Queer Classics – 10 Novels Collection. Radclyffe Hall

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СКАЧАТЬ a piece of paper, drawing flowers, and bits of architecture, first, and then faces. Suddenly he remarked that every face that he drew seemed to have an extraordinary likeness to Basil Hallward. He frowned, and, getting up, went over to the bookcase and took out a volume at hazard. He was determined that he would not think about what had happened, till it became absolutely necessary to do so.

      When he had stretched himself on the sofa, he looked at the title-page of the book. It was Gautier's "Emaux et Camées," Charpentier's Japanese-paper edition, with the Jacquemart etching. The binding was of citron-green leather with a design of gilt trellis-work and dotted pomegranates. It had been given to him by Adrian Singleton. As he turned over the pages his eye fell on the poem about the hand of Lacenaire, the cold yellow hand "du supplice encore mal lavée," with its downy red hairs and its "doigts de faune." He glanced at his own white taper fingers, and passed on, till he came to those lovely verses upon Venice:

      Sur une gamme chromatique,

       Le sein de perles ruisselant,

       La Vénus de l'Adriatique

       Sort de l'eau son corps rose et blanc.

      Les dômes, sur l'azur des ondes

       Suivant la phrase au pur contour,

       S'enflent comme des gorges rondes

       Que soulève un soupir d'amour.

      L'esquif aborde et me dépose,

       Jetant son amarre au pilier,

       Devant une façade rose,

       Sur le marbre d'un escalier.

      How exquisite they were! As one read them, one seemed to be floating down the green water-ways of the pink and pearl city, lying in a black gondola with silver prow and trailing curtains. The mere lines looked to him like those straight lines of turquoise-blue that follow one as one pushes out to the Lido. The sudden flashes of color reminded him of the gleam of the opal-and-iris-throated birds that flutter round the tall honey-combed Campanile, or stalk, with such stately grace, through the dim arcades. Leaning back with half-closed eyes, he kept saying over and over to himself,--

      Devant une façade rose,

       Sur le marbre d'un escalier.

      The whole of Venice was in those two lines. He remembered the autumn that he had passed there, and a wonderful love that had stirred him to delightful fantastic follies. There was romance in every place. But Venice, like Oxford, had kept the background for romance, and background was everything, or almost everything. Basil had been with him part of the time, and had gone wild over Tintoret. Poor Basil! what a horrible way for a man to die!

      He sighed, and took up the book again, and tried to forget. He read of the swallows that fly in and out of the little café at Smyrna where the Hadjis sit counting their amber beads and the turbaned merchants smoke their long tasselled pipes and talk gravely to each other; of the Obelisk in the Place de la Concorde that weeps tears of granite in its lonely sunless exile, and longs to be back by the hot lotus-covered Nile, where there are Sphinxes, and rose-red ibises, and white vultures with gilded claws, and crocodiles, with small beryl eyes, that crawl over the green steaming mud; and of that curious statue that Gautier compares to a contralto voice, the "monstre charmant" that couches in the porphyry-room of the Louvre. But after a time the book fell from his hand. He grew nervous, and a horrible fit of terror came over him. What if Alan Campbell should be out of England? Days would elapse before he could come back. Perhaps he might refuse to come. What could he do then? Every moment was of vital importance.

      They had been great friends once, five years before,--almost inseparable, indeed. Then the intimacy had come suddenly to an end. When they met in society now, it was only Dorian Gray who smiled: Alan Campbell never did.

      He was an extremely clever young man, though he had no real appreciation of the visible arts, and whatever little sense of the beauty of poetry he possessed he had gained entirely from Dorian. His dominant intellectual passion was for science. At Cambridge he had spent a great deal of his time working in the Laboratory, and had taken a good class in the Natural Science tripos of his year. Indeed, he was still devoted to the study of chemistry, and had a laboratory of his own, in which he used to shut himself up all day long, greatly to the annoyance of his mother, who had set her heart on his standing for Parliament and had a vague idea that a chemist was a person who made up prescriptions. He was an excellent musician, however, as well, and played both the violin and the piano better than most amateurs. In fact, it was music that had first brought him and Dorian Gray together,--music and that indefinable attraction that Dorian seemed to be able to exercise whenever he wished, and indeed exercised often without being conscious of it. They had met at Lady Berkshire's the night that Rubinstein played there, and after that used to be always seen together at the Opera, and wherever good music was going on. For eighteen months their intimacy lasted. Campbell was always either at Selby Royal or in Grosvenor Square. To him, as to many others, Dorian Gray was the type of everything that is wonderful and fascinating in life. Whether or not a quarrel had taken place between them no one ever knew. But suddenly people remarked that they scarcely spoke when they met, and that Campbell seemed always to go away early from any party at which Dorian Gray was present. He had changed, too,--was strangely melancholy at times, appeared almost to dislike hearing music of any passionate character, and would never himself play, giving as his excuse, when he was called upon, that he was so absorbed in science that he had no time left in which to practise. And this was certainly true. Every day he seemed to become more interested in biology, and his name appeared once or twice in some of the scientific reviews, in connection with certain curious experiments.

      This was the man that Dorian Gray was waiting for, pacing up and down the room, glancing every moment at the clock, and becoming horribly agitated as the minutes went by. At last the door opened, and his servant entered.

      "Mr. Alan Campbell, sir."

      A sigh of relief broke from his parched lips, and the color came back to his cheeks.

      "Ask him to come in at once, Francis."

      The man bowed, and retired. In a few moments Alan Campbell walked in, looking very stern and rather pale, his pallor being intensified by his coal-black hair and dark eyebrows.

      "Alan! this is kind of you. I thank you for coming."

      "I had intended never to enter your house again, Gray. But you said it was a matter of life and death." His voice was hard and cold. He spoke with slow deliberation. There was a look of contempt in the steady searching gaze that he turned on Dorian. He kept his hands in the pockets of his Astrakhan coat, and appeared not to have noticed the gesture with which he had been greeted.

      "It is a matter of life and death, Alan, and to more than one person. Sit down."

      Campbell took a chair by the table, and Dorian sat opposite to him. The two men's eyes met. In Dorian's there was infinite pity. He knew that what he was going to do was dreadful.

      After a strained moment of silence, he leaned across and said, very quietly, but watching the effect of each word upon the face of the man he had sent for, "Alan, in a locked room at the top of this house, a room to which nobody but myself has access, a dead man is seated at a table. He has been dead ten hours now. Don't stir, and don't look at me like that. Who the man is, why he died, how he died, are matters that do not concern you. What you have to do is this--"

      "Stop, Gray. I don't want to know anything further. Whether what you have told me is true or not true, doesn't concern me. I entirely decline to be mixed up in your life. Keep your horrible secrets to yourself. They СКАЧАТЬ