My Memoirs of the Civil War: The Louisa May Alcott's Collection. Луиза ÐœÑй ОлкоттЧитать онлайн книгу.
just and good. She must have a good time in a nice little home of her own some day, as we often plan. But waiting is so hard!
August, 1850.–School is hard work, and I feel as though I should like to run away from it. But my children get on; so I travel up every day, and do my best.
I get very little time to write or think; for my working days have begun, and when school is over Anna wants me; so I have no quiet. I think a little solitude every day is good for me. In the quiet I see my faults, and try to mend them; but, deary me, I don't get on at all.
I used to imagine my mind a room in confusion, and I was to put it in order; so I swept out useless thoughts and dusted foolish fancies away, and furnished it with good resolutions and began again. But cobwebs get in. I'm not a good housekeeper, and never get my room in nice order. I once wrote a poem about it when I was fourteen, and called it "My Little Kingdom." It is still hard to rule it, and always will be I think.
Reading Miss Bremer and Hawthorne. The "Scarlet Letter" is my favorite. Mother likes Miss B. better, as more wholesome. I fancy "lurid" things, if true and strong also.
Anna wants to be an actress, and so do I. We could make plenty of money perhaps, and it is a very gay life. Mother says we are too young, and must wait. A. acts often splendidly. I like tragic plays, and shall be a Siddons if I can. We get up fine ones, and make harps, castles, armor, dresses, water-falls, and thunder, and have great fun.
It was at this period of her life that she was violently attacked by a mania for the stage, and the greater part of her leisure time was given to writing and enacting dramas. Her older sister, Anna, had the same taste, and assisted her in carrying out all her plans. A family of great talent with whom they were intimate joined with them, and their mother always allowed them to have all the private theatricals they wished to perform.
Some of these early plays are preserved in manuscripts as she wrote them. They are written in stilted, melodramatic style, full of highstrung sentiments of loyalty, honor and devotion, with the most improbable incidents and violent devices, and without a touch of common life or the slightest flavor of humor. The idea of self-sacrifice always comes into them; but they are thoroughly girlish. It is so that girls dream and feel before they know life at all. Their hearts are full of vague, restless longings, and they seek some vent for the repressed energies of their natures away from the prosaic realities of the present. While Louisa sat sewing the tedious seams of her daily task what a relief it was to let her imagination run riot among the wildest and most exciting scenes. Of course she had a "Bandit's Bride" among her plays. "The Captive of Castile; or, The Moorish Maiden's Vow," is preserved entire, and is a good specimen of these girlish efforts. It is full of surprises and concealments, and the denouement is as unnatural as could well be imagined. The dialogue is often bright and forcible, and the sentiments always lofty, and we have no doubt it seemed very grand to the youthful audience. It is taken from her reading, with no touch of her own life in it. This is not the same play described with such a ludicrous finale in "Little Women," although the heroine bears the same favorite name of Zara. Her own early amusement was, however, fully in her mind when she wrote that scene, which is true to fact.
A friend and relative of the family living in Roxbury, Dr. Windship, was much interested in the development of Louisa's dramatic talent. The girls always enjoyed delightful visits at his house. He tried to help the young dramatist to public success, and writes to her mother:–
I have offered to Mr. Barry of the Boston Theatre Louisa's "Prima Donnas." He is very much pleased with it just as it is, and will bring it out this season in good style. He thinks it will have a fine run.
Mrs. Barry and Mrs. Wood consented to take the principal characters. But from some difficulty in the arrangements "The Rival Prima Donnas" was not produced. One great pleasure was gained, however, as Mr. Barry gave her a free pass to the theatre, which proved a source of constant refreshment and delight.
Of course Louisa was eager to go on to the stage herself. She had indeed extraordinary dramatic power, and could at any time quickly transform herself into Hamlet, and recite a scene with tragic effect. But the careful mother knew better than the girl the trials and dangers of the profession, and dissuaded her from it. She also knew how little such youthful facility of expression indicates the power which will make a great actress. Louisa has reproduced her dramatic experience in "Work," which gives a picture faithful in spirit and in many of its details to this phase of her life. She here indicates a knowledge of her own limitation of talent. "Christie's gala" was a part quite after her own heart.
A farce, called "Nat Batchelor's Pleasure Trip; or, The Trials of a Good-natured Man," was brought out at the Howard Athenaeum. The papers of the day said of it: "It is a creditable first attempt at dramatic composition, and received frequent applause." Another critic says: "It proved a full success." This performance, however, took place in 1860,–a later period than that of which I am now speaking.
An incident which occurred at this representation probably suggested scenes which recur in "Work" and other of Miss Alcott's stories.
Quite a hit was made by a little girl, a Miss Jones, who, having to speak but a few lines, spoke them so well that upon her exit she received the rare compliment of an enthusiastic recall from the audience, despite the fact that "some necessary question of the play was then to be considered." For the time being she certainly was the sensation of the piece.
Miss Alcott had in Dr. Windship a kind and judicious helper in her dramatic undertakings, with whom she kept up a correspondence under the names of Beaumont and Fletcher.
In 1851 Louisa had an experience which she has reproduced in her story called "How I Went Out to Service." Her mother's work among the poor of Boston led to her being applied to for employment, and at one time she kept a regular intelligence office. A gentleman came to her seeking a companion for his aged father and sister, who was to do only light work, and to be treated with the greatest respect and kindness. As Mrs. Alcott did not readily think of any who would fill the place, the impulsive Louisa suggested, "Why couldn't I go, Mother?" She went, and had two months of disappointment and painful experience which she never forgot. She wrote out the story which was published later, called "How I Went Out to Service."
The story has an important lesson for those who condemn severely young girls who prefer the more independent life of the factory or shop to what is considered the safety and comfort of service in families. If a girl like Louisa Alcott, belonging to a well-known, highly esteemed family, and herself commanding respect by her abilities and character, could be treated with such indignity by a family in which no one would have feared to place her, how much may not a poor unfriended girl be called upon to endure!
Journal.
1851.–We went to a meeting, and heard splendid speaking from Phillips, Channing, and others. People were much excited, and cheered "Shadrack and liberty," groaned for "Webster and slavery," and made a great noise. I felt ready to do anything,–fight or work, hoot or cry,–and laid plans to free Simms. I shall be horribly ashamed of my country if this thing happens and the slave is taken back.
[He was.–L. M. A.]
1852.–High Street, Boston.–After the small-pox summer, we went to a house in High Street. Mother opened an intelligence office, which grew out of her city missionary work and a desire to find places for good girls. It was not fit work for her, but it paid; and she always did what came to her in the way of duty or charity, and let pride, taste, and comfort suffer for love's sake.
Anna and I taught; Lizzie was our little housekeeper,–our angel in a cellar kitchen; May went to school; father wrote and talked when he could get classes or conversations. Our poor little home had much love and happiness in it, and was a shelter for lost girls, abused wives, friendless children, and weak or wicked men. Father and Mother had no money to give, but gave them time, sympathy, help; and if blessings would make them rich, they would be millionnaires. This is practical Christianity.
My first story was printed, and $5 paid for it. It was written in Concord when I was sixteen. Great rubbish! Read it aloud to sisters, and when they praised it, not knowing the author, I proudly announced her name.
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