In the 1958 film musical, Gigi, based on a 1944 novella by Colette, a young girl who is being tutored in the art of a courtesan, and in particular in the ways to get jewelry from lovers, sings, with great disapproval: A necklace is love, A ring is love A rock from some obnoxious little king is love. And in the 1956 operetta Candide, the much-seduced Cunegonde seems at first to be haunted by the same sort of shame over her ill-gotten jewelry that troubles Gigi. In one verse of a song, lyrics by Richard Wilbur, she sings: Pearls and ruby rings, Ah, how can worldly things Take the place of honor lost? Can they compensate For my fallen state, Purchased, as they were, at such an awful cost! Bracelets, lavalieres, Can they dry my tears? Can they blind my eyes from shame? Can the brightest brooch shield me from reproach? Can the purest diamond purify my name? But she quickly makes her peace with her jewels in another verse: And yet, of course, these trinkets are endearing! I&rsquo;m oh so glad my sapphire is a star. I rather like a 20- carat earring! If I&rsquo;m not pure, at least my jewels are. And that is the courtesans&rsquo; creed.So there is a tension between the two forms of authenticity that jewelry offers the married woman (validating her chastity) and the courtesan (validating the devotion and wealth of her conquests). Trouble arises only when the wife, from paradigm A, strays into the territory of the courtesan, in paradigm&nbsp;B, and obtains jewelry that she cannot account for. But even then, sometimes the jewels a married woman gets from her lover validate her in a different way, because her lover really loves her, and her husband may merely own her. And the jewelry that a masquerading &ldquo;clever wife&rdquo; gets from the man she sleeps with proves that she is actually virtuous, not promiscuous, since it proves that her lover is her husband.In many tales of this corpus, beauty is a legitimating or, more often, illegitimating criterion. Translators know the old sexist saying, often attributed to George Bernard Shaw: translations are like women: if they are beautiful, they can&rsquo;t be faithful, and if they&rsquo;re faithful, they can&rsquo;t be beautiful. The circularity of jewelry, beauty, and jealousy is reduced to its logical absurdity in Isak Dinesen&rsquo;s 1934 short story, &ldquo;The Roads Round Pisa&rdquo; (a story all about circularity), when a man who prides himself on his knowledge of jewelry buys for his wife, an insanely jealous woman, a pair of particularly fine eardrops, &ldquo;to set off the beauty of his young wife, who wore them so well.&rdquo; Then: &ldquo;He had been so pleased to have got them that he had fastened them in her ears himself, and held up the mirror for her to see them. She watched him, and was aware that his eyes were on the diamonds and not on her face. She quickly took them off and handed them to him. &lsquo;I am afraid,&rsquo; she said, with dry eyes more tragic than if they had been filled with tears, &lsquo;that I have not your taste for pretty things.&rsquo; From that day she had given up wearing jewels.&rdquo;&nbsp;

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