“She’s coming! strike up, Beth, open the door, Amy. Three cheers for Marmee!” cried Jo, prancing about, while Meg went to conduct mother to the seat of honor.
Beth played her gayest march, Amy threw open the door, and Meg enacted escort with great dignity.
Mrs. March was both surprised and touched; and smiled with her eyes full as she examined her presents, and read the little notes which accompanied them. The slippers went on at once, a new handkerchief was slipped into her pocket, well scented with Amy’s Cologne, the rose was fastened in her bosom, and the nice gloves were pronounced “a perfect fit.”
There was a good deal of laughing, and kissing, and explaining, in the simple, loving fashion which makes these home-festivals so pleasant at the time, so sweet to remember long afterward, and then all fell to work.
The morning charities and ceremonies took so much time, that the rest of the day was devoted to preparations for the evening festivities. Being still too young to go often to the theatre, and not rich enough to afford any great outlay for private performances, the girls put their wits to work, and, necessity being the mother of invention, made whatever they needed. Very clever were some of their productions;6 paste-board guitars, antique lamps made of old-fashioned butter-boats, covered with silver paper, gorgeous robes of old cotton, glittering with tin spangles from a pickle factory, and armor covered with the same useful diamond-shaped bits, left in sheets when the lids of tin preserve-pots were cut out. The furniture was used to being turned topsy-turvy, and the big chamber was the scene of many innocent revels.
A remarkable number of props and costumes from the Alcott girls’ home theatricals have been lovingly preserved at Orchard House. (Photograph by James E. Coutré)
No gentlemen were admitted; so Jo played male parts to her heart’s content, and took immense satisfaction in a pair of russet-leather boots given her by a friend, who knew a lady who knew an actor. These boots, an old foil, and a slashed doublet once used by an artist for some picture, were Jo’s chief treasures, and appeared on all occasions. The smallness of the company made it necessary for the two principal actors to take several parts apiece; and they certainly deserved some credit for the hard work they did in learning three or four different parts, whisking in and out of various costumes,7 and managing the stage besides. It was excellent drill for their memories, a harmless amusement, and employed many hours which otherwise would have been idle, lonely, or spent in less profitable society.
On Christmas night, a dozen girls piled on to the bed, which was the dress circle, and sat before the blue and yellow chintz curtains, in a most flattering state of expectancy. There was a good deal of rustling and whispering behind the curtain, a trifle of lamp-smoke, and an occasional giggle from Amy, who was apt to get hysterical in the excitement of the moment. Presently a bell sounded, the curtains flew apart, and the Operatic Tragedy began.
“A gloomy wood,” according to the one play-bill, was represented by a few shrubs in pots, a green baize8 on the floor, and a cave in the distance. This cave was made with a clothes-horse for a roof, bureaus for walls; and in it was a small furnace in full blast, with a black pot on it, and an old witch bending over it. The stage was dark, and the glow of the furnace had a fine effect, especially as real steam issued from the kettle when the witch took off the cover. A moment was allowed for the first thrill to subside; then Hugo, the villain, stalked in with a clanking sword at his side, a slouched hat, black beard, mysterious cloak, and the boots. After pacing to and fro in much agitation, he struck his forehead, and burst out in a wild strain, singing of his hatred to Roderigo, his love for Zara, and his pleasing resolution to kill the one and win the other. The gruff tones of Hugo’s voice, with an occasional shout when his feelings overcame him, were very impressive, and the audience applauded the moment he paused for breath. Bowing with the air of one accustomed to public praise, he stole to the cavern and ordered Hagar to come forth with a commanding “What ho! minion! I need thee!”
Melodrama fills the air as the March sisters stage a play in the 1933 film. (Photofest)
Out came Meg, with gray horse-hair hanging about her face, a red and black robe, a staff, and cabalistic signs upon her cloak. Hugo demanded a potion to make Zara adore him, and one to destroy Roderigo. Hagar, in a fine dramatic melody, promised both, and proceeded to call up the spirit who would bring the love philter:—
“Hither, hither, from thy home,
Airy sprite, I bid thee come!
Born of roses, fed on dew,
Charms and potions canst thou brew?
Bring me here, with elfin speed,
The fragrant philter which I need;
Make it sweet, and swift and strong;
Spirit, answer now my song!”
A soft strain of music sounded, and then at the back of the cave appeared a little figure in cloudy white, with glittering wings, golden hair, and a garland of roses on its head. Waving a wand, it sung:—
“Hither I come,
From my airy home,
Afar in the silver moon;
Take the magic spell,
Oh, use it well!
Or its power will vanish soon!”
and dropping a small gilded bottle at the witch’s feet, the spirit vanished. Another chant from Hagar produced another apparition,—not a lovely one, for, with a bang, an ugly, black imp appeared, and having croaked a reply, tossed a dark bottle at Hugo, and disappeared with a mocking laugh. Having warbled his thanks, and put the potions in his boots, Hugo departed; and Hagar informed the audience that, as he had killed a few of her friends in times past, she has cursed him, and intends to thwart his plans, and be revenged on him. Then the curtain fell, and the audience reposed and ate candy while discussing the merits of the play.
A good deal of hammering went on before the curtain rose again; but when it became evident what a masterpiece of stage carpentering9 had been got up, no one murmured at the delay. It was truly superb! A tower rose to the ceiling; half-way up appeared a window with a lamp burning at it, and behind the white curtain appeared Zara in a lovely blue and silver dress, waiting for Roderigo. He came, in gorgeous array, with plumed cap, red cloak, chestnut love-locks, a guitar, and the boots, of course. Kneeling at the foot of the tower, he sung a serenade in melting tones. Zara replied, and after a musical dialogue, consented to fly. Then came the grand effect of the play. Roderigo produced a rope-ladder with five steps to it, threw up one end, and invited Zara to descend. Timidly she crept from her lattice, put her hand on Roderigo’s shoulder, and was about to leap gracefully down, when, “alas, alas, for Zara!” she forgot her train,—it caught in the window; the tower tottered, leaned forward, fell with a crash,10 and buried the unhappy lovers in the ruins!
A universal shriek arose as the russet boots waved wildly from the wreck, and a golden head emerged, exclaiming, “I told you so! I told you so!” With wonderful presence of mind Don Pedro, the cruel sire, rushed in, dragged out his daughter with a hasty aside,—
“Don’t laugh, act as if it was all right!” and ordering Roderigo up, banished him from the kingdom with wrath and scorn. Though decidedly shaken by the fall of the tower upon him, Roderigo defied the old gentleman, and refused to stir. This dauntless example fired Zara; she also defied her sire, and he ordered them both to the deepest dungeons of the castle. A stout little retainer came in with chains, and led them away, looking very much frightened, and evidently forgetting the speech he ought to have made.
Act third was the castle hall; and here Hagar appeared, having come to free the lovers and finish Hugo. She hears him coming, and hides; sees him put the potions into two cups of wine, and bid the timid little servant “Bear them to the captives in their cells, and tell them I shall come anon.” The servant takes Hugo aside to tell him something, and Hagar changes the cups for two others which are harmless. Ferdinando, the “minion,” carries them away, and Hagar puts back the cup which holds the poison meant for Roderigo. Hugo, getting thirsty after a long warble, drink
s it, loses his wits, and after a good deal of clutching and stamping, falls flat and dies; while Hagar informs him what she has done in a song of exquisite power and melody.
This was a truly thrilling scene; though some persons might have thought that the sudden tumbling down of a quantity of long hair rather marred the effect of the villain’s death. He was called before the curtain, and with great propriety appeared leading Hagar, whose singing was considered more wonderful than all the rest of the performance put together.
Act fourth displayed the despairing Roderigo on the point of stabbing himself, because he has been told that Zara has deserted him. Just as the dagger is at his heart, a lovely song is sung under his window, informing him that Zara is true, but in danger, and he can save her if he will. A key is thrown in, which unlocks the door, and in a spasm of rapture he tears off his chains, and rushes away to find and rescue his lady-love.
Act fifth opened with a stormy scene between Zara and Don Pedro. He wishes her to go into a convent, but she won’t hear of it; and, after a touching appeal, is about to faint, when Roderigo dashes in and demands her hand. Don Pedro refuses, because he is not rich. They shout and gesticulate tremendously, but cannot agree, and Roderigo is about to bear away the exhausted Zara, when the timid servant enters with a letter and a bag from Hagar, who has mysteriously disappeared. The latter informs the party that she bequeaths untold wealth to the young pair, and an awful doom to Don Pedro if he doesn’t make them happy. The bag is opened, and several quarts of tin money shower down upon the stage, till it is quite glorified with the glitter. This entirely softens the “stern sire;” he consents without a murmur, all join in a joyful chorus, and the curtain falls upon the lovers kneeling to receive Don Pedro’s blessing, in attitudes of the most romantic grace.
Tumultuous applause followed, but received an unexpected check; for the cot-bed on which the “dress circle” was built, suddenly shut up, and extinguished the enthusiastic audience. Roderigo and Don Pedro flew to the rescue, and all were taken out unhurt, though many were speechless with laughter. The excitement had hardly subsided when Hannah appeared, with “Mrs. March’s compliments, and would the ladies walk down to supper.”
This was a surprise, even to the actors; and when they saw the table they looked at one another in rapturous amazement. It was like “Marmee” to get up a little treat for them, but anything so fine as this was unheard of since the departed days of plenty. There was ice cream, actually two dishes of it,—pink and white,—and cake, and fruit, and distracting French bonbons,11 and in the middle of the table four great bouquets of hot-house flowers!
It quite took their breath away; and they stared first at the table and then at their mother, who looked as if she enjoyed it immensely.
“Is it fairies?” asked Amy.
“It’s Santa Claus,” said Beth.
“Mother did it;” and Meg smiled her sweetest, in spite of her gray beard and white eyebrows.
“Aunt March had a good fit, and sent the supper,” cried Jo, with a sudden inspiration.
“All wrong; old Mr. Laurence sent it,” replied Mrs. March.
“The Laurence boy’s grandfather! What in the world put such a thing into his head? We don’t know him,” exclaimed Meg.
“Hannah told one of his servants about your breakfast party; he is an odd old gentleman, but that pleased him. He knew my father, years ago, and he sent me a polite note this afternoon, saying he hoped I would allow him to express his friendly feeling toward my children by sending them a few trifles in honor of the day. I could not refuse, and so you have a little feast at night to make up for the bread and milk breakfast.”
“That boy put it into his head, I know he did! He’s a capital fellow, and I wish we could get acquainted. He looks as if he’d like to know us; but he’s bashful, and Meg is so prim she won’t let me speak to him when we pass,” said Jo, as the plates went round, and the ice began to melt out of sight, with ohs! and ahs! of satisfaction.
“You mean the people who live in the big house next door, don’t you?” asked one of the girls. “My mother knows old Mr. Laurence, but says he’s very proud, and don’t like to mix with his neighbors. He keeps his grandson shut up when he isn’t riding or walking with his tutor, and makes him study dreadful hard. We invited him to our party, but he didn’t come. Mother says he’s very nice, though he never speaks to us girls.”
“Our cat ran away once, and he brought her back, and we talked over the fence, and were getting on capitally, all about cricket, and so on, when he saw Meg coming, and walked off. I mean to know him some day, for he needs fun, I’m sure he does,” said Jo, decidedly.
“I like his manners, and he looks like a little gentleman, so I’ve no objection to your knowing him if a proper opportunity comes. He brought the flowers himself, and I should have asked him in if I had been sure what was going on up stairs. He looked so wistful as he went away, hearing the frolic, and evidently having none of his own.”
“It’s a mercy you didn’t, mother,” laughed Jo, looking at her boots. “But we’ll have another play some time, that he can see. Maybe he’ll help act; wouldn’t that be jolly?”
“I never had a bouquet before; how pretty it is,” and Meg examined her flowers with great interest.
“They are lovely, but Beth’s roses are sweeter to me,” said Mrs. March, sniffing at the half dead posy in her belt.
Beth nestled up to her, and whispered, softly, “I wish I could send my bunch to father. I’m afraid he isn’t having such a merry Christmas as we are.”
1. the other blue. The colors of the girls’ respective testaments correspond to their characters. Jo’s crimson volume suggests the heat of her temper. Beth’s dove-colored book reflects her peacefulness and purity. May Alcott had a particular fondness for the color blue; after her death, the Alcotts received a package containing May’s blue slippers and a lock of her hair tied in a blue ribbon (Louisa May Alcott, Journals, 224).
2. more as a friend than a servant. In the 1860s, it was not unusual for middle-class families to employ live-in domestic help like Hannah. However, we have no records to show that the Alcotts employed a live-in maid until after the financial success of Little Women finally afforded them the means to do so.
3. “give them your breakfast as a Christmas present?” Even when her family was at its poorest, Abba Alcott was in the habit of befriending families that were still less fortunate. For instance, when the Alcotts lived in Walpole, New Hampshire, in 1856, she saw to the needs of a family known as the Halls, who lived in a space above a cellar where pigs had recently been kept. The landlord cleaned the cellar only after Abba threatened legal action. The Halls were a model for the Hummels in Little Women.
4. “Sancho.” A term commonly used by New England mothers to upbraid bad boys, as in, “You Sanch!” (Charles T. Brooks, ed., Faust [Boston: Ticknor and Fields, 1860], p. 228, n. 7; I am indebted to Professor Graham Boettcher for this reference). The most obvious literary referent for “Sancho” is Sancho Panza, Don Quixote’s squire. In her bookishness and flights of fancy, Jo may seem more a Quixote than a Sancho, though she and the squire have a degree of earthiness in common. Madelon Bedell has theorized that Alcott’s mother was partly descended from Portuguese Jews, so an actual Iberian connection to the Alcott family may have existed.
5. “That’s loving our neighbor better than ourselves.” The command “Love thy neighbor as thyself” is repeated a half dozen times in the King James version of the Bible: at Leviticus 19:18; Matthew 22:39; Luke 10:27; Romans 13:9; Galatians 5:14; and James 2:8.
6. Very clever were some of their productions. The improvised stage ornamentations, a tribute to the girls’ resourcefulness, echo the inventiveness of the real Alcott girls. For the real family’s theatricals, Anna Alcott recollected, “everything available was pressed into service.” For instance, “Stars of tin, sewed upon dark cambric, made a suit of shining armor. Sandals were cut from old boots. Strips of wood and silver paper were fashioned into d
aggers, swords, and spears, while from cardboard were created helmets, harps, guitars, and antique lamps, that were considered masterpieces of stage art” (Alcott and Pratt, Comic Tragedies, p. 10).
7. whisking in and out of various costumes. Anna Alcott recalled that she and Louisa typically played all the parts, often assuming five or six characters each. May played an occasional “fairy sprite,” and Lizzie enacted a page or messenger when necessary. To accommodate the frequent changes of costume, Anna and Louisa inserted a host of long soliloquies into their scripts (Alcott and Pratt, Comic Tragedies, p. 8).
8. baize. A coarse woolen fabric, typically green, perhaps best known as a covering for pool tables.
9. masterpiece of stage carpentering. Anna recalled that she herself “was especially handy with saw and hammer, and acted as stage-carpenter” for the Alcott extravaganzas, while Louisa was “an admirable stage-manager” (Alcott and Pratt, Comic Tragedies, p. 9).
10. fell with a crash. This is not the only time a stage collapse figures in Alcott’s fiction. In her adult novel Work, a stage set falls and seriously injures Christie Devon, the book’s heroine.
11. bonbons. In addition to its more generic meaning as a sugarplum, a bonbon was also a specific kind of sweet in which the confectioner inserted a “motto” or clever saying, somewhat in the fashion of a modern fortune cookie.
CHAPTER III.
The Laurence Boy.
“JO! Jo! where are you?” cried Meg, at the foot of the garret stairs.
“Here,” answered a husky voice from above; and running up, Meg found her sister eating apples and crying over the “Heir of Redcliffe,”1 wrapped up in a comforter on an old three-legged sofa by the sunny window. This was Jo’s favorite refuge; and here she loved to retire with half a dozen russets and a nice book, to enjoy the quiet and the society of a pet rat who lived near by, and didn’t mind her a particle. As Meg appeared, Scrabble whisked into his hole. Jo shook the tears off her cheeks, and waited to hear the news.
The Annotated Little Women Page 11
