Each order given by a reigning king,
Should after long reflection be expressed;
For it may be that endless woe will spring
From a command he paused not to digest.
And in this respect they are consistent with the circumstances of the case, like the tales of the Book of Sindibád, from which the frame of the Ten Wazírs was imitated, and in which the Wazírs relate stories showing the depravity and profligacy of women and that no reliance should be placed on their unsupported assertions, and to these the lady opposes equally cogent stories setting forth the wickedness and perfidy of men. Closely resembling the frame-story of the Ten Wazírs, however, is that of a Tamil romance entitled, "Alakeswara Kathá," a copy of which, written on palm leaves, was in the celebrated Mackenzie collection, of which Dr. H. H. Wilson published a descriptive catalogue; it is "a story of the Rájá of Alakepura and his four ministers, who, being falsely accused of violating the sanctity of the inner apartments, vindicate their innocence and disarm the king's wrath by relating a number of stories." Judging by the specimen given by Wilson, the well-known tale of the Lost Camel, it seems probable that the ministers' stories, like those of Bakhtyár, are suited to their own case and illustrate the truth of the adage that "appearances are often deceptive." Whether in the Siamese collection "Nonthuk Pakkaranam" (referred to in vol. i. p. 191) the stories related by the Princess Kankras to the King of Pataliput (Palibothra), to save her father's life, are similarly designed, does not appear from Benfey's notice of the work in his paper in "Orient and Occident," iii. 171 ff. He says that the title of the book, "Nonthuk Pakkaranam," is taken from the name of a wise ox, Nonthuk, that plays the principal part in the longest of the tales, which are all apparently translated from the Sanskrit, in which language the title would be Nandaka Prakaranam, the History of Nandaka.
Most of the tales related by the wazir Al-Rahwan are not only in themselves entertaining, but are of very considerable importance from the story-comparer's point of view, since in this group occur Eastern forms of tales which were known in Italy in the 14th century, and some had spread over Europe even earlier. The reader will have seen from Sir R. F. Burton's notes that not a few of the stories have their parallels or analogues in countries far apart, and it is interesting to find four of them which properly belong to the Eastern texts of the Book of Sindibad, with the frame-story of which that of this group has so close an affinity.
THE ART OF ENLARGING PEARLS.—Vol. XI. p.197.
"Quoth she, I have a bangle; sell it and buy seed pearls with the
price; then round them
and fashion them into great pearls."
For want of a more suitable place, I shall here reproduce an account of the "Method of making false pearls" (nothing else being meant in the above passage), cited, from Postl. Com. Dict., in vol. xxvi. of Rees' Cyclopædia," London, 1819:
"Take of thrice distilled vinegar two pounds, Venice turpentine one pound, mix them together into a mass and put them into a cucurbit, fit a head and receiver to it, and after you have luted the joints set it when dry on a sand furnace, to distil the vinegar from it; do not give it too much heat, lest the stuff swell up. After this put the vinegar into another glass cucurbit in which there is a quantity of seed pearls wrapped in a piece of thin silk, but so as not to touch the vinegar; put a cover or head upon the cucurbit, lute it well and put it in bal. Mariæ, where you may let it remain a fortnight. The heat of the balneum will raise the fumes of the vinegar, and they will soften the pearls in the silk and bring them to the consistence of a paste, which being done, take them out and mould them to what bigness, form, and shape you please. Your mould must be of fine silver, the inside gilt; you must also refrain from touching the paste with your fingers, but use silver-gilt utensils, with which fill your moulds. When they are moulded, bore them through with a hog's bristle or gold wire, and then tread them again on gold wire, and put them into a glass, close it up, and set them in the sun to dry. After they are thoroughly dry, put them in a glass matrass into a stream of running water and leave them there twenty days; by that time they will contract the natural hardness and solidity of pearls. Then take them out of the matrass and hang them in mercurial water, where they will moisten, swell, and assume their Oriental beauty; after which shift them into a matrass hermitically closed to prevent any water coming to them, and let it down into a well, to continue there about eight days. Then draw the matrass up, and in opening it you will find pearls exactly resembling Oriental ones." (Here follows a recipe for making the mercurial water used in the process, with which I need not occupy more space.)
A similar formula, "To make of small pearls a necklace of large ones," is given in the "Lady's Magazine" for 1831, vol. iv., p. 119, which is said to be extracted from a scarce old book. Thus, whatever mystery may surround the art is Asiatic countries there is evidently none about it in Europe. The process appears to be somewhat tedious and complicated, but is doubtless profitable.