The Paradise of Children
by Nathaniel Hawthorne
The Paradise of Children is Hawthorne's tale about the wickedly curious Pandora, who shouldn't have looked inside that box! Published in the 1920 collection, Wonder Stories: The Best Myths for Boys and Girls, edited by Carolyn Sherwin Bailey.

Long, long ago, when this old world was in its tender infancy, there was a child named Epimetheus who never had either father or mother; and that he might not be lonely, another child, fatherless and motherless like himself, was sent by the gods to be his playfellow and helpmate. Her name was Pandora.
The first thing that Pandora saw when she entered the cottage where Epimetheus lived was a great box. And almost the first question that she put to him was this,
"Epimetheus, what have you in that box?"
"My dear little Pandora," answered Epimetheus, "that is a secret, and you must be kind enough not to ask any questions about it. The box was left here to be kept safely, and I do not myself know what it contains."
It is thousands of years since the myths tell us that Epimetheus and Pandora lived; and the world[Pg 23] now-a-days is a very different sort of place from what it was then. There were no fathers or mothers to take care of the children, because there was no danger or trouble of any kind, and no clothes to be mended, and there was plenty to eat and drink. Whenever a child wanted his dinner, he found it growing on a tree. It was a very pleasant life indeed. No labor had to be done, no tasks studied, all was sport and dancing and the sweet voices of children talking, or caroling like birds, or laughing merrily all day long.
But Pandora was not altogether happy on account of Epimetheus' explanation about the box.
"Where can it have come from?" she continually asked herself, "and what on earth can be inside it?" At last she spoke to Epimetheus.
"You might open the box," Pandora said, "and then we could see its contents for ourselves."
"Pandora, what are you thinking of?" Epimetheus exclaimed. And his face expressed so much horror at the idea of looking into a box, which had been given him on condition that he never open it, that Pandora thought it best not to suggest it[Pg 24] any more. Still she could not help thinking and talking about it.
"At least," she said, "you can tell me how it came here."
"It was left at the door," Epimetheus replied, "just before you came and by a person who looked very smiling and intelligent, and who could hardly keep from smiling as he set it down. He was dressed in an odd kind of a cloak, and had on a cap that seemed to be made partly of feathers so that it looked as if it had wings."
"What sort of a staff had he?" asked Pandora.
"Oh, the most curious staff that you ever saw!" cried Epimetheus. "It was like two serpents twisting around a stick, and was carved so naturally that I, at first, thought the serpents were alive."
"I know him," said Pandora thoughtfully. "Nobody else has such a staff. It was Mercury, and he brought me here as well as the box. No doubt he intended it for me, and most probably it contains pretty dresses for me to wear, or toys for us both, or something nice for us to eat."
"Perhaps so," answered Epimetheus, turning away, "but until Mercury comes back and gives[Pg 25] his permission, we have neither of us any right to lift the lid."
One day not long after that Epimetheus went to gather figs and grapes by himself without asking Pandora. Ever since she had come he had heard about that box, nothing but the box, and he was tired of it. And as soon as he was gone, Pandora kneeled down on the floor and looked intently at it.
It was made of a beautiful kind of wood, and was so highly polished that Pandora could see her face in it. The edges and corners were carved with most wonderful skill. Around the edge there were figures of graceful men and women and the prettiest children ever seen, reclining or playing in gardens and forests. The most beautiful face of all was done in high relief in the centre of the box. There was nothing else save the dark, rich smoothness of the wood and this one face with a garland of flowers about its brow. The features had a kind of mischievous expression with all their loveliness and if the mouth had spoken it would probably have said,
"Do not be afraid Pandora! What harm can[Pg 26] there be in opening a box. Never mind that poor, simple Epimetheus. You are wiser than he and have ten times as much courage. Open the box and see if you do not find something very pretty."
And on this particular day, when Pandora was alone, her curiosity grew so great that at last she touched the box. She was more than half determined to open it if she could.
First, however, she tried to lift it. It was heavy, much too heavy for the slender strength of a child like Pandora. She raised one end of the box a few inches from the floor, and then let it fall with a pretty loud thump. A moment afterward she almost thought that she heard something stir inside the box. She was not quite sure whether she heard it or not, but her curiosity grew stronger than ever. Suddenly her eyes fell on a curious knot of gold that tied it. She took it in her fingers and, almost without intending it, she was soon busily engaged in trying to undo it.
It was a very intricate knot indeed, but at last, by the merest accident, Pandora gave the cord a kind of twist and it unwound itself, as if by magic. The box was without a fastening.
"This is the strangest thing I ever knew," Pandora said. "What will Epimetheus say? And how can I possibly tie it again?"
And then the thought came into her naughty little heart that, since she would be suspected of looking into the box, she might as well do so at once.
As Pandora raised the lid of the box the cottage was suddenly darkened, for a black cloud had swept quite over the sun and seemed to have buried it alive. There had, for a little while past, been a low growling and grumbling which all at once broke into a heavy peal of thunder. But Pandora heeded nothing of all this. She lifted the lid nearly upright and looked inside. It seemed as if a sudden swarm of winged creatures brushed past her, taking flight out of the box while, at the same time, she heard the voice of Epimetheus in the doorway exclaiming as if he was in pain,
"Oh, I am stung! I am stung! Naughty Pandora, why have you opened this wicked box?"
Pandora let fall the lid and looked up to see what had befallen Epimetheus. The thundercloud had so darkened the room that she could not[Pg 28] clearly see what was in it. But she heard a disagreeable buzzing, as if a great many huge flies or giant bees were darting about. And as her eyes grew accustomed to the dimness she saw a crowd of ugly little shapes, looking very spiteful, and having bats' wings and terribly long stings in their tails. It was one of these that had strung Epimetheus. Nor was it a great while after before Pandora herself began to cry. An odious little monster had settled on her forehead, and would have stung her very deeply if Epimetheus had not run and brushed it away.
Now, if you wish to know what these ugly things were that made their escape out of the box, I must tell you that they were the whole family of earthly Troubles. There were evil Passions. There were a great many species of Cares. There were more than a hundred and fifty Sorrows. There were Diseases in a vast number of strange and painful shapes. There were more kinds of Naughtiness than it would be of any kind of use to talk about. In short, everything that has since afflicted the souls and bodies of mankind had been shut up in the mysterious box given to Epimetheus and [Pg 29]Pandora to be kept safely in order that the happy children of the world might never be molested by them. Had they been faithful to their trust all would have gone well with them. No grown person would ever have been sad, nor any child have had cause to shed a single tear, from that hour until this moment.
But it was impossible that the two children should keep the ugly swarm in their own little cottage. Pandora flung open the windows and doors to try and get rid of them and, sure enough, away flew the winged Troubles and so pestered and tormented the people everywhere about that none of them so much as smiled for many days afterward. And the children of the earth, who before had seemed ageless, now grew older, day by day, and came soon to be youths and maidens, and men and women, and then old folks, before they dreamed of such a thing.
Meanwhile, the naughty Pandora and Epimetheus remained in their cottage. Both of them had been painfully stung. Epimetheus sat down sullenly in a corner with his back to Pandora. As for poor little Pandora, she flung herself upon[Pg 30] the floor and rested her head on the fatal box. She was crying as if her heart would break. Suddenly there was a gentle little tap on the inside of the lid.
"What can that be?" cried Pandora, lifting her head.
But Epimetheus was too much out of humor to answer her.
Again the tap! It sounded like the tiny knuckles of a fairy's hand.
"Who are you?" asked Pandora, "who are you inside of this dreadful box?"
A sweet little voice came from within saying,
"Only lift the lid and you shall see."
"No, no," answered Pandora, "I have had enough of lifting the lid. You need never think that I shall be so foolish as to let you out."
"Ah," said the sweet little voice again, "you had much better let me out. I am not like those naughty creatures that have stings in their tails. They have no relation to me as you would soon find out if you would only lift the lid."
Indeed, there was a kind of cheerful witchery in the tone that made it almost impossible to [Pg 31]refuse anything which this little voice asked. Pandora's heart had grown lighter at every word that came from the box. Epimetheus, too, had left his corner and seemed to be in better spirits.
"Epimetheus!" exclaimed Pandora, "come what may, I am resolved to lift the lid."
"And as the lid seems very heavy," said Epimetheus, running across the room, "I will help you."
So, with one consent, the two children lifted the lid. Out flew a sunny and smiling little personage and hovered about the room, throwing light wherever she went. Have you ever made the sunshine dance into dark corners by reflecting it from a bit of looking glass? Well, so appeared the winged cheerfulness of this fairylike stranger amid the gloom of the cottage. She flew to Epimetheus and laid the least touch of her finger on the inflamed spot where the Trouble had stung him and immediately the pain of it was gone. Then she kissed Pandora on the forehead and her hurt was cured likewise.
"Who are you, beautiful creature?" asked Pandora.
"I am to be called Hope," explained the sunshiny figure, "and because I am such a cheerful person, I was packed by the gods into the box to make amends for the swarm of ugly Troubles. Never fear! We shall do pretty well in spite of them."
"Your wings are colored like the rainbow," exclaimed Pandora, "How beautiful!"
"And will you stay with us," asked Epimetheus, "forever and ever?"
"As long as you need me," said Hope, "and that will be as long as you live in the world. I promise never to desert you."
So Pandora and Epimetheus found Hope, and so has everybody else who has trusted her since that day. The Troubles are still flying around the world, but we have that lovely and lightsome fairy, Hope, to cure their stings and make the world new for us.
Frequently Asked Questions about The Paradise of Children
What is "The Paradise of Children" about?
"The Paradise of Children" is Nathaniel Hawthorne's retelling of the Greek myth of Pandora's Box, written for young readers as part of his 1851 collection A Wonder-Book for Girls and Boys. The story follows two children, Epimetheus and Pandora, who live in an idyllic world where children never grow old and all needs are provided for. When Pandora's irresistible curiosity leads her to open a mysterious box left by the god Mercury, she unleashes a swarm of Troubles—including evil Passions, Cares, Sorrows, and Diseases—into the world. However, one final creature remains inside the box: Hope, a radiant fairy-like being who promises to stay with humanity forever, healing the stings of the Troubles and making the world new again.
What is the moral of "The Paradise of Children"?
The central moral of the story is that even when suffering and hardship enter the world, hope endures. Hawthorne shows that disobedience and unchecked curiosity carry real consequences—Pandora's decision to open the box introduces pain, disease, and sorrow to a previously perfect world. Yet the story is ultimately optimistic: Hope, the last thing to emerge from the box, is described as a "sunny and smiling little personage" who cures the stings of every Trouble. The moral suggests that while humans cannot escape suffering, they are never without the comfort and resilience that hope provides. This dual lesson—about the cost of temptation and the permanence of hope—makes the story a gentle but meaningful allegory for children.
How does Hawthorne's version differ from the original Greek myth of Pandora's Box?
Hawthorne significantly softened and reimagined the myth for a young audience. In the original Greek myth, Pandora is created by the gods as a punishment for humanity after Prometheus steals fire, and she is depicted as a flawed adult woman. Hawthorne transforms both Pandora and Epimetheus into innocent children living in a prelapsarian paradise where no one grows old. He removes the punitive origin story entirely and instead frames Pandora's curiosity as a natural childlike impulse rather than a divinely ordained flaw. The box itself (traditionally a jar, or pithos, in Greek sources) is described as a beautifully carved wooden chest delivered by Mercury. Hawthorne also personifies Hope as a radiant, fairy-like figure with rainbow-colored wings, giving the story a warmer, more consoling ending than most classical versions.
What does the box symbolize in "The Paradise of Children"?
The box functions as a powerful symbol of forbidden knowledge and temptation. Its beautiful exterior—polished wood, exquisite carvings of children playing in gardens, and the mischievous face at its center—represents the allure of the unknown. The carved face even seems to whisper encouragement to Pandora, symbolizing how temptation often appears attractive and harmless. On a deeper level, the box represents the boundary between innocence and experience: before it is opened, the world is a paradise without suffering, and after, humanity must contend with the full range of earthly Troubles. The intricate golden knot that unties "as if by magic" suggests that the loss of innocence may be inevitable. Importantly, the box also contains Hope, implying that the capacity for resilience is inseparable from the existence of suffering.
Who are Epimetheus and Pandora in the story?
Epimetheus and Pandora are the two central characters—both depicted as fatherless and motherless children who live together in a small cottage. Epimetheus is cautious, obedient, and reluctant to open the box, having been entrusted with keeping it safe. He represents restraint and respect for authority. Pandora, who was brought to Epimetheus by the god Mercury along with the box, is intensely curious and spirited. Her persistent questioning about the box's contents drives the plot forward. Hawthorne portrays her curiosity sympathetically—as a natural trait rather than a moral failing—even as it leads to the story's catastrophe. Together, the two children embody the tension between caution and curiosity that lies at the heart of the mythological retellings in Hawthorne's A Wonder-Book.
What role does Hope play in the story?
Hope is the final and most important being to emerge from the box, and she serves as the story's redemptive counterpoint to all the Troubles that Pandora released. After both children have been stung and are crying in despair, they hear a gentle tapping and a sweet voice from inside the closed box. When they lift the lid a second time, Hope flies out as a "sunny and smiling little personage" with wings colored like the rainbow. She immediately heals the children's stings with the lightest touch of her finger and promises to remain with them "as long as you live in the world." Hope was deliberately packed into the box by the gods "to make amends for the swarm of ugly Troubles," making her both a gift and a guarantee that humanity will never face suffering without consolation. Hawthorne uses Hope to deliver the story's central message: that even in the darkest moments, hope endures.
What literary devices does Hawthorne use in "The Paradise of Children"?
Hawthorne employs several literary devices to bring this myth to life for young readers. Personification is central—the Troubles are depicted as winged creatures with bats' wings and stinging tails, while Hope is a radiant fairy with rainbow wings. Allegory structures the entire story: the paradise represents innocence, the box represents forbidden knowledge, and the Troubles symbolize the hardships of adult life. Hawthorne also uses foreshadowing extensively, as the carved face on the box seems to silently urge Pandora to open it, and a low growling of thunder builds as she lifts the lid. Pathetic fallacy appears when a black cloud swallows the sun at the exact moment the box is opened. The story's direct address to the reader ("Now, if you wish to know what these ugly things were") creates an intimate, storytelling tone characteristic of Hawthorne's children's writing.
What is "A Wonder-Book for Girls and Boys"?
A Wonder-Book for Girls and Boys is a collection of six Greek myths retold for children by Nathaniel Hawthorne, first published in 1851. "The Paradise of Children" is one of the six stories, alongside "The Gorgon's Head" (Perseus and Medusa), "The Golden Touch" (King Midas), "The Three Golden Apples" (Hercules), "The Miraculous Pitcher" (Baucis and Philemon), and "The Chimaera" (Bellerophon). Hawthorne wrote the collection between April and July 1851, freely adapting the myths to make them accessible and engaging for a young audience. The stories are framed by a narrative in which a college student named Eustace Bright entertains a group of children with these tales. The book was so successful that Hawthorne followed it with Tanglewood Tales in 1853.
What are the Troubles that escape from the box?
When Pandora lifts the lid, a swarm of winged creatures with bats' wings and terribly long stings in their tails rush out into the darkened cottage. Hawthorne catalogs them as "the whole family of earthly Troubles": evil Passions, a great many species of Cares, more than a hundred and fifty Sorrows, Diseases "in a vast number of strange and painful shapes," and more kinds of Naughtiness "than it would be of any kind of use to talk about." In short, everything that has since afflicted the souls and bodies of mankind was contained in the box. Pandora flings open the windows and doors, and the Troubles fly out to torment people everywhere. The children of the earth, who had previously seemed ageless, begin to grow older day by day, passing through youth, adulthood, and old age. This moment marks the end of the paradise and the beginning of mortal human experience.
Is "The Paradise of Children" suitable for children to read?
Yes—Hawthorne wrote this story specifically for young readers, and it remains one of the most accessible introductions to Greek mythology for children. The language is warm and conversational, the characters are children themselves, and the scarier elements (the Troubles) are described in a way that is vivid but not graphic. The story carries meaningful lessons about curiosity, consequences, and the enduring power of hope without being heavy-handed or frightening. It pairs well with other stories from Hawthorne's A Wonder-Book, such as "The Golden Touch" (the story of King Midas) and "The Gorgon's Head" (the story of Perseus and Medusa), which are similarly adapted for a younger audience. Teachers and parents have used these stories for over 170 years as engaging ways to introduce classical mythology and moral reasoning.
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