's talking to the one person who knows... Dorian tells Henry that that he's sure that everyone has a soul, for better or worse. Languidly, Henry asks Dorian to play some Chopin on the piano. As Dorian plays, Henry muses at length about Dorian's youth and beauty, and his own lost youth. He tells Dorian that he's led an amazing, full life, and mistakenly praises him for still being the same. Dorian corrects him, saying that he's not the same, but Henry doesn't believe it. He thinks that Dorian is perfect. Henry goes on, saying that Dorian has always been loved by the world, even when it denounced him; he says that Dorian is the ideal of their time, and that, though he's never created anything, his whole life has been art. Dorian stops playing and tells Henry again that things are going to be different from now on. He resists Henry's praise of him. After insisting that he's going to change, Dorian reminds Lord Henry that the older man poisoned him with the yellow book, all those years ago. Henry doesn't buy it, saying that art doesn't influence real life. Dorian says his goodbyes and extricates himself from Henry, after wearily promising to see him the next day.", "analysis": ""}

"There is no use your telling me that you are going to be good," cried
Lord Henry, dipping his white fingers into a red copper bowl filled
with rose-water. "You are quite perfect.  Pray, don't change."

Dorian Gray shook his head.  "No, Harry, I have done too many dreadful
things in my life.  I am not going to do any more.  I began my good
actions yesterday."

"Where were you yesterday?"

"In the country, Harry.  I was staying at a little inn by myself."

"My dear boy," said Lord Henry, smiling, "anybody can be good in the
country.  There are no temptations there.  That is the reason why
people who live out of town are so absolutely uncivilized.
Civilization is not by any means an easy thing to attain to.  There are
only two ways by which man can reach it.  One is by being cultured, the
other by being corrupt.  Country people have no opportunity of being
either, so they stagnate."

"Culture and corruption," echoed Dorian.  "I have known something of
both.  It seems terrible to me now that they should ever be found
together.  For I have a new ideal, Harry.  I am going to alter.  I
think I have altered."

"You have not yet told me what your good action was.  Or did you say
you had done more than one?" asked his companion as he spilled into his
plate a little crimson pyramid of seeded strawberries and, through a
perforated, shell-shaped spoon, snowed white sugar upon them.

"I can tell you, Harry.  It is not a story I could tell to any one
else.  I spared somebody.  It sounds vain, but you understand what I
mean.  She was quite beautiful and wonderfully like Sibyl Vane.  I
think it was that which first attracted me to her.  You remember Sibyl,
don't you?  How long ago that seems!  Well, Hetty was not one of our
own class, of course.  She was simply a girl in a village.  But I
really loved her.  I am quite sure that I loved her.  All during this
wonderful May that we have been having, I used to run down and see her
two or three times a week.  Yesterday she met me in a little orchard.
The apple-blossoms kept tumbling down on her hair, and she was
laughing.  We were to have gone away together this morning at dawn.
Suddenly I determined to leave her as flowerlike as I had found her."

"I should think the novelty of the emotion must have given you a thrill
of real pleasure, Dorian," interrupted Lord Henry.  "But I can finish
your idyll for you.  You gave her good advice and broke her heart.
That was the beginning of your reformation."

"Harry, you are horrible!  You mustn't say these dreadful things.
Hetty's heart is not broken.  Of course, she cried and all that.  But
there is no disgrace upon her.  She can live, like Perdita, in her
garden of mint and marigold."

"And weep over a faithless Florizel," said Lord Henry, laughing, as he
leaned back in his chair.  "My dear Dorian, you have the most curiously
boyish moods.  Do you think this girl will ever be really content now
with any one of her own rank?  I suppose she will be married some day
to a rough carter or a grinning ploughman.  Well, the fact of having
met you, and loved you, will teach her to despise her husband, and she
will be wretched.  From a moral point of view, I cannot say that I
think much of your great renunciation.  Even as a beginning, it is
poor.  Besides, how do you know that Hetty isn't floating at the
present moment in some starlit mill-pond, with lovely water-lilies
round her, like Ophelia?"

"I can't bear this, Harry!  You mock at everything, and then suggest
the most serious tragedies.  I am sorry I told you now.  I don't care
what you say to me.  I know I was right in acting as I did.  Poor
Hetty!  As I rode past the farm this morning, I saw her white face at
the window, like a spray of jasmine.  Don't let us talk about it any
more, and don't try to persuade me that the first good action I have
done for years, the first little bit of self-sacrifice I have ever
known, is really a sort of sin.  I want to be better.  I am going to be
better.  Tell me something about yourself.  What is going on in town?
I have not been to the club for days."

"The people are still discussing poor Basil's disappearance."

"I should have thought they had got tired of that by this time," said
Dorian, pouring himself out some wine and frowning slightly.

"My dear boy, they have only been talking about it for six weeks, and
the British public are really not equal to the mental strain of having
more than one topic every three months.  They have been very fortunate
lately, however.  They have had my own divorce-case and Alan Campbell's
suicide.  Now they have got the mysterious disappearance of an artist.
Scotland Yard still insists that the man in the grey ulster who left
for Paris by the midnight train on the ninth of November was poor
Basil, and the French police declare that Basil never arrived in Paris
at all.  I suppose in about a fortnight we shall be told that he has
been seen in San Francisco.  It is an odd thing, but every one who
disappears is said to be seen at San Francisco.  It must be a
delightful city, and possess all the attractions of the next world."

"What do you think has happened to Basil?" asked Dorian, holding up his
Burgundy against the light and wondering how it was that he could
discuss the matter so calmly.

"I have not the slightest idea.  If Basil chooses to hide himself, it
is no business of mine.  If he is dead, I don't want to think about
him.  Death is the only thing that ever terrifies me.  I hate it."

"Why?" said the younger man wearily.

"Because," said Lord Henry, passing beneath his nostrils the gilt
trellis of an open vinaigrette box, "one can survive everything
nowadays except that.  Death and vulgarity are the only two facts in
the nineteenth century that one cannot explain away.  Let us have our
coffee in the music-room, Dorian.  You must play Chopin to me.  The man
with whom my wife ran away played Chopin exquisitely.  Poor Victoria!
I was very fond of her.  The house is rather lonely without her.  Of
course, married life is merely a habit, a bad habit.  But then one
regrets the loss even of one's worst habits.  Perhaps one regrets them
the most.  They are such an essential part of one's personality."

Dorian said nothing, but rose from the table, and passing into the next
room, sat down to the piano and let his fingers stray across the white
and black ivory of the keys.  After the coffee had been brought in, he
stopped, and looking over at Lord Henry, said, "Harry, did it ever
occur to you that Basil was murdered?"

Lord Henry yawned.  "Basil was very popular, and always wore a
Waterbury watch.  Why should he have been murdered?  He was not clever
enough to have enemies.  Of course, he had a wonderful genius for
painting.  But a man can paint like Velasquez and yet be as dull as
possible.  Basil was really rather dull.  He only interested me once,
and that was when he told me, years ago, that he had a wild adoration
for you and that you were the dominant motive of his art."

"I was very fond of Basil," said Dorian with a note of sadness in his
voice.  "But don't people say that he was murdered?"

"Oh, some of the papers do.  It does not seem to me to be at all
probable.  I know there are dreadful places in Paris, but Basil was not
the sort of man to have gone to them.  He had no curiosity.  It was his
chief defect."

"What would you say, Harry, if I told you that I had murdered Basil?"
said the younger man.  He watched him intently after he had spoken.

"I would say, my dear fellow, that you were posing for a character that
doesn't suit you.  All crime is vulgar, just as all vulgarity is crime.
It is not in you, Dorian, to commit a murder.  I am sorry if I hurt
your vanity by saying so, but I assure you it is true.  Crime belongs
exclusively to the lower orders.  I don't blame them in the smallest
degree.  I should fancy that crime was to them what art is to us,
simply a method of procuring extraordinary sensations."

"A method of procuring sensations?  Do you think, then, that a man who
has once committed a murder could possibly do the same crime again?
Don't tell me that."

"Oh! anything becomes a pleasure if one does it too often," cried Lord
Henry, laughing.  "That is one of the most important secrets of life.
I should fancy, however, that murder is always a mistake.  One should
never do anything that one cannot talk about after dinner.  But let us
pass from poor Basil.  I wish I could believe that he had come to such
a really romantic end as you suggest, but I can't. I dare say he fell
into the Seine off an omnibus and that the conductor hushed up the
scandal.  Yes:  I should fancy that was his end.  I see him lying now
on his back under those dull-green waters, with the heavy barges
floating over him and long weeds catching in his hair.  Do you know, I
don't think he would have done much more good work.  During the last
ten years his painting had gone off very much."

Dorian heaved a sigh, and Lord Henry strolled across the room and began
to stroke the head of a curious Java parrot, a large, grey-plumaged
bird with pink crest and tail, that was balancing itself upon a bamboo
perch.  As his pointed fingers touched it, it dropped the white scurf
of crinkled lids over black, glasslike eyes and began to sway backwards
and forwards.

"Yes," he continued, turning round and taking his handkerchief out of
his pocket; "his painting had quite gone off.  It seemed to me to have
lost something.  It had lost an ideal.  When you and he ceased to be
great friends, he ceased to be a great artist.  What was it separated
you?  I suppose he bored you.  If so, he never forgave you.  It's a
habit bores have.  By the way, what has become of that wonderful
portrait he did of you?  I don't think I have ever seen it since he
finished it.  Oh!  I remember your telling me years ago that you had
sent it down to Selby, and that it had got mislaid or stolen on the
way.  You never got it back?  What a pity! it was really a
masterpiece.  I remember I wanted to buy it.  I wish I had now.  It
belonged to Basil's best period.  Since then, his work was that curious
mixture of bad painting and good intentions that always entitles a man
to be called a representative British artist.  Did you advertise for
it?  You should."

"I forget," said Dorian.  "I suppose I did.  But I never really liked
it.  I am sorry I sat for it.  The memory of the thing is hateful to
me.  Why do you talk of it?  It used to remind me of those curious
lines in some play--Hamlet, I think--how do they run?--

    "Like the painting of a sorrow,
     A face without a heart."

Yes:  that is what it was like."

Lord Henry laughed.  "If a man treats life artistically, his brain is
his heart," he answered, sinking into an arm-chair.

Dorian Gray shook his head and struck some soft chords on the piano.
"'Like the painting of a sorrow,'" he repeated, "'a face without a
heart.'"

The elder man lay back and looked at him with half-closed eyes.  "By
the way, Dorian," he said after a pause, "'what does it profit a man if
he gain the whole world and lose--how does the quotation run?--his own
soul'?"

The music jarred, and Dorian Gray started and stared at his friend.
"Why do you ask me that, Harry?"

"My dear fellow," said Lord Henry, elevating his eyebrows in surprise,
"I asked you because I thought you might be able to give me an answer.
That is all.  I was going through the park last Sunday, and close by
the Marble Arch there stood a little crowd of shabby-looking people
listening to some vulgar street-preacher. As I passed by, I heard the
man yelling out that question to his audience.  It struck me as being
rather dramatic.  London is very rich in curious effects of that kind.
A wet Sunday, an uncouth Christian in a mackintosh, a ring of sickly
white faces under a broken roof of dripping umbrellas, and a wonderful
phrase flung into the air by shrill hysterical lips--it was really very
good in its way, quite a suggestion.  I thought of telling the prophet
that art had a soul, but that man had not.  I am afraid, however, he
would not have understood me."

"Don't, Harry.  The soul is a terrible reality.  It can be bought, and
sold, and bartered away.  It can be poisoned, or made perfect.  There
is a soul in each one of us.  I know it."

"Do you feel quite sure of that, Dorian?"

"Quite sure."

"Ah! then it must be an illusion.  The things one feels absolutely
certain about are never true.  That is the fatality of faith, and the
lesson of romance.  How grave you are!  Don't be so serious.  What have
you or I to do with the superstitions of our age?  No:  we have given
up our belief in the soul.  Play me something.  Play me a nocturne,
Dorian, and, as you play, tell me, in a low voice, how you have kept
your youth.  You must have some secret.  I am only ten years older than
you are, and I am wrinkled, and worn, and yellow.  You are really
wonderful, Dorian.  You have never looked more charming than you do
to-night. You remind me of the day I saw you first.  You were rather
cheeky, very shy, and absolutely extraordinary.  You have changed, of
course, but not in appearance.  I wish you would tell me your secret.
To get back my youth I would do anything in the world, except take
exercise, get up early, or be respectable.  Youth!  There is nothing
like it.  It's absurd to talk of the ignorance of youth.  The only
people to whose opinions I listen now with any respect are people much
younger than myself.  They seem in front of me.  Life has revealed to
them her latest wonder.  As for the aged, I always contradict the aged.
I do it on principle.  If you ask them their opinion on something that
happened yesterday, they solemnly give you the opinions current in
1820, when people wore high stocks, believed in everything, and knew
absolutely nothing.  How lovely that thing you are playing is!  I
wonder, did Chopin write it at Majorca, with the sea weeping round the
villa and the salt spray dashing against the panes?  It is marvellously
romantic.  What a blessing it is that there is one art left to us that
is not imitative!  Don't stop.  I want music to-night. It seems to me
that you are the young Apollo and that I am Marsyas listening to you.
I have sorrows, Dorian, of my own, that even you know nothing of.  The
tragedy of old age is not that one is old, but that one is young.  I am
amazed sometimes at my own sincerity.  Ah, Dorian, how happy you are!
What an exquisite life you have had!  You have drunk deeply of
everything.  You have crushed the grapes against your palate.  Nothing
has been hidden from you.  And it has all been to you no more than the
sound of music.  It has not marred you.  You are still the same."

"I am not the same, Harry."

"Yes, you are the same.  I wonder what the rest of your life will be.
Don't spoil it by renunciations.  At present you are a perfect type.
Don't make yourself incomplete.  You are quite flawless now.  You need
not shake your head:  you know you are.  Besides, Dorian, don't deceive
yourself.  Life is not governed by will or intention.  Life is a
question of nerves, and fibres, and slowly built-up cells in which
thought hides itself and passion has its dreams.  You may fancy
yourself safe and think yourself strong.  But a chance tone of colour
in a room or a morning sky, a particular perfume that you had once
loved and that brings subtle memories with it, a line from a forgotten
poem that you had come across again, a cadence from a piece of music
that you had ceased to play--I tell you, Dorian, that it is on things
like these that our lives depend.  Browning writes about that
somewhere; but our own senses will imagine them for us.  There are
moments when the odour of _lilas blanc_ passes suddenly across me, and I
have to live the strangest month of my life over again.  I wish I could
change places with you, Dorian.  The world has cried out against us
both, but it has always worshipped you.  It always will worship you.
You are the type of what the age is searching for, and what it is
afraid it has found.  I am so glad that you have never done anything,
never carved a statue, or painted a picture, or produced anything
outside of yourself!  Life has been your art.  You have set yourself to
music.  Your days are your sonnets."

Dorian rose up from the piano and passed his hand through his hair.
"Yes, life has been exquisite," he murmured, "but I am not going to
have the same life, Harry.  And you must not say these extravagant
things to me.  You don't know everything about me.  I think that if you
did, even you would turn from me.  You laugh.  Don't laugh."

"Why have you stopped playing, Dorian?  Go back and give me the
nocturne over again.  Look at that great, honey-coloured moon that
hangs in the dusky air.  She is waiting for you to charm her, and if
you play she will come closer to the earth.  You won't?  Let us go to
the club, then.  It has been a charming evening, and we must end it
charmingly.  There is some one at White's who wants immensely to know
you--young Lord Poole, Bournemouth's eldest son.  He has already copied
your neckties, and has begged me to introduce him to you.  He is quite
delightful and rather reminds me of you."

"I hope not," said Dorian with a sad look in his eyes.  "But I am tired
to-night, Harry.  I shan't go to the club.  It is nearly eleven, and I
want to go to bed early."

"Do stay.  You have never played so well as to-night. There was
something in your touch that was wonderful.  It had more expression
than I had ever heard from it before."

"It is because I am going to be good," he answered, smiling.  "I am a
little changed already."

"You cannot change to me, Dorian," said Lord Henry.  "You and I will
always be friends."

"Yet you poisoned me with a book once.  I should not forgive that.
Harry, promise me that you will never lend that book to any one.  It
does harm."

"My dear boy, you are really beginning to moralize.  You will soon be
going about like the converted, and the revivalist, warning people
against all the sins of which you have grown tired.  You are much too
delightful to do that.  Besides, it is no use.  You and I are what we
are, and will be what we will be.  As for being poisoned by a book,
there is no such thing as that.  Art has no influence upon action.  It
annihilates the desire to act.  It is superbly sterile.  The books that
the world calls immoral are books that show the world its own shame.
That is all.  But we won't discuss literature.  Come round to-morrow. I
am going to ride at eleven.  We might go together, and I will take you
to lunch afterwards with Lady Branksome.  She is a charming woman, and
wants to consult you about some tapestries she is thinking of buying.
Mind you come.  Or shall we lunch with our little duchess?  She says
she never sees you now.  Perhaps you are tired of Gladys?  I thought
you would be.  Her clever tongue gets on one's nerves.  Well, in any
case, be here at eleven."

"Must I really come, Harry?"

"Certainly.  The park is quite lovely now.  I don't think there have
been such lilacs since the year I met you."

"Very well.  I shall be here at eleven," said Dorian.  "Good night,
Harry."  As he reached the door, he hesitated for a moment, as if he
had something more to say.  Then he sighed and went out.



Chapter 19
This whole James Vane incident seems to have shaken Dorian significantly. Back in London, he informs Lord Henry that he's going to become a good person again. Henry doesn't believe it, nor does he think Dorian should change at all. In his view, his friend is perfect. For about the thousandth time, we think about how warped Lord Henry is. Apparently, the day before, Dorian was staying out in the countryside by himself, and Henry comments that it's a lot easier to be good out there, since there's nothing to do. Dorian continues, saying that he's altered . Lord Henry demands to know what Dorian's done that's so great. Dorian tells Henry about a young girl that he met and fell in love with in the countryside. She reminded him of Sibyl Vane, and she totally fell for him. However, instead of corrupting her and destroying her life, he decided to let her go--he leaves her in her innocent state. Dorian thinks this good deed is enough to set him on the path to righteousness, despite Henry's doubts. Lord Henry continues to mock Dorian's fantasies. Dorian abruptly changes the subject, and asks Henry what's going on around town. Apparently, the gossip around their club is all about Basil--people are still discussing his disappearance. We also hear in passing that Alan Campbell committed suicide . Dorian plays it cool, and asks Henry what he thinks happened to Basil; Lord Henry's basically like, "Screw Basil! Listen to me talk about my life." But Dorian doesn't want to let it go. He asks Henry if he's ever wondered if Basil was murdered--or, for that matter, if anyone else thinks that. Henry's just not that concerned; besides, he doesn't think Basil was interesting enough to get himself murdered. Dorian asks an interesting hypothetical question: what would Henry think if he said that he had killed Basil? Henry basically laughs this off, too, saying that crime is for the lower classes. He honestly just doesn't care, and even jokes that Basil probably drowned in the river Seine. Since Basil's paintings haven't been that great lately, Henry doesn't think there's anything to be sad about. Henry brings up the portrait, which he identifies as one of Basil's great works. Apparently Dorian told him that it was either lost or stolen. They discuss the painting a bit more, and Dorian confesses that he never liked it . Lord Henry changes the topic slightly to souls--what might it be like to sell one's soul? Little does he know that he's talking to the one person who knows... Dorian tells Henry that that he's sure that everyone has a soul, for better or worse. Languidly, Henry asks Dorian to play some Chopin on the piano. As Dorian plays, Henry muses at length about Dorian's youth and beauty, and his own lost youth. He tells Dorian that he's led an amazing, full life, and mistakenly praises him for still being the same. Dorian corrects him, saying that he's not the same, but Henry doesn't believe it. He thinks that Dorian is perfect. Henry goes on, saying that Dorian has always been loved by the world, even when it denounced him; he says that Dorian is the ideal of their time, and that, though he's never created anything, his whole life has been art. Dorian stops playing and tells Henry again that things are going to be different from now on. He resists Henry's praise of him. After insisting that he's going to change, Dorian reminds Lord Henry that the older man poisoned him with the yellow book, all those years ago. Henry doesn't buy it, saying that art doesn't influence real life. Dorian says his goodbyes and extricates himself from Henry, after wearily promising to see him the next day.