Little Women by Louisa May Alcott

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Little Women by Louisa May Alcott





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Plot Overview



A lcott prefaces Little Women with an excerpt from John Bunyan’s seventeenth-century work The Pilgrim’s Progress, an allegorical novel about leading a Christian life. Alcott’s story begins with the four March girls—Meg, Jo, Beth, and Amy—sitting in their living room, lamenting their poverty. The girls decide that they will each buy themselves a present in order to brighten their Christmas. Soon, however, they change their minds and decide that instead of buying presents for themselves, they will buy presents for their mother, Marmee. Marmee comes home with a letter from Mr. March, the girls’ father, who is serving as a Union chaplain in the Civil War. The letter inspires the girls to bear their burdens more cheerfully and not to complain about their poverty.

On Christmas morning, the girls wake up to find books, probably copies of The Pilgrim’s Progress, under their pillows. Later that day, Marmee encourages them to give away their breakfast to a poor family, the Hummels. Their elderly neighbor, Mr. Laurence, whom the girls have never met, rewards their charitable activities by sending over a feast. Soon, Meg and Jo are invited to attend a New Year’s Party at the home of Meg’s wealthy friend, Sally Gardiner. At the party, Jo retreats to an alcove, and there meets Laurie, the boy who lives with Mr. Laurence. While dancing, Meg sprains her ankle. Laurie escorts the sisters home. The Marches regret having to return to their daily routine after the holiday festivities.

Jo visits Laurie when he is sick, and meets his grandfather, Mr. Laurence. She inadvertently insults a painting of Mr. Laurence in front of the man himself. Luckily, Laurie’s grandfather admires Jo’s spunk, and they become friends. Soon, Mr. Laurence meets all the sisters, and Beth becomes his special favorite. Mr. Laurence gives her his deceased granddaughter’s piano.

The girls have various adventures. Amy is caught trading limes at school, and the teacher hits her as punishment. As a result, Mrs. March withdraws her daughter from school. Jo refuses to let Amy go with her to the theater. In retaliation, Amy burns Jo’s manuscript, and Jo, in her anger, nearly lets Amy drown while ice-s-kating. Pretty Meg attends her friend Annie Moffat’s party and, after allowing the other girls to dress her up in high style, learns that appearances are not everything. While at the party, she hears that people think she intends to marry Laurie for his money.

That year, the Marches form the Pickwick Club, in which they write a family newspaper. In the spring, Jo smuggles Laurie into one of the club meetings, and he becomes a member, presenting his new circle with a postbox. At the beginning of June, the Marches decide to neglect their housework. At the end of a lazy week, Marmee takes a day off too. The girls spoil a dinner, but everyone ends up laughing over it. One day, Laurie has English friends over, and the Marches go on a picnic with them. Later, Jo gets a story published for the first time.

One dark day, the family receives a telegram saying that Mr. March is sick in the hospital in Washington, D.C. Marmee goes to tend to him, and Jo sells her hair to help finance the trip. Chaos ensues in Marmee’s wake, for the girls neglect their chores again. Only Beth goes to visit the Hummels, and after one of her visits, she contracts scarlet fever from the Hummel baby. Beth teeters on the brink of death until Marmee returns. Meanwhile, Amy spends time at Aunt March’s house in order to escape the disease. Beth recovers, though not completely, and Mr. Brooke, Laurie’s tutor, falls in love with Meg, much to Jo’s dismay. Mr. Brooke and Meg are engaged by the end of Part One.

Three years pass before Part Two begins. Mr. March is home from the war, and Laurie is nearly done with school. Soon, Meg marries and moves into a new home with Mr. Brooke. One day, Amy decides to have a lunch for her art school classmates, but poor weather ruins the festivities. Jo gets a novel published, but she must cut it down in order to please her publishers. Meanwhile, Meg struggles with the duties of keeping house, and she soon gives birth to twins, Demi and Daisy. Amy gets to go to Paris instead of Jo, who counted on the trip, because their Aunt Carroll prefers Amy’s ladylike behavior in a companion.

Jo begins to think that Beth loves Laurie. In order to escape Laurie’s affections for her, Jo moves to New York so as to give Beth a chance to win his affections. There Jo meets Professor Bhaer, a poor German language instructor. Professor Bhaer discourages Jo from writing sensationalist stories, and she takes his advice and finds a simpler writing style. When Jo returns home, Laurie proposes to her, but she turns him down. Beth soon dies.

Amy and Laurie reunite in France, and they fall in love. They marry and return home. Jo begins to hope that Professor Bhaer will come for her. He does, and they marry a year later. Amy and Laurie have a daughter named Beth, who is sickly. Jo inherits Plumfield, Aunt March’s house, and decides to turn it into a boarding school for boys. The novel ends with the family happily gathered together, each sister thankful for her blessings and for each other.

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Analysis of Major Characters




Jo March

The main character of Little Women, Jo is an outspoken tomboy with a passion for writing. Her character is based in large part on Louisa May Alcott herself. Jo refuses Laurie’s offer of marriage, despite the fact that everyone assumes they will end up together. In the end, Jo gives up her writing and marries Professor Bhaer, which can be seen either as a domestic triumph or as a professional loss, since Jo loses her headstrong independence.

Because she displays good and bad traits in equal measure, Jo is a very unusual character for nineteenth-century didactic fiction. Jo’s bad traits—her rebelliousness, anger, and outspoken ways—do not make her unappealing; rather, they suggest her humanity. Jo is a likely precursor to a whole slew of lovably flawed heroes and heroines of children’s books, among them Mark Twain’s Tom Sawyer.

Beth March

The third March sister, Beth is very shy and quiet. Like Meg, she always tries to please other people, and like Jo, she is concerned with keeping the family together. Beth struggles with minor faults, such as her resentment for the housework she must do.

Beth resembles an old-fashioned heroine like those in the novels of the nineteenth-century English author Charles Dickens. Beth is a good person, but she is also a shade too angelic to survive in Alcott’s more realistic fictional world. With Beth’s death, Alcott lets an old type of heroine die off. The three surviving March sisters are strong enough to live in the changing real world.

Beth is close to Jo; outgoing Jo and quiet Beth both have antisocial tendencies. Neither of them wants to live in the world the way it is, with women forced to conform to social conventions of female behavior. Similarly, it is not surprising that Meg and Amy are particularly close to each other, since generous Meg and selfish Amy both find their places within a gendered world.

Amy March

The youngest March sister, Amy is an artistic beauty who is good at manipulating other people. Unlike Jo, Amy acts as a perfect lady because it pleases her and those around her. She gets what she wants in the end: popularity, the trip to Europe, and Laurie. Amy serves as a foil—a character whose attitudes or emotions contrast with, and thereby accentuate, those of another character—for Jo, who refuses to submit to the conventions of ladyhood. Both artists struggle to balance society’s expectations with their own natural inclinations. The more genuine of the two and the more generous, Jo compares favorably to Amy. Both characters, however, are more lovable and real for their flaws.

Meg March

The oldest March sister, Meg battles her girlish weakness for luxury and money, and ends up marrying a poor man she loves. Meg represents the conventional and good; she is similar to her mother, for whom she was named. Meg sometimes tries to alter who she is in order to please other people, a trait that comes forth when she allows other girls to dress her up like a rich girl at her friend Annie Moffat’s house. She becomes an agreeable housewife, pretending to like politics because her husband does, and forgoing luxury because her husband is poor.

Laurie Laurence

The Marches’ charming, fun, and intelligent next-door neighbor, Laurie becomes particularly close to Jo but ends up marrying Amy. In between the publication of Part One and Part Two, Alcott received many letters asking her to marry Jo to Laurie. Perhaps to simultaneously please her readers and teach them a lesson, Alcott had Jo get married, but not to Laurie.

Laurie struggles with his grandfather’s expectations of him, in a similar manner to the way Jo struggles with becoming a lady. Laurie is not manly enough for his grandfather because he does not want to enter the business world. Likewise, Jo is not feminine enough for her sisters because she swears, soils her gloves, and speaks her mind at all times.

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Themes



Women’s Struggle Between Familial Duty and Personal Growth


While on the surface a simple story about the four March girls’ journeys from childhood to adulthood, Little Women centers on the conflict between two emphases in a young woman’s life—that which she places on herself, and that which she places on her family. In the novel, an emphasis on domestic duties and family detracts from various women’s abilities to attend to their own personal growth. For Jo and, in some cases, Amy, the problem of being both a professional artist and a dutiful woman creates conflict and pushes the boundaries set by nineteenth-century American society.

At the time when Alcott composed the novel, women’s status in society was slowly increasing. As with any change in social norms, however, progress toward gender equality was made slowly. Through the four different sisters, Alcott explores four possible ways to deal with being a woman bound by the constraints of nineteenth-century social expectations: marry young and create a new family, as Meg does; be subservient and dutiful to one’s parents and immediate family, as Beth is; focus on one’s art, pleasure, and person, as Amy does at first; or struggle to live both a dutiful family life and a meaningful professional life, as Jo does. While Meg and Beth conform to society’s expectations of the role that women should play, Amy and Jo initially attempt to break free from these constraints and nurture their individuality. Eventually, however, both Amy and Jo marry and settle into a more customary life. While Alcott does not suggest that one model of womanhood is more desirable than the other, she does recognize that one is more realistic than the other.

The Danger of Gender Stereotyping

Little Women questions the validity of gender stereotypes, both male and female. Jo, at times, does not want to be a conventional female. In her desires and her actions, she frustrates typical gender expectations. She wants to earn a living, for example—a duty conventionally reserved for men. Also, she wears a dress with a burn mark to a party, evidence that she does not possess tremendous social grace, a quality that nineteenth-century American society cultivated in women. Similarly, there are times when Laurie does not want to be a conventional man. He wants to pursue music, at that time a culturally feminine pursuit, instead of business, a culturally masculine pursuit. Even his nickname, Laurie, which he uses in favor of his much more masculine given name, Theodore, suggests his feminine side. Alcott bestows the highest esteem upon Jo and Laurie, who, in their refusal to embody gender stereotypes, willingly expose themselves to particular obstacles.

The Necessity of Work

Over the course of Little Women, the March sisters try to find happiness through daily activities, their dreams, and each other; but when they do not engage in any productive work, they end up guilty and remorseful. When they indulge in selfishness by dressing up in finery, hoarding limes, neglecting chores, or getting revenge, the girls end up unhappy. The only way they find meaningful happiness is when they are working, either for a living or for the benefit of their families. The novel demonstrates the importance of the Puritan work ethic, which dictates that it is holy to do work. This work ethic, in line with the transcendentalist teachings with which Alcott grew up, thrived in New England, where many Puritans lived and where the novel takes place. Alcott ultimately recommends work not as a means to a material end, but rather as a means to the expression of inner goodness and creativity through productivity.

The Importance of Being Genuine

Little Women takes great pains to teach a lesson about the importance of being genuine. To make this point, Alcott contrasts the Marches with more well-to-do young women like Amy Moffat and Sally Gardiner. Transcendentalists emphasized the importance of paying more attention to the inner spiritual self than to temporary, earthly conditions like wealth and impressive appearances, and Alcott incorporates this philosophy into Little Women. For instance, Meg and Amy constantly struggle with vanity, and eventually overcome it. Amy turns down Fred Vaughn’s offer of marriage, even though he is rich, because she does not love him. The March sisters all learn to be happy with their respective lots in life and not to yearn for meaningless riches. The Marches’ snug New England home is presented as more desirable than mansions in Paris. This theme is particularly American, especially distinctive of New England. Unlike their counterparts in Europe, many middle-class Americans at the time did not mind having come from humble origins and did not crave titles or other superficial trappings of wealth. These Americans wanted only what they deserved and believed that what they deserved depended on how hard they worked.

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Motifs


Music

In Little Women, music has an interesting relationship to a character’s degree of conformity. For the March girls, the more musically inclined a sister is, the more traditionally feminine and adherent to feminine duty she is. Marmee sings to the girls all the time, and she embodies the ideal dutiful and domestic mother. Beth, similarly, is both very musical and very passive. In contrast, Amy has a bad voice and Jo has the worst voice of all; both girls are independent and impatient with the limitations placed on women. Interestingly, Laurie also likes music and wants to be a professional musician, but this interest makes him ill-adapted to the role expected of him as a man.

Teaching

Many of the characters in Little Women are teachers, reinforcing the idea that the novel is didactic and that we are supposed to learn from the novel’s lessons. Mr. March, for example, is a minister, and he instructs his congregation. Marmee, a good transcendentalist mother, reinforces the teaching of her husband. Mr. Brooke and Professor Bhaer, two men whom March girls marry, are teachers by profession. In the end, Jo inherits Plumfield, Aunt March’s house, and she and Bhaer turn it into a school for boys. The frequent interaction that the novel’s characters have with teaching—both giving and learning lessons—reflects the structured society in which they live.

Differing Uses of Language

Language appears throughout the novel in an interesting inverse relationship with creativity: the more proper the language one of the March girls uses, the less creative and independent she is. Beth does not talk much, for example, and Meg uses proper language; both are typically feminine women, and their relationship to language reflects their alignment with what society expects of them. In contrast, Jo swears and Amy mispronounces words. These two, the independent artists of the family, resist conforming to the behavior that society expects of them, including the use of proper and delicate speech.

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Symbols



Umbrellas

In Little Women, umbrellas symbolize the protection a man offers a woman. Before Meg and John Brooke get married, Jo gets angry at Mr. Brooke’s umbrella. It seems Jo is angry that Mr. Brooke is going to take care of her sister. At the end of the novel, Professor Bhaer extends his umbrella over Jo, and her acceptance of its coverage symbolizes that she is ready to accept not only his love and protection, but also the idea that men are supposed to offer women love and protection.

Burning

Little Women is filled with images of burning that simultaneously represent writing, genius, and anger. At a party, Jo wears a dress with a burn mark on the back, which symbolizes her resistance to having to play a conventional female role. In anger, Amy burns Jo’s manuscript after Jo will not let her come to a play. Whenever Jo writes, her family describes her inspiration as genius burning. At the end of the novel, Jo burns her sensationalist stories after Professor Bhaer criticizes that style of writing. This fire seems to destroy her earlier self as well, as it marks the end of the fiery Jo of the novel’s beginning.

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