Shakespeare and Precious Stones Treating of the Known References of Precious Stones in Shakespeare's Works, with Comments as to the Origin of His Material, the Knowledge of the Poet Concerning Precious Stones, and References as to Where the...

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SHAKESPEARE AND PRECIOUS STONES

So wide is the range of the immortal verse of Shakespeare, and so many and various are the subjects he touched upon and adorned with the magic beauty of his poetic imagery, that it will be of great interest to refer to the allusions to gems and precious stones in his plays and poems. These allusions are all given in the latter part of this volume. What can we learn from them of Shakespeare's knowledge of the source, quality, and use of these precious stones?

The great favor that pearls enjoyed in the sixteenth and seventeenth centuries is, as we see, reflected by the frequency with which he speaks of them, and the different passages reveal in several instances a knowledge of the ancient tales of their formation and principal source. Thus, in Troilus and Cressida (Act i, sc. 1) he writes: "Her bed is India; there she lies, a pearl"; and Pliny's tales of the pearl's origin from dew are glanced at indirectly when he says:

The liquid drops of tears that you have shed Shall come again, transform'd to orient pearl. Richard III, Act iv, sc. 4.
First Folio, "Histories", p. 198, col. A, line 17.

This is undoubtedly the reason for the comparison between pearls and tears, leading to the German proverb, "Perlen bedeuten Tränen" (Pearls mean tears), which was then taken to signify that pearls portended tears, instead of that they were the offspring of drops of liquid. The world-famed pearl of Cleopatra, which she drank after dissolving it, so as to win her wager with Antony that she would entertain him with a banquet costing a certain immense sum of money, is not even noticed, however, in Shakespeare's Antony and Cleopatra. In the poet's time pearls were not only worn as jewels, but were extensively used in embroidering rich garments and upholstery and for the adornment of harnesses. To this Shakespeare alludes in the following passages:

The intertissued robe of gold and pearl. Henry V, Act iv, sc. 1.
First Folio, "Histories", p. 85 (page number repeated),
col. B, line 13.

Their harness studded all with gold and pearl. Taming of the Shrew, Introd., sc. 2.
"Comedies", p. 209, col. B, line 33.

Fine linen, Turkey cushions boss'd with pearl. Ibid., Act ii, sc. 1.
"Comedies", p. 217, col. B, line 32.

Laced with silver, set with pearls. Much Ado About Nothing, Act iii, sc. 4.
"Comedies", p. 112, col. B, line 65.

Moreover, we have a simile which might almost make us suppose that Shakespeare knew something of the details of the pearl fisheries, when the oysters are piled up on shore and allowed to decompose, so as to render it easier to get at the pearls, for he makes one of his characters say, speaking of an honest man in a poor dwelling, that he was like a "pearl in your foul oyster". (As You Like It, Act v, sc. 4.)

In the strange transformation told of in Ariel's song, the bones of the drowned man have been turned to coral, and his eyes to pearls (Tempest, Act i, sc. 2). The strange and sometimes morbid attraction of opposites finds expression in a queer old English proverbial saying given in the Two Gentlemen of Verona: "Black men are pearls in beauteous ladies' eyes"....