14 Sighing, Basil countered, "When I like people immensely, I never reveal their names to anyone; it is like surrendering a part of them; I suppose you think me awfully foolish about it?"

15 "Not at all, my dear Basil," answered Lord Henry, as the two young men went out into the garden together and ensconced themselves on a long bamboo lounger. After a pause, Lord Henry consulted his watch and murmured, "I am afraid I must soon depart, Basil, but before I do, I insist you answer a question I put before you some time ago."

16 "What is that?" inquired the painter, keeping his eyes transfixed on the ground.

17 "I want you to explain to me why you refuse to exhibit Dorian Gray's picture; I want the real reason."

18 "I told you the real reason."

19 "No, you did not, you insisted it was because there was too much of yourself in it— what childishness!"

20 "Harry," said Basil, glaring at him pointedly, "every portrait that is painted with feeling is a portrait of the artist, not of the subject. It is not he who is revealed by the painter; it is the painter who, on the canvas, reveals himself. The reason I decline to exhibit this picture is that I am afraid that I have shown in it the secret of my own soul."

21 Lord Henry laughed. "And what is that?"

22 "Oh, there is really very little to tell, Harry," answered the painter, "and I am afraid you will hardly understand it; perhaps you will hardly believe it. The story is simply this—two months ago, I went to a cocktail party at Lady Brandon's, since you know we poor artists have to show ourselves in society from time to time.” Basil paused.

23 “After I had occupied the room about ten minutes, I suddenly became conscious that someone was looking at me; I turned halfway round and spotted Dorian Gray for the first time. When our eyes met, I felt I began growing pale; a curious sensation of terror overcame me. I knew that I had encountered someone whose mere personality was so fascinating that, if I allowed it to do so, it would absorb my whole soul, my very art itself, but I did not want any external influence in my life.”

24 Inhaling sharply, he continued, “You know yourself, Harry, how independent I am by nature; I have always been my own master, or at least until I met Dorian Gray. Then— but I don't know how to explain it to you—something seemed to tell me that I was on the verge of a terrible crisis in my life. I had a strange feeling that fate had in store for me exquisite joys and exquisite sorrows; I grew afraid and turned to quit the room. I take no credit to myself for trying to escape. But I haven’t been able to escape him, hence the portrait."


Which sentence best describes the effect of paragraphs 22-24 on the rest of the passage?

They create a sense of tension as the rising action develops.

They create a flashback to a time before Basil becomes an artist.

They provide an exposition for the narrative within the larger story.

They provide a resolution for the conflict between Lord Henry and Basil.