Project Gutenberg #174
The Picture of Dorian Gray
Oscar Wilde
1890Wilde's aesthetic Gothic novel, prepared preface and chapter by chapter from Project Gutenberg plaintext.
Project Gutenberg #174 Public domain in the United States Cover source Local typographic cover created for MojiMori from public-domain source metadata
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AI Summary
Chapter 15 — CHAPTER XIV. Central question How does Dorian dispose of Basil and escape immediate detection? Main argument Dorian manipulates Alan Campbell into chemically destroying the body, using old knowledge...
hours,” he
answered.
“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 his
portrait leering in the sunlight. On the floor in front of it the torn
curtain was lying. He remembered that the night before he had
forgotten, for the first time in his life, to hide the fatal canvas,
and was about to rush forward, when he drew back with a shudder.
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 heaved a deep breath, opened the door a little wider, and with
half-closed eyes and averted head, walked quickly in, 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 right over the
picture.
There 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 a stern voice behind him.
He turned and hurried out, just conscious that the dead man had been
thrust back into the chair and that Campbell was gazing into a
glistening yellow face. As he was going downstairs, he heard the key
being turned in the lock.
It was long after seven 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-bye. 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 upstairs. There was a horrible
smell of nitric acid in the room. But the thing that had been sitting
at the table was gone.