TANGLEWOOD TALES & WONDER BOOK (With Original Illustrations). Nathaniel Hawthorne

THE author has long been of opinion that many of the classical myths were capable of being rendered into very capital reading for children. In the little volume here offered to the public, he has worked up half a dozen of them, with this end in view. A great freedom of treatment was necessary to his plan; but it will be observed by every one who attempts to render these legends malleable in his intellectual furnace, that they are marvellously independent of all temporary modes and circumstances. They remain essentially the same, after changes that would affect the identity of almost anything else.

He does not, therefore, plead guilty to a sacrilege, in having sometimes shaped anew, as his fancy dictated, the forms that have been hallowed by an antiquity of two or three thousand years. No epoch of time can claim a copyright in these immortal fables. They seem never to have been made; and certainly, so long as man exists, they can never perish; but, by their indestructibility itself, they are legitimate subjects for every age to clothe with its own garniture of manners and sentiment, and to imbue with its own morality. In-vi- the present version they may have lost much of their classical aspect (or, at all events, the author has not been careful to preserve it), and have perhaps assumed a Gothic or romantic guise.

In performing this pleasant task, — for it has been really a task fit for hot weather, and one of the most agreeable, of a literary kind, which he ever undertook, — the author has not always thought it necessary to write downward, in order to meet the comprehension of children. He has generally suffered the theme to soar, whenever such was its tendency, and when he himself was buoyant enough to follow without an effort. Children possess an unestimated sensibility to whatever is deep or high, in imagination or feeling, so long as it is simple likewise. It is only the artificial and the complex that bewilder them.

Lenox, July 15, 1851.

INTRODUCTORY NOTE

Table of Contents

Even from the data to be obtained by a perusal of his works, the general reader will be likely to infer that Hawthorne took a vital interest in child-life; and in his published Note-Books are found many brief memoranda which indicate his disposition to write for children. After he married and had begun to rear a family of his own, this interest of his in the earliest developments of mind and character became, naturally, much more active. He was accustomed to observe his children very closely. There are private manuscripts still extant, which present exact records of what his young son and elder daughter said or did, from hour to hour; the father seating himself in their play-room and patiently noting all that passed.

To this habit of watchful and sympathetic scrutiny we may attribute in part the remarkable felicity, the fortunate ease of adaptation to the immature understanding, and the skilful appeal to fresh imaginations, which characterize his stories for the young. Natural tact and insight prompted, faithful study from the real assisted, these productions.

While still living at Lenox, and soon after pubishing "The House of the Seven Gables," he sketched as follows, in a letter to Mr. James T. Fields, May 23, 1851, his plan for the work which this note accompanies:--

"I mean to write, within six weeks or two months next ensuing, a book of stories made up of classical myths. The subjects are: The Story of Midas, with his Golden Touch, Pandora's Box, The Adventure of Hercules in quest of the Golden Apples, Bellerophon and the Chimæra, Baucis and Philemon, Perseus and Medusa; these, I think, will be enough to make up a volume. As a framework, I shall

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