Daughters of the Puritans: A Group of Brief Biographies

by Seth Curtis Beach

The picture of Jo in a garret in "Little Women," planning and writing stories, is drawn from Louisa's experiences of the following winter. A frequent entry in her journal for this period is "$5.00 for a story" and her winter's earnings are summed up, "school, one quarter, $50, sewing $50, stories, $20." In December we read, "Got five dollars for a tale and twelve for sewing." Teaching, writing, and sewing alternate in her life for the next five years, and, for a year or two yet, the needle is mightier than the pen; but in 1856, she began to be paid $10 for a story, and, in 1859, the Atlantic accepted a story and paid her $50.

A friend for whose encouragement during these hard years, she acknowledges great indebtedness and who appears as one of the characters in her story, entitled "Work," was Rev. Theodore Parker, a man as helpful, loving, and gentle as she depicts him, but then much hated by those called orthodox and hardly in good standing among his Unitarian brethren. Miss Alcott, then as ever, had the courage of her convictions, was a member of his Music Hall congregation, and a regular attendant at his Sunday evening receptions, finding him "very friendly to the large, bashful girl who adorns his parlor regularly." She "fought for him," she says, when some one said Mr. Parker "was not a Christian. He is my sort; for though he may lack reverence for other people's God, he works bravely for his own, and turns his back on no one who needs help, as some of the pious do." After Mr. Parker's death, Miss Alcott, when in Boston, attended the church of Dr. C. A. Bartol, who buried her mother, her father and herself.

In 1857, the Alcotts returned to Concord, buying and occupying the Orchard House, which thenceforth became their home. Other family events of the period were, the death of Miss Alcott's sister Elizabeth, Beth in "Little Women," the marriage of Anna, Meg in "Little Women," and a proposal of marriage to Louisa, serious enough for her to hold a consultation over it with her mother. Miss Alcott is said to have been averse to entangling alliances for herself, to have married off the heroines in her novels reluctantly at the demand of her readers, and never to have enjoyed writing the necessary love-passages.

The year 1860, when Miss Alcott is twenty-seven, has the distinction of being marked in the heading of her journal as "A Year of Good Luck." Her family had attained a comfortable, settled home in Concord; Mr. Alcott had been appointed superintendent of public schools, an office for which he was peculiarly well qualified and in which he was both happy and admirably successful; Anna, the eldest sister, was happily married; May, the youngest, was making a reputation as an artist; and Louisa, in perfect health, having in May before, "walked to Boston, twenty miles, in five hours, and attended an evening party," was becoming a regular contributor to the Atlantic, and receiving $50, $75, and sometimes $100 for her stories.

In these happy conditions, Miss Alcott sat down to a more ambitious attempt at authorship and wrote the first rough draft of "Moods," a "problem novel" that provoked much discussion and, though it caused her more trouble than any other of her books, was always dearest to her heart. It was written in a kind of frenzy of poetic enthusiasm. "Genius burned so fiercely," she says, "that for four weeks, I wrote all day and planned nearly all night, being quite possessed by my work. I was perfectly happy, and seemed to have no wants. Finished the book, or a rough draft of it, and put it away to settle." It was not published till four years later. Even in this year of good luck, there seem to have been some privations, as she records being invited to attend a John Brown meeting and declining because she "had no good gown." She sends a poem instead.

The breaking out of the Civil War stirred Miss Alcott's soul to its depths, and we have numerous references to its progress in her journal. "I like the stir in the air," she writes, "and long for battle like a war-horse when he smells powder." Not being permitted to enlist as a soldier, she went into a hospital in Washington as a nurse. Her experiences are graphically and dramatically told in "Hospital Sketches." That book, chiefly made from her private letters, met the demand of the public, eager for any information about the great war; it was widely read and, besides putting $200 in her purse, gave her a reputation with readers and publishers. Many applications for manuscript came in and she was told that "any publisher this side of Baltimore would be glad to get a book" from her. "There is a sudden hoist," she says, "for a meek and lowly scribbler. Fifteen years of hard grubbing may come to something yet." Her receipts for the year 1863, amounted to $600 and she takes comfort in saying that she had spent less than one hundred on herself.

The following year, after having been twice re-written, "Moods" was brought out and, thanks to the "Hospital Sketches," had a ready sale. Wherever she went, she says, she "found people laughing or crying over it, and was continually told how well it was going, how much it was liked, how fine a thing I had done." The first edition was exhausted in a week. An entire edition was ordered by London publishers. She was very well satisfied with the reception of "Moods" at the time, though in after years when fifty thousand copies of a book would be printed as a first edition, the sale of "Moods" seemed to her inconsiderable.

The present day reader wonders neither at the eagerness of the public for the book, nor at the criticisms that were freely made upon it. It is interesting from cover to cover and as a study of "a life affected by moods, not a discussion of marriage," it is effective. In spite, however, of the warning of the author, everyone read it as "a discussion of marriage," and few were satisfied. The interest centres in the fortunes of a girl who has married the wrong lover, the man to whom, by preference, she would have given her heart being supposed to be dead. Would that he had been, for then, to all appearance, she would have been contented and happy. Unfortunately he returns a year too late, finds the girl married and, though endowed with every virtue which a novelist can bestow upon her hero, he does not know enough to leave the poor woman in peace. On the contrary, he settles down to a deliberate siege to find out how she feels, wrings from her the confession that she is miserable, as by that time no doubt she was, and then convinces her that since she does not love her husband, it is altogether wrong to live under the same roof with him. Surely this was nobly done. Poor Sylvia loves this villain, Miss Alcott evidently loves him, but the bloody-minded reader would like to thrust a knife into him. However, he is not a name or a type, but a real man, or one could not get so angry with him. All the characters live and breathe in these pages, and no criticism was less to the purpose than that the situations were unnatural. Miss Alcott says "The relations of Warwick, Moor, and Sylvia are pronounced impossible; yet a case of the sort exists, and a woman came and asked me how I knew it. I did not know or guess, but perhaps felt it, without any other guide, and unconsciously put the thing into my book."

Everyone will agree that Miss Alcott had earned a vacation, and it came in 1865, in a trip to Europe, where she spent a year, from July to July, as the companion of an invalid lady, going abroad for health. The necessity of modulating her pace to the movements of a nervous invalid involved some discomforts for a person of Miss Alcott's pedestrian abilities, but who would not accept some discomforts for a year of European travel? She had a reading knowledge of German and French, and in the abundant leisure which the long rests of her invalid friend forced upon her, she learned to speak French with facility.

On her return from Europe, she found her circumstances much improved. She had established her position as a regular contributer to the Atlantic whose editor, she says, "takes all I'll send." In 1868, she was offered and accepted the editorship of Merry's Museum at a salary of $500, and, more important, she was asked by Roberts Brothers to "write a girl's book." Her response to this proposition was "Little Women," which she calls "the first golden egg of the ugly duckling, for the copyright made her fortune." Two editions were exhausted in six weeks and the book was translated into French, German and Dutch.