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Do the March Sisters Get Rich Again

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Coming-of-age novel past Louisa May Alcott

Little Women
Houghton AC85.Aℓ194L.1869 pt.2aa - Little Women, title.jpg

First volume of Little Women (1868)
Author Louisa May Alcott
Country United states of america
Language English
Serial Footling Women
Genre Coming of age
Bildungsroman
Publisher Roberts Brothers

Publication appointment

 1868 (1st volume)
1869 (second volume)
Media blazon Print
Pages 759
Followed by Trivial Men
Text Little Women at Wikisource

Petty Women is a coming-of-age novel written by American novelist Louisa May Alcott (1832–1888).

Originally published in two volumes in 1868 and 1869, Alcott wrote the volume over several months at the request of her publisher.[1] [2] The story follows the lives of the four March sisters—Meg, Jo, Beth, and Amy—and details their passage from childhood to womanhood. Loosely based on the lives of the author and her 3 sisters,[3] [iv] : 202 it is classified every bit an autobiographical or semi-autobiographical novel.[5] [6] : 12

Little Women was an immediate commercial and critical success, with readers eager for more near the characters. Alcott quickly completed a 2nd volume (titled Good Wives in the Great britain, though the name originated with the publisher and non Alcott). It was also met with success. The two volumes were issued in 1880 as a single novel titled Piddling Women. Alcott later wrote two sequels to her pop piece of work, both also featuring the March sisters: Little Men (1871) and Jo's Boys (1886).

The novel has been said to address three major themes: "domesticity, work, and true love, all of them interdependent and each necessary to the achievement of its heroine's individual identity."[vii] : 200 Co-ordinate to Sarah Elbert, Alcott created a new form of literature, one that took elements from romantic children'southward fiction and combined it with others from sentimental novels, resulting in a totally new genre. Elbert argues that within Little Women tin be found the first vision of the "All-American girl" and that her various aspects are embodied in the differing March sisters.[7] : 199

The book has been translated into numerous languages, and frequently adapted for stage and screen.

Development history [edit]

In 1868, Thomas Niles, the publisher of Louisa May Alcott's works, recommended that she write a book about girls that would have widespread appeal.[four] : 2 At commencement, she resisted, preferring to publish a collection of short stories. Niles pressed her to write the girls' book first, and he was aided past her father Amos Bronson Alcott, who also urged her to do so.[four] : 207 Louisa confided to a friend, "I could not write a girls' story knowing little about whatever only my ain sisters and always preferring boys", every bit quoted in Anne Boyd Rioux's Meg Jo Beth Amy, a condensed biographical business relationship of Alcott's life and writing.

In May 1868, Alcott wrote in her journal: "Niles, partner of Roberts, asked me to write a daughter's book. I said I'd try."[eight] : 36 Alcott set her novel in an imaginary Orchard House modeled on her own residence of the same name, where she wrote the novel.[4] : xiii She after recalled that she did not think she could write a successful book for girls and did not enjoy writing it.[9] : 335- "I plod abroad," she wrote in her diary, "although I don't relish this sort of things."[8] : 37

By June, Alcott had sent the beginning dozen chapters to Niles, and both agreed that they were slow. But Niles'due south niece, Lillie Almy, read them and said she enjoyed them.[9] : 335–336 The completed manuscript was shown to several girls who agreed it was "excellent." Alcott wrote, "they are the all-time critics, so I should definitely be satisfied."[8] : 37 She wrote Little Women "in record fourth dimension for coin,"[seven] : 196x2 merely the book's immediate success surprised both her and her publisher.[ten]

Explanation of the novel's championship [edit]

According to literary critic Sarah Elbert, when using the term "footling women", Alcott was cartoon on its Dickensian pregnant; information technology represented the catamenia in a immature woman'due south life where childhood and elder babyhood are "overlapping" with young womanhood. Each of the March sister heroines has a harrowing experience that alerts her and the reader that "childhood innocence" is of the past, and that "the inescapable adult female problem" is all that remains.[vii] [ page needed ]

Other views suggest the title was meant to highlight the unfair social inferiority, especially at that time, of women as compared to men, or alternatively, describe the lives of uncomplicated people, "unimportant" in the social sense.[xi]

Plot summary [edit]

Part One [edit]

Four sisters and their female parent, whom they call Marmee, alive in a new neighbourhood (loosely based on Concord) in Massachusetts in genteel poverty. Having lost all his coin, their male parent is serving as a chaplain for the Union Army in the American Ceremonious War, far from home. The mother and daughters face their starting time Christmas without him. When Marmee asks her daughters to requite their Christmas breakfast away to an impoverished family unit, the girls and their female parent venture into town laden with baskets to feed the hungry children. When they return, they detect their wealthy, elderly neighbor Mr. Laurence has sent over a decadent surprise dinner to brand up for their breakfast. The two families become acquainted following these acts of kindness.

Meg and Jo must piece of work to support the family: Meg tutors a nearby family of four children; Jo assists her aged great-aunt March, a wealthy widow living in a mansion, Plumfield. Beth, too timid for schoolhouse, is content to stay at home and help with housework; and Amy is withal at school. Million is beautiful and traditional, Jo is a tomboy who writes, Beth is a peacemaker and a pianist, and Amy is an artist who longs for elegance and fine society. The sisters strive to aid their family unit and meliorate their characters as Meg is vain, Jo is hotheaded, Beth is cripplingly shy, and Amy is materialistic. The neighbor boy Laurie, orphaned grandson of Mr. Laurence, becomes close friends with the sisters, specially the tomboyish Jo.

The girls keep decorated as the war goes on. Jo writes a novel that gets published but is frustrated to accept to edit it down and can't cover the conflicting critical response. Meg is invited to spend two weeks with rich friends, where at that place are parties and cotillions for the girls to dance with boys and improve their social skills. Laurie is invited to one of the dances, and Meg's friends incorrectly think she is in dear with him. One thousand thousand is more than interested in John Brooke, Laurie's young tutor.

Give-and-take comes that Mr. March is very ill with pneumonia and Marmee is chosen away to nurse him in Washington. Mr. Laurence offers to accompany her but she declines, knowing travel would be uncomfortable for the erstwhile man. Mr. Laurence instead sends John Brooke to do his business in Washington and help the Marches. While in Washington, Brooke confesses his dearest for Meg to her parents. They are pleased, simply consider Meg too immature to marry, so Brooke agrees to wait.

While Marmee is in Washington, Beth contracts blood-red fever after spending time with a poor family where 3 children die. As a precaution, Amy is sent to alive with Aunt March and replaces Jo as her companion and helper. Jo, who already had scarlet fever, tends to Beth. After many days of affliction, the family doctor advises that Marmee be sent for immediately. Beth recovers, but never fully regains her health and free energy.

While Brooke waits for One thousand thousand to come of age to marry, he joins the military and serves in the war. Subsequently he is wounded, he returns to find piece of work so he can buy a business firm and be prepare when he marries Meg. Laurie goes off to college. On Christmas Twenty-four hour period, a year later on the book'southward opening, the girls' father returns habitation.

Part Two [edit]

(Published separately in the United Kingdom as Good Wives)

Three years later, Meg and John marry and learn how to live together. When they have twins, Meg is a devoted mother only John begins to feel neglected and left out. Meg seeks advice from Marmee, who helps her observe residual in her married life by making more time for wifely duties and encouraging John to become more involved with child rearing.

Laurie graduates from college, having put in the effort to do well in his last year with Jo's prompting. Amy is chosen over Jo to go on a European tour with her aunt. Beth'due south health is weak due to complications from scarlet fever and her spirits are down. While trying to uncover the reason for Beth'south sadness, Jo realizes that Laurie has fallen in dear. At first she believes it's with Beth, but before long senses it'due south with herself. Jo confides in Marmee, telling her that she loves Laurie like a blood brother and that she could not honey him in a romantic way.

Jo decides she wants a bit of adventure and to put distance between herself and Laurie, hoping he will forget his feelings. She spends six months with a friend of her mother who runs a boarding business firm in New York City, serving as governess for her two children. Jo takes German lessons with some other boarder, Professor Bhaer. He has come to America from Berlin to treat the orphaned sons of his sis. For actress coin, Jo writes salacious romance stories anonymously for sensational newspapers. Professor Bhaer suspects her secret and mentions such writing is unprincipled and base. Jo is persuaded to surrender that type of writing as her fourth dimension in New York comes to an end. When she returns to Massachusetts, Laurie proposes marriage and she declines.

Laurie travels to Europe with his grandfather to escape his heartbreak. At home, Beth'southward health has seriously deteriorated. Jo devotes her fourth dimension to the care of her dying sister. Laurie encounters Amy in Europe, and he slowly falls in love with her as he begins to see her in a new light. She is unimpressed by the aimless, idle, and forlorn attitude he has adopted since beingness rejected by Jo, and inspires him to notice his purpose and do something worthwhile with his life. With the news of Beth's death, they meet for consolation and their romance grows. Amy's aunt volition not allow Amy to return unchaperoned with Laurie and his grandfather, so they ally before returning abode from Europe.

Professor Bhaer is in Massachusetts on business and visits the Marches' daily for two weeks. On his last 24-hour interval, he proposes to Jo and the two get engaged. Because the Professor is poor, the wedding must wait while he establishes a good income by going out west to teach. A year goes by without much success; later Aunt March dies and leaves her large estate Plumfield to Jo. Jo and Bhaer marry and plough the business firm into a school for boys. They have two sons of their ain, and Amy and Laurie have a daughter. At apple-picking fourth dimension, Marmee celebrates her 60th birthday at Plumfield, with her hubby, her three surviving daughters, their husbands, and her five grandchildren.

Characters [edit]

Margaret "Meg" March [edit]

Meg, the oldest sister, is 16 when the story starts. She is described as a beauty, and manages the household when her mother is absent. She has long brown pilus and blue eyes and particularly beautiful easily, and is seen as the prettiest one of the sisters. 1000000 fulfils expectations for women of the time; from the start, she is already a well-nigh perfect "little adult female" in the eyes of the world.[12] Before her marriage to John Brooke, while even so living at home, she ofttimes lectures her younger sisters to ensure they grow to embody the title of "piddling women".[13]

Million is employed equally a governess for the Kings, a wealthy local family. Because of their father'due south family unit's social continuing, Meg makes her debut into high society, but is lectured by her friend and neighbour, Theodore "Laurie" Laurence, for behaving like a snob. Meg marries John Brooke, Laurie'south tutor. They have twins, Margaret "Daisy" Brooke and John Laurence "Demi" Brooke. The sequel, Trivial Men, mentions a babe girl, Josephine "Josie" Brooke,[14] who is fourteen at the beginning of the final book.[15]

According to Sarah Elbert, "autonomous domesticity requires maturity, forcefulness, and above all a secure identity that Meg lacks".[vii] : 204 Others[ who? ] believe Alcott does not intend to scoff Meg for her ordinary life, and writes her with loving detail, suffused with sentimentality.[ citation needed ]

Josephine "Jo" March [edit]

The principal character, Jo, fifteen years quondam at the get-go of the book, is a strong and willful immature adult female, struggling to subdue her fiery atmosphere and stubborn personality.[sixteen] [17]

Second oldest of the four sisters, Jo is male child-like, the smartest, nearly artistic one in the family; her father has referred to her every bit his "son Jo," and her best friend and neighbour, Theodore "Laurie" Laurence, sometimes calls her "my dear fellow," while she alone calls him Teddy. Jo has a "hot" temper that often leads her into trouble. With the assist of her ain misguided sense of humour, her sister Beth, and her mother, she works on controlling it. It has been said that much of Louisa May Alcott shows through in these characteristics of Jo.[18] In her essay, "Recollections of My Babyhood", Alcott refers to herself equally a tomboy who enjoyed boys' activities similar running foot-races and climbing trees.

Jo loves literature, both reading and writing. She composes plays for her sisters to perform and writes short stories. She initially rejects the thought of matrimony and romance, feeling that it would suspension upwardly her family and separate her from the sisters whom she adores. While pursuing a literary career in New York City, she meets Friedrich Bhaer, a German professor. On her return home, Laurie proposes marriage to Jo, which she rejects, thus confirming her independence. Another reason for the rejection is that the love that Laurie has for Jo is more of a sisterly love, rather than romantic honey, the difference between which he was unable to sympathize because he was "simply a male child", as said by Alcott in the book.

Later on Beth dies, Professor Bhaer woos Jo at her home, when "They decide to share life's burdens just as they shared the load of bundles on their shopping trek."[vii] : 210 She is 25 years one-time when she accepts his proposal. The marriage is deferred until her unexpected inheritance of her Aunt March's habitation a year later. According to critic Barbara Sicherman, "The crucial commencement point is that the selection is hers, its quirkiness some other sign of her much-prized individuality."[nineteen] : 21 They have ii sons, Robert "Rob" Bhaer and Theodore "Ted" Bhaer. Jo also writes the commencement role of Little Women during the 2nd portion of the novel. According to Elbert, "her narration signals a successfully completed adolescence".[7] : 199

Elizabeth "Beth" March [edit]

Beth, xiii when the story starts, is described as kind, gentle, sweet, shy, quiet, honest and musical. She is the shyest March sister and the pianist of the family.[20] : 53 Infused with tranquillity wisdom, she is the peacemaker of the family and gently scolds her sisters when they argue.[21] Equally her sisters abound up, they begin to exit habitation, but Beth has no desire to leave her firm or family. She is specially shut to Jo: when Beth develops scarlet fever later visiting the Hummels, Jo does most of the nursing and rarely leaves her side. Beth recovers from the acute disease only her health is permanently weakened.

As she grows, Beth begins to realize that her fourth dimension with her loved ones is coming to an cease. Finally, the family accepts that Beth will non live much longer. They brand a special room for her, filled with all the things she loves best: her kittens, her piano, Father'due south books, Amy's sketches, and her beloved dolls. She is never idle; she knits and sews things for the children who pass by on their way to and from schoolhouse. Simply eventually she puts downwardly her sewing needle, saying it grew "heavy." Beth's final sickness has a strong effect on her sisters, especially Jo, who resolves to live her life with more consideration and care for everyone. The main loss during Little Women is the death of honey Beth. Her "self-sacrifice is ultimately the greatest in the novel. She gives upward her life knowing that information technology has had only private, domestic significant."[vii] : 206–207

Amy Curtis March [edit]

Amy is the youngest sister and babe of the family, she's 12 when the story begins. Interested in art, she is described as a "regular snow-maiden" with curly golden pilus and blue optics, "pale and slender" and "always conveying herself" like a proper young lady. She is the artist of the family unit.[22] Oft coddled because she is the youngest, Amy can behave in a vain and self-centered way, though she does notwithstanding love her family unit.[23] : 5 She has the middle name Curtis, and is the merely March sister to use her total name rather than a atomic.[24]

She is chosen past her aunt to travel in Europe with her, where she grows and makes a decision about the level of her artistic talent and how to direct her adult life. She encounters "Laurie" Laurence and his grandpa during the extended visit. Amy is the least inclined of the sisters to sacrifice and cocky-denial. She behaves well in adept club, at ease with herself. Critic Martha Saxton observes the author was never fully at ease with Amy'south moral development and her success in life seemed relatively accidental.[23] However, Amy's morality does appear to develop throughout her boyhood and early machismo, and she is able to confidently and justly put Laurie in his identify when she believes he is wasting his life on pleasurable activities. Ultimately, Amy is shown to work very hard to proceeds what she wants in life and to make the most of her success while she has information technology.

Additional characters [edit]

  • Margaret "Marmee" March – The girls' female parent and head of household while her married man is abroad. She engages in charitable works and lovingly guides her girls' morals and their characters. She once confesses to Jo that her temper is every bit volatile as Jo's, but that she has learned to control it.[25] : 130 Somewhat modeled later on the writer'southward own mother, she is the focus around which the girls' lives unfold equally they grow.[25] : 2
  • Robert March – Formerly wealthy, the begetter is portrayed as having helped a friend who could not repay a debt, resulting in his family's genteel poverty. A scholar and a minister, he serves as a clergyman in the Wedlock Ground forces during the Civil War and is wounded in December 1862. After the war he becomes minister to a modest congregation.
  • Professor Friedrich Bhaer – A middle-aged, "philosophically inclined", and penniless German language immigrant in New York City who had been a noted professor in Berlin. Also known equally Fritz, he initially lives in Mrs. Kirke'due south boarding firm and works as a linguistic communication master.[twenty] : 61 He and Jo go friends, and he critiques her writing. He encourages her to become a serious writer instead of writing sensational stories for weekly tabloids. "Bhaer has all the qualities Bronson Alcott lacked: warmth, intimacy, and a tender chapters for expressing his affection—the feminine attributes Alcott admired and hoped men could acquire in a rational, feminist earth."[seven] : 210 They somewhen marry and raise his two orphaned nephews, Franz and Emil, and their own sons, Rob and Ted.[26]
  • Robert & Theodore Bhaer ("Rob" and "Ted") – Jo's and Fritz's sons, introduced in the last pages of the novel, named after the March girls' father and Laurie.
  • John Brooke – During his employment equally a tutor to Laurie, he falls in love with Meg. He accompanies Mrs. March to Washington D.C. when her husband is ill with pneumonia. When Laurie leaves for college, Brooke continues his employment with Mr. Laurence as a bookkeeper. When Aunt March overhears Meg accepting John's declaration of beloved, she threatens Meg with disinheritance because she suspects that Brooke is only interested in One thousand thousand's future prospects. Eventually, Meg admits her feelings to Brooke, they defy Aunt March (who ends upwards accepting the marriage), and they are engaged. Brooke serves in the Spousal relationship Ground forces for a twelvemonth and is sent home as an invalid when he is wounded. Brooke marries Meg a few years later on when the war has concluded and she has turned twenty. Brooke was modeled afterward John Span Pratt, her sis Anna'south husband.[27]
  • Margaret & John Laurence Brooke ("Daisy" and "Demijohn/Demi") – Meg's twin son and daughter. Daisy is named after both Meg and Marmee, while Demi is named for John and the Laurence family.
  • Josephine Brooke ("Josy" or "Josie") – Meg's youngest child, named subsequently Jo. She develops a passion for acting equally she grows upwards.
  • Uncle and Aunt Carrol – Sister and blood brother-in-police of Mr. March. They have Amy to Europe with them, where Uncle Carrol often tries to be like an English admirer.
  • Florence "Flo" Carrol – Amy'south cousin, daughter of Aunt and Uncle Carrol, and companion in Europe.
  • May and Mrs. Chester – A well-to-do family unit with whom the Marches are acquainted. May Chester is a girl about Amy's age, who is rich and jealous of Amy's popularity and talent.
  • Miss Crocker – An old and poor spinster who likes to gossip and who has few friends.
  • Mr. Dashwood – Publisher and editor of the Weekly Volcano.
  • Mr. Davis – The schoolteacher at Amy's school. He punishes Amy for bringing pickled limes to schoolhouse by striking her palm and making her stand on a platform in front of the class. She is withdrawn from the school by her mother.
  • Estelle "Esther" Valnor – A French woman employed as a retainer for Aunt March who befriends Amy.
  • The Gardiners – Wealthy friends of Meg'south. Daughter Sallie Gardiner afterward marries Ned Moffat.
  • The Hummels – A poor German family consisting of a widowed female parent and six children. Marmee and the girls help them past bringing food, firewood, blankets, and other comforts. They assistance with pocket-sized repairs to their small dwelling. Three of the children dice of scarlet fever and Beth contracts the disease while caring for them. The eldest girl, Lottchen "Lotty" Hummel, later on works as a matron at Jo's school at Plumfield
  • The Kings – A wealthy family unit with four children for whom Meg works as a governess.
  • The Kirkes – Mrs. Kirke is a friend of Mrs. March'southward who runs a boarding house in New York. She employs Jo every bit governess to her two daughters, Kitty and Minnie.
  • The Lambs – A well-off family with whom the Marches are acquainted.
  • James Laurence – Laurie'due south grandfather and a wealthy neighbor of the Marches. Alone in his mansion, and often at odds with his high-spirited grandson, he finds condolement in becoming a benefactor to the Marches. He protects the March sisters while their parents are away. He was a friend to Mrs. March's begetter, and admires their charitable works. He develops a special, tender friendship with Beth, who reminds him of his late granddaughter. He gives Beth the girl's piano.
  • Theodore "Laurie" Laurence – A rich young man who lives opposite the Marches, older than Jo merely younger than One thousand thousand. Laurie is the "boy adjacent door" to the March family and has an overprotective paternal gramps, Mr. Laurence. After eloping with an Italian pianist, Laurie'southward male parent was disowned by his parents. Both Laurie'south mother and male parent died young, so as a boy Laurie was taken in past his grandfather. Preparing to enter Harvard, Laurie is being tutored by John Brooke. He is described as bonny and mannerly, with black optics, dark-brown skin, and curly black hair. He afterward falls in love with Amy and they marry; they have one child, a little girl named afterward Beth: Elizabeth "Bess" Laurence. Sometimes Jo calls Laurie "Teddy". Though Alcott did not make Laurie as multidimensional equally the female characters, she partly based him on Ladislas Wisniewski, a immature Polish émigré she had befriended, and Alf Whitman, a friend from Lawrence, Kansas.[4] : 202 [6] : 241 [23] : 287 According to author and professor Jan Susina, the portrayal of Laurie is as "the fortunate outsider", observing Mrs. March and the March sisters. He agrees with Alcott that Laurie is non strongly developed as a graphic symbol.[28]
  • Elizabeth Laurence ("Bess") – The only daughter of Laurie and Amy, named for Beth. Like her mother, she develops a dearest for fine art equally she grows upward.
  • Aunt Josephine March – Mr. March's aunt, a rich widow. Somewhat temperamental and prone to being judgmental, she disapproves of the family's poverty, their charitable work, and their general disregard for the more superficial aspects of gild's ways. Her vociferous disapproval of Million's impending date to the impoverished Mr. Brooke becomes the proverbial "last straw" that actually causes 1000000 to accept his proposal. She appears to exist strict and cold, but deep down, she's really quite soft-hearted. She dies virtually the end of the first book, and Jo and Friedrich turn her estate into a school for boys.
  • Annie Moffat – A stylish and wealthy friend of Meg and Sallie Gardiner.
  • Ned Moffat – Annie Moffat'due south blood brother, who marries Sallie Gardiner.
  • Hannah Mullet – The March family maid and cook, their just servant. She is of Irish descent and very dear to the family. She is treated more like a fellow member of the family than a retainer.
  • Miss Norton – A friendly, well-to-do tenant living in Mrs. Kirke'south boarding house. She occasionally invites Jo to accompany her to lectures and concerts.
  • Susie Perkins – A girl at Amy's school.
  • The Scotts – Friends of Meg and John Brooke. John knows Mr. Scott from work.
  • Tina – The young girl of an employee of Mrs. Kirke. Tina loves Mr. Bhaer and treats him similar a father.
  • The Vaughans – English friends of Laurie's who come to visit him. Kate is the oldest of the Vaughan siblings, and prim and proper Grace is the youngest. The middle siblings, Fred and Frank, are twins; Frank is the younger twin.
  • Fred Vaughan – A Harvard friend of Laurie's who, in Europe, courts Amy. Rivalry with the much richer Fred for Amy's love inspires the prodigal Laurie to pull himself together and get more worthy of her. Amy will somewhen reject Fred, knowing she does not honey him and deciding non to ally out of ambition.[29]
  • Frank Vaughan – Fred'due south twin brother, mentioned a few times in the novel. When Fred and Amy are both traveling in Europe, Fred leaves considering he hears his twin is ill.

Inspiration [edit]

The attic at Fruitlands where Alcott lived and acted out plays at xi years quondam. Note that the ceiling surface area is effectually 4 feet high

For her books, Alcott was often inspired by familiar elements. The characters in Little Women are recognizably drawn from family members and friends.[iii] [4] : 202 Her married sister Anna was Meg, the family beauty. Lizzie, Alcott's beloved sister, was the model for Beth. Like Beth, Lizzie was serenity and retiring. Like Beth as well, she died tragically at age 20-three from the lingering effects of scarlet fever.[thirty] May, Alcott's stiff-willed sister, was portrayed as Amy, whose pretentious affectations cause her occasional downfalls.[4] : 202 Alcott portrayed herself every bit Jo. Alcott readily corresponded with readers who addressed her as "Miss March" or "Jo", and she did not correct them.[31] [32] : 31

However, Alcott'southward portrayal, even if inspired past her family, is an idealized 1. For instance, Mr. March is portrayed as a hero of the American Civil War, a gainfully employed chaplain, and, presumably, a source of inspiration to the women of the family. He is absent for well-nigh of the novel.[32] : 51 In contrast, Bronson Alcott was very present in his family's household, due in part to his inability to discover steady work. While he espoused many of the educational principles touted by the March family, he was loud and dictatorial. His lack of financial independence was a source of humiliation to his married woman and daughters.[32] : 51 The March family is portrayed living in genteel penury, simply the Alcott family, dependent on an improvident, impractical father, suffered existent poverty and occasional hunger.[33] In addition to her own childhood and that of her sisters, scholars who have examined the diaries of Louisa Alcott's female parent, Abigail Alcott, have surmised that Little Women was also heavily inspired by Abigail Alcott's own early life.[25] : 6 Originally however, Alcott did not want to publish Picayune Women, claiming she plant information technology ho-hum, and wasn't sure how to write girls equally she knew few beyond her sisters. However, encouraged past her editor Thomas Niles, she wrote it inside 10 weeks.[34]

Also, Little Women has several textual and structural references to John Bunyan's novel The Pilgrim's Progress.[35] Jo and her sisters read it at the outset of the book and endeavor to follow the good example of Bunyan'south Christian. Throughout the novel, the main characters refer many times to The Pilgrim'southward Progress and liken the events in their own lives to the experiences of the pilgrims. A number of chapter titles direct reference characters and places from The Pilgrim'south Progress.

Publication history [edit]

The offset volume of Picayune Women was published in 1868 by Roberts Brothers.[36] The beginning edition included illustrations by May Alcott, the sister who inspired the fictional Amy March. She "struggled" with her illustrative additions to her sister's book, only later on improved her skills and constitute some success as an artist.[37]

The commencement printing of 2,000 copies sold out quickly, and the company had problem keeping up with demand for additional printings. They announced: "The great literary hitting of the season is undoubtedly Miss Alcott'due south Piddling Women, the orders for which continue to flow in upon usa to such an extent every bit to make information technology impossible to answer them with promptness."[viii] : 37 The last line of Affiliate 23 in the first volume is "And then the drapery falls upon Meg, Jo, Beth, and Amy. Whether it e'er rises again, depends upon the reception given the first act of the domestic drama chosen Lilliputian Women."[38] Alcott delivered the manuscript for the second volume on New year's day's Twenty-four hour period 1869, only 3 months after publication of part i.[9] : 345

Versions in the late 20th and 21st centuries combine both portions into one book, nether the title Niggling Women, with the later-written portion marked equally Part ii, as this Bantam Archetype paperback edition, initially published in 1983 typifies.[ citation needed ] There are 23 chapters in Part 1 and 47 chapters in the consummate book. Each affiliate is numbered and has a title as well. Part 2, Chapter 24 opens with "In social club that we may start afresh and go to Meg's nuptials with costless minds, it will be well to begin with a little gossip nigh the Marches."[38] Editions published in the 21st century may be the original text unaltered, the original text with illustrations, the original text annotated for the reader (explaining terms of 1868–69 that are less mutual at present), the original text modernized and abridged, or the original text abridged.[ citation needed ]

The British influence, giving Role 2 its own title, Proficient Wives, has the book still published in two volumes, with Good Wives outset three years after Little Women ends, especially in the Britain and Canada, but as well with some United states of america editions. Some editions listed under Little Women announced to include both parts, especially in the audio book versions.[ citation needed ] Editions are shown in continuous print from many publishers, every bit hardback, paperback, sound, and due east-volume versions, from the 1980s to 2015.[ citation needed ] This split up of the two volumes as well shows at Goodreads, which refers to the books as the Little Women serial, including Piffling Women, Good Wives, Little Men and Jo's Boys.[ citation needed ]

Reception [edit]

G. Yard. Chesterton believed Alcott in Trivial Women, "anticipated realism by 20 or 30 years", and that Fritz's proposal to Jo, and her credence, "is one of the actually human things in human literature."[39] Gregory S. Jackson said that Alcott's use of realism belongs to the American Protestant pedagogical tradition, which includes a range of religious literary traditions with which Alcott was familiar. He has copies in his book of nineteenth-century images of devotional children's guides which provide background for the game of "pilgrims progress" that Alcott uses in her plot of Volume I.[40]

Little Women was well received upon offset publication. Co-ordinate to 21st-century critic Barbara Sicherman there was, during the 19th century, a "scarcity of models for nontraditional womanhood", which led more women to look toward "literature for self-authorization. This is especially truthful during boyhood."[nineteen] : 2 Little Women became "the paradigmatic text for young women of the era and ane in which family literary culture is prominently featured."[19] : 3 Developed elements of women'due south fiction in Little Women included "a modify of heart necessary" for the female person protagonist to evolve in the story.[7] : 199

In the tardily 20th century, some scholars criticized the novel. Sarah Elbert, for example, wrote that Fiddling Women was the start of "a decline in the radical power of women's fiction", partly because women'due south fiction was being idealized with a "hearth and domicile" children's story.[7] : 197 Women's literature historians and juvenile fiction historians have agreed that Little Women was the outset of this "down spiral". Merely Elbert says that Little Women did not "belittle women'south fiction" and that Alcott stayed true to her "Romantic birthright".[7] : 198–199

Little Women 'due south popular audition was responsive to ideas of social change as they were shown "within the familiar construct of domesticity".[7] : 220 While Alcott had been commissioned to "write a story for girls", her primary heroine, Jo March, became a favorite of many dissimilar women, including educated women writers through the 20th century. The girl story became a "new publishing category with a domestic focus that paralleled boys' risk stories".[19] : 3–4

One reason the novel was and then popular was that information technology appealed to dissimilar classes of women along with those of different national backgrounds, at a time of high clearing to the The states. Through the March sisters, women could relate and dream where they may not have before.[nineteen] : 3–4 "Both the passion Little Women has engendered in diverse readers and its ability to survive its era and transcend its genre betoken to a text of unusual permeability."[19] : 35

At the fourth dimension, immature girls perceived that marriage was their end goal. Later on the publication of the start volume, many girls wrote to Alcott asking her "who the little women marry".[nineteen] : 21 The unresolved ending added to the popularity of Picayune Women. Sicherman said that the unsatisfying catastrophe worked to "continue the story alive" as if the reader might detect information technology ended differently upon different readings.[19] : 21 "Alcott especially battled the conventional marriage plot in writing Little Women."[41] Alcott did not take Jo accept Laurie's hand in marriage; rather, when she bundled for Jo to ally, she portrayed an unconventional man equally her husband. Alcott used Friedrich to "subvert boyish romantic ideals" because he was much older and seemingly unsuited for Jo.[19] : 21

In 2003 Little Women was ranked number 18 in The Big Read, a survey of the British public past the BBC to decide the "Nation'south All-time-loved Novel" (not children's novel); it is quaternary-highest amid novels published in the U.S. on that list.[42] Based on a 2007 online poll, the U.S. National Educational activity Clan listed it every bit one of its "Teachers' Top 100 Books for Children".[43] In 2012 it was ranked number 47 amidst all-time children'southward novels in a survey published by School Library Journal, a monthly with primarily U.s.a. audience.[44]

Influence [edit]

Little Women has been one of the most widely read novels, noted past Stern from a 1927 report in The New York Times and cited in Trivial Women and the Feminist Imagination: Criticism, Controversy, Personal Essays.[45] Ruth MacDonald argued that "Louisa May Alcott stands every bit ane of the bully American practitioners of the girls' novel and the family unit story."[46]

In the 1860s, gendered separation of children's fiction was a newer division in literature. This division signaled a beginning of polarization of gender roles equally social constructs "as course stratification increased".[19] : 18 Joy Kasson wrote, "Alcott chronicled the coming of historic period of young girls, their struggles with issues such as selfishness and generosity, the nature of individual integrity, and, above all, the question of their place in the earth around them."[47] Girls related to the March sisters in Piffling Women, along with following the atomic number 82 of their heroines, by assimilating aspects of the story into their ain lives.[19] : 22

After reading Little Women, some women felt the need to "larn new and more public identities", however dependent on other factors such as financial resources.[19] : 55 While Lilliputian Women showed regular lives of American eye-class girls, it also "legitimized" their dreams to do something dissimilar and allowed them to consider the possibilities.[19] : 36 More immature women started writing stories that had adventurous plots and "stories of individual achievement—traditionally coded male—challenged women's socialization into domesticity."[19] : 55 Little Women also influenced contemporary European immigrants to the United States who wanted to assimilate into middle-class culture.

In the pages of Picayune Women, immature and adolescent girls read the normalization of ambitious women. This provided an alternative to the previously normalized gender roles.[19] : 35 Little Women repeatedly reinforced the importance of "individuality" and "female vocation".[19] : 26 Little Women had "continued relevance of its field of study" and "its longevity points as well to surprising continuities in gender norms from the 1860s at least through the 1960s."[19] : 35 Those interested in domestic reform could await to the pages of Piffling Women to see how a "democratic household" would operate.[7] : 276

While "Alcott never questioned the value of domesticity", she challenged the social constructs that made spinsters obscure and fringe members of society solely because they were not married.[vii] : 193 "Petty Women indisputably enlarges the myth of American womanhood by insisting that the home and the women's sphere cherish individuality and thus produce young adults who can make their fashion in the world while preserving a critical distance from its social arrangements." Equally with all youth, the March girls had to grow up. These sisters, and in particular Jo, were apprehensive about machismo because they were agape that, by conforming to what society wanted, they would lose their special individuality.[7] : 199

Alcott'south Jo also made professional writing imaginable for generations of women. Writers as diverse as Maxine Hong Kingston, Margaret Atwood, and J.K. Rowling take noted the influence of Jo March on their artistic development. Fifty-fifty other fictional portraits of immature women aspiring to authorship ofttimes reference Jo March.[48]

Alcott "fabricated women'due south rights integral to her stories, and above all to Picayune Women."[7] : 193 Alcott'south fiction became her "most important feminist contribution"—even because all the attempt Alcott fabricated to help facilitate women's rights."[vii] : 193 She thought that "a democratic household could evolve into a feminist social club". In Little Women, she imagined that just such an evolution might begin with Plumfield, a nineteenth century feminist utopia.[vii] : 194

Little Women has a timeless resonance which reflects Alcott's grasp of her historical framework in the 1860s. The novel's ideas do not intrude themselves upon the reader because the writer is wholly in command of the implications of her imaginative structure. Sexual equality is the salvation of spousal relationship and the family; democratic relationships make happy endings. This is the unifying imaginative frame of Fiddling Women.[vii] : 276

Adaptations [edit]

Stage [edit]

Scene from the 1912 Broadway production of Picayune Women, adapted by Marian de Forest

Katharine Cornell became a star in the 1919 London product of de Forest's adaptation of Piffling Women

Marian de Forest adjusted Fiddling Women for the Broadway stage in 1912.[49] The 1919 London product made a star of Katharine Cornell, who played the office of Jo.[50]

A one-human activity stage version, written by Gerald P. Murphy in 2009,[51] has been produced in the Usa, UK, Italian republic, Australia, Ireland, and Singapore.[ citation needed ] Myriad Theatre & Film adapted the novel as a full-length play which was staged in London and Essex in 2011.[52]

Marisha Chamberlain[53] [54] and June Lowery[55] have both adapted the novel as a full-length play; the latter play was staged in Luxembourg in 2014.

Isabella Russell-Ides created ii stage adaptations. Her Little Women featured an advent by author, Louisa May Alcott. Jo & Louisa features a rousing confrontation betwixt the unhappy character, Jo March, who wants rewrites from her author.[56] [57]

A new adaptation by award-winning playwright Kate Hamill had its world premiere in 2018 at the Jungle Theater in Minneapolis, followed by a New York premiere in 2019 at Chief Stages directed by Sarna Lapine.[58]

Film [edit]

Picayune Women has been adjusted to movie seven times. The offset adaptation was a silent film directed past Alexander Butler and released in 1917, which starred Daisy Burrell as Amy, Mary Lincoln as Meg, Cherry Miller as Jo, and Muriel Myers equally Beth. It is considered a lost moving-picture show.

Another silent moving-picture show accommodation was released in 1918 and directed by Harley Knoles. Information technology starred Isabel Lamon as Meg, Dorothy Bernard as Jo, Lillian Hall as Beth, and Florence Flinn as Amy.

George Cukor directed the kickoff sound accommodation of Little Women, starring Katharine Hepburn equally Jo, Joan Bennett as Amy, Frances Dee as 1000000, and Jean Parker every bit Beth. The film was released in 1933 and was followed by an accommodation of Little Men the following year.

The first color accommodation starred June Allyson as Jo, Margaret O'Brien as Beth, Elizabeth Taylor as Amy, and Janet Leigh as Meg. Directed by Mervyn LeRoy, it was released in 1949. The film received two Academy Award nominations for color flick, for Best Cinematography and All-time Fine art Direction/Prepare Direction, the latter for which it received the Oscar.

Gillian Armstrong directed a 1994 accommodation, starring Winona Ryder as Jo, Trini Alvarado as Meg, Samantha Mathis and Kirsten Dunst as Amy, and Claire Danes every bit Beth.[ citation needed ] The film received three Academy Honour nominations, including All-time Extra for Ryder.[ citation needed ]

A contemporary film adaptation[59] was released in 2018 to mark the 150th ceremony of the novel.[60] It was directed by Clare Niederpruem in her directorial debut and starred Sarah Davenport as Jo, Allie Jennings as Beth, Melanie Stone as Meg, and Elise Jones and Taylor Murphy equally Amy.[sixty]

Author, and director Greta Gerwig took on the story in her 2019 adaptation of the novel. The film stars Saoirse Ronan as Jo, Emma Watson every bit Million, Florence Pugh as Amy, Laura Dern equally Marmee, Meryl Streep every bit Aunt March, Eliza Scanlen as Beth and Timothee Chalamet equally Laurie. The film received half-dozen University Award nominations, including All-time Pic.[61]

Television [edit]

Little Women was adapted into a boob tube musical, in 1958, by composer Richard Adler for CBS.[62]

Lilliputian Women has been made into a serial four times by the BBC: in 1950 (when it was shown live), in 1958, in 1970, and in 2017. The iii-episode 2017 series evolution was supported by PBS, and was aired as office of the PBS Masterpiece album in 2018.

Universal Telly produced a ii-part miniseries based on the novel, which aired on NBC in 1978. It was followed by a 1979 series.

In the 1980s, multiple anime adaptations were fabricated. In 1980, an anime special was made equally a predecessor to the 26-part 1981 anime serial Little Women. And so, in 1987, some other adaptation titled Tales of Petty Women was released. All anime specials and serial were dubbed in English and shown on American television.

In 2012, Lifetime aired The March Sisters at Christmas (directed by John Simpson), a contemporary television pic focusing on the championship characters' efforts to save their family home from being sold.[63] It is ordinarily rebroadcast on the channel each holiday season.[ commendation needed ]

In 2017, BBC tv set aired a miniseries adaptation developed by Heidi Thomas, directed by Vanessa Caswill. The three one-hour episodes were first broadcast on BBC I on Battle Day 2017 and the post-obit two days. The cast includes Emily Watson, Michael Gambon and Angela Lansbury.[1][ii][three] Production was supported by PBS and the miniseries was shown as function of its Masterpiece anthology.

A 2018 adaption is that of Estate Rama Pictures LLP of Karan Raj Kohli & Viraj Kapur which streams on the ALTBalaji app in Republic of india. The web series is called Haq Se. Ready in Kashmir, the series is a modern-day Indian accommodation of the book.

A Due south Korean adaptation is being developed and produced by Studio Dragon for local cable network tvN. Written by Chung Seo-kyung[64] and directed by Kim Hee-won, information technology will air in 2022.

Musicals and opera [edit]

The novel was adapted to a musical of the same name and debuted on Broadway at the Virginia Theatre on Jan 23, 2005 and airtight on May 22, 2005 after 137 performances. A product was also staged in Sydney, Australia in 2008.[65]

The Houston Yard Opera commissioned and performed Picayune Women in 1998. The opera was aired on television by PBS in 2001 and has been staged by other opera companies since the premiere.[66]

There is a Canadian musical version, with volume by Nancy Early on and music and lyrics by Jim Betts, which has been produced at several regional theatres in Canada.

There was another musical version, entitled "Jo", with music by William Dyer and book and lyrics past Don Parks & William Dyer, which was produced off-Broadway at the Orpheum Theatre. It ran for 63 performances from February 12, 1964, to April 5, 1964. It featured Karin Wolfe (Jo), Susan Browning (Meg), Judith McCauley (Beth), April Shawhan (Amy), Don Stewart (Laurie), Joy Hodges (Marmee), Lowell Harris (John Brooke) and Mimi Randolph (Aunt March).

Audio drama [edit]

A radio play starring Katharine Hepburn as Jo was fabricated to accompany the 1933 film. Grand Audiobooks hold the current copyright.[ commendation needed ]

A dramatized version, produced by Focus on the Family Radio Theatre,[67] was released on September iv, 2012.

A radio play, produced by Far From the Tree Productions, is being released in episodes from November 14 to December 19, 2020.[68]

Literature [edit]

The novel has inspired a number of other literary retellings by various authors. Books inspired by Little Women include the following:

  • His Picayune Women by Judith Rossner[69]
  • The Little Women by Katharine Weber[70]
  • March by Geraldine Brooks[71]
  • Little Women and Werewolves by Porter G[72]
  • Little Vampire Women by Lynn Messina[71]
  • Fiddling Women on Their Own by Jane Nardin[73]
  • This Wide Night by Sarvat Hasin[74]
  • Littler Women by Laura Schaefer[74]
  • The Spring Girls by Anna Todd[72]
  • One thousand thousand, Jo, Beth, and Amy past Rey Terciero and Bre McCoy[75]

See also [edit]

  • Hillside (after renamed The Wayside), the Alcott family abode (1845–1848) and real-life setting for some of the book's scenes
  • Orchard Business firm, the Alcott family habitation (1858–1877) and site where the volume was written; adjacent to The Wayside

References [edit]

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External links [edit]

  • Piffling Women at Standard Ebooks
  • Lilliputian Women at Project Gutenberg
  • Little Women public domain audiobook at LibriVox
  • Lesson plans for Piddling Women at Web English Instructor
  • "Top 100 Children's Novels #25". School Library Periodical Blog. Archived from the original on May xviii, 2012. Retrieved May 5, 2012.
  • 1945 radio adaptation of novel at Theatre Lodge on the Air at the Internet Archive

irwinworcen47.blogspot.com

Source: https://en.wikipedia.org/wiki/Little_Women

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