The Project Gutenberg eBook of Shakespeare and Precious Stones, by George Frederick Kunz

The best reproduction of the First Folio of 1623 is the photographic facsimile, made in 1902, of the copy formerly owned by the Duke of Devonshire and now in the possession of Henry E. Huntington, of New York.[26] The original Folio, prepared by the managers of Shakespeare's company, John Heminge and Henry Condell, bears the imprint of Isaac Jaggard and Edward Blount, the printing house being conducted by William Jaggard and his son Isaac. It is believed that an edition of five hundred copies was issued, at one pound per copy. That the publication was essentially a commercial venture, although it may also have been a labor of love for some of the editors, is brought out clearly and quaintly in the preface addressed to "The great Variety of Readers", and signed by Heminge and Condell. This reads that the book was printed at the charges of W. Jaggard, Ed. Blount, I. Southweeke, and W. Apsley, 1623. The following passage from the preface is well worth quoting, its spirit is so delightfully modern:

The fate of all Bookes depends upon your capacities, and not of your heads alone, but of your purses. Well! It is now publique, & you wil stand for your priviledges, wee know: to read, and censure. [27] Do so, but buy it first. That doth best commend a Booke the Stationer sales. Then, how odde soever your braines be, or your wisdomes, make your license the same and spare not.... But whatever you do, Buy. Censure will not drive a Trade, nor make the Jacke go.

[26] "Shakespeares Comedies, Histories, & Tragedies, being a reproduction in facsimile of the First Folio Edition of 1623, from the Chatsworth copy in the possession of the Duke of Devonshire, K.G., with introduction and censure of copies by Sidney Lee". Oxford, Clarendon Press, 1902, XXXV 908 pp. Edition limited to 1000 numbered and signed copies.

The chief credit for bringing together the materials for the First Folio, in 1623, is believed to be due to William Jaggard. Some ten years earlier he had acquired the printing-privileges of certain of the quartos. Edward Blount, whose name appears as publisher on the title page with that of Isaac Jaggard, was merely a stationer, so that the actual printing was solely under the charge of the latter, who seems, at this time, to have been entrusted with this department of the business. However, Blount's services may have been valuable since he had better literary taste than the Jaggards possessed.

In spite of certain evident faults of proportion, the portrait of Shakespeare engraved by Martin Droeshout for the title page of the 1623 Folio bears internal evidence of being a fairly good likeness, for the face possesses a marked individuality. There is a belief that it was taken from the so-called "Flower" portrait, now in the Shakespeare Memorial Gallery at Stratford-upon-Avon, and which is conjectured to have been painted in 1609, at least during Shakespeare's lifetime, possibly by another Martin Droeshout, a Fleming, uncle of the engraver of the same name. This portrait was discovered, painted on a panel at Peckham Rye, bearing the inscription "Will Shakespeare^n, 1609". That it should be the original from which the Droeshout engraving was taken has been doubted, since it appears rather to resemble later states of the plate than earlier ones. While Ben Jonson, who had seen Shakespeare so often, may have been partly moved to bestow undue praise upon the Folio portrait, in the lines he furnished the publishers to be placed immediately facing it, by his wish to say a good word for their publication, he would scarcely have made use of such superlative terms had he not considered it to be at least a fairly good likeness. Jonson's lines have been so often printed that few are unacquainted with them, but as illustrating the above remarks they can be repeated here, in the old spelling and form of the First Folio:

TO THE READER.

This Figure, that thou here seest put, It was for gentle Shakespeare cut; Wherein the Graver has a strife With Nature, to out-doo the life: O, could he but have drawne his wit As well in brasse, as he hath hit His face; the Print would then surpasse All, that was ever write in brasse. But, since he cannot, Reader, looke Not on his Picture, but his Booke.
B.I.

A most attractive and instructive exhibition of reproductions of the portraits of Shakespeare, or supposedly of him, was shown at the rooms of the Grolier Club, April 6-29, 1916. The catalogue [28] embraces 436 numbers, illustrating all the principal types. The exhibition also comprised the principal editions of the poet's plays, from the First Folio of 1623 to the great Variorum Edition by Dr. Furness, begun in 1871.

[28] Catalogue of an exhibition illustrative of the text of Shakespeare's plays, as published in edited editions, together with a large collection of engraved portraits of the poet. New York, The Grolier Club, April 6-29, 1916, vi+114 pp.

For the Tercentenary of Shakespeare's birth, celebrated in April, 1864, a special commemorative medal was struck in England, designed by Mr. J. Moore. The obverse shows a profile head of the poet, in the modelling of which the artist seems to have been chiefly influenced by the Stratford bust. This fundamental type he has not unskilfully combined with that of the Droeshout print in the First Folio, the dome-like forehead being evidently suggested by the latter. The nose is more accentuated than in the bust, and the mouth, though still small, is somewhat firmer. Toward the edge of the field are disposed the titles of his various works, as though radiating from the head, and in the exergue is his signature, framed by a half-garland over which extends a mace. The tribute offered to Shakespeare by the Muses, figured on the reverse, is a rather stiff and conventional composition. [29]

[29] W. Sharp Ogden, "Shakspere's Portraits: painted, graven, and medallic", in The British Numismatic Journal, and Proceedings of The British Numismatic Society, 1910, London, 1911, pp. 143-198; see p. 189.

For those who may wish to see the original form of the passages regarding precious stones in the text of the First Folio, of 1623, the page and column references have been given here. In this text the three sections into which the plays have been divided, Comedies, Histories, and Tragedies, are separately paged; moreover, the pagination offers a number of irregularities. Troilus and Cressida, added at the end of the "Histories", has page numbers on a couple of leaves neither connected with what precedes nor with what follows, the remainder of the pages bearing no figures; furthermore, there are several obvious, though unimportant, misprints. Pericles, first issued in Folio, in the Third Folio, of 1664, is therein separately paged, as are the other of the plays attributed to Shakespeare printed therein, in continuation of the series of the First and Second Folios. This play had, however, previously appeared six times in quarto in the years 1609, 1611, 1619, 1630, 1635 and 1639.

PRECIOUS STONES MENTIONED IN THE PLAYS OF SHAKESPEARE

Set this diamond safe In golden palaces, as it becomes. Henry VI, Pt. I, Act v, sc. 3, l. 169.
"Histories", p. 116, col. B, line 54.

A heart it was, bound in with diamonds. Henry VI, Pt, II, Act iii, sc. 2, l. 107.
"Histories", p. 134, col. A, line 46.

Not deck'd with diamonds and Indian stones, Nor to be seen. Henry VI, Pt. III, Act iii, sc. 1, l. 63.
"Histories", p. 158, col. B, line 25.

One day he gives us diamonds, next day stones. Timon of Athens, Act iii, sc. 6, l. 131.
"Tragedies", p. 89, col. B, line 56.

This diamond he greets your wife withal. Macbeth, Act ii, sc. 1, l. 15.
"Tragedies", p. 136, col. A, line II.

Which parted thence, As pearls from diamonds dropp'd. King Lear, Act iv, sc. 3, l. 24.
Omitted in First Folio.

This diamond was my mother's; take it, heart; But keep it till you woo another wife. Cymbeline, Act i, sc. 1, l. 112.
"Tragedies", p. 370, col. A, line 45.

She went before others I have seen, as that diamond of yours outlustres many I have beheld. Cymbeline, Act i, sc. 4, l. 78.
"Tragedies", p. 372, col. A, line 53.

I have not seen the most precious diamond that is, nor you the lady. Cymbeline, Act i, sc. 4, l. 81.
"Tragedies", p. 372, col. A, line 55.

I shall but lend my diamond till your return. Cymbeline, Act. i, sc. 4, l. 153.
"Tragedies", p. 372, col. B, line 59.

My ten thousand ducats are yours; so is your diamond too. Cymbeline, Act i, sc. 4, l. 163.
"Tragedies", p. 373, col. A, line 1.

It must be married To that your diamond. Cymbeline, Act ii, sc. 4, l. 98.
"Tragedies", p. 389 [379], col. A, lines 42, 43.

That diamond upon your finger, say, How came it yours? Cymbeline, Act v, sc. 5, l. 137.
"Tragedies", p. 396, col. A, line 51.

To me he seems like diamond to glass. Pericles, Act ii, sc. 3, l. 36.
Third Folio, 1664, p. 7, col. B, line 38;
separate pagination.

You shall, like diamonds, sit about his crown. Pericles, Act ii, sc. 4, l. 53.
Third Folio, 1664, p. 8, col. B, line 42.

The diamonds of a most praised water
Do appear, to make the world twice rich. Pericles, Act iii, sc. 2, l. 102.
Third Folio, 1664, p. 11, col. B, line 13.

The impression of keen whips I'ld wear as rubies. Measure for Measure, Act ii, sc. 4, l. 101.
"Comedies", p. 69, col. B, line 63.

Her nose, all o'er embellished with rubies, carbuncles, sapphires. Comedy of Errors, Act iii, sc. 2, l. 138.
"Comedies", p. 92, col. A, line 49.

Those be rubies, fairy favors. Midsummer Night's Dream, Act ii, sc. 1, l. 12.
"Comedies", p. 148, col. A, line 35.

Over thy wounds now do I prophesy,—Which, like dumb mouths, do ope their ruby lips. Julius Caæsar, Act iii, sc. 1, l. 260.
"Tragedies", p. 120, col. B, lines 34, 35.

And keep the natural ruby of your cheeks, When mine is blanch'd with fear. Macbeth, Act iii, sc. 4, l. 115.
"Tragedies", p. 142, col. B, line 17.

But kiss; one kiss! Rubies unparagon'd, How dearly they do't! Cymbeline, Act ii, sc. 2, l. 17.
"Tragedies", p. 376, col. B, line 18.

Like sapphire, pearl and rich embroidery. Merry Wives of Windsor, Act v, sc. 5, l. 75.
"Comedies", p. 51, col. A, line 66 (last).

Her nose, all o'er embellished with rubies, carbuncles, sapphires. Comedy of Errors, Act iii, sc. 2, l. 138.
"Comedies", p. 92, col. A, line 49.

If heaven would make me such another world Of one entire and perfect chrysolite. Othello, Act v, sc. 2, l. 145.
"Tragedies", p. 337, col. A, line 5.

It was my turquoise; I had it of Leah when I was a bachelor. Merchant of Venice, Act iii, sc. 1, l. 126.
"Comedies", p. 173, col. B, line 32.

For thy mind is a very opal. Twelfth Night, Act ii, sc. 4, l. 77.
"Comedies", p. 262, col. B, line 45.

An agate very vilely cut. Much Ado About Nothing, Act iii, sc. 1, l. 65.
"Comedies", p. 110, col. A, line 25.

His heart like an agate with your print impress'd. Love's Labour's Lost, Act ii, sc. 1, l. 236.
"Comedies", p. 127, col. B, line 62 (last).

I was never manned with an agate till now. II Henry IV, Act i, sc. 2, l. 19.
"Histories", p. 76, col. B, line 10.

Agate-ring, pirke-stocking, caddis-garter, smooth-tongue. I Henry IV, Act ii, sc. 4, l. 78.
"Histories", p. 56, col. A, line 53.

In shape no bigger than an agate-stone On the forefinger of an alderman. Romeo and Juliet, Act i, sc. 4, l. 55.
"Tragedies", p. 57, col. A, lines 20, 21.

Her amber hair for foul hath amber quoted. Love's Labour's Lost, Act iv, sc. 3, l. 87.
"Comedies", p. 133, col. A, line 52.

With amber bracelets, beads, and all this knavery. Taming of the Shrew, Act iv, sc. 3, l. 58.
"Comedies", p. 223, col. B, line 62.

Their eyes purging thick amber and plum-tree gum. Hamlet, Act ii, sc. 2, l. 201.
"Tragedies", p. 261, col. B, line 42.

Of his bones are coral made. The Tempest, Act i, sc. 2, l. 397.
"Comedies", p. 5, col. A, line 54.

I saw her coral lips to move. Taming of the Shrew, Act i, sc. 1, l. 179.
"Comedies", p.211, col. B, line 57.

There is more difference between thy flesh and hers than between jet and ivory. Merchant of Venice, Act iii, sc. 1, l. 42.
"Comedies", p. 173, col. A, line 18.

What color is my gown of?—Black, forsooth: coal-black as jet. II Henry VI, Act ii, sc. 1, l. 112.
"Histories", p. 126, col. B, line 61.

Two proper palfreys, black as jet, To hale thy vengeful waggon swift away. Titus Andronicus, Act v, sc. 2, l. 50.
"Tragedies", p. 49, col. B, line 7.

Her nose, all o'er embellished with rubies, carbuncles, sapphires. Comedy of Errors, Act iii, sc. 2, l. 138.
"Comedies", p. 92, col. A, line 49.

A carbuncle entire, as big as thou art, Were not so rich a jewel. Coriolanus, Act i, sc. 4, l. 55.
"Tragedies", p. 5, col. B, line 7.

O'er sized with coagulate gore, With eyes like carbuncles. Hamlet, Act ii, sc. ii, l. 485.
"Tragedies", p. 263, col. B, line 50.

Were it carbuncled Like holy Phœbus' car. Antony and Cleopatra, Act iv, sc. 8, l. 28.
"Tragedies", p. 360, col. B, line 57.

Had it been a carbuncle Of Phœbus' wheel. Cymbeline, Act v, sc. 5, l. 189.
"Tragedies", p. 396, col. B, line 41.

In emerald tufts, flowers purple, blue, and white. Merry Wives of Windsor, Act v, sc. 5, l. 74.
"Comedies", p. 51, col. A, line 65.

Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes. Tempest, Act i, sc. 2, l. 398.
"Comedies", p. 5, col. A, lines 51-33.

She is mine own, And I as rich in having such a jewel As twenty seas, if all their sand were pearl. Two Gentlemen of Verona, Act ii, sc. 4, l. 170.
"Comedies", p. 26, col. B, lines 34-36.

A sea of melting pearl, which some call tears. Two Gentlemen of Verona, Act iii, sc. 1, l. 224.
"Comedies", p. 30, col. B, line 2.

But pearls are fair; and the old saying is, Black men are pearls in beauteous ladies' eyes 'Tis true; such pearls as put out ladies' eyes. Two Gentlemen of Verona, Act v, sc. 2, l. 11.
"Comedies", p. 36, col. B, lines 10-12.

Like sapphire, pearl and rich embroidery Buckled below fair knighthood's bending knee. Merry Wives of Windsor, Act v, sc. 5, l. 75.
"Comedies", p. 51, col. A, lines 65, 66 (last).

Laced with silver, set with pearls Much Ado About Nothing, Act iii, sc. 4, l. 20.
"Comedies", p. 112, col. B, line 65.

Fire enough for a flint, pearl enough for a swine. Love's Labour's Lost, Act iv, sc. 2, l. 91.
"Comedies", p. 132, col. A, line 11.

This and these pearls to me sent Longaville. Love's Labour's Lost, Act v, sc. 2, l. 53.
"Comedies", p. 137, col. A, line 59.

Will you have me, or your pearl again? Neither of either. Love's Labour's Lost, Act v, sc. 2, l. 458.
Comedies", p. 140, col. B, line 58.

Decking with liquid pearl the bladed grass. Midsummer Night's Dream, Act i, sc. 1, l. 211.
"Comedies", p. 147, col. A, line 6.

I must go seek some dewdrops here And hang a pearl in every cowslip's ear. Midsummer Night's Dream, Act ii, sc. 1, l. 15.
"Comedies", p. 148, col. A, line 38.

That same dew, which sometime in the buds Was wont to swell like round and orient pearls. Midsummer Night's Dream, Act iv, sc. 1, l. 57.
"Comedies", p. 157, col. B, lines 9, 10.

Rich honesty dwells like a miser, sir, in a poor house; as your pearl in your foul oyster. As You Like It, Act v, sc. 4, l. 63.
"Comedies", p. 206, col. A, line 12.

Their harness studded all with gold and pearl. Taming of the Shrew, Introd., sc. 2, l. 44.
"Comedies", p. 209, col. B, line 33.

Fine linen, Turkey cushions boss'd with pearls Valance of Venice gold. Taming of the Shrew, Act ii, sc. 1, l. 355.
"Comedies", p. 217, col. B, line[Pg 093] 32.

Why, sir, what 'cerns it you if I wear pearl and gold? Taming of the Shrew, Act v, sc. 1, l. 77.
"Comedies", p. 227, col A, line 22.

This pearl she gave me, I do feel't and see't. Twelfth Night, Act iv, sc. 3, l. 2.
"Comedies", p. 271, col. B, line 61.

Draws those heaven-moving pearls from his poor eyes. King John, Act ii, sc. 1, l. 169.
"Histories", p. 4, col. B, line 55.

Our chains and our jewels.— Your brooches, pearls and ouches. II Henry IV, Act ii, sc. 4, l. 53.
"Histories", p. 82, col. B, line 28.

The crown imperial, The intertissued robe of gold and pearl. Henry V, Act iv, sc. 1, l. 279.
"Histories", p. 85 (bis, number repeated), col. B,
line 13.

Wedges of gold, great anchors, heaps of pearl, Inestimable stones, unvalued jewels. Richard III, Act i, sc. 4, l. 26.
"Histories", p. 180, col. A, line 12.

The liquid drops of tears that you have shed Shall come again, transform'd to orient pearl. Richard III, Act iv, sc. 4, l. 322.
"Histories", p. 198, col. A, lines 16, 17.

Her bed is India; there she lies, a pearl. Troilus and Cressida, Act i, sc. 1, l. 103.
"Histories", page irregularly numbered 79,
col. A, line 8. P. 589 of facsimile.

She is a pearl Whose price hath launch'd above a thousand ships. Troilus and Cressida, Act ii, sc. 2, l. 81.
Unnumbered page, 596 of facsimile, col. A, line 19.

I will be bright, and shine in pearl and gold. Titus Andronicus, Act ii, sc. 1, l, 19.
"Tragedies", p. 35, col. B, line 30.

This is the pearl that pleased your empress' eye. Titus Andronicus, Act v, sc. 1, l. 42.
"Tragedies", p. 48, col. A, line 21.

I see thee compass'd with thy kingdom's pearl. Macbeth, Act v, sc. 8, l. 56.
"Tragedies", p. 151, col. B, line 32.

Hamlet, this pearl is thine. Hamlet, Act v, sc. 2, l. 293.
"Tragedies", p. 281, col. A, line 15.

What guests were in her eyes; which parted thence,
As pearls from diamonds dropp'd. Lear, Act iv, sc. 3, l. 24.
Omitted in First Folio.

Like the base Indian, [30] threw a pearl away Richer than all his tribe. Othello, Act v, sc. 2, l. 347.
"Tragedies", p. 338, col. B, line 53.

He kiss'd,—the last of many doubled kisses,— This orient pearl. Antony and Cleopatra, Act i, sc. 5, l. 41.
"Tragedies", p. 344, col. B, lines 22, 23.

I'll set thee in a shower of gold, and hail Rich pearls upon thee. Antony and Cleopatra, Act ii, sc. 5, l. 46.
"Tragedies", p. 348, col. B, lines 10, 11.

His mistress Did hold his eyes lock'd in her crystal looks. Two Gentlemen of Verona, Act ii, sc. 4, l. 89.
"Comedies", p. 26, col. A, line 17.

Methough all his senses were lock'd in his eye As jewels in crystal for some prince to buy. Love's Labour's Lost, Act ii, sc. 1, l. 243.
"Comedies", p. 128, col. A, lines 6, 7.

One, her hairs were gold, crystal the other's eyes. Idem, Act iv, sc. 3, l. 142.
"Comedies", p. 133, line 46.

To what, my love, shall I compare thine eye? Crystal is muddy. Midsummer Night's Dream, Act iii, sc. 2, l. 139.
"Comedies", p. 154, col. A, line 54.

With these crystal beads heaven shall be bribed To do him justice. King John, Act ii, sc. 1, l. 171.
"Histories", p. 4, col. B, lines 57, 58.

The more fair and crystal is the sky, The uglier seem the clouds that in it fly. Richard II, Act i, sc. 1, l. 41.
"Histories", p. 23, col. A, line 41 (last).

Go, clear thy crystals. Henry V, Act ii, sc. 3, l. 56.
"Histories", p. 75, col. B, line 65.

Comets, importing change of times and states, Brandish your crystal tresses in the sky. I Henry VI, Act i, sc. 1, l. 3.
"Histories", p. 96, col. A, lines 2, 3.

But in that crystal scales let there be weigh'd Your lady's love against some other maid. Romeo and Juliet, Act i, sc. 2, l. 101.
"Tragedies", p. 55, col. B, lines 51, 52.

Thy crystal window ope; look out. Cymbeline, Act v, sc. 4, l. 81.
"Tragedies", p. 394, col. A, line 12.

The following table is arranged according to the frequency of precious stone mentions. [31]

[31] Data of first publication contributed by Miss Henrietta C. Bartlett.

PRECIOUS STONES MENTIONED IN POEMS OF SHAKESPEARE.

Ah! but those tears are pearls which thy love sheds. Sonnet XXXIV, l. 13.
C 4, l. 13.

Bright orient pearl, alack, too timely shaded! "Passionate Pilgrim", l. 133.
B 4, l. 3.

The heaven-hued sapphire and the opal blend With objects manifold. "Lover's Complaint", l. 215.

Once more the ruby-colour'd portal open'd. "Venus and Adonis", l. 451.
D ii, verso, l. 1.

The deep-green emerald, in whose fresh regard Weak sights their sickly radiance do amend. Idem, l. 213.

But hers through which the crystal tears gave light, Shone like the moon in water seen by night. "Venus and Adonis", l. 491.
D iii, l. 16, 17.

Nor thy soft hands, sweet lips, and crystal eyne. "Venus and Adonis", l. 633.
E ii, l. 15.

The crystal tide that from her two cheeks fair In the sweet channel of her bosom dropt. Idem, l. 957.
G, l. 3, 4.

Her eyes seen in the tears, tears in her eye; Both crystals, where they view'd each other's sorrow. Idem, l. 962, 963.
G, l. 8, 9.

Through crystal walls each little mote will peep. "Lucrece", l. 1251.
I 2, verso, l. 19.

Favours from a maund [32] she drew Of amber, crystal, and of beaded jet. "Lover's Complaint", l. 37.

First published	Probably written
1623	1609	Cymbeline	10 (diamond 7, ruby 1, carbuncle 1, rock-crystal 1).
1598.	1591.	Love's Labour's Lost	8 (pearl 3, rock-crystal 2, diamond 1, amber 1, agate 1).
1600	1597	Merry Wives Of Windsor	5 (pearl 1, diamond 2, emerald 1, sapphire 1).
1623	1591.	Comedy of Errors	5 (diamond 2, ruby 1, sapphire 1, carbuncle 1)
1600.	1595.	Midsummer Night's Dream	5 (pearl 3, ruby 1, rock-crystal 1).
1623.	1596.	Taming of the Shrew	5 (pearl 3, amber 1, coral 1).
1623.	1591.	Two gentlemen of Verona	4 (pearl 3, rock-crystal 1).
1594.	1593.	Titus Andronicus	3 (pearl 2, jet 1).
1603	1602	Hamlet	3 (pearl, amber, carbuncle).
1623	1606	Macbeth	3 (diamond, ruby, pearl).
1609	1607	Pericles	3 (all diamond).
1623	1608	Antony and Cleopatra	3 (pearl 2, carbuncle 1).
1597	1591	Romeo and Juliet	2 (rock-crystal, agate).
1623	1592	I Henry VI	2 (diamond and rock-crystal).
1623	1592	II Henry VI	2 (diamond and jet).
1597	1592-3	Richard III	2 (both pearl).
1600	1594	Merchant of Venice	2 (turquoise, jet).
1623	1594	King John	2 (pearl, rock-crystal).
1623	1597	II Henry IV	2 (pearl, agate).
1600	1598	Henry V	2 (pearl, crystal).
1600	1599	Much Ado About Nothing	2 (pearl, agate).
1623	1599	Twelfth Night	2 (pearl, opal).
1609	1603	Troilus and Cressida	2 (both pearl).
1622	1604	Othello	2 (pearl, chrysolite).
1608	1606	Lear	2 (pearl, diamond).
1623	1611	Tempest	2 (pearl, coral).
1623	1592	III Henry VI	1 (diamond).
1597	1593	Richard II	1 (rock-crystal).
1598	1597	I Henry IV	1 (agate).
1623	1599	As You Like It	1 (pearl).
1623	1601	Julius Cæsar	1 (ruby).
1623	1604	Measure for Measure	1 (ruby).
1623	1607	Timon of Athens	1 (diamond).
1623	1608	Coriolanus	1 (carbuncle).