Louisa's writing about plants both in general and specific gives us a glimpse not only into her inner world, but also to how the outer world reflected upon her internally. She was in a unique position to inform us in this way as both an observer and participant of the philosophical and literary movements connected with Transcendentalism.

These short stories were originally written for one of her favorite pupils, Ellen Emerson, daughter of Ralph Waldo Emerson, a family friend and neighbor in Concord, Massachusetts (US). The elder Emerson, of course, was the poet, essayist and philosopher, and one of the greats of the Transcendentalist movement and 19th century American Literature. Though lesser known, Louisa's father, Bronson, was also one of the movement's major members, and Concord was a focal point at this time. Henry David Thoreau was also a Concord contemporary, and these stories were written about the time he returned from his stay at Walden Pond. He had also acted as the Alcott girls' tutor one summer when he needed the cash. The grand experiment in Transcendentalist living at Fruitlands in Harvard, MA had also already taken place by 1847. A powerful adventure for the entire Alcott family -- and ultimately a grand failure -- it most certainly was a formative experience for Louisa.

By character, Louisa was a physically and mentally restless girl who found great release and peace by being outside in the natural world. The fields and forests were her haunts, and long daily runs her pleasure. All of this personal history makes her a particularly interesting and unusual source of intuitive information about plants.

Annie is a "bad" child, given to selfishness, cruelty, and unkindness. As the story opens, she is found weeping by a flower fairy, whom she asks to teach her to be patient and gentle. The fairy gives her a gift from "her bosom [of a] graceful flower, whose show-white leaves shone with a strange soft light."

This "fairy flower" is placed in Annie's bosom. It is to help her become aware of her behavior: when she is having loving thoughts or doing good deeds, it rewards her with a beautiful scent. When she is unkind or indulging in unloving thoughts, it sounds a low chime of warning. The fairy promises to return in a year to see of her progress.

At first, Annie tries to please the flower to get the reward of the scent and to avoid the warning bell. But as time went on, she pays less and less attention to it, ignoring the increasing chime, causing the flower to wilt and lose some of its lustre. She grows increasingly unhappy, self-absorbed, self-pitying, and unpleasant. Eventually, she becomes angry at the flower and the fairy, wishing the fairy to come and take the flower from her, as this was the only way to rid herself of it.

In Louisa's Own Hand Since I live in Concord, Massachusetts, I had the delightful opportunity to read both a first edition of "Flower Fables" and an original 1847 manuscript containing some of the fairy stories. Bound in a little homemade booklet, covered in fancy paper and tied with a pink ribbon, the manuscript contains three stories (only one published in "Flower Fables") in Louisa's own rather small handwriting. Its front page is a preface to Ellen Emerson and reads in part: "Dear Nellie.....Give my love to the Concord Fairies if you chance to see them, though I believe they spend their winters in Italy on a count (sic) of our climate. Still you may find them whom the gout or rheumatism keeps behind..." Find your own copy of the new edition at your local library, bookstore, or through Amazon Books Many thanks to the Concord Free Public Library curator, Leslie Perrin Wilson, for her help.

A year passes, and she wanders through the gardens, fields, and forests searching for the fairy. During her journey, she falls asleep in the forest. The fairy appears and gives her a powerful dream.

In the dream, the fairy animates her "evil" thoughts and great unhappiness so she can clearly see them and the affect they have had upon her life. The fairy reveals that Annie had grown to cherish the selfish, wicked thoughts in her heart. Annie is shown how her they have come to wield great power over her...that she has become their slave. She sees the deep shadows they cast, which together form a high wall "shutting out all she loved."

Yet, the fairy flower at her breast still shone, and as it's light swelled, the evil spirits and shadows lost power. Annie drew strength and encouragement from this, and together they turned the tide of evil which had her in its grasp.

Annie awakens and promises to strive "to bring back light and beauty..." and over the next year "[grows] richer in her love of others." The flower glows and thrives in her bosom. She becomes a shining, loving example to all around her, filled with gratitude and appreciation for life.

When Annie next sees the her, the flower fairy gives her another great gift: she is allowed to see the elves and fairies in all the flowers and trees. To hear their sweet singing...to know the whisper of the butterflies. She is told "...few are the mortals to whom we give this lovely gift...these fair things are your friends and playmates now, and they will teach you many happy lessons, and give you many happy hours..."

Metaphor for Essence Therapy
If there is a better account of the way flower essences affect change -- particularly on the emotional plane -- it has not yet been published. Those of us who use essences know they are, indeed, magical, and shine with a lustrous light. They help us become more aware of the ways in which our thoughts, feelings, and attitudes create misery or joy for us and those around us. Essences help us reconnect with our innate strengths so that we may reconsider our choices and initiate change. They also enliven our knowledge of the world of Nature.

Though she knew nothing of the subject, Louisa so beautifully illustrates the interplay between essences and our awareness of ourselves and our choices. Annie is made conscious of her strengths and faults through her interaction with the fairy flower. And this magical flower reminds her of her own ability to create beauty within and around her. It is not the flower which changes her life: it is ANNIE who, though a shifting perspective inspired by the flower, brings a renewed self to her world.

Like her, we sometimes become angry at the flower for not taking care of our problems without involving or inconveniencing us. It is common that we forget it is the combination of our own lifeforce, awareness and personal will which creates change...not the essence itself. Vibrational essences inspire us and give us the opportunity to reconnect to our own innate health and power. "Flower Fables" reminds us that essences are not themselves the healing agent but the catalyst to that agent.

Sources: Alcott, Louisa May, "Flower Fables," George W. Briggs & Co, Boston, 1855.
Alcott, Louisa May, original manuscript, owned by the Concord (Massachusetts) Free Public Library, written 1847.
Cheney, Ednah D., ed, "Life, Letters and Journals of Louisa May Alcott," Roberts Brothers, Boston, 1889
Elbert, Sarah, "A Hunger for Home," Temple University, Philadelphia, 1984.
Greene, Carol, "Louisa May Alcott: Author, Nurse, Suffragette," Childrens Press, Chicago, 1984.

ABOUT THE AUTHOR: Deborah Bier, M.Ed is a co-editor of this publication and the founder of the World Wide Essence Society. She is the maker of Whole Energy Essences, fruit, flower, gem, fullmoonlight and LifeStage essences. An educator and holistic health care practitioner, her practice in Concord and Brookline Massachusetts includes energy work, psychotherapy, and essences. Deborah is an internationally-published writer on food, health, and healing.

DESIGN CREDITS: The background was designed by Toadstool Graphics. Graphics by Rhymester.

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