"Oh, dear, how hard it does seem to take up our packs and go on," sighed Meg the morning after the party, for now the holidays were over, the week of merrymaking did not fit her for going on easily with the task she never liked.
"I wish it was Christmas or New Year's all the time. Wouldn't it be fun?" answered Jo, yawning dismally.
"We shouldn't enjoy ourselves half so much as we do now. But it does seem so nice to have little suppers and bouquets, and go to parties, and drive home, and read and rest, and not work. It's like other people, you know, and I always envy girls who do such things, I'm so fond of luxury," said Meg, trying to decide which of two shabby gowns was the least shabby.
"Well, we can't have it, so don't let us grumble but shoulder our bundles and trudge along as cheerfully as Marmee does. I'm sure Aunt March is a regular Old Man of the Sea to me, but I suppose when I've learned to carry her without complaining, she will tumble off, or get so light that I shan't mind her."
This idea tickled Jo's fancy and put her in good spirits, but Meg didn't brighten, for her burden, consisting of four spoiled children, seemed heavier than ever. She had not heart enough even to make herself pretty as usual by putting on a blue neck ribbon and dressing her hair in the most becoming way.
"Where's the use of looking nice, when no one sees me but those cross midgets, and no one cares whether I'm pretty or not?" she muttered, shutting her drawer with a jerk. "I shall have to toil and moil all my days, with only little bits of fun now and then, and get old and ugly and sour, because I'm poor and can't enjoy my life as other girls do. It's a shame!"
So Meg went down, wearing an injured look, and wasn't at all agreeable at breakfast time. Everyone seemed rather out of sorts and inclined to croak.
Beth had a headache and lay on the sofa, trying to comfort herself with the cat and three kittens. Amy was fretting because her lessons were not learned, and she couldn't find her rubbers. Jo would whistle and make a great racket getting ready.
Mrs. March was very busy trying to finish a letter, which must go at once, and Hannah had the grumps, for being up late didn't suit her.
"There never was such a cross family!" cried Jo, losing her temper when she had upset an inkstand, broken both boot lacings, and sat down upon her hat.
"You're the crossest person in it!" returned Amy, washing out the sum that was all wrong with the tears that had fallen on her slate.
"Beth, if you don't keep these horrid cats down cellar I'll have them drowned," exclaimed Meg angrily as she tried to get rid of the kitten which had scrambled up her back and stuck like a burr just out of reach.
Jo laughed, Meg scolded, Beth implored, and Amy wailed because she couldn't remember how much nine times twelve was.
"Girls, girls, do be quiet one minute! I must get this off by the early mail, and you drive me distracted with your worry," cried Mrs. March, crossing out the third spoiled sentence in her letter.
There was a momentary lull, broken by Hannah, who stalked in, laid two hot turnovers on the table, and stalked out again. These turnovers were an institution, and the girls called them 'muffs,' for they had no others and found the hot pies very comforting to their hands on cold mornings.
Hannah never forgot to make them, no matter how busy or grumpy she might be, for the walk was long and bleak. The poor things got no other lunch and were seldom home before two.
"Cuddle your cats and get over your headache, Bethy. Goodbye, Marmee. We are a set of rascals this morning, but we'll come home regular angels. Now then, Meg!" And Jo tramped away, feeling that the pilgrims were not setting out as they ought to do.
They always looked back before turning the corner, for their mother was always at the window to nod and smile, and wave her hand to them. Somehow it seemed as if they couldn't have got through the day without that, for whatever their mood might be, the last glimpse of that motherly face was sure to affect them like sunshine.
"If Marmee shook her fist instead of kissing her hand to us, it would serve us right, for more ungrateful wretches than we are were never seen," cried Jo, taking a remorseful satisfaction in the snowy walk and bitter wind.
"Don't use such dreadful expressions," replied Meg from the depths of the veil in which she had shrouded herself like a nun sick of the world.
"I like good strong words that mean something," replied Jo, catching her hat as it took a leap off her head preparatory to flying away altogether.
"Call yourself any names you like, but I am neither a rascal nor a wretch and I don't choose to be called so."
"You're a blighted being, and decidedly cross today because you can't sit in the lap of luxury all the time. Poor dear, just wait till I make my fortune, and you shall revel in carriages and ice cream and high-heeled slippers, and posies, and red-headed boys to dance with."
"How ridiculous you are, Jo!" But Meg laughed at the nonsense and felt better in spite of herself.
"Lucky for you I am, for if I put on crushed airs and tried to be dismal, as you do, we should be in a nice state. Thank goodness, I can always find something funny to keep me up. Don't croak any more, but come home jolly, there's a dear."
Jo gave her sister an encouraging pat on the shoulder as they parted for the day, each going a different way, each hugging her little warm turnover, and each trying to be cheerful in spite of wintry weather, hard work, and the unsatisfied desires of pleasure-loving youth.
When Mr. March lost his property in trying to help an unfortunate friend, the two oldest girls begged to be allowed to do something toward their own support, at least. Believing that they could not begin too early to cultivate energy, industry, and independence, their parents consented, and both fell to work with the hearty good will which in spite of all obstacles is sure to succeed at last.
Margaret found a place as nursery governess and felt rich with her small salary. As she said, she was "fond of luxury," and her chief trouble was poverty. She found it harder to bear than the others because she could remember a time when home was beautiful, life full of ease and pleasure, and want of any kind unknown. She tried not to be envious or discontented, but it was very natural that the young girl should long for pretty things, gay friends, accomplishments, and a happy life. At the Kings' she daily saw all she wanted, for the children's older sisters were just out, and Meg caught frequent glimpses of dainty ball dresses and bouquets, heard lively gossip about theaters, concerts, sleighing parties, and merrymakings of all kinds, and saw money lavished on trifles which would have been so precious to her. Poor Meg seldom complained, but a sense of injustice made her feel bitter toward everyone sometimes, for she had not yet learned to know how rich she was in the blessings which alone can make life happy.
Jo happened to suit Aunt March, who was lame and needed an active person to wait upon her. The childless old lady had offered to adopt one of the girls when the troubles came, and was much offended because her offer was declined. Other friends told the Marches that they had lost all chance of being remembered in the rich old lady's will, but the unworldly Marches only said,
"We can't give up our girls for a dozen fortunes. Rich or poor, we will keep together and be happy in one another."
The old lady wouldn't speak to them for a time, but happening to meet Jo at at a friend's, something in her comical face and blunt manners struck the old lady's fancy, and she proposed to take her for a companion. This did not suit Jo at all, but she accepted the place since nothing better appeared and, to every one's surprise, got on remarkably well with her irascible relative. There was an occasional tempest, and once Jo marched home, declaring she couldn't bear it longer, but Aunt March always cleared up quickly, and sent for her to come back again with such urgency that she could not refuse, for in her heart she rather liked the peppery old lady.
I suspect that the real attraction was a large library of fine books, which was left to dust and spiders since Uncle March died. Jo remembered the kind old gentleman, who used to let her build railroads and bridges with his big dictionaries, tell her stories about queer pictures in his Latin books, and buy her cards of gingerbread whenever he met her in the street. The dim, dusty room, with the busts staring down from the tall bookcases, the cozy chairs, the globes, and best of all, the wilderness of books in which she could wander where she liked, made the library a region of bliss to her.
The moment Aunt March took her nap, or was busy with company, Jo hurried to this quiet place, and curling herself up in the easy chair, devoured poetry, romance, history, travels, and pictures like a regular bookworm. But, like all happiness, it did not last long, for as sure as she had just reached the heart of the story, the sweetest verse of a song, or the most perilous adventure of her traveler, a shrill voice called, "Josy-phine! Josy-phine! and she had to leave her paradise to wind yarn, wash the poodle, or read Belsham's Essays by the hour together.
Jo's ambition was to do something very splendid. What it was, she had no idea as yet, but left it for time to tell her, and meanwhile, found her greatest affliction in the fact that she couldn't read, run, and ride as much as she liked. A quick temper, sharp tongue, and restless spirit were always getting her into scrapes, and her life was a series of ups and downs, which were both comic and pathetic. But the training she received at Aunt March's was just what she needed, and the thought that she was doing something to support herself made her happy in spite of the perpetual "Josy-phine!"
Beth was too bashful to go to school. It had been tried, but she suffered so much that it was given up, and she did her lessons at home with her father. Even when he went away, and her mother was called to devote her skill and energy to Soldiers' Aid Societies, Beth went faithfully on by herself and did the best she could. She was a housewifely little creature, and helped Hannah keep home neat and comfortable for the workers, never thinking of any reward but to be loved. Long, quiet days she spent, not lonely nor idle, for her little world was peopled with imaginary friends, and she was by nature a busy bee. There were six dolls to be taken up and dressed every morning, for Beth was a child still and and loved her pets as well as ever. Not one whole or handsome one among them, all were outcasts till Beth took them in, for when her sisters outgrew these idols, they passed to her because Amy would have nothing old or ugly. Beth cherished them all the more tenderly for that very reason, and set up a hospital for infirm dolls. No pins were ever stuck into their cotton vitals, no harsh words or blows were ever given them, no neglect ever saddened the heart of the most repulsive, but all were fed and clothed, nursed and caressed with an affection which never failed. One forlorn fragment of dollanity had belonged to Jo and, having led a tempestuous life, was left a wreck in the rag bag, from which dreary poorhouse it was rescued by Beth and taken to her refuge. Having no top to its head, she tied on a neat little cap, and as both arms and legs were gone, she hid these deficiencies by folding it in a blanket and devoting her best bed to this chronic invalid. If any had known the care lavished on that dolly, I think it would have touched their hearts, even while they laughed. She brought it bits of bouquets, she read to it, took it out to breathe fresh air, hidden under her coat, she sang it lullabies and never went to bed without kissing its dirty face and whispering tenderly, "I hope you'll have a good night, my poor dear."
Beth had her troubles as well as the others, and not being an angel but a very human little girl, she often "wept a little weep" as Jo said, because she couldn't take music lessons and have a fine piano. She loved music so dearly, tried so hard to learn, and practiced away so patiently at the jingling old instrument, that it did seem as if someone (not to hint Aunt March) ought to help her. Nobody did, however, and nobody saw Beth wipe the tears off the yellow keys, that wouldn't keep in tune, when she was all alone. She sang like a little lark about her work, never was too tired for Marmee and the girls, and day after day said hopefully to herself, "I know I'll get my music some time, if I'm good."
There are many Beths in the world, shy and quiet, sitting in corners till needed, and living for others so cheerfully that no one sees the sacrifices till the little cricket on the hearth stops chirping, and the sweet, sunshiny presence vanishes, leaving silence and shadow behind.
If anybody had asked Amy what the greatest trial of her life was, she would have answered at once, "My nose." When she was a baby, Jo had accidently dropped her into the coal hod, and Amy insisted that the fall had ruined her nose forever. It was not big nor red, like poor "Petrea's," it was only rather flat, and all the pinching in the world could not give it an aristocratic point. No one minded it but herself, and it was doing its best to grow, but Amy felt deeply the want of a Grecian nose, and drew whole sheets of handsome ones to console herself.
"Little Raphael," as her sisters called her, had a decided talent for drawing, and was never so happy as when copying flowers, designing fairies, or illustrating stories with queer specimens of art. Her teachers complained that instead of doing her sums she covered her slate with animals, the blank pages of her atlas were used to copy maps on, and caricatures of the most ludicrous description came fluttering out of all her books at unlucky moments. She got through her lessons as well as she could, and managed to escape reprimands by being a model of deportment. She was a great favorite with her mates, being good-tempered and possessing the happy art of pleasing without effort. Her little airs and graces were much admired, so were her accomplishments, for besides her drawing, she could play twelve tunes, crochet, and read French without mispronouncing more than two-thirds of the words. She had a plaintive way of saying, "When Papa was rich we did so-and-so," which was very touching, and her long words were considered "perfectly elegant" by the girls.
Amy was in a fair way to be spoiled, for everyone petted her, and her small vanities and selfishnesses were growing nicely. One thing, however, rather quenched the vanities. She had to wear her cousin's clothes. Now Florence's mama hadn't a particle of taste, and Amy suffered deeply at having to wear a red instead of a blue bonnet, unbecoming gowns, and fussy aprons that did not fit. Everything was good, well made, and little worn, but Amy's artistic eyes were much afflicted, especially this winter, when her school dress was a dull purple with yellow dots and no trimming.
"My only comfort," she said to Meg, with tears in her eyes, "is that Mother doesn't take tucks in my dresses whenever I'm naughty, as Maria Parks's mother does. My dear, it's really dreadful, for sometimes she is so bad her frock is up to her knees, and she can't come to school. When I think of thisdeggerredation, I feel that I can bear even my flat nose and purple gown with yellow skyrockets on it."
Meg was Amy's confidante and monitor, and by some strange attraction of opposites Jo was gentle Beth's. To Jo alone did the shy child tell her thoughts, and over her big harum-scarum sister Beth unconsciously exercised more influence than anyone in the family. The two older girls were a great deal to one another, but each took one of the younger sisters into her keeping and watched over her in her own way, "playing mother" they called it, and put their sisters in the places of discarded dolls with the maternal instinct of little women.
"Has anybody got anything to tell? It's been such a dismal day I'm really dying for some amusement," said Meg, as they sat sewing together that evening.
"I had a queer time with Aunt today, and, as I got the best of it, I'll tell you about it," began Jo, who dearly loved to tell stories. "I was reading that everlasting Belsham, and droning away as I always do, for Aunt soon drops off, and then I take out some nice book, and read like fury till she wakes up. I actually made myself sleepy, and before she began to nod, I gave such a gape that she asked me what I meant by opening my mouth wide enough to take the whole book in at once.
"I wish I could, and be done with it," said I, trying not to be saucy.
"Then she gave me a long lecture on my sins, and told me to sit and think them over while she just 'lost' herself for a moment. She never finds herself very soon, so the minute her cap began to bob like a top-heavy dahlia, I whipped the VICAR OF WAKEFIELD out of my pocket, and read away, with one eye on him and one on Aunt. I'd just got to where they all tumbled into the water when I forgot and laughed out loud. Aunt woke up and, being more good-natured after her nap, told me to read a bit and show what frivolous work I preferred to the worthy and instructive Belsham. I did my very best, and she liked it, though she only said,
"I don't understand what it's all about. Go back and begin it, child."
"Back I went, and made the Primroses as interesting as ever I could. Once I was wicked enough to stop in a thrilling place, and say meekly, "I'm afraid it tires you, ma'am. Shan't I stop now?"
"She caught up her knitting, which had dropped out of her hands, gave me a sharp look through her specs, and said, in her short way, 'Finish the chapter, and don't be impertinent, miss'."
"Did she own she liked it?" asked Meg.
"Oh, bless you, no! But she let old Belsham rest, and when I ran back after my gloves this afternoon, there she was, so hard at the Vicar that she didn't hear me laugh as I danced a jig in the hall because of the good time coming. What a pleasant life she might have if only she chose! I don't envy her much, in spite of her money, for after all rich people have about as many worries as poor ones, I think," added Jo.
"That reminds me," said Meg, "that I've got something to tell. It isn't funny, like Jo's story, but I thought about it a good deal as I came home. At the Kings' today I found everybody in a flurry, and one of the children said that her oldest brother had done something dreadful, and Papa had sent him away. I heard Mrs. King crying and Mr. King talking very loud, and Grace and Ellen turned away their faces when they passed me, so I shouldn't see how red and swollen their eyes were. I didn't ask any questions, of course, but I felt so sorry for them and was rather glad I hadn't any wild brothers to do wicked things and disgrace the family."
"I think being disgraced in school is a great deal tryinger than anything bad boys can do," said Amy, shaking her head, as if her experience of life had been a deep one. "Susie Perkins came to school today with a lovely red carnelian ring. I wanted it dreadfully, and wished I was her with all my might. Well, she drew a picture of Mr. Davis, with a monstrous nose and a hump, and the words, 'Young ladies, my eye is upon you!' coming out of his mouth in a balloon thing. We were laughing over it when all of a sudden his eye was on us, and he ordered Susie to bring up her slate. She was parrylized with fright, but she went, and oh, what do you think he did? He took her by the ear -- the ear! Just fancy how horrid! -- and led her to the recitation platform, and made her stand there half an hour, holding the slate so everyone could see."
"Didn't the girls laugh at the picture?" asked Jo, who relished the scrape.
"Laugh? Not one! They sat still as mice, and Susie cried quarts, I know she did. I didn't envy her then, for I felt that millions of carnelian rings wouldn't have made me happy after that. I never, never should have got over such a agonizing mortification." And Amy went on with her work, in the proud consciousness of virtue and the successful utterance of two long words in a breath.
"I saw something I liked this morning, and I meant to tell it at dinner, but I forgot," said Beth, putting Jo's topsy-turvy basket in order as she talked. "When I went to get some oysters for Hannah, Mr. Laurence was in the fish shop, but he didn't see me, for I kept behind the fish barrel, and he was busy with Mr. Cutter the fishman. A poor woman came in with a pail and mop, and asked Mr. Cutter if he would let her do some scrubbing for a bit of fish, because she hadn't any dinner for her children, and had been disappointed of a day's work. Mr. Cutter was in a hurry and said 'No,' rather crossly, so she was going away, looking hungry and sorry, when Mr. Laurence hooked up a big fish with the crooked end of his cane and held it out to her. She was so glad and surprised she took it right into her arms, and thanked him over and over. He told her to 'go along and cook it,' and she hurried off, so happy! Wasn't it good of him? Oh, she did look so funny, hugging the big, slippery fish, and hoping Mr. Laurence's bed in heaven would be 'aisy.'"
When they had laughed at Beth's story, they asked their mother for one, and after a moment's thought, she said soberly, "As I sat cutting out blue flannel jackets today at the rooms, I felt very anxious about Father, and thought how lonely and helpless we should be, if anything happened to him. It was not a wise thing to do, but I kept on worrying till an old man came in with an order for some clothes. He sat down near me, and I began to talk to him, for he looked poor and tired and anxious.
"'Have you sons in the army?' I asked, for the note he brought was not to me.
"Yes, ma'am. I had four, but two were killed, one is a prisoner, and I'm going to the other, who is very sick in a Washington hospital,' he answered quietly.
"'You have done a great deal for your country, sir,' I said, feeling respect now, instead of pity.
"'Not a mite more than I ought, ma'am. I'd go myself, if I was any use. As I ain't, I give my boys, and give 'em free.'
"He spoke so cheerfully, looked so sincere, and seemed so glad to give his all, that I was ashamed of myself. I'd given one man and thought it too much, while he gave four without grudging them. I had all my girls to comfort me at home, and his last son was waiting, miles away, to say good-by to him, perhaps! I felt so rich, so happy thinking of my blessings, that I made him a nice bundle, gave him some money, and thanked him heartily for the lesson he had taught me."
"Tell another story, Mother, one with a moral to it, like this. I like to think about them afterward, if they are real and not too preachy," said Jo, after a minute's silence.
Mrs. March smiled and began at once, for she had told stories to this little audience for many years, and knew how to please them.
"Once upon a time, there were four girls, who had enough to eat and drink and wear, a good many comforts and pleasures, kind friends and parents who loved them dearly, and yet they were not contented." (Here the listeners stole sly looks at one another, and began to sew diligently.) "These girls were anxious to be good and made many excellent resolutions, but they did not keep them very well, and were constantly saying, `If only we had this,' or `If we could only do that,' quite forgetting how much they already had, and how many things they actually could do. So they asked an old woman what spell they could use to make them happy, and she said, `When you feel discontented, think over your blessings, and be grateful.'" (Here Jo looked up quickly, as if about to speak, but changed her mind, seeing that the story was not done yet.)
"Being sensible girls, they decided to try her advice, and soon were surprised to see how well off they were. One discovered that money couldn't keep shame and sorrow out of rich people's houses, another that, though she was poor, she was a great deal happier, with her youth, health, and good spirits, than a certain fretful, feeble old lady who couldn't enjoy her comforts, a third that, disagreeable as it was to help get dinner, it was harder still to go begging for it and the fourth, that even carnelian rings were not so valuable as good behavior. So they agreed to stop complaining, to enjoy the blessings already possessed, and try to deserve them, lest they should be taken away entirely, instead of increased, and I believe they were never disappointed or sorry that they took the old woman's advice."
"Now, Marmee, that is very cunning of you to turn our own stories against us, and give us a sermon instead of a romance!" cried Meg.
"I like that kind of sermon. It's the sort Father used to tell us," said Beth thoughtfully, putting the needles straight on Jo's cushion.
"I don't complain near as much as the others do, and I shall be more careful than ever now, for I've had warning from Susies's downfall," said Amy morally.
"We needed that lesson, and we won't forget it. If we do so, you just say to us, as old Chloe did in UNCLE TOM, 'Tink ob yer marcies, chillen! Tink ob yer marcies!'" added Jo, who could not, for the life of her, help getting a morsel of fun out of the little sermon, though she took it to heart as much as any of them.
http://etext.virginia.edu/railton/tomsawye/alcott.html
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ReplyDelete"I'm sure Aunt March is a regular Old Man of the Sea to me, but I suppose when I've learned to carry her without complaining, she will tumble off, or get so light that I shan't mind her."
ReplyDeleteJo is referring to one of the Sinbad the Sailor tales from The Thousand and One Nights. This book is a collection of ancient Arabic, Persian and Indian tales which were formulated between the 8th and 16th centuries and handed down by word of mouth both before and after being committed to paper (Stories 1: 1-3). Owing to the multiple origins of the tales, no single author or compiler can be identified although the tales are generally considered Arabic stories based on an early compilation of Persian tales (1: 1). These stories were discovered and translated into French in the early 1700’s and have since been translated into English Id.
The tales included in The Thousand and One Nights collection are narrated by Queen Shahrazad who begins a new tale each night so that King Shahriyar will become engrossed in the story and spare her life for another day Id. Many of these tales involve the seven voyages of Sinbad the Sailor (Molan 237-238).
On Sinbad’s fifth voyage, he is shipwrecked on an island and meets the Old Man o’ the Sea (241). The Old Man asks Sinbad to carry him on his shoulders across a stream and Sinbad does so out of pity (Stories 16: 4). However, the Old Man then refuses to leave Sinbad’s shoulders and beats him when Sinbad does not do as the Old Man directs Id. One day the Old Man asks Sinbad to give him some of the wine Sinbad has made (16: 5). When the Old Man becomes drunk, Sinbad shakes him from his shoulders and kills him with a rock Id.
Like Sinbad, Jo feels she has become a captive to the capricious will of an old tyrant. Similarly, Jo indicates that, like Sinbad, she will have to use patience and wit to endure and overcome her servitude to Aunt March.
Works Cited
Molan, Peter D. “Sinbad the Sailor, a Commentary on the Ethics of Violence.” Journal of the American Oriental Society 98.3 (1978): 237-247. Print.
Stories from the Thousand and One Nights. Trans. E.W. Lane. 51 vols. New York: P.F. Collier & Son, 1909-14. Print.
Christina,
ReplyDeleteI learned a lot from reading your post about the phrase “Old Man and the Sea.” I thought the reference was from Hemingway’s work “Old Man and the Sea.” You brought to light the history behind the piece and also how it applies to the chapter in which it is referred to. I enjoy reading The Thousand and One Nights and I am intrigued by the stories from Queen Shahrazad tells in the book. I appreciate your approach on the topic and your in-depth analysis of the phrase and how it relates to Little Women. I also chose a phrase from chapter four and I am interested in what you think of my post in relation to your post. You had great research and analysis. Do you think Alcott had in mind the reference to The Thousand and One Nights when she wrote that phrase?
Sommer Billings
"She never finds herself very soon, so the minute her cap began to bob like a top-heavy dahlia, I whipped the VICAR OF WAKEFIELD out of my pocket, and read away, with one eye on him and one on Aunt"(Alcott).
ReplyDeleteIn 1766 Oliver Goldsmith wrote his sentimental romance the Vicar of Wakefield. The novel “was admired by sages such as Goethe for the way it made goodness respectable” (“The Vicar of Wakefield”). Alcott probably included this particular novel within Little Women to indicate her own passion for well-written masterpieces. Additionally, in the Vicar of Wakefield the vicar’s family united under bonds of love although the unity never squandered the ability of the family to maintain their uniqueness (Ginsburg 410).
Much like Goldsmith, Alcott allowed each of the March family members to maintain individuality while working together to maintain a household filled with love even while straining to make ends meet. As Jo March referred to the Vicar of Wakefield, she did so to prove to her aunt that the books she chose to read inspired much more intrigue and enjoyment. Much like Alcott, Goldsmith proved to be “A writer who can please us with his wit and charm us with his characters and scene painting [thus he] has the right to ask us to deem his belief in human goodness credible” (“The Vicar of Wakefield”). Ultimately, even though the novels were penned a hundred years apart, both stories boast tales of survival.
Ginsburg, Michal Peled. "Narratives of
Survival." Novel: A Forum on Fiction 42.3
(2009): 410-416. Academic Search Premier.
EBSCO. Web. 6 July 2011
"The Vicar Of Wakefield." Magill Book Reviews
(1990): Academic Search Premier. EBSCO.
Web. 6 July 2011
Whitney,
ReplyDeleteMy first impulse regarding the description of The Vicar of Wakefield as a novel admired for “the way it made goodness respectable,” was that it sounded like the type of “moral pap” that Alcott seemed to personally despise. However, you make a very good point about the similarities between the two stories and their veneration for the happy home made up of unique individuals. As we have seen in Alcott’s treatment of other issues such as the role of women or marriage, perhaps there is also a tension between Alcott’s reverence for the family and family values and her derision of “moral pap.” Perhaps the fact that The Vicar of Wakefield is, as you noted, both entertaining and moralistic allowed Alcott to appreciate the morality of the book without contempt. You have made some nice correlations between Little Women and The Vicar of Wakefield and given me another aspect to watch for in Alcott’s writings.
Christina Watson
Whitney,
ReplyDeleteMuch like Christina's comments, I was also intrigued by your post. I really appreciate your in depth analysis of the phrase you chose as well as your own interpretation and connections to Alcott's purpose for using this particular phrase. I also was unfamiliar with the phrase "The Vicar of Wakefield" and its meaning to the work. While reading the books in this course, my eyes have been opened to Alcott, the time period in which she wrote in as well as her own life experiences, which influenced her works. I am glad we did this annotation assignment, for all of us to learn from each other as well as learning more about Alcott and her works. Great job!
Sommer Billings
I have tried posting my project several times, but it still won't post, any suggestions?
ReplyDeleteWhile describing Beth’s character early in this chapter, the narrator notes that, in her mother’s absence, she has become helpful around the house and references Marmee’s work at the Soldiers’ Aid Society.
ReplyDeleteThe Soldiers’ Aid Society was an organization created to provide Union soldiers with necessary supplies (“Soldiers”). The society was not government-funded, but rather was formed privately with the aim of providing the soldiers anything “they needed to carry on the war” including “clothing and blankets” (“Soldiers”). The very first of these organizations was established in Cleveland by a group of women on April 20, 1861, with Rebecca Elliott Cromwell Rouse as president; other groups quickly followed, and soon it had spread across the entire state (“Soldiers”). While the organization was at first formed mostly in larger communities and mainly by women, it eventually spread and began to be run by men in some areas (“Soldiers”). The organization existed and provided aid and supplies to the soldiers through the entirety of the conflict, and, after the war, several chapters of the organization became a part of the United States Sanitary Commission (“Soldiers”).
It is reasonable to assume that Marmee met the man who was on the way to nurse his wounded son, and about whom she tells her girls, while working for her local chapter of this organization.
Works Cited
"Soldiers' Aid Society." Ohio History Central. Ohio Historical Society, 1 July 2005. Web. 28
June 2011.
This comment has been removed by the author.
ReplyDeleteCasey,
ReplyDeleteAgain, the annotation information has fleshed out Alcott’s motivations for her writing in a way I would have missed by solely relying on her text. I find it interesting that Marmee’s occupation is one that has not only been founded and run by women but is so successful that the government incorporates it into the United States Sanitary Commission. As chapter four of Little Women demonstrates, Alcott placed a high value on work. Little Women also highlights the difficulties women of Alcott’s day experienced in finding meaningful and respectable work outside of the home. While Marmee’s job is not lucrative, your information certainly proves it was both meaningful and respectable.
I find it doubly interesting that Marmee’s “meaningful” job is closely tied with domestic duties: providing clothing and other homey comforts. One might even conclude that Marmee and her fellow workers’ job is a maternal one. As Whitney pointed out, Alcott reverenced the family circle and idolized motherhood as personified by Marmee. Perhaps I am reading too much into Marmee’s work with the Soldiers’ Aid Society, but I find it interesting that once again domesticity and the independence of work outside of the home intersect in Little Women.
Christina Watson
Sommer Billings
ReplyDeleteENGL 5633
Dr. Strong
12 July 2011
Annotation of “Shabby” from Chapter 4: Burdens
Chapter 4 “which of two shabby gowns was the least shabby” (Alcott 37)
Meg is describing how much she loves to go to parties and wear nice gowns. Alcott describes Meg searching through her clothes, which are worn and old, to find which dress of the “shabby” dresses is the least worn. Meg is upset she does not have the fine gowns the other girls do, but instead she has to use the old dresses which embarrass her. The term shabby in this context is used as an adjective and means “That has lost its newness or freshness of appearance; dingy and faded from wear or exposure. Said of clothes, furniture, houses, etc” (oed.com).
Pronunciation of the word is : /ˈʃæbɪ/. The etymology (history of the word) is < shab n.+ -y suffix1. Compare scabby adj.; also Low German schabbig, schäbbig, word originated in 1669 (oed.com). An example of the use of the word from Dickens “1839 Dickens Nicholas Nickleby xvi. 143 There was a stream of people pouring into a shabby house” (oed.com).
Synonyms for the word- from The Historical Thesaurus- “old, dowdy, seedy” (oed.com) Other synonyms: moth-eaten; shabby; tatty; ratty Antonyms: new, unused, current, fresh, modern (audioenglish.net)
Examples of the word used in context: a ratty old overcoat / shabby furniture / an old house with dirty windows and tatty curtains (audioenglish.net). Similar words: worn (affected by wear; damaged by long use (audioenglish.net)
Another reference to the word “shabby” from Little Women in Chapter 5 “Being Neighborly”- “On one side was an old brown house, looking rather bare and shabby,” (Alcott 51).
Works Cited
Alcott, Louisa May. Little Women. Watermill, 2001. Print.
http://www.audioenglish.net/dictionary/shabby.htm
http://www.oed.com/view/Entry/177140>; accessed 24 June 2011. Earlier version first published in New English Dictionary, 1913. shabby, adj. Second edition, 1989; online version June 2011.
http://www.questia.com/read/14542661?title=5%3a%20Being%20Neighborly
Sommer Billings
Casey,
ReplyDeleteWhen I read your post the Soldiers Aid Society sounds very similar to Blue Star Mothers that we have now. While they don't provide things soldiers need to survive, they do send care packages to troops with comforts from home. Reading Christina's post about how Marmee's work at the society was domestic makes it even more interesting to me that the word "mothers" is now included in the title. When Mrs. March was telling her girls the story of the man giving up his boys she mentioned that she had only given up one man. However, considering the financial state her family was in she was giving up a lot by going to help the society instead of getting a paying job.
Skyler Ishmael
Belsham's Essays
ReplyDelete“But, like all happiness, it did not last long; for as sure as she had just reached the heart of the story, the sweetest verse of the song, or the most perilous adventure of her traveler, a shrill voice called, “Josy-phine! Josy-phine!” and she had to leave her paradise to wind yarn, wash the poodle, or read Belsham’s Essays by the hour together” (Alcott 36).
William Belsham was the author of the essays and he lived from1752 -1827. He was the son of a dissenting clergyman and younger brother of the Unitarian divine, Thomas Belsham. He published historical and political works defending liberal Whig principles (Radcliffe, David H.). Louisa May Alcott is poking fun of his essays in this chapter and she refers to the essays a few times as everlasting or droning (Alcott 39). There are ten published essays of William Belsham which include:
• Essays, philosophical, historical, and literary. 1789.(This seems to be his most famous collection of essays, it is published in two volumes)
• Examination of An appeal from the New to the Old Whigs. 1792.
• Memoirs of the kings of Great Britain. 2 vols, 1793.
• Remarks on the nature and necessity of Parliamentary reform. 1793.
• Memoirs of the reign of George III. 1796.
• Remarks on the bill for the better support and maintenance of the poor. 1797.
• History of Great Britain. 2 vols, 1798, 1824.
• Remarks on a late publication styled The History of the politics of Great Britain. 1800.
• Remarks on the late definitive treaty of peace, signed at Amiens. 1802.
• Appendix to the history of Great Britain. 1807.
Works Cited
Alcott, Louisa May. Little Women. New York: Penguin Books USA Inc., 1983. 33-43. Print
Radcliffe, David H. "William Belsham (1752- 1827)." English Poetry 1579-1830. Virginia Tech,
2006. Web. 14 July 2011. .
Haley Skiles
Casey,
ReplyDeleteI am with Skyler. The first thing I too thought of while reading about the Soldiers Aid Society was the Blue Star Mothers. I also cannot help but be impressed with the fact that even back in the 1800’s non-profit groups were sending supplies to the soldiers to make things a bit more bearable. Knowing that they have had organizations that have made care packages and collected needed items for our soldiers at war for as long as they have is extraordinary. It is astonishing that these organizations exist and that they have for this long. The first group of women to start this society is still an inspiration today. This is a term that I did not give much thought to while reading but it is something that I can fully relate with. Having this annotation made me think more critically of the text and gave me a higher regard for Marmee, and adds to the respect that I felt for her already after reading the novel Little Women.
Christina,
ReplyDeleteAfter reading your insightful post about Old Man and the Sea, I felt rather dumbfounded as I had no idea what the reference meant, and admittedly I did not take time to look it up while reading. Alcott's talents ran deep, but I do not believe prophecy to be one of those talents. I say this because if Old Man and the Sea referred to Hemingway, Alcott must be prophetic since Hemingway released his story in 1952, after Alcott passed away.
Your post made a great connection between Jo and Sinbad overcoming a tyrant. Reading the section over with this newfound information helped me to understand the reference and also helped me see Aunt March more clearly. Your research really proved useful.
Haley,
ReplyDeleteBelsham the bore might be an appropriate nickname. Just reading through the titles of his works that you posted makes me sleepy. It seems appropriate that Aunt March dozes off when Jo reads this book; I think most people would have trouble staying awake. I posted on the Vicar of Wakefield, the romance novel Jo reads when Aunt March nods off. This choice of reading delights the senses, so Aunt March desired something dull in order for her to rest. I love how Aunt March tells Jo to "Go back and begin it, child" and then later Jo walks in on her aunt who is so consumed with the book she does not even realize Jo came back.
That's how I know I found a great book; I become so engrossed in reading I block out all else around me.
Your post offered great insight into what I find to be Belsham the bore.
Hey Cristina Watson,
ReplyDeleteThank you for your very informative post. I came across The Thousand and One Nights during my own research for other possible beast fables that Alcott might be alluding to in the quote I chose from Chapter 27. Unfortunately, the old man and donkey fable from The Thousand and One Nights also contained a bull and had a different moral that I could not really fit into my quote.
The fable of the old man and donkey comes from Aesop’s Fables, which is very comparable to The Thousand and One Nights in the sense that they are tales passes down by word of mouth, and that they both teach a particular moral or lesson at the end of each tale. Alcott utilizes many old fables/tales throughout Little Women to help strengthen the age-old values that the girls were brought up with. I am familiar with The Thousand and One Nights, but not so much with Sinbad the Sailor. It is interesting that Alcott would refer to such a tale.
Thanks, Amanda Petronella
"How ridiculous you are, Jo!" But Meg laughed at the nonsense and felt better in spite of herself.
ReplyDelete"Lucky for you I am, for if I put on crushed airs and tried to be dismal, as you do, we should be in a nice state.”
One of the many meanings of the word “air” is assumed manner, affected appearance, 1650s, especially in phrase put on airs , 1781 (“Air.)
The phrase to put on airs is an idiom. An idiom is a phrase that has a meaning different from the normal meaning of the word ("Idioms”).
While Little Women was published in the 1860’s and The Adventures of Huckleberry Fin was published in the 1880’s the popular phrase can be seen in both works. In Twain’s book Huck’s father says, “I'll learn people to bring up a boy to put on airs over his own father and let on to be better'n what HE is” (Twain.) The reader can see that putting on airs means to act better than someone or act better than what they really are. In the case of Huck Finn it means to act more educated, in the case of Meg March it means to act like she has a higher social standing than what she does.
Meg remembers a time when her family had money and now they don’t. Jo refers to Meg’s attitude about all the things they don’t have as “putting on crushed airs” meaning that Meg has false ideas of their social or financial standing.
Works Cited
"Air | Define Air at Dictionary.com." Dictionary.com | Find the Meanings and Definitions of Words at Dictionary.com. Web. 13 July 2011. .
"Idioms - Glossary Definition - UsingEnglish.com." English Language (ESL) Learning Online - UsingEnglish.com. Web. 13 July 2011. .
Twain, Mark. "Chapter 5." The Adventures of Huckleberry Finn. Literature.org - The Online Literature Library. Web. 13 July 2011. .
Skyler Ishmael
Hey Whitney Warren,
ReplyDeleteThank you for such a detailed post. You made an excellent connection between the March family and the book, The Vicar of Wakefield. Both stories revolve around survival, and both contain themes of poverty, since being the Vicar lost his fortune. In Little Women, their poverty provides an opportunity for the March girls to demonstrate their virtuous ability to work hard. The March family is only poor when compared to their wealthy, aristocratic friends, like when Meg attends the party at Vanity Fair. But the scenes with the starving, suffering Hummel family, like when they brought them food for Christmas, show how comfortable and homely the Marches really are. Alcott was also not the only author to have mentioned The Vicar of Wakefield in their novels. Other examples include Jane Austen's “Emma”, Charles Dickens' “A Tale of Two Cities” and “David Copperfield”, and Mary Shelley's “Frankenstein”. Alcott was very well read, and references many other famous writers in Little Women, like Shakespeare and John Keats. Once again, nice job on your post.
Amanda Petronella
"I'm sure Aunt March is a regular Old Man of the Sea to me..."
ReplyDeleteChristina: Great post. Plenty of food for thought!
Like Sommer, I too thought of the Hemingway connection, but of course Hemingway's story is about an old man in a fight against the sea for his livelihood. Then I recalled Greek mythology, which tells us of Proteus, a son of the sea-god Neptune. He lived on the island of Pharos. Edith Hamilton cites him three times (42, 298-99, and 427) in her book Mythology. The legend goes that Proteus would grant boons, but, as he was usually unwilling to do so, one had to pin him down and make him. The catch was that he was a shape-shifter and it was hard to pin him down as he rapidly morphed from one shape into another. According to myth, Aristaeus, a bee-keeper did so and saved his bee farm. Interestingly, Menelaus, the husband of Helen, tells Telemachus, Odysseus’ son, of hearing about Proteus in Egypt (underline mine) on his way back home from the Trojan War. He and his men were “weather bound for many days on an island called Pharos” and in despair of ever coming home (298). A sea goddess advised them to catch the god as he came up from the sea to sunbathe with the seals. Menelaus and his men covered themselves with seal pelts and managed to hold him through several shape changes, “a lion, and a dragon . . . even a high-branched tree.”
I wonder if Egypt is where the original god morphed into two separate entities: the benevolent, (although unwilling) Greek deity versus the trickster (if not vengeful) entity of the Arabian Nights.
Work Cited
Hamilton, Edith. Mythology. New York: Back Bay Books, 1969. Print.
“The Soldiers’ Aid Society”
ReplyDeleteCasey: what a lovely yet poignant topic to research. I like the material you presented: as Haley and Skyler point out, it appears to be the forerunner of societies such as Blue Star Mothers. They evidently hold Milton’s view that “They also serve who stand and wait”. It is a sad commentary on humanity that such we should need such societies. Will war ever end? One can only hope although the existing reality vehemently denies it. Meanwhile, those of us who are not in the front lines can and should do our mite to keep home and hearth secure for those who do come back. Recently, a legislation was passed that would pay education expenses for the children of fallen service personnel. I say “yay” to the legislator who thought of this legislation and fought to make it happen.
Skyler,
ReplyDeleteI like how you compared Little Women to The Adventures of Huckleberry Finn. I find it interesting that both of these novels focus on characters who go against the common beliefs of their society. Both Jo March and Huck Finn come from the low levels of white society. Also, their distances from mainstream society makes them both skeptical of the world around them and the ideas that it passes onto them. While Huck struggles with preconceptions about blacks that society has ingrained in him, Jo has to struggle with societal expectations and gender stereotyping. Because of their backgrounds, Jo and Huck do more than just apply these rules that they have been taught-they create their own rules.
The March girls refer to their artistic youngest sister Amy, as “Little Raphael”. This is a nod to Raphael Sanzio, a famous Italian Renaissance painter, most usually referred to simply by his first name. His most well known work is “Cherubini” featured in the Sistine Chapel. Raphael, Michelangelo and Leonardo da Vinci formed the traditional trinity of great masters of that period (Raphael).
ReplyDeleteAfter a short time in Florence, Raphael began work in Rome for Pope Julius II, most likely by a recommendation by his famed cousin Donato Bramante, a Renaissance architect (Harness). His work in the Vatican is reflected in his work, which mostly consists of religious depictions. He seemed to favor Madonna and child, which appear frequently in his paintings. In his later years he was of the first artists to use female models for his drawings, when normally male figures were used to study both sexes.
He was considered a terrific drafter for his time. He would prepare for his paintings by sketching his ideas first, and once finished, would scale them to life and use a pouncing technique must like Michelangelo did when painting the ceiling of the Sistine Chapel.
According to Brenda Harness, an art historian at Fine Art Touch, Raphael was so revered that he earned the name “Prince of Painters”(Harness). He died at the young age of 37 in 1520 and was honored enough for a burial in the Pantheon. (2) Which is an architectural marvel in its own right, and not to be confused with the Parthenon of Athens, Greece. Today you can visit the Pantheon in Rome and visit Raphael Sanzio’s tomb.
Works Cited
"Raphael Biography." Raphael - The complete works. N.p., n.d. Web. 15 Jul 2011. .
Harness, Brenda. "The Life of Raphael Sanzio." Fine Art Touch. N.p., n.d. Web. 18 Jul 2011. .
Christina,
ReplyDeleteWhen I read your post, like Jona, I also recalled instances of this term used in the Odyssey and the Iliad. As I remember from a recent reading of Fagles' introduction to the Iliad, Homer was thought to have lived in the 8th century BC, and Christina notes that the Arabian Nights stories were probably "formulated between the 8th and 16th centuries." Since the Arabian Nights were "a collection of Arabic, Persian, and Indian" tales, the mythologies most likely overlap due to the sheer proximity of these nations to Greece and the Roman Empire. Many scholars agree that Troy was in modern day Turkey, once part of the Persian Empire. This accessibility would have allowed for ample opportunity for the crossing of cultures.
In chapter four, Alcott describes the greatest trial of every March girl. It was stated that if anyone had asked Amy what her greatest trial was she would answer, “My nose” (Alcott 39). When Amy was a baby, Jo dropped her, and Amy thought the drop ruined her nose (39). Amy’s nose is described as “not big nor red, like poor ‘Petrea’s,’” but rather “flat [without an] aristocratic point” (39).
ReplyDeletePetrea is a female character from Swedish author Frederika Bremer’s Home; or Family Cares and Family Joys. This novel is about the everyday life of a middle class family with both a husband and wife and six children, of which one child is Petrea (E. 239). Petrea is described as having a “large and clumsy nose” to which she attempts to alter only causing redness and swelling (239). Apparently her nose is so large that her parents wonder what will become of her and hope that her nose will even out with the rest of her body as she grows (238).
Interestingly enough, both Amy from Little Women and Petrea from Home; or Family Cares and Family Joys suffer emotionally from their self-images. They are both somewhat obsessed with their appearances. Amy is so upset by the appearance of her nose that she often draws other, more satisfactory noses (Alcott 39). Likewise, Petrea is so upset about her nose that she thinks the only answer to her problem is to go into a convent (E. 239).
Works Cited
Alcott, Louisa May. "Burdens." Little Women. New
York: Signet Classic, 1983. 39. Print.
E. New Novels: Art VII--Home; or Family Cares
and Family Joys. The Westminster Review.
Vol. 40. New York: Leonard Scott and, 1843.
238-39. December. Google Books. Web. 24 June
2011.
Tammi Ellis
Christina,
ReplyDeleteI found your annotation of the Old Man of the sea very informative. Like Sommer and Jona, I thought it derived from Hemmingway's novel but as Whitney rightly relays it would be prophetic as Hemmingway's novel arrived after Little Women. Alcott's wealth of reading materials never ceases to amaze me. Her synthesis of Greek mythology as Jona points out and her integration of other world literature pieces creates such a richer and more valuable text. It makes me want to reread the book with the information I have now.
Christina, I find it very interesting that Alcott refers to two stories with such a violent theme - A Thousand and One Nights in which the old man beats Sinbad into submission and Jacquetta's post on the donkey and the ox and the old man who beats his wife into submission. To all who might read this post, do you feel there is some underlying Alcottian meaning? With the vast knowledge that she had, would she venture to use these stories subliminally as a way to show the oppression of women and possibly children? I just find these tales violent and contrary to the peaceful and domestic setting of Little Women.
Excellent annotations by all. I am enjoying them all.
Patricia Douthat
20, July, 2011
Annotation of “Grecian nose” from Chapter 4 Burdens
ReplyDelete“…but Amy felt deeply the want of a Grecian nose...” (Alcott 38)
Amy was very self-conscious of her nose in this novel. Amy’s concern for the flat appendage on her face could be looked at from two perspectives. First, the obvious awareness of physical beauty not being able to meet the approval or standards she thinks society expects of her. The second is the socioeconomic status that associates itself with the “perfect nose”, an “Aristocratic point”, but I will only focus on the first. A Grecian nose in this novel is in reference to the “perfect” or ideal nose. Even though we see more of it in our culture now, Alcott allows readers to witness an obsession with the body or a piece of the body. The ideal body is very different for males and females. Where men strive for the body shape of a “V”, a large and wide torso with a slim waist, women strive for the body shape of the hourglass or an “X”; a wide top and wide hips, with a slim waist to piece it all together.
The ideal body subconsciously and consciously desired by men and women can be easily measured by that invisible line that divides the body. The human body has bilateral symmetry, which makes it extremely easy to distinguish perfections or imperfections of the body and face. Alcott allows readers to witness Amy’s insecurities about some of her facial features. A “Grecian nose” or the ideal nose continues with the line of the forehead, completely straight, with a point. In an article by Miguel Cavazos, he writes how research speculates that, “facial symmetry is also associated with attractiveness” and “…in humans advertises mate quality.”(Cavazos). Until Amy can grow up and be thankful what God gave her, she will have to settle for drawing “whole sheets of handsome ones to console herself.” (38).
Works Cited
Alcott, Louisa May. “Burdens.” Little Women. New York: Signet Classic, 1983. 38. Print.
Cavazos, Miguel. “What type of Symmetry Do Humans Have?” livestrong.com. livestrong, n.d. Web. 26 May. 2011.
Christina, I had read some of the stories in Thousand and One Nights, but I do not think I read this one. I am glad that Jo does not do as Sinbad the sailor did and kill her aunt. That would not have turned out so good. Luckily Jo knew that all she had to do was have patience and she would be able to endure her aunt without any more problems. Yes Sinbad waited with patience, but he eventually killed the old man, Jo was defiantly the better person in her situation. She was a prisoner but she did not return with anger, just patience.
ReplyDeleteLong, quiet days she spent, not lonely nor idle, for her little world was peopled with imaginary friends, and she was by nature a busy bee.
ReplyDeleteBees are not particularly social creatures. Although some types of bees are Eusocial (larger colonies of 50-100 bees) the vast majority are semisocial (small groups of females, usually sisters) or solitary. Bees like to live in small enclosed places such as hollowed out trees. Bee’s lives are usually short but complicated. They each have a specific task assigned to them and work relentlessly at it their whole lives. This task usually includes either venturing out to gather pollen or staying at home and working on their hives. (beespotter)
In an article entitled Victorian Domesticity, Charles Strickland examines the domestic themes that are largely focused on in many of Louisa May Alcott’s works. He discusses how Louisa May Alcott’s characters conformed to the stereotypical female roles. (Carlson)
In Little Women, Beth March is very much the stereotypical female that Strickland describes. She’s very docile and soft spoken. She always aims to please and delights in helping others, very reminiscent of the “Angel in the House.” She is very similar to the “busy bee” she is described as. She too, is not a very social creature. She likes to stay in the confines of her own family never wanting to explore the life outside. She always seems to have a task at hand, whether it be tending to her dolls and her family or helping out the needy such as the Hummles. Beth like many bees lived a short life but a full life, always doing everything she could to help out her colony.
Work Cited
http://beespotter.mste.illinois.edu/topics/social/
Carlson, Larry A. “Victorian Domesticity: Families in the life and Art of Louisa May Alcott”. American Literature. December 1986, Vol 58, Issue 4. 635. Print
Bonnie Woods
“We needed that lesson, and won’t forget it. If we do, you just say to us, as old Chloe did in Uncle Tom, ‘Tink ob yer marcies, chillen! tink ob yer marcies!” (Alcott)
ReplyDeleteIn 1852, Harriet Beecher Stowe’s anti-slavery novel, Uncle Tom’s Cabin was published. It was the most successful novel of the 19th century. Written after the Fugitive Slave Act of 1850, which made harboring or helping a run away slave, in any manner, illegal, the book offers a first hand view of the atrocities committed against the slaves of the southern United States, and resulted in an even more sympathetic North. The book was so influential on the issue of slavery that, upon meeting Ms. Stowe after the Civil War had started, President Lincoln said to her “So this is the little lady who started this great war” (Stowe). The cabin in which Uncle Tom lives is seen as a symbol of freedom and hope for those who wished to see the end of slavery and those who were still condemned to the life of an unfree person. Although, Alcott uses the reference as comic relief in Little Women, she was a huge proponent for the abolition of slavery and makes many mentions of this in her works. Throughout history, Uncle Tom’s Cabin, has fallen in and out of public favor many times, but the fact still remains that it is an important novel that helped bring about much needed change for the better by showing an accurate depiction of the life of a slave in the United States.
Alcott, Louisa May. Little Women. New York: Penguin Books USA Inc., 1983. Print.
Stowe, Harriet Beecher. Uncle Tom’s Cabin. W.W. Norton & Co. Inc., 2007. Print.
Danielle, I love how you correlated the book to Alcott's quote. By tying in all the elements of the idea given by Alcott, it allows the reader to fully understand the underlying meaning behind such an influential novel. I had no idea that Alcott was such a strong proponent of freeing slaves, but that makes me like her!
ReplyDeleteBobbi, I found your annotation to be very informative. I wondered how many of our peers caught that reference to Raphael the artist as well. The only reason that I caught on to it was because I was a big Ninja Turtle fan growing up and the turtles were all named after important/famous Italian artists/architects. I thought Amy being called “Raphael” was a wonderful honor. This nickname also shows how well-educated the March girls were. Raphael, much like Alcott, was a pioneer with his artistry by being the first to use females as models, he displays that urge to go against the grain and create from the heart.
ReplyDeleteDanielle, I really enjoyed your annotation of Alcott’s reference to “Uncle Tom’s Cabin,” especially the part about the novel falling “in and out of favor” with the public. I think that will always be the case with controversial writings, especially the great ones. The novel “Uncle Tom’s Cabin” was kind of like holding up a mirror to the United States and showing them what really happened. The novel was able to bring a dark and terrifying reality to the homes and bookshelves of people who had no idea these things were going on, and if they did, they were not aware to this extent. Great annotation!
ReplyDeleteDanielle,
ReplyDeleteI enjoyed your annotation of Uncle Tom's Cabin. Alcott makes it very clear that she was against slavery, and I am sure that is one reason why she referenced it in Little Women. Do you think that people during Alcott's time perceived Uncle Tom's Cabin differently than they do now?
Bonnie,
ReplyDeleteYour annotation about the nature of bees and its connection to Beth was fascinating. You are absolutely correct in the correlation between bees' social makeup and Beth's. They both do not favor socializing much outside their own element. Do you think Alcott purposely described Beth as a "busy bee," or do you think she simply and unthinkingly used a cliche as modern-day people do?
Tosha Kemper
ReplyDeleteJuly 21, 2011
Digital Hum. Pro.
Are the poor typically sadder than their wealthy counterparts? This very issue seems to be a reoccurring theme throughout many of Alcott’s novels but especially in Little Women, where the March fortune, or lack of fortune, seemed to be a reoccurring discussion. “Money couldn't keep shame and sorrow out of rich people's houses” is meant to show that the wealthy are not free from the pains that life sometimes throws in our path. In this particular part of the fable told by Mrs. March reflects the same theme told throughout all of Alcott’s work that happiness cannot be found in money. Rather that happiness is found within the love you share with others, a fact of which is seen strongly within the March family bond. This issue is discussed at length in Chapter 4, and has Jo at one point stating that rich people probably have as many things to worry about as poor people and I think there is some truth to this.
Interestingly enough in Alcott’s novel Work, she writes from experience as she herself was a low paid servant for a while This experience could have given her an opportunity to view that life really isn’t greener on the other side ("Facts about Louisa,").
Alcott, Louisa May, and Joy S. Kasson. Work: a Story of Experience. New York, N.Y., U.S.A.: Penguin, 1994. Print.
Alcott, Louisa M. Little Women. New York: Signet Classic, 2004. Print.
Facts about louisa may alcott. (n.d.). Retrieved from http://www.facts- about.org.uk/arts- literature-louisa-may-alcott.htm
Annotation of "little airs and graces"
ReplyDelete“Her little airs and graces were much admired, so were her accomplishments, for besides her drawing, she could play twelve tunes, crochet, and read French without mispronouncing more than two-thirds of the words.”
The phrase “little airs” or even “putting on airs” means to act better than one is or to pretend to be good or to be superior. It is essentially the idea that someone has put on a type of persona that does not belong to the character by any right. The phrase putting on airs if often viewed in a bad light. It can be seen in the “Anne of Green Gables” third movie. Dianna’s mother accuses her of “putting on airs.” While it sometimes has a bad connotation it is not always a bad thing as can be seen in the above statement as it says they were “much admired.”
A grace is often defined as a charming or attractive trait or characteristic. This may, in fact stem from “The Three Graces” of Greek mythology. The Three Graces were the daughters of Zeus (King of the Gods) and a nymph named Eurynome. The first was named Aglaia meaning Splendor; the second was named Euphrosyne meaning Mirth; the third was named Thalia meaning Good Cheer. These three women were the goddesses of joy, charm, and beauty. They usually presided over social events and are known for their singing and dancing before the gods (Hunt). They were pleasing to be around and often lent their time to the arts.
Putting airs and graces together simply means that as the statement goes on to suggest Amy was talented. She did everything right (except speak French). It may be that all the attention helped to bring Amy the spoiled demeanor that she was growing into, as Alcott later says, “for everyone petted her, and her small vanities and selfishnesses were growing nicely.”
Follows, Megan, Dir. Stefan Scaini. “Anne of Green Gables: The Continuing Story” 2000.
Hunt, J. M. http://edweb.sdsu.edu/people/bdodge/scaffold/gg/othergod.html#Graces 19 July 2011.
Katie Conklin
ReplyDeleteDr. Strong
ENGL 5633
21 July 2011
Parallels between Louisa May Alcott and Little Women’s Jo
I would like to work with the phrase about Jo that talks about how she "began to feel herself a power in the house, for by the magic of a pen, her "rubbish" turned into comforts for them all" (249). This is from Chapter 27 of Louisa May Alcott’s novel Little Women.
Chapter 27 of the book discusses the beginnings of Jo’s financial success as a writer and, of course, the money that Jo begins to make from her writing is simply icing on the cake since she actually enjoys writing for its own sake. Interestingly, Alcott provides this contrast between herself and Jo, the one character in Little Women who is most like Alcott herself. According to Alcott scholar Eugenia Kaledin in her article “Louisa May Alcott: Success and the Sorrow of Self-Denial,” the only reason that Alcott started writing in the first place was because she saw it as a way to make money and help her family financially. She allows Jo to fall “to work with a cheery spirit, bent on earning more of those delightful checks” (Alcott 249). Jo enjoys writing for the sake of creation, but she also enjoys it because the money she earns from it eases her family’s financial burdens. As Alcott points out, Jo’s work “The Duke’s Daughter paid the butcher’s bill, A Phantom Hand put down a new carpet, and The Curse of the Coventrys proved the blessing of the Marches in the way of groceries and gowns” (Alcott 249).
Like Jo in Little Women, Louisa May Alcott in her real life wrote and got her work published in order to provide much-needed financial help for her family. Unfortunately, her biographer Eugenia Kaledin points out that Alcott actually encountered some personal emotional problems as a result of her decision. Like Jo, she enjoyed writing for the sake of being able to create, but, unfortunately, she was not necessarily on the same page with her publishers, no pun intended, about what they wanted. She wanted to write the darker, more emotionally rich Gothic-type romances and mysteries, but the publishers wanted work that was more suitable for a widespread family-oriented audience. Thus was born Little Women. Alcott was an early feminist, but, according to Kaledin, she was never able to fully explore this in her writing to the point that she would have liked. In fact, Kaledin maintains that “her [Alcott’s] failure to write serious literature haunted her throughout her life in spite of her success.” Kaledin also points out that “she [Alcott] sacrificed her honest literary aspirations in order to write the kind of stories that would support them all.”
Thus it was Little Women, the novel Louisa May Alcott never wanted to write, that launched her career and made her famous.
Works Cited
Alcott, Louisa May. Little Women. New York, New York. Penguin Books: 1983. Print
Kaledin, Eugenia. “Louisa May Alcott: Success and the Sorrow of Self-Denial.” Women’s
Studies 5.3 (1978): 251. Academic Search Premier. EBSCO. Web. 19 July 2011.
Bonnie, I really enjoyed your analogy between the antisocial tendencies of bees and Beth's personality, as well. She was obviously more of a domestic goddess at heart and always had the interests of home foremost in her mind. She was not particularly inclined to developing relationships outside the home because she had everything she needed in the domestic realm. She was so concerned about her dollies, the little collection of her inanimate friends that the book describes as nearly all damaged in some way or other. However, this was Beth's nurturing personality: she was always drawn to that which was hurt or infirm in some way, because to care for something of that nature, whether it was a dolly or a person. She hated to see anything in any sort of discomfort or pain, and always did everything she could to relieve or fix it. This is what bees do ~ they strive to make their home run as efficiently and comfortably as possible, and this describes Beth perfectly.
ReplyDeleteLeila, I love what you say about Amy, and I am glad you picked her to discuss, because she is one of my favorite Alcott characters ~ not just in the book, but in all of Alcott's literature. She is such a cultured treasure and has a personality that enables to easily recognize and appreciate the finer things of life. She is a beautiful person inside and out and can easily be excused for perhaps having a little too great a love of the more luxurious aspects of life. She is so frank and likable, though, that one wishes these things for her and hopes all through the book that she does indeed have a successful life that will afford her the opportunity to enjoy such luxury.
ReplyDeleteTiffany Deason:
ReplyDeleteBelsham's Essays (Alcott pg 71):
William Belsham (1752-1827) was an English dissenter, historian, and essayist. “Belsham was the son of a dissenting clergyman and younger brother of the Unitarian divine, Thomas Belsham. He published historical and political works defending liberal Whig principles. Louisa May Alcott pokes fun at his essays in Little Women” (Radcliffe). Belsham wrote a number of essays that are compiled in his 466 page text, Essays, Philosophical, Historical, and Literary published in 1789. His works are based on Unitarianism philosophy, which were also the underlying principles of Transcendentalism that Alcott’s family embraced during her youth. The Columbia Encyclopedia states, “Unitarianism became a religion of reason under the leadership of James Martineau in England and Ralph Waldo Emerson and Theodore Parker in the United States. Reason and conscience were considered the only guides to religious truth; complete religious toleration, innate human goodness, and universal salvation were preached. Unitarianism took hold in the liberal wing of the Congregational churches of New England.” “The American Unitarian Association was formed in 1825, and in 1865 a national conference was organized. A congregational form of government prevails in the Unitarian churches, each congregation having control of its own affairs. Neither ministers nor members are required to make profession of any particular doctrine, and no creed has been adopted by the church. The covenant in general use is simply, ‘In the love of truth, and in the spirit of Jesus, we unite for worship of God and the service of man.’”
Radcliffe, David. "William Belsham." English Poetry 1579-1830. 1988. Web. 21 July 2011. .
"Unitarianism." The Columbia Encyclopedia. New York: Columbia UP, 2008. Credo Reference. 7 Nov. 2008. Web. 21 July 2011. .
Christina: Like Sommer, I also thought your phrase referred to the Hemingway novel, which is, of course, impossible—just wasn’t thinking, I guess. I think the reference is particularly interesting in light of your summary of the story. Your synopsis indicates that Sinbad thought of the Old Man o’ the Sea as a burden which he must endure to get where he needed to go, and, that once that burden was cast aside it would be easier for him to get along. Of course, the concept of burdens is a very important one in Little Women. It sounds like Alcott’s reference may have been meant as a reminder to readers that Aunt March was Jo’s burden, which she must endure to reach her “palace beautiful.”
ReplyDeleteChristina,
ReplyDeleteI thought it was awesome that you talked about the "old man of the sea." I am also taking a Islamic World History class this summer and one of the things we read were the Seven Voyages of Sinbad. I liked your comparison of how Jo felt as though she were being held by an old tyrant. I almost feel as though she not only feels as though her Aunt is the Old Man o’ the Sea but her life in general. Jo is always trying to break loose from the confines of society, not just the tyrannical nature of her aunt. Those are just my thoughts though.
Leila
Casey:
ReplyDeleteI agree with some of the other replies that your description of the Soldiers’ Aid Society reminds me of modern groups such as the Blue Star Mothers who are still dedicated to making sure soldiers have the supplies they need while in combat.
It is interesting that for all the feminist elements in Little Women, Marmee’s work is quite stereotypically feminine. During war women have traditionally been expected to ‘keep the home fires burning’ while the men are out fighting. Even though the March girls’ are encouraged to work to help support the family financially and gain some independence of their own, Marmee (the moral beacon for all the girls) is occupied with work which the readers of the time would most likely see as a safe, feminine outlet for the energy that they might have found to be bordering on feminist. The paradox of women needing to be both feminine and feminist during the Civil War can be seen in the United States Sanitary Commission with its image of women being the people to bring relief to the troops, yet still being under the command of the male president of the society.
Alexandria Mayfield
Tammi:
ReplyDeleteIt’s incredible how the more things change the more they stay the same. Back in the 1860s Alcott was writing about body image and stereotypically associating a perfect nose with being “aristocratic.” Now in 2011 the scientific community is spending countless hours and countless millions of dollars still studying the effect of body image and enabling people to achieve the facial beauty they believe will increase their social standing. All of this makes me wonder if someone in Amy’s situation (having a physical imperfection he or she was dissatisfied with) is better off being able to change that imperfection through plastic surgery or learning to accept it like Amy had to learn to do. While changing the imperfection seems the better option, so many people are never satisfied with the results. They keep going back in search of perfection. Because Amy had no option she was forced to accept her small blemish as it was and grow out of the obsession.
Tiffany, I am so glad you chose “Belsham’s Essays” for you annotation. When I read this in the book I had no idea what she was referring to and made a note to research it later, but because you did, I do not have to! I think it is interesting how Alcott wove in references to different religions to prove various points. For instance, Hilary Lane researched Spiritualism and the connection of it in the book to the faux-medium Fox sisters. Alcott used this to show “…that although some people gave harsh negativity towards Jo's novel, the "truth" may be false, just like the Fox sisters” (Lane); and as you state “… [Belsham’s] works are based on Unitarianism philosophy, which were also the underlying principles of Transcendentalism”. Your annotation was really informative, good job!
ReplyDeleteLeila, I am glad you brought up Amy. I felt that Amy could easily be written off as vain, selfish and arrogant but I really felt that she was misunderstood.As the youngest, of course she was spoiled! How interesting that the baby is coddled and every whim given into, and yet the very monster that we create, we also detest. The "putting on airs" stemmed really from the effect of the environment they grew up in. How accurate you are in bringing up grace. I really felt like grace was something that Amy, along with all of the March girls, really grew into.
ReplyDelete