Suffering and Sacrifice

I would say suffering and sacrifice are pretty major themes of Little Women. Baym claims that Alcott portrayed suffering as inevitable, but also that it “called out otherwise dormant abilities, could become occasions for ‘perfecting’ the character” (36).

There are several examples of suffering and sacrifice leading to growth in the novel, from minor events to major tragedies. One of the first examples of sacrifice is when the sisters give their Christmas breakfast away to the Hummels in Chapter 2. Even such a small sacrifice ultimately led to their benefit, as Mr. Laurence gives them a gift greater than the food they had lost. More than that, however, the sisters gain a new perspective on their lives that continues to impact them throughout the novel, as they continue to visit the Hummels for years, doing what they can to care for those less fortunate.

The most obvious example of suffering comes in the form of Beth’s death. Though she passes peacefully and doesn’t suffer in death, her family suffers the pain of losing her for months after. Though this time brought a lot of pain on the family, it did have a silver lining, since the event drew Amy and Laurie closer together. I think this is just Alcott’s very obvious way of saying that everything happens for a reason, and that good things will appear out of the darkest tragedies. Whether or not this is true in real life is another debate, but I certainly believe that this is Alcott’s intended message throughout the book regarding sacrifice and suffering.

Another minor example could be when Beth first contracts scarlet fever and Amy is sent to stay with Aunt March. She didn’t want to go, and at least she thought that she was suffering for having to go there, although it wasn’t very strong suffering. However, from this experience, Amy grew as a person in terms of her spirituality. She grew closer to God, and while her private altar may have been an unconventional way to get to know God in the eyes of the other girls, it cannot be argued that through Amy’s negative experience with Aunt March, she gained something for herself and her spirituality.

All of these events occur with varying levels of sacrifice or suffering, yet they all contribute to Alcott’s common theme that these negative experience will eventually lead to at least a little gain in the long run.

Alcott's Independence

            The concept of independence has been a topic of class discussion since the very outset of the novel.  Meg takes pride in the little money her governess work brings her; Jo is also happy with her own income, whether it be from attending to Aunt March, selling her hair, or writing pieces.  These are some of the first instances of Alcott emphasizing the importance of independently paying (at least a portion of) one’s own way.  However, by no means does Alcott champion financial independence as life’s main goal.  The hungry Christmas family and the woman in the fish shop with Mr. Laurence both accept gifts when in need, but neither are painted in a bad light.  As Marmee puts it, “money couldn’t keep shame out of rich people’s houses” and people were a great deal happier with “youth, health, and good spirits” (p 44).  Alcott depicts the March girls and others within Baym’s “working wealthy” as far more content and respectable than Aunt March and the Moffat’s.  Thus, financial independence in Little Women appears to mean carrying burdens to the best of one’s ability before relying on the seemingly infinite supply of neighborly assistance.

            In modern society we think of independence as much more than financial security.  Characteristics of independence brought up during class discussion included free thought, property ownership, and a fulfilling career; total dependence was described as living with one’s parents and relying on them for meals, money, and morals.  What does the author say of this?  One can draw many conclusions by observing Jo, the most unique and last to marry March sister.  From the start, she was annoyed by the social norms required of a “proper lady” and would much rather discuss cricket or skating.  She never appears to outgrow her “improper” tendencies as she has an emotional breakdown and kisses Mr. Bhaer in the mud and rain before wedding him.  Alcott describes the alternative single life of an old maid as “a woman early old, a woman in a lonely home” (p 477).  In the end, Jo lives on her own estate paid for by her own school; she is surrounded by a sea of boys and “freedom…the sauce best enjoyed by the boyish soul” (p 487).  Here, Alcott may be suggesting freedom, a trait thought male at the time, should be available to and appreciated by men and women.

            One should take note of the differences Alcott draws between independence and being alone.  Though Jo and her sisters might have many obligations to familial duties and work, they arrived at their respective home lives willfully and independently.  Just as Beth committed herself to hours of piano practice to enjoy her beloved music, the March sisters commit themselves to communities that afford them happiness and contentment.  Though they do not possess the multitude of life options (athletic careers, military roles, professional degrees, etc.) available to women today, they experience an independence that holds up fairly well to modern standards.

The Flawless and Beth?

At first pass, when sorting the characters of Little Women, one would be tempted to put Beth and Mrs. March in one category of flawless and the rest of the March sisters in the flawed category. According to Nina Baym’s book, Women’s Fiction, a female lead can take one of two forms “the flawless and the flawed. The flawless are those who already possess the emotional strength and stability to function effectively when adversity strikes. The flawed are those whose characters are defective, so that triumph in adversity becomes a matter of self-conquest as well as conquest of the other” (35-36).  Taking Baym’s definition into account I think that Beth quite fits into the second category of the flawed individual rather than the flawless. While Beth is often regarded as the most angelic, viceless sister. She does not have the vanities of Amy or Meg, nor does she have the rudderless boyish failings of Jo; yet, she does have some obvious flaws. She is too shy or anxious to even go to school with the other children or play the piano in Mr. Laurence’s house. She is the meek, shy, mild, demur sister perhaps the most unrealistic on purpose she very well fits the role of ‘proper’ little woman. Furthermore, her “triumph in adversity” really does become a matter of “self-conquest.” When Beth is overcome enough with emotion as to actually be able to talk to Mr. Laurence, after he has bought her a piano, that is just one of many examples of her overcoming her shyness in an act of self-conquest. Rather everything she does is an act of self-conquest first as I would not describe her as especially emotionally strong or stable enough to have an experience without overcoming her great fears. In fact, I would argue that she doesn’t really have enough character to be describes as emotionally strength and stability. I find her to be a sort of tape measure in the story someone that can be used for the other girls to be held up against. She does have the one distinguishing characteristic of liking music and playing piano, allowing her to form a bond with Mr. Laurence. However, I think the main role of Beth in the book is merely that of comparability and to add a realistic element of tragedy as she dies. Even in her death she is pretty angelic. She contracts her illness by being too faithful to the Hummel’s as Chapter 17 is aptly named “Little Faithful” in her honor. Furthermore, she tries her hardest not to be a burden to the family and only confesses her fears, thereby placing her worries on another, to Jo (who is humanized and balanced out by her meek younger sister). Thus, I rather feel that even if you can consider Beth to have enough defining characteristics to be a character, rather than a plot element I would argue that Beth is by Baym’s definition rather a flawed one.

From a puddle to… well at least a deeper puddle: Meg’s Character Development

I think the character development of Meg is by far the most intriguing of the sister’s as you see the progression from young woman to mother and flat to fleshed out character. From the very beginning Meg is not portrayed as a most shallow character. On the very first page of Little Women, when her mother tells them that there will be no Christmas presents that year due to the war, Meg bemoans her poor status and says, “We can’t do much, but make our little sacrifices, and ought to do it gladly. But I’m afraid I don’t.” This clearly from the very beginning of the novel paints a picture of a less than virtuous young woman, who knows what it is right to do yet cannot bring herself to do it with good grace. This trend persists throughout the novel her vanity and love for pretty things alters her behavior. On page 153 of the novel calls Jo and Laurie childish for running about but privately admits that she would be tempted to join them if she were not wearing her best frock. She thinks herself above such childish revelry, but mostly because she does not want to spoil her pretty things or impugn the dignity of the garment with activities she has demeaned immature. Yet, one begins to see Meg growing out of these vanities as most of Chapter 23 in the novel is devoted to Megs staunch defense of Mr. Brooke when her wealthy Aunt March threatens to her write her out of her will if she marries poor. Meg defends herself and her choice of the moneyless Mr. Brook and gives up her dreams of riches for a meaningful relationship. She shows perpetual growth even after she has married Mr. Brooke. And is still learning even at end of the novel how to manage her relationship as a mother to her children and as a wife to Mr. Brooke. I think that Meg’s story by far is the most believable and human of the four March sisters. As her character in the novel progresses from more than just a vain older sister who wants pretty things to a wife and mother, a more fleshed out character who desires meaningful relationships and discovers the complexities of being a grown woman.