"He is not the man I am looking for," he answered, "and I want no man's money. I want a man's life. The man whose life I want must be nearly forty now. This one is little more than a boy. Thank God, I have not got his blood upon my hands."
The woman gave a bitter laugh. "Little more than a boy!" she sneered. "Why, man, it's nigh on eighteen years since Prince Charming made me what I am."
"You lie!" cried James Vane.
She raised her hand up to heaven. "Before God I am telling the truth," she cried.
"Strike me dumb if it ain't so. He is the worst one that comes here. They say he has sold himself to the devil for a pretty face. It's nigh on eighteen years since I met him. He hasn't changed much since then. I have though," she added, with a sickly leer.
"You swear this?"
"I swear it," came in hoarse echo from her flat mouth. "But don't give me away to him," she whined; "I am afraid of him. Let me have some money for my night's lodging."
He broke from her with an oath, and rushed to the corner of the street, but Dorian Gray had disappeared. When he looked back, the woman had vanished also.
A week later Dorian Gray was sitting in the conservatory at Selby Royal talking to the pretty Duchess of Monmouth, who with her husband, a jaded-looking man of sixty, was amongst his guests. It was tea-time, and the mellow light of the huge lace-covered lamp that stood on the table lit up the delicate china and hammered silver of the service at which the Duchess was presiding. Her white hands were moving daintily among the cups, and her full red lips were smiling at something that Dorian had whispered to her. Lord Henry was lying back in a silk-draped wicker chair looking at them. On a peach-coloured divan sat Lady Narborough pretending to listen to the Duke's description of the last Brazilian beetle that he had added to his collection. Three young men in elaborate smoking-suits were handing tea-cakes to some of the women. The house-party consisted of twelve people, and there were more expected to arrive on the next day.
"What are you two talking about?" said Lord Henry, strolling over to the table, and putting his cup down. "I hope Dorian has told you about my plan for rechristening everything, Gladys. It is a delightful idea."
"But I don't want to be rechristened, Harry," rejoined the Duchess, looking up at him with her wonderful eyes. "I am quite satisfied with my own name, and I am sure Mr. Gray should be satisfied with his."
"My dear Gladys, I would not alter either name for the world. They are both perfect. I was thinking chiefly of flowers. Yesterday I cut an orchid, for my buttonhole. It was a marvellous spotted thing, as effective as the seven deadly sins. In a thoughtless moment I asked one of the gardeners what it was called. He told me it was a fine specimen of Robinsoniana, or something dreadful of that kind. It is a sad truth, but we have lost the faculty of giving lovely names to things. Names are everything. I never quarrel with actions. My one quarrel is with words. That is the reason I hate vulgar realism in literature. The man who could call a spade a spade should be compelled to use one. It is the only thing he is fit for."
"Then what should we call you, Harry?" she asked.
"His name is Prince Paradox," said Dorian.
"I recognise him in a flash," exclaimed the Duchess.
"I won't hear of it," laughed Lord Henry, sinking into a chair. "From a label there is no escape! I refuse the title."
"Royalties may not abdicate," fell as a warning from pretty lips.
"You wish me to defend my throne, then?"
"I give the truths of to-morrow."
"I prefer the mistakes of to-day," she answered.
"You disarm me, Gladys," he cried, catching the wilfulness of her mood.
"Of your shield, Harry: not of your spear."
"I never tilt against Beauty," he said, with a wave of his hand.
"That is your error, Harry, believe me. You value beauty far too much."
"How can you say that? I admit that I think that it is better to be beautiful than to be good. But on the other hand no one is more ready than I am to acknowledge that it is better to be good than to be ugly."
"Ugliness is one of the seven deadly sins, then?" cried the Duchess. "What becomes of your simile about the orchid?"
"Ugliness is one of the seven deadly virtues, Gladys. You, as a good Tory, must not underrate them. Beer, the Bible, and the seven deadly virtues have made our England what she is."
"You don't like your country, then?" she asked.
"I live in it."
"That you may censure it the better."
"Would you have me take the verdict of Europe on it?" he inquired.
"What do they say of us?"
"That Tartuffe has emigrated to England and opened a shop."
"Is that yours, Harry?"
"I give it to you."
"I could not use it. It is too true."
"You need not be afraid. Our countrymen never recognise a description."
"They are practical."
"They are more cunning than practical. When they make up their ledger, they balance stupidity by wealth, and vice by hypocrisy."
"Still, we have done great things."
"Great things have been thrust on us, Gladys."
"We have carried their burden."
"Only as far as the Stock Exchange."
She shook her head. "I believe in the race," she cried.
"It represents the survival of the pushing."
"It has development."
"Decay fascinates me more."
"What of Art?" she asked.
"It is a malady."
"The fashionable substitute for Belief."
"You are a sceptic."
"Never! Scepticism is the beginning of Faith."
"What are you?"
"To define is to limit."
"Give me a clue."
"Threads snap. You would lose your way in the labyrinth."
"You bewilder me. Let us talk of someone else."
"Our host is a delightful topic. Years ago he was christened Prince Charming."
"Ah! don't remind me of that," cried Dorian Gray.
"Our host is rather horrid this evening," answered the Duchess, colouring. "I believe he thinks that Monmouth married me on purely scientific principles as the best specimen he could find of a modern butterfly."
"Well, I hope he won't stick pins into you, Duchess," laughed Dorian.
"Oh! my maid does that already, Mr. Gray, when she is annoyed with me."
"And what does she get annoyed with you about, Duchess?"
"For the most trivial things, Mr. Gray, I assure you. Usually because I come in at ten minutes to nine and tell her that I must be dressed by half-past eight."
"How unreasonable of her! You should give her warning."
"I daren't, Mr. Gray. Why, she invents hats for me. You remember the one I wore at Lady Hilstone's garden-party? You don't, but it is nice of you to pretend that you do. Well, she made it out of nothing. All good hats are made out of nothing."
"Like all good reputations, Gladys," interrupted Lord Henry. "Every effect that one produces gives one an enemy. To be popular one must be a mediocrity."
"Not with women," said the Duchess, shaking her head; "and women rule the world. I assure you we can't bear mediocrities. We women, as someone says, love with our ears, just as you men love with your eyes, if you ever love at all."
"It seems to me that we never do anything else," murmured Dorian.
"Ah! then, you never really love, Mr. Gray," answered the Duchess, with mock sadness.
"My dear Gladys!" cried Lord Henry. "How can you say that? Romance lives by repetition, and repetition converts an appetite into an art. Besides, each time that one loves is the only time one has ever loved. Difference of object does not alter singleness of passion. It merely intensifies it. We can have in life but one great experience at best, and the secret of life is to reproduce that experience as often as possible."
"Even when one has been wounded by it, Harry?" asked the Duchess, after a pause.
"Especially when one has been wounded by it," answered Lord Henry.
The Duchess turned and looked at Dorian Gray with a curious expression in her eyes. "What do you say to that, Mr. Gray?" she inquired.
Dorian hesitated for a moment. Then he threw his head back and laughed. "I always agree with Harry, Duchess."
"Even when he is wrong?"
"Harry is never wrong, Duchess."
"And does his philosophy make you happy?"
"I have never searched for happiness. Who wants happiness? I have searched for pleasure."
"And found it, Mr. Gray?"
"Often. Too often."
The Duchess sighed. "I am searching for peace," she said, "and if I don't go and dress, I shall have none this evening."
"Let me get you some orchids, Duchess," cried Dorian, starting to his feet, and walking down the conservatory.
"You are flirting disgracefully with him," said Lord Henry to his cousin. "You had better take care. He is very fascinating."
"If he were not, there would be no battle."
"Greek meets Greek, then?"
"I am on the side of the Trojans. They fought for a woman."
"They were defeated."
"There are worse things than capture," she answered.
"You gallop with a loose rein."
"Pace gives life," was the riposte.
"I shall write it in my diary to-night."
"That a burnt child loves the fire."
"I am not even singed. My wings are untouched."
"You use them for everything, except flight."
"Courage has passed from men to women. It is a new experience for us."
"You have a rival."
He laughed. "Lady Narborough," he whispered. "She perfectly adores him."
"You fill me with apprehension. The appeal to Antiquity is fatal to us who are romanticists."
"Romanticists! You have all the methods of science."
"Men have educated us."
"But not explained you."
"Describe us as a sex," was her challenge.
"Sphynxes without secrets."
She looked at him, smiling. "How long Mr. Gray is!" she said. "Let us go and help him. I have not yet told him the colour of my frock."
"Ah! you must suit your frock to his flowers, Gladys."
"That would be a premature surrender."
"Romantic Art begins with its climax."
"I must keep an opportunity for retreat."
"In the Parthian manner?"
"They found safety in the desert. I could not do that."
"Women are not always allowed a choice," he answered, but hardly had he finished the sentence before from the far end of the conservatory came a stifled groan, followed by the dull sound of a heavy fall. Everybody started up. The Duchess stood motionless in horror. And with fear in his eyes Lord Henry rushed through the flapping palms to find Dorian Gray lying face downwards on the tiled floor in a death-like swoon.
He was carried at once into the blue drawing-room, and laid upon one of the sofas. After a short time he came to himself, and looked round with a dazed expression.
"What has happened?" he asked. "Oh! I remember. Am I safe here, Harry?" He began to tremble.
"My dear Dorian," answered Lord Henry, "you merely fainted. That was all. You must have overtired yourself. You had better not come down to dinner. I will take your place."
"No, I will come down," he said, struggling to his feet. "I would rather come down. I must not be alone."
He went to his room and dressed. There was a wild recklessness of gaiety in his manner as he sat at table, but now and then a thrill of terror ran through him when he remembered that, pressed against the window of the conservatory, like a white handkerchief, he had seen the face of James Vane watching him.
The next day he did not leave the house, and, indeed, spent most of the time in his own room, sick with a wild terror of dying, and yet indifferent to life itself. The consciousness of being hunted, snared, tracked down, had begun to dominate him. If the tapestry did but tremble in the wind, he shook. The dead leaves that were blown against the leaded panes seemed to him like his own wasted resolutions and wild regrets. When he closed his eyes, he saw again the sailor's face peering through the mist-stained glass, and horror seemed once more to lay its hand upon his heart.
But perhaps it had been only his fancy that had called vengeance out of the night, and set the hideous shapes of punishment before him. Actual life was chaos, but there was something terribly logical in the imagination. It was the imagination that set remorse to dog the feet of sin. It was the imagination that made each crime bear its misshapen brood. In the common world of fact the wicked were not punished, nor the good rewarded. Success was given to the strong, failure thrust upon the weak. That was all. Besides, had any stranger been prowling round the house he would have been seen by the servants or the keepers. Had any footmarks been found on the flower-beds, the gardeners would have reported it. Yes: it had been merely fancy. Sibyl Vane's brother had not come back to kill him. He had sailed away in his ship to founder in some winter sea. From him, at any rate, he was safe. Why, the man did not know who he was, could not know who he was. The mask of youth had saved him.
And yet if it had been merely an illusion, how terrible it was to think that conscience could raise such fearful phantoms, and give them visible form, and make them move before one! What sort of life would his be, if day and night, shadows of his crime were to peer at him from silent corners, to mock him from secret places, to whisper in his ear as he sat at the feast, to wake him with icy fingers as he lay asleep! As the thought crept through his brain, he grew pale with terror, and the air seemed to him to have become suddenly colder. Oh! in what a wild hour of madness he had killed his friend! How ghastly the mere memory of the scene! He saw it all again. Each hideous detail came back to him with added horror. Out of the black cave of Time, terrible and swathed in scarlet, rose the image of his sin. When Lord Henry came in at six o'clock, he found him crying as one whose heart will break.
It was not till the third day that he ventured to go out. There was something in the clear, pine-scented air of that winter morning that seemed to bring him back his joyousness and his ardour for life. But it was not merely the physical conditions of environment that had caused the change. His own nature had revolted against the excess of anguish that had sought to maim and mar the perfection of its calm. With subtle and finely-wrought temperaments it is always so. Their strong passions must either bruise or bend. They either slay the man, or themselves die. Shallow sorrows and shallow loves live on. The loves and sorrows that are great are destroyed by their own plenitude. Besides, he had convinced himself that he had been the victim of a terror-stricken imagination, and looked back now on his fears with something of pity and not a little of contempt.
After breakfast he walked with the Duchess for an hour in the garden, and then drove across the park to join the shooting-party. The crisp frost lay like salt upon the grass. The sky was an inverted cup of blue metal. A thin film of ice bordered the flat reed-grown lake.
At the corner of the pine-wood he caught sight of Sir Geoffrey Clouston, the Duchess's brother, jerking two spent cartridges out of his gun. He jumped from the cart, and having told the groom to take the mare home, made his way towards his guest through the withered bracken and rough undergrowth.
"Have you had good sport, Geoffrey?" he asked.
"Not very good, Dorian. I think most of the birds have gone to the open. I dare say it will be better after lunch, when we get to new ground."
Dorian strolled along by his side. The keen aromatic air, the brown and red lights that glimmered in the wood, the hoarse cries of the beaters ringing out from time to time, and the sharp snaps of the guns that followed, fascinated him, and filled him with a sense of delightful freedom. He was dominated by the carelessness of happiness, by the high indifference of joy.
Suddenly from a lumpy tussock of old grass, some twenty yards in front of them, with black-tipped ears erect, and long hinder limbs throwing it forward, started a hare. It bolted for a thicket of alders. Sir Geoffrey put his gun to his shoulder, but there was something in the animal's grace of movement that strangely charmed Dorian Gray, and he cried out at once, "Don't shoot it, Geoffrey. Let it live."
"What nonsense, Dorian!" laughed his companion, and as the hare bounded into the thicket he fired. There were two cries heard, the cry of a hare in pain, which is dreadful, the cry of a man in agony, which is worse.
"Good heavens! I have hit a beater!" exclaimed Sir Geoffrey. "What an ass the man was to get in front of the guns! Stop shooting there!" he called out at the top of his voice. "A man is hurt."
The head-keeper came running up with a stick in his hand.
"Where, sir? Where is he?" he shouted. At the same time the firing ceased along the line.
"Here," answered Sir Geoffrey, angrily, hurrying towards the thicket. "Why on earth don't you keep your men back? Spoiled my shooting for the day."
Dorian watched them as they plunged into the alder-clump, brushing the lithe, swinging branches aside. In a few moments they emerged, dragging a body after them into the sunlight. He turned away in horror. It seemed to him that misfortune followed wherever he went. He heard Sir Geoffrey ask if the man was really dead, and the affirmative answer of the keeper. The wood seemed to him to have become suddenly alive with faces. There was the trampling of myriad feet, and the low buzz of voices. A great copper-breasted pheasant came beating through the boughs overhead.
After a few moments, that were to him, in his perturbed state, like endless hours of pain, he felt a hand laid on his shoulder. He started, and looked round.
"Dorian," said Lord Henry, "I had better tell them that the shooting is stopped for to-day. It would not look well to go on."
"I wish it were stopped for ever, Harry," he answered, bitterly. "The whole thing is hideous and cruel. Is the man...?"
He could not finish the sentence.
"I am afraid so," rejoined Lord Henry. "He got the whole charge of shot in his chest. He must have died almost instantaneously. Come; let us go home."
They walked side by side in the direction of the avenue for nearly fifty yards without speaking. Then Dorian looked at Lord Henry, and said, with a heavy sigh, "It is a bad omen, Harry, a very bad omen."
"What is?" asked Lord Henry. "Oh! this accident, I suppose. My dear fellow, it can't be helped. It was the man's own fault. Why did he get in front of the guns? Besides, it's nothing to us. It is rather awkward for Geoffrey, of course. It does not do to pepper beaters. It makes people think that one is a wild shot. And Geoffrey is not; he shoots very straight. But there is no use talking about the matter."
Dorian shook his head. "It is a bad omen, Harry. I feel as if something horrible were going to happen to some of us. To myself, perhaps," he added, passing his hand over his eyes, with a gesture of pain.
The elder man laughed. "The only horrible thing in the world is ennui, Dorian. That is the one sin for which there is no forgiveness. But we are not likely to suffer from it, unless these fellows keep chattering about this thing at dinner. I must tell them that the subject is to be tabooed. As for omens, there is no such thing as an omen. Destiny does not send us heralds. She is too wise or too cruel for that. Besides, what on earth could happen to you, Dorian? You have everything in the world that a man can want. There is no one who would not be delighted to change places with you."
"There is no one with whom I would not change places, Harry. Don't laugh like that. I am telling you the truth. The wretched peasant who has just died is better off than I am. I have no terror of Death. It is the coming of Death that terrifies me. Its monstrous wings seem to wheel in the leaden air around me. Good heavens! don't you see a man moving behind the trees there, watching me, waiting for me?"
Lord Henry looked in the direction in which the trembling gloved hand was pointing. "Yes," he said, smiling, "I see the gardener waiting for you. I suppose he wants to ask you what flowers you wish to have on the table to-night. How absurdly nervous you are, my dear fellow! You must come and see my doctor, when we get back to town."
Dorian heaved a sigh of relief as he saw the gardener approaching. The man touched his hat, glanced for a moment at Lord Henry in a hesitating manner, and then produced a letter, which he handed to his master. "Her Grace told me to wait for an answer," he murmured.
Dorian put the letter into his pocket. "Tell her Grace that I am coming in," he said, coldly. The man turned round, and went rapidly in the direction of the house.
"How fond women are of doing dangerous things!" laughed Lord Henry. "It is one of the qualities in them that I admire most. A woman will flirt with anybody in the world as long as other people are looking on."
"How fond you are of saying dangerous things, Harry! In the present instance you are quite astray. I like the Duchess very much, but I don't love her."
"And the Duchess loves you very much, but she likes you less, so you are excellently matched."
"You are talking scandal, Harry, and there is never any basis for scandal."
"The basis of every scandal is an immoral certainty," said Lord Henry, lighting a cigarette.
"You would sacrifice anybody, Harry, for the sake of an epigram."
"The world goes to the altar of its own accord," was the answer.
"I wish I could love," cried Dorian Gray, with a deep note of pathos in his voice. "But I seem to have lost the passion, and forgotten the desire. I am too much concentrated on myself. My own personality has become a burden to me. I want to escape, to go away, to forget. It was silly of me to come down here at all. I think I shall send a wire to Harvey to have the yacht got ready. On a yacht one is safe."
"Safe from what, Dorian? You are in some trouble. Why not tell me what it is? You know I would help you."
"I can't tell you, Harry," he answered, sadly. "And I dare say it is only a fancy of mine. This unfortunate accident has upset me. I have a horrible presentiment that something of the kind may happen to me."
"I hope it is, but I can't help feeling it. Ah! here is the Duchess, looking like Artemis in a tailor-made gown. You see we have come back, Duchess."
"I have heard all about it, Mr. Gray," she answered. "Poor Geoffrey is terribly upset. And it seems that you asked him not to shoot the hare. How curious!"
"Yes, it was very curious. I don't know what made me say it. Some whim, I suppose. It looked the loveliest of little live things. But I am sorry they told you about the man. It is a hideous subject."
"It is an annoying subject," broke in Lord Henry. "It has no psychological value at all. Now if Geoffrey had done the thing on purpose, how interesting he would be! I should like to know someone who had committed a real murder."
"How horrid of you, Harry!" cried the Duchess. "Isn't it, Mr. Gray? Harry, Mr. Gray is ill again. He is going to faint."
Dorian drew himself up with an effort, and smiled. "It is nothing, Duchess," he murmured; "my nerves are dreadfully out of order. That is all. I am afraid I walked too far this morning. I didn't hear what Harry said. Was it very bad? You must tell me some other time. I think I must go and lie down. You will excuse me, won't you?"
They had reached the great flight of steps that led from the conservatory on to the terrace. As the glass door closed behind Dorian, Lord Henry turned and looked at the Duchess with his slumberous eyes. "Are you very much in love with him?" he asked.
She did not answer for some time, but stood gazing at the landscape. "I wish I knew," she said at last.
He shook his head. "Knowledge would be fatal. It is the uncertainty that charms one. A mist makes things wonderful."
"One may lose one's way."
"All ways end at the same point, my dear Gladys."
"What is that?"
"It was my debut in life," she sighed.
"It came to you crowned."
"I am tired of strawberry leaves."
"They become you."
"Only in public."
"You would miss them," said Lord Henry.
"I will not part with a petal."
"Monmouth has ears."
"Old age is dull of hearing."
"Has he never been jealous?"
"I wish he had been."
He glanced about as if in search of something. "What are you looking for?" she inquired.
"The button from your foil," he answered. "You have dropped it."
She laughed. "I have still the mask."
"It makes your eyes lovelier," was his reply.
She laughed again. Her teeth showed like white seeds in a scarlet fruit.
Upstairs, in his own room, Dorian Gray was lying on a sofa, with terror in every tingling fibre of his body. Life had suddenly become too hideous a burden for him to bear. The dreadful death of the unlucky beater, shot in the thicket like a wild animal, had seemed to him to prefigure death for himself also. He had nearly swooned at what Lord Henry had said in a chance mood of cynical jesting.
At five o'clock he rang his bell for his servant and gave him orders to pack his things for the night-express to town, and to have the brougham at the door by eight-thirty. He was determined not to sleep another night at Selby Royal. It was an ill-omened place. Death walked there in the sunlight. The grass of the forest had been spotted with blood.
Then he wrote a note to Lord Henry, telling him that he was going up to town to consult his doctor, and asking him to entertain his guests in his absence. As he was putting it into the envelope, a knock came to the door, and his valet informed him that the head-keeper wished to see him. He frowned, and bit his lip. "Send him in," he muttered, after some moments' hesitation.
As soon as the man entered Dorian pulled his chequebook out of a drawer, and spread it out before him.
"I suppose you have come about the unfortunate accident of this morning, Thornton?" he said, taking up a pen.
"Yes, sir," answered the gamekeeper.
"Was the poor fellow married? Had he any people dependent on him?" asked Dorian, looking bored. "If so, I should not like them to be left in want, and will send them any sum of money you may think necessary."
"We don't know who he is, sir. That is what I took the liberty of coming to you about."
"Don't know who he is?" said Dorian, listlessly. "What do you mean? Wasn't he one of your men?"
"No, sir. Never saw him before. Seems like a sailor, sir."
The pen dropped from Dorian Gray's hand, and he felt as if his heart had suddenly stopped beating. "A sailor?" he cried out. "Did you say a sailor?"
"Yes, sir. He looks as if he had been a sort of sailor; tattooed on both arms, and that kind of thing."
"Was there anything found on him?" said Dorian, leaning forward and looking at the man with startled eyes. "Anything that would tell his name?"
"Some money, sir—not much, and a six-shooter. There was no name of any kind. A decent-looking man, sir, but rough-like. A sort of sailor, we think."
Dorian started to his feet. A terrible hope fluttered past him. He clutched at it madly. "Where is the body?" he exclaimed. "Quick! I must see it at once."
"It is in an empty stable in the Home Farm, sir. The folk don't like to have that sort of thing in their houses. They say a corpse brings bad luck."
"The Home Farm! Go there at once and meet me. Tell one of the grooms to bring my horse round. No. Never mind. I'll go to the stables myself. It will save time."
In less than a quarter of an hour Dorian Gray was galloping down the long avenue as hard as he could go. The trees seemed to sweep past him in spectral procession, and wild shadows to fling themselves across his path. Once the mare swerved at a white gate-post and nearly threw him. He lashed her across the neck with his crop. She cleft the dusky air like an arrow. The stones flew from her hoofs.
At last he reached the Home Farm. Two men were loitering in the yard. He leapt from the saddle and threw the reins to one of them. In the farthest stable a light was glimmering. Something seemed to tell him that the body was there, and he hurried to the door, and put his hand upon the latch.
There he paused for a moment, feeling that he was on the brink of a discovery that would either make or mar his life. Then he thrust the door open, and entered.
On a heap of sacking in the far corner was lying the dead body of a man dressed in a coarse shirt and a pair of blue trousers. A spotted handkerchief had been placed over the face. A coarse candle, stuck in a bottle, sputtered beside it.
Dorian Gray shuddered. He felt that his could not be the hand to take the handkerchief away, and called out to one of the farm-servants to come to him.
"Take that thing off the face. I wish to see it," he said, clutching at the doorpost for support.
When the farm-servant had done so, he stepped forward. A cry of joy broke from his lips. The man who had been shot in the thicket was James Vane.
He stood there for some minutes looking at the dead body. As he rode home, his eyes were full of tears, for he knew he was safe.
"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're 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 uncivilised. Civilisation 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 spilt 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 anyone 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 flower-like 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 leant back in his chair. "My dear Dorian, you have the most curiously boyish moods. Do you think this girl will ever be really contented now with anyone 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 star-lit 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 everyone 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 any thing 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 glass-like 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?"
"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 moralise. 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.
It was a lovely night, so warm that he threw his coat over his arm, and did not even put his silk scarf round his throat. As he strolled home, smoking his cigarette, two young men in evening dress passed him. He heard one of them whisper to the other, "That is Dorian Gray." He remembered how pleased he used to be when he was pointed out, or stared at, or talked about. He was tired of hearing his own name now. Half the charm of the little village where he had been so often lately was that no one knew who he was. He had often told the girl whom he had lured to love him that he was poor, and she had believed him. He had told her once that he was wicked, and she had laughed at him, and answered that wicked people were always very old and very ugly. What a laugh she had!—just like a thrush singing. And how pretty she had been in her cotton dresses and her large hats! She knew nothing, but she had everything that he had lost.
When he reached home, he found his servant waiting up for him. He sent him to bed, and threw himself down on the sofa in the library, and began to think over some of the things that Lord Henry had said to him.
Was it really true that one could never change? He felt a wild longing for the unstained purity of his boyhood—his rose-white boyhood, as Lord Henry had once called it. He knew that he had tarnished himself, filled his mind with corruption, and given horror to his fancy; that he had been an evil influence to others, and had experienced a terrible joy in being so; and that, of the lives that had crossed his own, it had been the fairest and the most full of promise that he had brought to shame. But was it all irretrievable? Was there no hope for him?
Ah! in what a monstrous moment of pride and passion he had prayed that the portrait should bear the burden of his days, and he keep the unsullied splendour of eternal youth! All his failure had been due to that. Better for him that each sin of his life had brought its sure, swift penalty along with it. There was purification in punishment. Not "Forgive us our sins," but "Smite us for our iniquities" should be the prayer of a man to a most just God.
The curiously carved mirror that Lord Henry had given to him, so many years ago now, was standing on the table, and the white-limbed Cupids laughed round it as of old. He took it up, as he had done on that night of horror, when he had first noted the change in the fatal picture, and with wild, tear-dimmed eyes looked into its polished shield. Once, some one who had terribly loved him had written to him a mad letter, ending with these idolatrous words: "The world is changed because you are made of ivory and gold. The curves of your lips rewrite history." The phrases came back to his memory, and he repeated them over and over to himself. Then he loathed his own beauty, and, flinging the mirror on the floor, crushed it into silver splinters beneath his heel. It was his beauty that had ruined him, his beauty and the youth that he had prayed for. But for those two things, his life might have been free from stain. His beauty had been to him but a mask, his youth but a mockery. What was youth at best? A green, an unripe time, a time of shallow moods and sickly thoughts. Why had he worn its livery? Youth had spoiled him.
It was better not to think of the past. Nothing could alter that. It was of himself, and of his own future, that he had to think. James Vane was hidden in a nameless grave in Selby churchyard. Alan Campbell had shot himself one night in his laboratory, but had not revealed the secret that he had been forced to know. The excitement, such as it was, over Basil Hallward's disappearance would soon pass away. It was already waning. He was perfectly safe there. Nor, indeed, was it the death of Basil Hallward that weighed most upon his mind. It was the living death of his own soul that troubled him. Basil had painted the portrait that had marred his life. He could not forgive him that. It was the portrait that had done everything. Basil had said things to him that were unbearable, and that he had yet borne with patience. The murder had been simply the madness of a moment. As for Alan Campbell, his suicide had been his own act. He had chosen to do it. It was nothing to him.
A new life! That was what he wanted. That was what he was waiting for. Surely he had begun it already. He had spared one innocent thing, at any rate. He would never again tempt innocence. He would be good.
As he thought of Hetty Merton, he began to wonder if the portrait in the locked room had changed. Surely it was not still so horrible as it had been? Perhaps if his life became pure, he would be able to expel every sign of evil passion from the face. Perhaps the signs of evil had already gone away. He would go and look.
He took the lamp from the table and crept upstairs. As he unbarred the door a smile of joy flitted across his strangely young-looking face and lingered for a moment about his lips. Yes, he would be good, and the hideous thing that he had hidden away would no longer be a terror to him. He felt as if the load had been lifted from him already.
He went in quietly, locking the door behind him, as was his custom, and dragged the purple hanging from the portrait. A cry of pain and indignation broke from him. He could see no change, save that in the eyes there was a look of cunning, and in the mouth the curved wrinkle of the hypocrite. The thing was still loathsome—more loathsome, if possible, than before—and the scarlet dew that spotted the hand seemed brighter, and more like blood newly spilt. Then he trembled. Had it been merely vanity that had made him do his one good deed? Or the desire for a new sensation, as Lord Henry had hinted, with his mocking laugh? Or that passion to act a part that sometimes makes us do things finer than we are ourselves? Or, perhaps, all these? And why was the red stain larger than it had been? It seemed to have crept like a horrible disease over the wrinkled fingers. There was blood on the painted feet, as though the thing had dripped—blood even on the hand that had not held the knife. Confess? Did it mean that he was to confess? To give himself up, and be put to death? He laughed. He felt that the idea was monstrous. Besides, even if he did confess, who would believe him? There was no trace of the murdered man anywhere. Everything belonging to him had been destroyed. He himself had burned what had been below-stairs. The world would simply say that he was mad. They would shut him up if he persisted in his story.... Yet it was his duty to confess, to suffer public shame, and to make public atonement. There was a God who called upon men to tell their sins to earth as well as to heaven. Nothing that he could do would cleanse him till he had told his own sin. His sin? He shrugged his shoulders. The death of Basil Hallward seemed very little to him. He was thinking of Hetty Merton. For it was an unjust mirror, this mirror of his soul that he was looking at. Vanity? Curiosity? Hypocrisy? Had there been nothing more in his renunciation than that? There had been something more. At least he thought so. But who could tell?... No. There had been nothing more. Through vanity he had spared her. In hypocrisy he had worn the mask of goodness. For curiosity's sake he had tried the denial of self. He recognised that now.
But this murder—was it to dog him all his life? Was he always to be burdened by his past? Was he really to confess? Never. There was only one bit of evidence left against him. The picture itself—that was evidence. He would destroy it. Why had he kept it so long? Once it had given him pleasure to watch it changing and growing old. Of late he had felt no such pleasure. It had kept him awake at night. When he had been away, he had been filled with terror lest other eyes should look upon it. It had brought melancholy across his passions. Its mere memory had marred many moments of joy. It had been like conscience to him. Yes, it had been conscience. He would destroy it.
He looked round, and saw the knife that had stabbed Basil Hallward. He had cleaned it many times, till there was no stain left upon it. It was bright, and glistened. As it had killed the painter, so it would kill the painter's work, and all that that meant. It would kill the past, and when that was dead he would be free. It would kill this monstrous soul-life, and, without its hideous warnings, he would be at peace. He seized the thing, and stabbed the picture with it.
There was a cry heard, and a crash. The cry was so horrible in its agony that the frightened servants woke, and crept out of their rooms. Two gentlemen, who were passing in the Square below, stopped, and looked up at the great house. They walked on till they met a policeman, and brought him back. The man rang the bell several times, but there was no answer. Except for a light in one of the top windows, the house was all dark. After a time, he went away and stood in an adjoining portico and watched.
"Whose house is that, constable?" asked the elder of the two gentlemen.
"Mr. Dorian Gray's, sir," answered the policeman.
They looked at each other, as they walked away and sneered. One of them was Sir Henry Ashton's uncle.
Inside, in the servants' part of the house, the half-clad domestics were talking in low whispers to each other. Old Mrs. Leaf was crying and wringing her hands. Francis was as pale as death.
After about a quarter of an hour, he got the coachman and one of the footmen and crept upstairs. They knocked, but there was no reply. They called out. Everything was still. Finally, after vainly trying to force the door, they got on the roof, and dropped down on to the balcony. The windows yielded easily; their bolts were old.
When they entered they found, hanging upon the wall, a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man, in evening dress, with a knife in his heart. He was withered, wrinkled, and loathsome of visage. It was not till they had examined the rings that they recognised who it was.
* * *
Owing to the number of unauthorised editions of "THE PICTURE OF DORIAN GRAY" issued at various times both in America and on the Continent of Europe, it has become necessary to indicate which are the only authorised editions of Oscar Wilde's masterpiece.
Many of the pirated editions are incomplete in that they omit the Preface and seven additional chapters which were first published in the London edition of 1891. In other cases certain passages have been mutilated, and faulty spellings and misprints are numerous.
(I) First published in Lippincott's Monthly Magazine, July, 1890. London: Ward, Lock & Co. Copyrighted in London.
Published simultaneously in America. Philadelphia: J.-B. Lippincott Co. Copyrighted in the United States of America.
(II) A Preface to "Dorian Gray." Fortnightly Review, March 1, 1891. London: Chapman & Hall. (All rights reserved.)
(III) With the Preface and Seven additional chapters. London, New York, and Melbourne: Ward, Lock & Co. (n. d.).
(Of this edition 250 copies were issued on L.P., dated 1891.)
(IV) The same. London, New York, and Melbourne: Ward, Lock & Bowden. (n. d.).
(Published 1894 or 1895.) See Stuart Mason's "Art and Morality" (page 153).
THE FOLLOWING EDITIONS
were issued by Charles Carrington, Publisher and Literary Agent, late of 13 Faubourg Montmartre, Paris, and 10 Rue de la Tribune, BRUSSELS (Belgium), to whom the Copyright belongs.
(V) Small 8vo, vii 334 pages, printed on English antique wove paper, silk-cloth boards. 500 copies, 1901.
(VI) The same, vii 327 pages, silk-cloth boards. 500 copies, 1905.
Of this edition 100 copies were issued on hand-made paper.
(VII) 4to, vi 312 pages, broad margins, claret-coloured paper wrappers, title on label on the outside. 250 copies. Price 10s. 6d. 1908 (February).
(VIII) Cr. 8vo, uniform with Methuen's (London) complete edition of Wilde's Works. xi 362 pages, printed on hand-made paper, white cloth, gilt extra.
1000 copies. Price 12s. 6d. 1908 (April 16).
Of this edition 80 further copies were printed on Imperial Japanese vellum, full vellum binding, gilt extra. Price 42s.
(IX) Illustrated edition. Containing seven fullpaged illustrations by Paul Thirlat, engraved on Wood by Eugene Dete (both of Paris), and artistically printed by Brendon & Son, Ltd. (of Plymouth), 4to, vi 312 pages, half parchment bound, with corners, and fleur-de-lys on side. 1908-9. Price 15s.
(X) Small edition, uniform with Messrs. Methuen's Issue of "Oscar Wilde's Works" at same price. 12mo, xii and 352 pages. 2000 copies. Bound in green cloth. 1910. Price 5s.
It follows from all this that, with the exception of the version in Lippincott's Magazine only those editions are authorised to be sold in Great Britain and her Colonies which bear the imprimatur of Ward, Lock & Co., London, or Charles Carrington, Paris and Brussels; and that all other editions, whether American, Continental (save Carrington's Paris editions above specified) or otherwise, may not be sold within British jurisdiction without infringing the Berne law of literary copyright and incurring the disagreements that may therefrom result.
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ILLUSTRATED REPRINTS OF FAMOUS CLASSICS.
Printed in large, clear type on antique wove paper, with Photogravure Frontispiece, and from Ten to Fourteen Illustrations by the best artists in black and white. Small foolscap 8vo, 6-1/2 by 4-1/2, Cloth limp, designed end-papers,
Undine, and Aslauga's Knight. By LA MOTTE FOUQUE. With Illustrations by HAROLD NELSON.
The Pilgrim's Progress from this World to that which is to Come. By JOHN BUNYAN. With Illustrations by EDMUND J. SULLIVAN. Two Volumes.
In Memoriam. By ALFRED, LORD TENNYSON. With Illustrations by A. GARTH JONES.
The Serious Poems of Thomas Hood. With Illustrations by H. GRANVILLE FELL.
A Book of Romantic Ballads. Compiled from various sources ranging from the Thirteenth Century to the Present Day. With Illustrations by REGINALD SAVAGE.
The Sketch Book. By WASHINGTON IRVING. With Illustrations by EDMUND J. SULLIVAN. TWO Volumes.
Rosalynde. By THOMAS LODGE. With Illustrations by EDMUND J. SULLIVAN.
Herrick's Hesperides and Noble Numbers. With Illustrations by REGINALD SAVAGE. Two Volumes.
LONDON: SIMPKIN, MARSHALL, HAMILTON, KENT & CO., LTD.