The Pearl Box Containing One Hundred Beautiful Stories for Young People — A Closer Reading

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In Category - Fairy Moral Tales
Anonymous Project Gutenberg 2004
Children's poetry; Children's stories; Love stories; Nature -- Juvenile fiction Readers of public-domain and historical texts
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Words: 32,314
Reading time: 141 min
Text sections: 5
This collection of 100 short stories for young people uses simple moral lessons, direct dialogue, and vivid descriptions of nature and animals to teach kindness, honesty, and duty. The anonymous author, a pastor, employs a plain, instructive style with recurring motifs of dying children, helpful animals, and the rewards of virtue.
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They were left orphans, and were obliged to take care of themselves. Many of the articles of furniture left them had been disposed of to supply the calls of urgent want. In the room was an old four post bedstead, with curtains almost worn out, one mattrass with two small pillows, a bolster that was almost flat, three old blankets and cotton sheets, of coarse description, three rush-bottom chairs, an old claw table, a chest of draws, with a few battered band-boxes on the top of it, a miserable bit of carpet before the fire-place, a wooden box for coals, a little tin fender, and an old poker. What there was, however, was kept clean, the floor and yellow paint was clean, and the washing tub which sat in one corner of the room.

"It was a bitter cold night, the wind blew and shook the window, when a young girl of about eighteen sat by the tallow candle, which burned in a tin candlestick, at 12 o'clock at night, finishing a piece of work with the needle which she was to return next morning. Her name was Lettice Arnold. She was naturally of a cheerful, hopeful temper, and though work and disappointment had faded the bright colors of hope, still hope buoyed up her spirits.

"Her sister Myra was delicate, and lay on the mattrass on that night, tossing about with suffering, unable to rest. At last Lettice says to her:----

"'Poor Myra, can't you get to sleep?'

"'It is so cold,' was the reply; 'and when will you have done and come to bed?'

"'One quarter of an hour more, Myra, and I shall have finished my work, and then I will throw my clothes over your feet, and I hope you will be a little warmer.'

"Myra sighed, and lifted up her head, and leaning upon her arm watched the progress of her sister as she plied the needle to her work.

"'How slowly,' said Myra, 'you do get along. It is one o'clock, and you have not finished yet.'

"'I cannot work fast, Myra, and neatly too; my hands are not so delicate and nimble as yours,' and smiling a little, she added: 'Such swelled clumsy things, I cannot get over the ground nimbly and well at the same time. You, are a fine race horse, and I a drudging pony. But I shall soon be through.'

"Myra once more uttered a sigh and cried:

"'Oh, my feet are dreadful cold.'

"'Take this bit of flannel,' said Lettice, 'and let me wrap them up.'

"'Nay, you will want it,' she replied.

"'Oh, I have only five minutes to sit up, and I can wrap this piece of carpet round mine,' said Lettice.

"And she laid down her work and went to the bed and wrapped her sister's icy feet in the flannel, and then sat down and finished her task. How glad was Lettice to creep to the mattress and to lay her aching limbs upon it. A hard bed and scanty covering in a cold night are keenly felt. She soon fell asleep, while her sister tossed and murmured on account of the cold.

"Lettice awoke and drew her over little pillow from under her head, and put it under her sister's and tried every way to make her sister comfortable, and she partly succeeded; and at last Myra, the delicate suffering creature, fell asleep, and Lettice slumbered like a child."

How thankful ought we to be for kind parents, a comfortable home, and a good fire in a cold night. I will tell you in my next story what Lettice did with her work.

LETTICE TAKING HOME THE WORK.

Early in the morning, before it was light, and while the twilight gleamed through the curtainless windows, Lettice was up dressing herself by the aid of the light which gleamed from the street lamp into the window. She combed her hair with modest neatness, then opened the draw with much precaution, lest she should disturb poor Myra, who still slumbered on the hard mattrass--drew out a shawl and began to fold it as if to put it on.

"Alas!" said Lettice, "this will not do--it is thread-bare, time-worn, and has given way in two places." She turned it, and unfolded it, but it would not do. It was so shabby that she was actually ashamed to be seen with it in the street. She put it aside and took the liberty of borrowing Myra's, who was now asleep. She knew Myra would be awful cold when she got up, and would need it. But she must go with the work that morning. She thought first of preparing the fire, so that Myra, when she arose, would only have to light the match; but as she went to the box for coal, she saw, with terror, how low the little store of fuel was, and she said to herself, "we must have a bushel of coal to-day--better to do without meat than fire such weather as this." But she was cheered with the reflection that she should receive a little more for her work that day than what she had from other places. It had been ordered by a benevolent lady who had been to some trouble in getting the poor woman supplied with needle work so that they should receive the full price. She had worked for private customers before, and always received more pay from them than from the shops in London, where they would beat down the poor to the last penny.

Poor Lettice went to the old band-box and took out a shabby old bonnet--she looked at it, and sighed, when she thought of the appearance she must make; for she was going to Mrs. Danvers, and her work was some very nice linen for a young lady about to be married.

Just at this moment she thought of the contrast between all the fine things that young lady was to have, and her own destitution. But her disposition was such as not to cause her to think hard of others who had plenty while she was poor. She was contented to receive her pay from the wealthy, for her daily needle work. She felt that what they had was not taken from her, and if she could gain in her little way by receiving her just earnings from the general prosperity of others, she would not complain. And as the thought of the increased pay came into her mind, which she was to receive that day, she brightened up, shook the bonnet, pulled out the ribbons, and made it look as tidy as possible, thinking to herself that after buying some fuel she might possibly buy a bit of ribbon and make it look a little more spruce, when she got her money.

Lettice now put on her bonnet, and Myra's shawl, and looking into the little three-penny glass which hung on the wall, she thought she might look quite tidy after all. The young lady for whom she made the linen lived about twenty miles from town, but she had come in about this time, and was to set off home at nine o'clock that very morning. The linen was to have been sent in the night before, but Lettice had found it impossible to finish it. This was why she was obliged to start so early in the morning. She now goes to the bed to tell Myra about the fire, and that she had borrowed her shawl, but Myra was sound asleep, so she did not disturb her, but stepped lightly over the floor and down stairs, for it was getting late, and she must be gone. Read the next story, and you will be deeply interested in the result.

LETTICE AND CATHERINE, OR THE UNEXPECTED MEETING.

I must tell you who were Lettice and Myra. They were the daughters of a clergyman, who held the little vicarage of Castle Rising. But misfortune, which sometimes meets the wise and good, reduced the family to poor circumstances. After the parents' decease, Lettice and Myra located in London, for the purpose of doing needle work for a living.

We said in the last story, that Lettice had entered the street and was on her way with the work she had finished for the young lady. It was a cold morning, the snow blew, and the street was slippery. She could scarcely stand--her face was cold, and her hands so numbed that she could scarcely hold the parcel she carried. The snow beat upon her poor bonnet, but she comforted herself with the idea that she might be supposed to have a better bonnet at home. She cheerfully trudged along, and at last entered Grosvenor Square, where the lamps were just dying away before the splendid houses, while the wind rushed down the Park colder than ever. A few boys were about the only people yet to be seen about, and they laughed at her as she held her bonnet down with one hand, to prevent its giving way before the wind, while she carried her bundle and kept her shawl from flying up with the other.

At last she entered Green Street, and came to the house of the kind lady who had furnished her and many others with work; raised the knocker, and gave one humble knock at the door. She had never been at the house before, but she had sometimes had to go to other genteel houses where she had been met with incivility by the domestics.

But "like master, like man," is a stale old proverb, and full of truth. The servant came to the door. He was a grave old man about fifty. His countenance was full of kind meaning, and his manners so gentle, that before hearing her errand, observing how cold she looked, bade her come in and warm herself at the hall stove.

"I have come," said Lettice, "with the young lady's work--I had not time to come last night, but I hope I have not put her to any inconvenience--I started before light this morning.'

"Well, my dear, I hope not," said the servant, "but it was a pity you could not get it done last night. Mrs. Danvers likes to have people exact to the moment. However, I dare say it will be all right."

As Reynolds, the servant-man, entered the drawing-room, Lettice heard a voice, "Is it come at last?" And the young lady, who thus enquired, was Catherine Melvin, who was then making an early breakfast before a noble blazing fire.

"Has the woman brought her bill?" asked Mrs. Danvers.

"I will go and ask," said the servant. "Stay, ask her to come up. I should like to enquire how she is getting along, this cold weather."

Reynolds obeyed, and soon Lettice found herself in a warm, comfortable breakfast room.

"Good morning," said Mrs. Danvers. "I am sorry you have had such a cold walk this morning. I am sorry you could not come last night. This young lady is just leaving, and there is barely time to put up the things." Catherine (for this was the young lady's name) had her back turned to the door quietly continuing her breakfast, but when the gentle voice of Lettice replied:

"Indeed, madam, I beg your pardon, I did my very best"--Catherine started, looked up and rose hastily from her chair; Lettice, advancing a few steps, exclaimed--"Catherine."

And Catherine exclaimed: "It is--it is you!" and coming forward and taking her by the hand, she gazed with astonishment at the wan face and miserable attire of the work-woman. "You," she kept repeating. "Lettice! Lettice Arnold! Good Heavens! Where is your father? your mother? your sister?"

"Gone," said the poor girl, "all gone but poor Myra!"

"And where is she? And you, dear Lettice, how have you come to this?"

Such was the unexpected meeting of these two persons, who were once children of the same village of Castle Rising. Lettice had been working for her schoolmate, Catherine Melvin. The result was a happy one, and it was not long before, by the kindness of Catherine, that the two orphan girls were situated pleasantly in life. But as you will wish to know how all this came about, I will give you the circumstances in another story.

Lettice's father was a man of education, a scholar, a gentleman, and had much power in preaching. He received one hundred and ten pounds per year for his services. Her father's illness was long and painful, and the family were dependant on others for assistance.

"We at last closed his eyes," said Lettice, "in deep sorrow." He used to say to himself, "It is a rough road, but it leads to a good place."

After his funeral, the expenses exhausted all that was left of their money--only a few pounds were left when the furniture was sold, and "we were obliged," said Lettice, "to give up the dear little parsonage. It was a sweet little place. The house was covered all over with honeysuckles and jessamines; and there was the flower garden in which I used to work, and which made me so hale and strong, and aunt Montague used to say I was worth a whole bundle of fine ladies.

"It was a sad day when we parted from it. My poor mother! How she kept looking back, striving not to cry, and poor Myra was drowned in tears.

"Then we afterwards came to London. A person whom we knew in the village had a son who, was employed in one of the great linen warehouses, and he promised to try to get us needlework. So we came to London, took a small lodging, and furnished it with the remnant of our furniture. Here we worked fourteen hours a day apiece, and we could only gain between three and four shillings each. At last mother died, and then all went; she died and had a pauper's funeral."

From this room the orphan girl removed soon after their mother's deceased, and located among the poor of Marylebone street, where Mrs. Danvers accidently met with the two sisters, in one of her visits among the poor, and for whom she obtained the work which led to the unexpected meeting related in the previous story.

A horse is a noble animal, and is made for the service of man. No one who has tender feelings can bear to see the horse abused. It is wicked for any one to do so. A horse has a good memory, and he will never forget a kind master. Jonas Carter is one of those boys who likes to take care of a horse. His father gave Jonas the whole care of an excellent animal which he purchased for his own use. Every morning he would go into the stable to feed and water him. As all the horses in the neighborhood had names, Jonas gave one to his, and called him Major. Every time he went into the stable to take care of him, Major would whine and paw, as if his best friend was coming to see him. Jonas kept him very clean and nice, so that he was always ready for use at any time of day. At night he made up his bed of straw, and kept the stable warm in winter and cool in summer. Major soon found that he was in the hands of a kind master, and being well fed, and well cleansed, he would often show how proud and nice he was, by playing with Jonas in the yard. His young master would often let him loose in the yard, and when Jonas started to go in, the horse, Major, would follow him to the door, and when he turned him into the pasture, no one could so well catch him as Jonas; for every time he took him from the pasture, Jonas would give him some oats; so when he saw his master coming for him, he remembered the oats, and would come directly to him. Some horses are very difficult to bridle, but it was not so with Major. When Jonas came with the bridle, Major would hold his head down, and take in his bitts, and appear as docile as a lamb. He well knew that Jonas never drove him hard, but always used him kindly. Jonas was not a selfish boy; he was willing to let his friends ride a short distance; and in the picture, you will see him talking with one of his young friends about his horse.

Now, children, you may be sure that a dumb animal will remember his kind master; and if ever you own a horse, or drive one which belongs to another, be sure and treat him kindly. And you will find this rule to work well among yourselves. Be kind to each other, and to all whom you meet with, and it will help you along the pleasant path of life, and secure to you many friends.

Edward Ford owned a snug little cottage with a small farm situated about a mile from the village. When he was married to Ellen G----, who was said to be one of the best girls in the village, he took her to his nice little home, where he had every thing around very pleasant and comfortable. Ellen was very industrious and remarkable for her prudence and neatness. She spun and churned, and tended her poultry, and would often carry her butter and eggs herself to market, which greatly added to their comfort. She had a beautiful little girl, and they gave her the name of Lily. Things glided smoothly on until Lily was sixteen. Edward was very fond of the violin and of reading books that were not very useful, and as he was very fond of music, he spent a great deal more time in making music and playing the violin than what his wife thought profitable. Ellen loved music, and was willing to have him read profitable books, but all this while she thought he might be patching up the fences and improving the shed for the better comfort of the cattle. Still she would not complain, hoping all the time that he would see the necessity of being a little more industrious. The winter came, and all through its dreary months he was unable to work, as he was sick. And although Ellen worked hard, yet her husband required so much of her attention, that all her efforts availed not much to keep poverty out of their cottage. When the spring came, Ellen's husband was able to be about again, and she began to hope that Edward would be more industrious, and they would be able by strict economy to repair the loss occasioned by his winter's illness, which had put them so far behind-hand. Edward had become lazy or disheartened. Affairs about the house continued to grow worse; his farm was ill worked or neglected, and by the fall, his horse and oxen had to go for necessary expenses. Ellen still kept her cows, but it was now very little help she received from her husband. He had been formerly one of the most temperate of men, but now he spent his days from home; and here lay Ellen's deepest sorrow. He was often at the village tavern, wasting in senseless riot the time, health and means that God had given him for other purposes. Ellen felt sad, and in the next story you will see a painful scene in the life of

It was now in the latter part of December--two days more and comes the season of "Merry Christmas." Ellen thought of the dreary prospect before her. As she was thinking over her condition, and how she should manage affairs so as to make home comfortable, the door opened, and in came Edward earlier than usual, a sober man. With a grateful heart Ellen set about preparing the supper, and made all the evening as pleasant as she could for him.

The next morning earlier than usual Edward was preparing to go out. The weather was bitter cold, and the wood pile was very low. She did not like to ask Edward to split some wood the evening before, as she did not wish to vex him. Of late he had harshly refused her simple requests. She, however, ventured this morning to ask him to split a few logs, and he replied:

"Why did you not ask me when you saw me doing nothing all last evening? You must get along the best way you can until night. I have engaged to work for Squire Davis, and I shall be late unless I go at once."

The anonymous author of The Pearl Box, identified only as a pastor, addresses young readers with a direct, moralizing voice. The preface states the goal: to present “their station in a familiar and instructive story” and teach principles for private, social, and public life. This aim shapes every tale, from “The Dying Boy” to “The Happy Family,” where a menagerie of reconciled animals illustrates “the peace which should pervade among families.” The author favors concrete, visual scenes—a boy bathing in a river, a cat washing her face with rats nestling around her—over abstract argument. Dialogue is sparse but pointed, as when the Indian in “Story About an Indian” tells white neighbors, “I make his grave alone. I can no live here, for I have no friend to love me.” Such moments ground moral lessons in specific, often poignant, human (or animal) experience.

Diction and the Plain Style

The author’s diction is consistently simple and concrete, favoring everyday words over literary flourishes. In “The Dying Boy,” the narrative reports that Bertie “revived up” before death—a colloquial phrasing that avoids medical or sentimental abstraction. Similarly, “The Boy and the Gold Robin” uses plain verbs: the boy “took” the bird, “held” it, and “let it go.” This lexical choice aligns with the stated purpose of instructing young readers without confusing them. The vocabulary rarely exceeds what a child of the era might know: “bathed,” “nestling,” “caressingly,” “pennys.” Even when describing exotic sights like the Happy Family, the author sticks to familiar terms: “hen-coop,” “hand-cart,” “whiskers.” The result is a text that feels spoken rather than written, as if the pastor were addressing a classroom. This plainness extends to the moral summaries, which often end with a terse maxim: “So you children will need a friend to look to every day.”

Dialogue as Moral Vehicle

Dialogue in The Pearl Box is rare but strategically placed to deliver moral lessons. The Indian’s quoted speech in “Story About an Indian” carries the emotional weight of the tale: “When white man’s child die, Indian may be sorry—he help bury him—when my child die, no one speak to me.” The broken syntax and repetition (“no one speak to me”) heighten the pathos without authorial commentary. In “The Boy and the Gold Robin,” the boy’s internal reasoning is rendered as direct thought: “I will let it go.” Such moments allow the child character to model virtuous decision-making. The author avoids extended conversations; instead, a single line of dialogue often encapsulates the story’s theme. For instance, in “The Way to Overcome Evil,” the protagonist’s reply—if it exists in the full text—would likely mirror the terse, proverbial style seen elsewhere. This technique trusts the reader to infer the moral from the character’s words, rather than from a narrator’s explanation.

Description and the Natural World

Descriptive passages in the excerpts focus on nature and animals, rendered with precise, sensory details. In “Gather the Flowers,” the field contains “buttercups, violets, and many other blossoms”—a simple list that evokes abundance without hyperbole. The “Happy Family” description is the most elaborate: a cat “washing her face,” rats “climbing up her back and playing with her whiskers,” a dove and hawk “sitting on the head of a dog.” The author notes that “natural antipathies have been subdued into mutual affection by the law of kindness,” a phrase that blends observation with moral. The setting of “The Dying Boy” includes a request to be “bathed in the river,” linking the natural element to a final comfort. These descriptions are never purely ornamental; they serve the moral by showing harmony (or its absence) in the natural world. The author’s eye for small, telling actions—a sparrow trying to “open the eyes of the sleepy owl”—gives the prose a documentary quality that reinforces the lessons.

Structure and Repetition of Motifs

The collection’s structure, as revealed by the table of contents and excerpts, relies on short, self-contained narratives that repeat key motifs: dying children, helpful animals, acts of honesty, and the rewards of virtue. “The Dying Boy,” “The Boy Found in the Snow,” and “The Motherless Birds” all feature vulnerable young protagonists facing loss or danger. The author often pairs a child with an animal—Harriet and her squirrel, Lizzy and her dog, the boy and the gold robin—to illustrate loyalty and care. The moral is usually stated explicitly at the end, as in “Story About an Indian”: “So you children will need a friend to look to every day.” This repetitive structure reinforces the didactic aim, but the variations in setting (London streets, a farm, a forest) prevent monotony. The author also includes anecdotes and proverbs (e.g., “Chinese Proverbs,” “Anecdotes”) that break the narrative pattern, offering concise wisdom. The overall effect is a mosaic of examples, each hammering home a similar lesson through different concrete situations.

Readers approaching The Pearl Box should attend to how the anonymous pastor uses simplicity as a deliberate craft choice. The plain diction, sparse dialogue, and repetitive moral structures are not flaws but tools for reaching a young audience. The excerpts suggest a work that values clarity over complexity, and concrete example over abstract reasoning. For those interested in 19th-century children’s literature, this collection offers a clear window into the didactic tradition, where every story aims to shape character. The author’s voice—earnest, direct, and occasionally poignant—invites readers to consider how moral instruction can be woven into the smallest of tales.

The rain blurred the windows that afternoon, and I kept returning to the story about the girl who shared her last crust with a stranded bird. Its quiet reward—not gold, but gratitude—made me think of small, overlooked creatures. Later, by chance, I found Queer little people — Text and Context on a shelf, and the afternoon grew softer still, as if the books were whispering to each other.

Isabella Walker
1 week ago

Alexander Thompson
2 weeks ago

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4.5 out of 5 (2 User reviews )

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    Zachary Wheeler - 3 weeks ago
    While the intention is noble, the execution is dated and preachy. The stories are heavily moralistic, often sacrificing narrative enjoyment for a heavy-handed lesson. They lack the whimsy and depth of better children's classics. I found it tedious to read through, and I doubt many modern children would be captivated by it.

  • ...
    Kelsey Acevedo - 3 weeks ago
    A fine collection of moral tales for young people, with many stories that teach kindness and honesty. The brevity of each is a plus for short attention spans, but some stories feel overly didactic and lack the charm of classic fairy tales. Still, it's a decent resource for parents seeking wholesome bedtime reading.

  • ...
    Janet Robinson - 5 days ago
    This collection of one hundred short stories is a treasure trove of moral lessons and gentle entertainment. Each tale is simple yet meaningful, perfect for reading aloud to young children or for early readers to enjoy on their own. The language is elegant but accessible, and the stories range from fables to everyday virtues. A lovely keepsake for any family library.


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