DEAR MRS. DODGE,--The tale[14] goes slowly owing to interruptions, for summer is a busy time, and I get few quiet days. Twelve chapters are done, but are short ones, and so will make about six or seven numbers in "St. Nicholas."

I will leave them divided in this way that you may put in as many as you please each month; for trying to suit the magazine hurts the story in its book form, though this way does no harm to the monthly parts, I think.

I will send you the first few chapters during the week for Mrs.

Foote, and with them the schedule you suggest, so that my infants may not be drawn with whiskers, and my big boys and girls in pinafores, as in "Eight Cousins."

I hope the new baby won't be set aside too soon for my ill.u.s.trations; but I do feel a natural wish to have one story prettily adorned with good pictures, as. .h.i.therto artists have much afflicted me.

I am daily waiting with anxiety for an illumination of some sort, as my plot is very vague so far; and though I don't approve of "sensations" in children's books, one must have a certain thread on which to string the small events which make up the true sort of child-life.

I intend to go and simmer an afternoon at Van Amburg's great show, that I may get hints for the further embellishment of Ben and his dog. I have also put in a poem by F. B. S.'s small son,[15] and that hit will give Mrs. Foote a good scene with the six-year-old poet reciting his verses under the lilacs.

I shall expect the small tots to be unusually good, since the artist has a live model to study from. Please present my congratulations to the happy mamma and Mr. Foote, Jr.

Yours _warmly_, L. M. A.

AUGUST 21, 1879.

DEAR MRS. DODGE,--I have not been able to do anything on the serial.... But after a week at the seaside, to get braced up for work, I intend to begin. The Revolutionary tale does not seem to possess me. I have casually asked many of my young folks, when they demand a new story, which they would like, one of that sort or the old "Eight Cousin" style, and they all say the latter. It would be much the easier to do, as I have a beginning and a plan all ready,--a village, and the affairs of a party of children. We have many little romances going on among the Concord boys and girls, and all sorts of queer things, which will work into "Jack and Jill" nicely. Mrs. Croly has been anxious for a story, and I am trying to do a short one, as I told her you had the refusal of my next serial. I hope you will not be very much disappointed about the old-time tale. It would take study to do it well, and leisure is just what I have not got, and I shall never have, I fear, when writing is to be done. I will send you a few chapters of "Jack and Jill" when in order, if you like, and you can decide if they will suit. I shall try to have it unlike the others if possible, but the dears _will_ cling to the "Little Women" style.

I have had a very busy summer, but have been pretty well, and able to do my part in entertaining the four hundred philosophers.

Yours truly, L. M. A.

SEPTEMBER 17 [1879].

DEAR MRS. DODGE,--Don't let me _prose_. If I seem to be declining and falling into it, pull me up, and I'll try to prance as of old. Years tame down one's spirit and fancy, though they only deepen one's love for the little people, and strengthen the desire to serve them wisely as well as cheerfully. Fathers and mothers tell me they use my books as helps for themselves; so now and then I like to slip in a page for them, fresh from the experience of some other parent, for education seems to me to be _the_ problem in our times.

Jack and Jill are right out of our own little circle, and the boys and girls are in a twitter to know what is going in; so it will be a "truly story" in the main.

Such a long note for a busy woman to read! but your cheery word was my best "starter;" and I'm, more than ever,

Yours truly, L. M. A.

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 pa.s.sed 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 ill.u.s.trate 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 emba.s.sies 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.

As will be seen from Louisa's journal, May was frequently with her in Boston, engaged in studying or teaching. By the kindness of a friend, she went to Europe in 1870, when Louisa accompanied her. Louisa sent her to Europe for a year of study in 1873, and again in 1877. In London and Paris she had good opportunities for study, and improved rapidly in her art. She made some admirable copies from Turner which attracted the attention of Ruskin; and a picture from still life was accepted at the Paris Salon, which event gave great happiness to the family circle and friends at home.

May was very generous in giving to others help in the art she loved.

While at home, in the intervals of her studies in Europe, she tried to form an art centre in Concord, and freely gave her time, her instruction, and the use of her studio to young artists. She wrote a little book to aid them in prosecuting their studies abroad, called "Studying Art Abroad, and How to do it Cheaply."

Like the rest of the family, May composed with great ease, and sometimes wrote little stories. Her letters are very sprightly and agreeable.

While residing in London, May had become acquainted with a young Swiss gentleman, whose refined and artistic tastes were closely in unison with her own. During the sad days of bereavement caused by her mother's death he was a kind and sympathetic friend, soothing her grief and cheering her solitude by his music. Thus, frequently together, their friendship became love, and they were betrothed. The course of this true love, which for a time ran swiftly and smoothly, is most exquisitely depicted in May's letters to her family. The charming pictures of herself and her young lover are so like Amy and her Laurie in his happiest moods, that we almost feel as if Miss Alcott had been prophetic in her treatment of these characters in "Little Women."

I wish I could give her own natural, frank account of this event. May had the secret of perpetual youth, at least in spirit; and in reading her letters, one has no consciousness that more than thirty years had pa.s.sed over her head, for they had taken no drop of freshness from her heart.

The union of this happy pair was not a surprise to the friends at home, who had read May's heart, revealed in her frank, innocent letters, more clearly than she had supposed. When the claims of business called Mr. Nieriker from London, the hearts of the young couple quailed before the idea of separation, and they decided to be married at once, and go together. The simple ceremony was performed in London, March 22, 1878; and May started on her journey, no longer alone, but with a loving friend by her side.

May's letters are full of the most artless joy in her new life. The old days of struggle and penury are gone; the heart-loneliness is no more; the world is beautiful, and everybody loving and kind. Life in the modest French home is an idyllic dream, and she writes to her sisters of every detail of her household. The return of her husband at sunset is a feast, and the evening is delightful with poetry and music. Her blue dress, her crimson furniture, satisfy her artistic sense. She does not neglect her art, but paints with fresh inspiration, and waits for his criticism and praise. She says, "He is very ambitious for my artistic success, and is my most severe critic."

In the morning she finds her easel set out for her, a fire burning ready for her comfort, and her husband in the big arm-chair waiting to read to her, or to take his violin and pose for his picture in gray velvet paletot and red slippers.[17]

For the time conjugal love is all sufficient, and May wonders at herself that the happiness of the moment can so drown every remembrance of sorrow. Yet a pathetic note is occasionally heard, as she mourns for the mother who is gone, or yearns for the sister who has been such a strength to her through life. The picturesqueness and ease of French life make America look stupid and forlorn, and she has no wish to go home, but only to have her dear ones share in her happiness. Her work in art was successful; and the money she received for it was not unacceptable, although her husband's income sufficed for their modest wants. She was justified in her grateful feeling that she was singularly blessed. Her husband's family were German-Swiss of high standing, artistic temperament, and warm affections. His mother and sister came to visit them, and took May to their hearts with cordial love.

Among the pictures painted by May at this time the most remarkable is the portrait of a negro girl, which is a very faithful study from life, and gives the color and characteristic traits of a beautiful negro without exaggeration. The expression of the eyes is tender and pathetic, well-suited to the fate of a slave girl. Such earnest study would have borne richer fruit if longer life had been hers.

May's own nature seems to have blossomed out like a flower in this sunny climate. In her youth at home she was impulsive, affectionate, and generous, but quick in temper and sometimes exacting; but the whole impression she made upon her husband and his family was of grace and sweetness, and she herself declares that her sisters at home would not recognize her, she has "become so sweet in this atmosphere of happiness."

We would gladly linger over these records of a paradisiacal home where Adam and Eve renewed their innocent loves and happy labors. When musing over the sorrows of humanity it refreshes us to know that such joy is possible, and needs only love and simple hearts to make it real.

May's note of happiness is touchingly echoed from the heart of her bereaved father, who recalls the days of his own courtship. He cherished every tender word from her; and the respectful and loving words of his new son, to whom he responds affectionately, were like balm to his stricken heart.

May's joy was heightened by the expectation of motherhood. Her health was excellent, and she had the loving care of her new mother and sister. The anxious family at home received the news of the birth of a daughter with heartfelt delight. It was a great disappointment to Louisa that she could not be with her sister at this time; but her health was not equal to the voyage, and she felt that May had most loving and sufficient care. An American friend in Paris kindly wrote to Louisa full details of the little niece and of the mother's condition. "It is difficult," she says, "to say which of that happy household is the proudest over that squirming bit of humanity."

For about two weeks all seemed well; but alarming symptoms began to appear, and the mother's strength failed rapidly. The brain was the seat of disease; and she was generally unconscious, although she had intervals of apparent improvement, when she recognized her friends.

She pa.s.sed away peacefully December 29, 1879.

An American clergyman in Paris took charge of the funeral service, which according to May's expressed desire was very simple, and she was laid in the tranquil cemetery of Montrouge outside of the fortifications.

Foreseeing the possibility of a fatal termination to her illness, May had made every preparation for the event, and obtained a promise from her sister-in-law that she would carry the baby to Louisa to receive the devoted care that she knew would be given it. The child became a source of great comfort to Miss Alcott as will be seen from the journals. After her death Mr. Nieriker visited his little girl in America, and in June, 1889, her aunt took her to his home in Zurich, Switzerland.

Before the sad letters describing May's illness could reach America, came the cable message of her death. It was sent to Mr. Emerson, the never-failing friend of the family, who bore it to Louisa, her father being temporarily absent. His thoughtfulness softened the blow as much as human tenderness could, but still it fell with crushing weight upon them all.

The father and sister could not sleep, and in the watches of the night he wrote that touching ode, the cry of paternal love and grief ent.i.tled "Love's Morrow."

_To Mrs. Bond._

CONCORD, Jan. 1, 1880.