tushanshu | I. What I want is information: not useful information, of course; useless information. (Video)

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I. What I want is information: not useful information, of course; useless information. (Video)

[For a man of his era, Lord Henry has picked up the basics of the computer with surprising alacrity and ease. Perhaps he has been motivated by the understanding that it provides him with a platform of unprecedented scale.

So behold: a well-bred Englishman in his mid- to late-forties: if his good looks are a bit worn around the edges, he is still quite handsome in a way that suggests he cut a truly rakish figure when younger. His voice is exceptionally pleasant and musical, and when he speaks, his words are accompanied by graceful—though not excessive—gestures of his slender hands.]

I am given to understand that this device offers a podium to rival the pulpit at Westminster Abbey. Capital—although I assure you that I shall not bore you with a sermon; I can't abide a man who makes of himself an amateur curate.

Allow me to introduce myself—Lord Henry Wotton, late of London, which is not nearly so exciting as the vision of Moreau in which I now find myself. There are many questions with which I'm rather concerned at the moment, but most importantly, where does one find a tailor in this city? And, tiresome though domestic matters are, I suppose I must enquire after a valet. There are many indignities a gentleman may suffer in silence, but not an inadequate selection of poorly-pressed shirts.

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Dullness is hardly a mortal sin, though it is certainly a venial one. Though I am glad to be more entertaining than Basil, even if that is not a particularly difficult race to win. And there is little enough point in dwelling on him, for if there was nothing one could do in London, there is even less here.

[He may, in the absolute privacy of his own room, dwell on this later. For now he pushes the matter entirely aside.]

I feel as if I ought to enquire more as to my own future, you know. But I am curiously disinclined, and besides, I do not think you wish to play the part of the Delphic Oracle, do you?

[Dorian is pleased to have moved on from the issue of Basil's death (murder) though the next subject is not vastly improved over the last. Still, he keeps a light heart about it.]

Not particularly. The world does not often treat prophets kindly, and it is even more cruel to those who ask their fortunes. And really, do you want all the uncertainty taken out of your life? I wouldn't.

As time passes, the range of life's uncertainties narrows down to a single inevitability; therefore I intend to enjoy every bit of uncertainty I have remaining to me.

[He gestures at the surroundings with a graceful wave of his hand.]

And I am quite pleased to discover that I have been granted an entirely new range of uncertainties. Far more than I should have expected at my age.

Harry, if you must keep referencing your age like that, I'll have to start thinking of you as old. You've stayed thirty in my mind for over a hundred years, and I can't have it changed now.

[Henry can't help but laugh at that.]

I am glad that there is somewhere I have retained my youth, then. I suppose that under the circumstances, it is appallingly cheeky of me to call myself "old". [It's said with perfect lightness, as if it's completely normal for your friend to be over a hundred years older than oneself.] It is a wonder, though. You have still got the most marvelous freshness about you, as if you were still the boy burying his face in the lilacs in Basil's garden. It is marvellous, truly.

[Dorian's smile is muted, but their food arrives, and it spares him from answering immediately.]

[When he does, he speaks quietly.] The city of Keeliai has been a relief to me. You might not have found me in the same state in London.

No?

[Harry's attention appears to be on their food, but in his usual manner, he is watching Dorian carefully.]

Have age and custom staled the city for you, then? Surely you have been abroad.

Oh, I travelled everywhere, especially post-war—London was bombed in a war in the 1940s, rather thoroughly so, and I didn't want to stay around for the reconstruction—and that kept me busy for a couple decades, but the planet is only so large. There are only so many mountains to climb, islands to explore, rivers to travel.

[Dorian is almost indifferent to it—very like the indifference with which he treats his lovers after he has bored of them. He has taken pleasure from his travels, and now they have nothing left to offer him.]

Well, perhaps humanity will change the shape of itself enough in future that I can find new experience in travelling. At the present, my high hopes are set on space exploration. With any luck, we'll have settlements off-planet within the century. [He actually smiles then.] But the inheritors of Wells and Verne have been predicting that for decades now, so it's best I don't get too attached to the idea.

Edited 2013-02-03 01:31 (UTC)

[Henry can't help but laugh at that.]

Travel into outer space! So M. Verne's cannon-shot to the Moon is not so implausible after all? But tell me, Dorian, what is London like, in your time? Is it simply having been there so long that you find yourself growing—dare I say, jaded? For that would be a terrible tragedy, for you and for the city.

[Dorian's expression reflects Henry's laughter, as if the novelty it offers Harry can make it feel fresh and new to him once more.] It is different in shape, but its soul is unchanged. Even so, I wish you could see it, for the expression of that soul differs. For one thing, there is a certain lack of eloquence in the modern ruling classes. But there is more freedom, too, in what can be done and what can be felt. None of that button-up dresses, button-up waistcoats, and button-up feelings. What the twenty-first century has sacrificed in elegance it has made up for gloriously in lack of censure. I don't know if you would like it—but I doubt you could resist the opportunities it offers.

[There is an audible slide in his voice as he talks, from the lyrical woodwind clarity of his youth to a voice that, if music, can only be the sound of a synthesizer's filthy distortion after an electropunk drop. It is the more vibrant variation of that horribly harsh tone Henry heard earlier, for those willing to apply the word 'vibrant' to the living dead. So if Dorian doesn't quite sell his enthusiasm for the twenty-first century—if his questioning the possibility that Henry would like it betrays his own submerged despair at his modern lifestyle—he at least deserves points for trying to believe that he enjoys it.]

[For Henry, the change is the difference between the overture to Tannhäuser and the dissonances of Tristan und Isolde. Even if he doesn't fully understand the bleakness underlying Dorian's words, he knows it's there. And he finds himself somewhat unexpectedly at a loss for how to respond. Sympathy, genuinely felt, is simply not something that he does. He knows, though, that this is not something that can be aestheticised away, as he did with Sibyl's death and any number of other hazards that have fallen across Dorian's path in their years of friendship. So while his words may be the same sort of language he would have used before, his manner is quieter, less flippant.]

I am sure I would find it irresistible and as diverting—and as disorienting—as Keeliai. Though there is something to be said, perhaps, for elegance and a crisply-turned cuff, if not, as you say, for the "button-up feelings".

["I'm worried about you now, Dorian" is simply not a sentence within Henry Wotton's abilities, and more, perhaps, is the pity.]

That being said, I hope that this place provides a sort of respite—a weekend in the country, as it were.

I hope so, too. [The sun reigns again when Dorian smiles.] So tell me: do you like the food? Careful with your answer. A 'yes' might mean I'll have to teach you how to make it.

And a no? [A slightly horrified look crosses Henry's face.] My dear Dorian, do you have any idea when was the last time I saw the inside of a kitchen?

And when you have the means to afford a cook or to dine out every night, you will never have to see the inside of a kitchen again. But in the interim, you need to be able to sustain yourself.

[The sigh with which Henry responds is rather over-dramatic and calculated for effect, but the distress is genuine.]

Very well; I take your point. Your adaptability never ceases to amaze me; when did you learn to cook? [Pause.] The food is rather good, incidentally. The Savoy or Willis's it may not be, but it is not without its own charm.

I'm glad you like it. And oh, I don't know, nineteen twenties, I think it was. I learned the basics in the early nineteen hundreds from a very pretty kitchen maid, but I admit, education was not my intention. [Dorian laughs.] Even if I had servants again—and I haven't bothered in about half a century—even then, I would still want to know how to take care of myself. You never know when you'll have to rely on only yourself.

[He lifts a hand to indicate their current situation.] For example, when dragged up into a strange city in a strange world.

I have carefully arranged my life that the only matters on which I rely on myself are those of taste and judgement. And now I discover that here, at least, all that effort is for naught.

[In actual fact, Henry's annoyance over this problem is slowly wearing down, but it suits him to continue to strike a pose of annoyance.]

Still, I suppose it is inevitable that the teacher must eventually learn from the student, and better you than anyone else, so I accept my fate with grace.

I can't imagine you doing anything without grace. [If Harry will act annoyed, then Dorian can play the part of soothing his annoyance.] And is food not an art? There is aesthetic value in it.

Of course, and pleasure as well. [Something resembling a serious thought occurs to him.] Do you find that pleasure is greater when having performed the labour? Or does the effort pall before one sits down to table.

Not every time. Rarely when it's from necessity. But now and then, when it's something new, when it's a challenge or an experiment, it's better then. And sometimes, though not very often—you've had romances. You've known the pleasure of finding a gift in the right book. It can be like that.

Framed this, it does not sound so terrible. One wonders, then, that we have striven to keep such a pleasure at arm's length. [He's let the annoyance go now; all things considered, he is a little amazed to find himself in such a pleasant mood. He ought to be more disoriented—dare one say, more distressed. But the presence of Dorian and the familiarity of pleasant talk over good food—it has done much to improve his comfort.]

Doubtless, it is because in our circles, we were wonderfully forgiving of sins of the body and so very harsh on sins of the middle class.

Only because the middle class is so harsh on the sins of the upper orders. No one likes to see one's own faults mirrored in others, after all.

Flaws, yes, flaws are ugly, and doubtless that is where all that tired morality comes from. But not sins. There is a fine delight in seeing your sins reflected. You must know that almost as well as I do.

[There's the briefest of pauses before Henry answers.]

Once I would have said I knew it better, but I think perhaps you have a keener mirror than even I ever did. My own mirror has always been in the eyes of others.

[He leaves unspoken what he and Dorian both know about the painting. He knows Dorian can fill in the rest.]

action - oh Dorian. and Henry is not helping.

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