MAY ALCOTT NIERIKER.
Born at Concord, July, 1840. Died in Paris, December, 1879.
This younger sister became so dear to Louisa, and through the legacy which she left to her of an infant child, exercised so great an influence over the last ten years of her life, that it will not be uninteresting to trace out the course of her life and the development of her character. May was born before the experiments at Fruitlands, and her childhood passed during the period when the fortunes of the family were at the lowest ebb; but she was too young to feel in all their fulness the cares which weighed upon the older sisters. Her oldest sister–the affectionate, practical Anna–almost adopted May as her own baby, and gave her a great deal of the attention and care which the mother had not time for amid her numerous avocations. The child clung to Anna with trust and affection; but with her quick fancy and lively spirit, she admired the brilliant qualities of Louisa. Hasty in temperament, quick and impulsive in action, she quarrelled with Louisa while she adored her, and was impatient with her rebukes, which yet had great influence over her. She had a more facile nature than the other sisters, and a natural, girlish love of attention, and a romantic fondness for beauty in person and style in living. Graceful in figure and manners, with a fine complexion, blue eyes, and a profusion of light wavy hair, she was attractive in appearance; and a childish frankness, and acceptance of sympathy or criticism, disarmed those who were disposed to find fault with her.
May is very truly described in "Little Women," and her character is painted with a discerning but loving hand: "A regular snow maiden, with blue eyes, and yellow hair curling on her shoulders, pale and slender, and always carrying herself like a young lady mindful of her manners." Many little touches of description show the consciousness of appearance and love of admiration which she innocently betrayed, and illustrate the relation of the sisters: "'Don't stop to quirk your little finger and prink over your plate, Amy,' cried Jo." Her mother says of this daughter in her diary: "She does all things well; her capabilities are much in her eyes and fingers. When a child, I observed with what ease and grace she did little things."
According to Louisa, "If anybody had asked Amy what the greatest trial of her life was, she would have answered at once, 'My nose.' No one minded it but herself, and it was doing its best to grow; but Amy felt deeply the want of a Grecian nose, and drew whole sheets of handsome ones to console herself." "Little Raphael," as the sisters called her, very early developed a love and talent for drawing which became the delight of her life. She covered her books with sketches, but managed to escape reprimand by being a model of deportment. Always having in her mind an ideal of elegant life, the many little trials of their times of poverty were of course severe mortifications to her; and the necessity of wearing dresses which came to her from others, and which were ugly in themselves or out of harmony with her own appearance, caused her much affliction. She was always generous and easily reconciled after a quarrel, and was a favorite with her companions, and the heroine of those innocent little love episodes which, as Tennyson says,–
"Are but embassies of love
To tamper with the feelings, ere he found
Empire for life."[16]
While May was too young to take the part in the support of the family which fell to Anna and Louisa, she was yet a blessing and comfort by her kind, bright nature. After the death of Elizabeth in 1858, her mother speaks of "turning to the little May for comfort," and her father's letters show how dear she was to him, although she never entered into his intellectual life.
May shared in the blessing of Louisa's first success, for she went to the School of Design in 1859 for the lessons in her art, for which she longed so eagerly. In 1860 an old friend sent her thirty dollars for lessons in drawing, and she had the best instruction she could then receive in Boston.
In 1863, Louisa procured for her the great advantage of study with Dr. Rimmer, who was then giving his precious lessons in art anatomy in Boston. Under his instructions, May gave some attention to modelling, and completed an ideal bust. Although she did not pursue this branch of art, it was undoubtedly of great service in giving her more thorough knowledge of the head, and a bolder and firmer style of drawing than she would have gained in any other way.