The Paradise of Children: (From: "A Wonder-Book for Girls and Boys")Hawthorne, Nathaniel
General
The Paradise of Children: (From: "A Wonder-Book for Girls and Boys")
Hawthorne, Nathaniel
Mythology, Greek; Mythology, Greek -- Juvenile literature
After Epimetheus was gone, Pandora stood gazing at the box. She had
called it ugly, above a hundred times; but, in spite of all that she had
said against it, it was positively a very handsome article of furniture,
and would have been quite an ornament to any room in which it should be
placed. It was made of a beautiful kind of wood, with dark and rich
veins spreading over its surface, which was so highly polished that
little Pandora could see her face in it. As the child had no other
looking-glass, it is odd that she did not value the box, merely on this
account.
The edges and corners of the box were carved with most wonderful skill.
Around the margin there were figures of graceful men and women, and the
prettiest children ever seen, reclining or sporting amid a profusion of
flowers and foliage; and these various objects were so exquisitely
represented, and were wrought together in such harmony, that flowers,
foliage, and human beings seemed to combine into a wreath of mingled
beauty. But here and there, peeping forth from behind the carved
foliage, Pandora once or twice fancied that she saw a face not so
lovely, or something or other that was disagreeable, and which stole the
beauty out of all the rest. Nevertheless, on looking more closely, and
touching the spot with her finger, she could discover nothing of the
kind. Some face, that was really beautiful, had been made to look ugly
by her catching a sideway glimpse at it.
The most beautiful face of all was done in what is called high relief,
in the centre of the lid. There was nothing else, save the dark, smooth
richness of the polished wood, and this one face in the centre, with a
garland of flowers about its brow. Pandora had looked at this face a
great many times, and imagined that the mouth could smile if it liked,
or be grave when it chose, the same as any living mouth. The features,
indeed, all wore a very lively and rather mischievous expression, which
looked almost as if it needs must burst out of the carved lips, and
utter itself in words.
Had the mouth spoken, it would probably have been something like this:
“Do not be afraid, Pandora! What harm can there be in opening the box?
Never mind that poor, simple Epimetheus! You are wiser than he, and
have ten times as much spirit. Open the box, and see if you do not find
something very pretty!”
The box, I had almost forgotten to say, was fastened; not by a lock, nor
by any other such contrivance, but by a very intricate knot of gold
cord. There appeared to be no end to this knot, and no beginning.
Never was a knot so cunningly twisted, nor with so many ins and outs,
which roguishly defied the skilfullest fingers to disentangle them. And
yet, by the very difficulty that there was in it, Pandora was the more
tempted to examine the knot, and just see how it was made. Two or three
times, already, she had stooped over the box, and taken the knot between
her thumb and forefinger, but without positively trying to undo it.
Public-domain text, read in full here on John Shaqi.
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