THE COLLECTED WORKS OF LOUISA MAY ALCOTT (Illustrated Edition). Louisa May Alcott

and come up to me all interest to say, "One girl hasn't got a doll, ma'am, and looks so disappointed."

      After the hospital, we went to the idiot house; and there I had a chance to see faces and figures that will haunt me a long time. A hundred or so of half-grown boys and girls ranged down a long hall, a table of toys in the middle, and an empty one for Mrs. G.'s gifts. A cheer broke out as the little lady hurried in waving her handkerchief and a handful of gay bead necklaces, and "Oh! Ohs!" followed the appearance of the doll-lady and the candy man.

      A pile of gay pictures was a new idea, and Mrs. G. told me to hold up some bright ones and see if the poor innocents would understand and enjoy them. I held up one of two kittens lapping spilt milk, and the girls began to mew and say "Cat! ah, pretty." Then a fine horse, and the boys bounced on their benches with pleasure; while a ship in full sail produced a cheer of rapture from them all.

      Some were given out to the good ones, and the rest are to be pinned round the room; so the pictures were a great success. All wanted dolls, even boys of nineteen; for all were children in mind. But the girls had them, and young women of eighteen cuddled their babies and were happy. The boys chose from the toy-table, and it was pathetic to see great fellows pick out a squeaking dog without even the wit to pinch it when it was theirs. One dwarf of thirty-five chose a little Noah's ark, and brooded over it in silent bliss.

      Some with beards sucked their candy, and stared at a toy cow or box of blocks as if their cup was full. One French girl sang the Marseillaise in a feeble voice, and was so overcome by her new doll that she had an epileptic fit on the spot, which made two others go off likewise; and a slight pause took place while they were kindly removed to sleep it off.

      A little tot of four, who hadn't sense to put candy in its mouth, was so fond of music that when the girls sang the poor vacant face woke up, and a pair of lovely soft hazel eyes stopped staring dully at nothing, and went wandering to and fro with light in them, as if to find the only sound that can reach its poor mind.

      I guess I gave away two hundred dolls, and a soap-box of candy was empty when we left. But rows of sticky faces beamed at us, and an array of gay toys wildly waved after us, as if we were angels who had showered goodies on the poor souls.

      Pauper women are nurses; and Mrs. G. says the babies die like sheep, many being deserted so young nothing can be hoped or done for them. One of the teachers in the idiot home was a Miss C., who remembered Nan at Dr. Wilbur's. Very lady-like, and all devotion to me. But such a life! Oh, me! Who can lead it, and not go mad?

      At four, we left and came home, Mrs. G. giving a box of toys and sweeties on board the boat for the children of the men who run it. So leaving a stream of blessings and pleasures behind her, the dear old lady drove away, simply saying, "There now, I shall feel better for the next year!" Well she may; bless her!

      She made a speech to the chapel children after the Commissioner had prosed in the usual way, and she told 'em that she should come as long as she could, and when she was gone her children would still keep it up in memory of her; so for thirty years more she hoped this, their one holiday, would be made happy for them. I could have hugged her on the spot, the motherly old dear!

      Next Wednesday we go to the Tombs, and some day I am to visit the hospital with her, for I like this better than parties, etc.

      I got home at five, and then remembered that I'd had no lunch; so I took an apple till six, when I discovered that all had dined at one so the helpers could go early this evening. Thus my Christmas day was without dinner or presents, for the first time since I can remember. Yet it has been a very memorable day, and I feel as if I'd had a splendid feast seeing the poor babies wallow in turkey soup, and that every gift I put into their hands had come back to me in the dumb delight of their unchild-like faces trying to smile.

      After the pleasant visit in New York, Miss Alcott returned to Boston, where she went into society more than usual, often attending clubs, theatres, and receptions. She was more lionized than ever, and had a natural pleasure in the attention she received.

      The summer of 1876 she spent at Concord, nursing her mother, who was very ill. She here wrote "Rose in Bloom," the sequel to "Eight Cousins," in three weeks. It was published in November.

      Louisa was anxious that her sister should have a home for her young family. Mrs. Pratt invested what she could of her husband's money in the purchase, and Louisa contributed the rest. This was the so-called Thoreau House on the main street in Concord, which became Mrs. Pratt's home, and finally that of her father.

      Louisa spent the summer of 1877 in Concord. Her mother's illness increased, and she was herself very ill in August. Yet she wrote this summer one of her brightest and sweetest stories, "Under the Lilacs." Her love of animals is specially apparent in this book, and she records going to the circus to make studies for the performing dog Sanch.

      During the winter of 1877, Miss Alcott went to the Bellevue for some weeks, and having secured the necessary quiet, devoted herself to the writing of a novel for the famous No Name Series published by Roberts Brothers. This book had been in her mind for some time, as is seen by the journal. As it was to appear anonymously, and was not intended for children, she was able to depart from her usual manner, and indulge the weird and lurid fancies which took possession of her in her dramatic days, and when writing sensational stories. She was much interested, and must have written it very rapidly, as it was published in April. She enjoyed the excitement of her incognito, and was much amused at the guesses of critics and friends, who attributed the book to others, and were sure Louisa Alcott did not write it, because its style was so unlike hers.

      It certainly is very unlike the books Miss Alcott had lately written. It has nothing of the home-like simplicity and charm of "Little Women," "Old-Fashioned Girl," and the other stories with which she was delighting the children, and, with "Moods," must always be named as exceptional when speaking of her works. Still, a closer study of her life and nature will reveal much of her own tastes and habits of thought in the book; and it is evident that she wrote con amore, and was fascinated by the familiars she evoked, however little charm they may seem to possess to others. She was fond of Hawthorne's books. The influence of his subtle and weird romances is undoubtedly perceptible in the book, and it is not strange that it was attributed to his son. She says it had been simmering in her brain ever since she read "Faust" the year before; and she clearly wished to work according to Goethe's thought,–that the Prince of Darkness was a gentleman, and must be represented as belonging to the best society.

      The plot is powerful and original. A young poet, with more ambition than genius or self-knowledge, finds himself, at nineteen, friendless, penniless, and hopeless, and is on the point of committing suicide. He is saved by Helwyze, a middle-aged man, who has been severely crippled by a terrible fall, and his heart seared by the desertion of the woman he loved. A man of intellect, power, imagination, and wealth, but incapable of conscientious feeling or true love, he is a dangerous savior for the impulsive poet; but he takes him to his home, warms, feeds, and shelters him, and promises to bring out his book. The brilliant, passionate woman who gave up her lover when his health and beauty were gone, returned to him when youth had passed, and would gladly have devoted herself to soothing his pain and enriching his life. Her feeling is painted with delicacy and tenderness.

      But Helwyze's heart knew nothing of the divine quality of forgiveness; for his love there was no resurrection; and he only valued the power he could exercise over a brilliant woman, and the intellectual entertainment she could bring him. A sweet young girl, Olivia's protegee, completes the very limited dramatis personæ.

      The young poet, Felix Canaris, under the guidance of his new friend, wins fame, success, and the young girl's heart; but his wayward fancy turns rather to the magnificent Olivia. The demoniac Helwyze works upon this feeling, and claims of Olivia her fair young friend Gladys as a wife for Felix, who is forced to accept her at the hands of his master. She is entirely responsive to the love which she fancies she has won, and is grateful for her fortunate lot, and devotes herself to the comfort and happiness of the poor invalid who delights in her beauty and grace. For a time Felix enjoys a society success, to which his charming wife, as well as his book, contribute. But at last this excitement flags. He writes another book, which he threatens to burn