could do anything in a neat and proper manner; so you will receive this topsy-turvy note as you do its writer, and with love to all from all, believe her, dear auntie,
Ever lovingly yours,
L. M. A.
This characteristic letter not only shows Louisa's affectionate feelings and gives a picture of her life, but indicates that "The Pathetic Family," which was the foundation of "Little Women," was already shaping itself in her mind.
Mr. Alcott's career as Superintendent of Schools was a gratifying success, and is still remembered by friends of education in the town. The year closed with a school festival, for which Louisa wrote a poem, and in which she took hearty delight.
In 1861 war was declared with the South. The Alcotts were all alive with patriotic enthusiasm, and Louisa took an active part in fitting off the boys for the army. But she also found time for much reading. Mr. Alcott, in his sonnet, uses the expression about Louisa –
"Hast with grave studies vexed a lively brain."
He may possibly have referred to this period, though she could never properly be called a student. She was a rapid, intelligent reader, and her taste was severe and keen. From her childhood she had browsed in her father's library, full of the works of ancient philosophers and quaint English poets, and had imbibed from them great thoughts and noble sentiments; but her reading, like all her education, was immethodical. Occasionally she would lay out courses of reading, which she pursued for a time; but in general she followed the cravings of a healthy appetite for knowledge, reading what came in her way. Later in life she often read light literature in abundance, to drown the sensations of pain, and to pass away the hours of invalidism.
She read French easily, and learned to speak it when abroad; she also studied German, but did not acquire equal facility in that tongue. Of ancient languages she had no knowledge. History could not fail to interest such a student of life, and she loved Nature too well not to enjoy the revelations of science when brought to her notice; but she had never time to give to a thorough study of either.
In her journal at this time she speaks of her religious feelings, which the experiences of grief and despair and reviving hope had deepened. Louisa Alcott's was a truly religious soul; she always lived in the consciousness of a Higher Power sustaining and blessing her, whose presence was revealed to her through Nature, through the inspired words of great thinkers and the deep experiences of her own heart. She never held her life as an isolated possession which she was free to use for her own enjoyment or glory. Her father truly called her "Duty's faithful child," and her life was consecrated to the duty she recognized as specially hers. But for outward forms and rites of religion she cared little; her home was sacred to her, and she found her best life there. She loved Theodore Parker, and found great strength and help from his preaching, and afterward liked to listen to Dr. Bartol; but she never joined any church. The Bible was not her favorite reading, though her father had read it much to her in her childhood, with his own peculiar charm of interpretation. Pilgrim's Progress was one of the few religious books which became dear to her in the same way.
Her sister Anna was married in May; this was of course a great event in the family. While fully rejoicing in her sister's happiness, Louisa felt her loss as a constant companion and confidant. The journal gives a sufficient description of the event. Her strong affection for her brother-in-law appears in "Little Women" and in "Jo's Boys." About this time her farce was brought out at the Howard Athenæum.
The story-writing continued, as it helped to pay the expenses of the family; but the continuous, hurried work had begun to affect her health, and she occasionally suffered from illness.
In the summer of 1861 Miss Alcott began to write her first novel, entitled "Moods;" this proved to be the least successful of her books, and yet like many an unfortunate child, it was the dearest to the mother's heart. It was not written for money, but for its own sake, and she was possessed by the plot and the characters. Warwick represented her ideal of a hero, while her sister preferred the type of the amiable Moor; yet there is far less of her outward self revealed in this than in her other stories. It is full of her thoughts and fancies, but not of her life. The wilful, moody, charming Sylvia does not affect us like the stormy Jo, who is a real presence to us, and whom we take to our hearts in spite of her faults. The men are such as she found in books, but had never known herself, and, carefully as she has drawn them, have not the individuality of Laurie and Professor Bhaer. The action takes place in an unreal world; and though there are many pretty scenes, they have not the real flavor of New England life. The principal incident, of a young girl going up the river on a picnic-voyage for some days with her brother and two other young men, was so contrary to common ideas of decorum, that the motive hardly seems sufficient for the staid sister's consent; but in the simple, innocent life which the Alcotts lived in Concord such scruples were little felt.
Miss Alcott did not lay stress upon the marriage question as the principal feature of the book; she cared more to describe the wilful moods of a young girl, full of good feelings, and longing for a rich and noble life, but not established in convictions and principles. She meant to represent much of her own nature in Sylvia, for she was always a creature of moods, which her family learned to recognize and respect. But how unlike was the discipline of family work and love, which saved Louisa from fatal caprices and fitful gusts of fancy called passion, to the lot of the wealthy and admired Sylvia. Miss Alcott says that the incidents of the marriage, although not drawn from life, were so close to an actual case that the wife asked her how she had known her secret; but such realism is a poor justification in art. It is that which becomes true to the imagination and heart through its vivid personation of character which is accepted, not the bare facts. The great question of the transcendental period was truth to the inward life instead of the outward law. But in "Moods" the marriage question is not stated strongly; it does not reach down to this central principle. It is only in tragedy that such a double relation could be endured, when the situation is compelled by fate, – the fate of character and overpowering circumstances, – and when there is no happy solution possible. But Sylvia's position is made only by her own weakness, and the love which stands in opposition to outward duty has no right of existence. If her love for Warwick could be overcome, there was no question of her duty; and when she accepts Faith's criticism of him, it is clear that it is a much lighter spell than love which has fascinated her. We do not accept the catastrophe which sacrifices a splendid life to make a comfortable solution of the practical difficulty, and to allow Sylvia to accept a happy home without a thorough regeneration of heart and mind. But these were the natural mistakes of youth and inexperience; Louisa had known but little of such struggles. Love and marriage were rather uninteresting themes to her, and she had not yet found her true power.
Still the book has great literary merit. It is well written, in a more finished style than any of her other work, except "Modern Mephistopheles," and the dialogue is vigorous and sprightly. In spite of her careful revision and pruning, there is something left of youthful gush in it, and this perhaps touched the heart of young girls, who found in Sylvia's troubles with herself a reflection of their own.
The "golden wedding" scenes have some of her usual freedom and vivacity. She is at home with a troop of mothers and babies and noisy boys. But the "golden wedding" was a new importation from Germany, and not at home in the New England farmhouse. Why might it not have been a true wedding or a harvest feast?
Louisa never lost her interest in this early work, though it was the most unlucky of books, and subjected to severe handling. It was sent to and fro from publisher to author, each one suggesting some change. Redpath sent it back as being too long. Ticknor found it very interesting, but could not use it then. Loring liked it, but wanted it shorter. She condensed and altered until her author's spirit rebelled, and she declared she would change it no more.
After her other books had made her famous, "Moods" was again brought forward and republished as it was originally written. It met with warmer welcome
