Abstract
This essay focuses on Louisa May Alcott’s Little Women as a feminist novel and explores the representations of feminisms in the text. First, I argue Little Women is a novel that presents writing as feminist practice from a Künstlerroman perspective, which highlights Jo March’s subversive feminism in the time. Next the essay shows how Jo’s gender fluidity helps her reconcile/negotiate her artistic aspirations and social expectations as part of her creative path. Finally, my essay also goes beyond Jo March’s character to show how minor characters like the forgotten Beth March and emerging artist Amy March are a reminder of the text’s Künstlerroman focus, how patriarchy attempts to erase women like Beth who do not seem to fit into the stereotypes of the time due to their sickness or gender.
Keywords: feminism, Jo March, Little Women, coming of age, Bildungsroman, Künstlerroman, gender fluidity
Introduction
Bildungsroman, or the coming-of-age novel, refers to a literary genre that depicts the main characters’ development. However, while many works of this genre focus on male characters, a female Bildungsroman is not as widespread (Maier 320). Little Women, written by Louisa May Alcott in 1868, is one such feminist coming-of-age novel. In the book, the author illuminates challenges in the women characters’ lives, pressing gender issues, and questions about the place and role of women in 19th-century America. Among the evident themes are those of family, true calling, and gender stereotypes pertaining to both men and women. Alcott depicts four sisters with different personalities and paths in the given novel. Such an approach allows Alcott to present four different ways of questioning social norms, pressures, and expectations in the 19th-century America.
Jo March is the second eldest sister in the story, who chooses to explore her abilities and pursue her ambitions against the tide of her times. From the beginning of the novel, Jo shows her non-conforming personality, non-conforming personality, particularly in her ambition to become a well-known writer and support herself with her creativity.
Jo is a hot-tempered, goal-oriented, persistent fifteen-year-old girl who skillfully combines both stereotypical ‘feminine’ and ‘masculine’ personality traits the way they have been traditionally perceived. Even Jo’s approach to her name indicates the deconstruction of binaries, since her full name is Josephine, but she prefers a masculine-sounding version, Jo, thus subverting the typical feminization of herself. Throughout the text, Jo strives against the patriarchal yardsticks mapped out for women in her time.
However, it is noteworthy that Jo March does not want to fight solely for equality, independence, and minority rights. Nevertheless, many analyses leave out Jo’s creative path and development as an artist. Thus, it is worth considering this path and how it impacts Jo March and the writing of the self and the novel as a Bildungsroman. The young, ambitious girl states her ultimate life goal is “to do something very splendid” and develop her writing skills (Alcott 60). Art thus becomes a space to create a feminist voice for the heroines in Little Women and a metanarrative for Alcott herself.
Frame of Study
It is vital to point out that the phenomenon of feminism emerged not decades ago but hundreds of years ago, and literary works from earlier time periods can also voice concerns that are still pertinent today. In this case, Little Women and its diverse women characters help readers understand the attitude towards women and the societal pressure and expectations in the 19th century. Thus its negotiation of patriarchy and the status of women contributes to the novel’s significance today. The popularity and relevance of the novel can be seen through various cinematic versions of Little Women, with the first interpretation first being released in 1949, another well-known piece released in 1994, and the latest in 2019.
Even if the patriarchal system the novel portrays should be obsolete, it still exerts a force and thus encourages a feminist vision even in our present time. Hence, this study analyses the phenomenon of feminism in Little Women through the gender subversions in Jo March, or its revealing itself as Künstlerroman. Consequently, the questioning of binary elements of masculinity and femininity throughout the novel will allow us to see how women’s creativity negotiates and challenges patriarchal frameworks.
Literature Review
Most of the scholarship on Little Women has focused on issues related to gender norms, stereotypes, feminism, and feminist practices. While there is a lot of scholarship on the novel, few works analyze characters from the Bildungsroman and Künstlerroman perspectives. Additionally, while many works illuminate the artistic path of Jo March, other sisters with exceptional talents, such as Amy and Beth, do not receive much attention from scholars. As a result, this study focuses on the artistic paths of Jo, Amy, and Beth March, along with their character development and battling of gender stereotypes.
In her essay “Gender Stereotyping in Little Women: Let Us Be Elegant or Die!” Clare Bender affirms that Little Women is not merely a “sweet, charming story,” but “a strong affirmation of feminist beliefs” (Bender 140). Bender describes the non-conformity of such characters as Laurie and Jo. According to Bender, Alcott questioned several conventional gender norms by illuminating the relationship of these characters. Bender not merely evaluates the behaviors of Laurie and Jo but also analyzes their names, stating that while Laurie sounds more feminine, Jo can be viewed as a more masculine name. These two characters are not the only focus of the author. Bender siscusses Beth in contrast to her sister, perceiving her as the perfect 19th-century woman who is happy being submissive and people-pleasing.
Furthermore, a work by Sarah Bott provides a thorough analysis and comparison of revolutionary female characters’ features, mannerisms, attitudes, and ambitions. In this sense, the author accentuates the fact that Jo indeed exhibits the traits that are more often associated with women, such as empathy, gentleness, and caring for her family. Yet, Bott shows the side of Jo that is often perceived as masculine due to gender stereotypes, which is why the young woman does not fit in.
The next work focuses on the inner struggles of Jo and the changes in the writing style of the aspiring writer. In their work, Representation of Gender Stereotyping in Louisa May Alcott’s Little Women, Nabilla Rahmadhiya Ekasanti and Mala Hernawati claim that a few changes that occur during the writing path of Jo clearly demonstrate her character development. As she overcomes her extensive vocabulary and rebellious zeal, Jo transcends this phase. The young woman experiences a shift in her writing style, from writing to thrill and fascinate the reader, to prioritizing her interests and preferences and utilizing writing as a therapy and outlet for feelings and opinions to ultimately find her voice. Jo breaks free from societal expectations and develops into an independent and confident female author.
Background of the Novel
While some readers might consider Little Women a simple novel, the book transcends easy interpretations and represents a feminist Bildungsroman. It illuminates the struggles of women and the establishment of their characters in a conservative, patriarchal world. The March daughters have big dreams at the beginning of the novel. For example, Josephine, the second child, aspires to be a writer. Meanwhile, Amy, the youngest daughter, wants to be an artist and Beth shows a tremendous musical potential which is subdued because of her illness. As the girls reach adulthood and patriarchal expectations for the young women rise, and they find themselves having to forget their ambitions in favor of what life could have been like.
The story depicted in the book is intertwined with the life and experience of the author. Alcott, like Jo, was the second daughter in her family, and also aspired to become a writer. The resemblance between Alcott and Jo goes deeper, however. As Harriet Reisen states, “Jo March resembles her creator most in the fertility of her imagination” (Reisen 4). Harriet Reisen believes that both women share the same rich imagination, which allowed them to create narratives from fragments of violence and betrayal in one moment and fairy tales and emotional poems in the next. Nevertheless, while Alcott became a prolific, dedicated, and successful author remained unmarried, Jo settled for family life in the end of the novel, which could be as rewriting as a response to the readership pressure and expected narrative of the age (Rudin 115). Critics also generally agree that Alcott’s own life was a probable scenario for Jo, who also grew up with three of her sisters in Concord, Massachusetts.
It is also important to mention that despite the fact that Little Women made Alcott one of the most recognized and praised authors of her time, the writer initially hesitated to work on it. It was her publisher, Thomas Niles, who suggested that Alcott write a book for young girls (Cheever 2). Consequently, Alcott decided to write about something familiar, such as her personal experience with her sisters (Cheever 2). She was satisfied with the unpretentious and genuine book, which was completed in ten weeks. According to Alcott, she and her sisters lived through most of the events and experiences depicted in the book, which accounted for its success (Cheever 2). As a result, the work can be considered semi-autobiographical due to the plot’s resemblance to the author’s life and voice. Thus, from this perspective, the novel can be seen as a metanarrative of women writers like Alcott, depicting the gender-related challenges they faced in their profession.
Theoretical Framework
In order to understand rebellious women, subversion of ossified patriarchal dogma, and gender fluidity in the novel, it is of critical importance to give an in-depth description of feminist practices and Bildungsroman as a feminist practice. This involves considering the writing from the perspective of feminist practice and the general features of Bildungsroman. These two are not only intertwined but also shape the novel’s discourse and allow the reader to gain an insight into Jo’s character.
Writing as Feminist Practice and Bildungsroman
The traditional Bildungsroman, also known as the coming-of-age narrative, has its roots the 18th-century German Enlightenment’s constrictive gender norms and hierarchical class structure (Graham 200). The Age of Enlightenment can be characterized as an intellectual movement that was commonly seen as the movement that encouraged freethinking and liberty, at least among male and for male proponents. Under such influence, the concept of Bildungsroman has changed into a literary classification for written works whose plot revolves around the main character’s development, maturity and spiritual growth. The traditional Bildungsroman’s coming-of-age path is built on the idea of the male individual as the “universal self” (Graham 202). Thus, the central character’s pursuit, whether geographical or internal, of enlightenment or wisdom is a fundamental aspect of most works regarded as Bildungsroman.
Feminist critics have proposed a reassessment of Bildungsroman, asserting that a female main character’s growth varies substantially from male main characters’ maturing. Thus, a range of attributes of the female character development has been introduced, including self-realization, philosophical and religious views, internal and external goal orientations, profession, perception of marriage and a shift in gender norms (Desmawati 91). In many Bildungsroman texts, female protagonists are often noted to be non-conformists who question established standards of the society. For example, Jane Eyre by Charlotte Brontë and Anne by Constance Fenimore Woolson are typical coming-of-age novels that illustrate the eagerness of female protagonists to go against social expectations and explore their passionate natures. The main characters in these novels do not conform but rather adapt to society, as their questioning of norms allows them to create new spaces for themselves within the social sphere.
Female writers of the 19th century grappled with preconceptions about the importance of marriage, particularly for middle-class women later became a wider concern. In this respect, the 19th century can be considered the time that laid the foundation for writing as feminist practice (Howell 23). Reforms in urban life and the journalistic sphere allowed women to take on more prominent roles in society and voice their opinions and values with the help of their writings (Howell 23). Among the writers who contributed to the establishment of feminist writing was Sarah Willis Parton, also known as Fanny Fern (Howell 23). The work of Fern addresses the concerns about gender discrimination and women’s autonomy (Howell 23). Moreover, Fern discussed the unfair and negative criticism directed at women writers by male authors. Thus, at this time, writing was not only a way to express oneself but a way to rebel against the prevailing injustice. In that, writing still emerges as one of the vital ways for feminist writers to write the self and claim a space.
Since the 19th century, writing as a feminist practice has shifted, becoming more visible and widely practiced. A significant number of feminist debates concentrate on whether women can “appropriate language and literature for a liberatory end” (Kaplan 339) because language is not only a means of obtaining cultural transformation, but it is also among the issues that women face. This includes the devaluation of female writers’ works and therefore, reminds us of the necessity of women to resort to unconventional writing styles challenging the established patterns, though not all female writers adopt this approach. For instance, Alcott approprates a more male style of writing to subvert patriarchal norms.
Patricia Yaeger, a feminist writer, also advocates for a feminist theory by challenging four assertions that have potently framed feminist writing. According to Yaeger, one of the first issues that feminist writing questions is how men’s work is encouraged while feminist work is devalued, stressing the dichotomy. As a result, another issue of feminist writing involves dismantling masculine language that is believed to have a complete authority “to restrict women’s identities” (Kaplan 346). The next aspect that comes to women’s writing is that women have “a single relation to language” (Kaplan 346). This implies that “emancipatory strategies” are not so easily accessible to the woman writer (Kaplan 346). In this context, language is defined chiefly as either masculine or feminine (Kaplan 346). Consequently, such ruling viewpoints become overbearing, forcing women writers to seek conventional textual distortions, incorporating avant-garde approaches to writing. Yet, it is not always the case since many works, such as Little Women, prove to be successful due to unconventional character depiction without avant-garde approaches in writing.
Writing as a feminist practice has often received backlash for freethinking due to the bias and preconception of critics. A diverse range of feminist writers have contributed a great deal to literature by illuminating the struggles and aspirations of women. Even though feminist writers express many similar opinions, such as questioning gender roles, the variety of current work necessitates a dismantling of a monolithic view of feminism. In this regard, many feminist writers expose the dominant gender dichotomy while also subverting the existing limits. In this case, a feminist Bildungsroman helps to emphasize on the female protagonist’s path. For instance, Alcott’s novel forms a critical space of feminist writing, illuminating varied meanings of feminisms through the story of Jo March and her sisters. The larger significance of the genre of feminist Bildugsroman for Alcott’s novel is precisely in how Alcott makes use of the text and this genre to create women’s voices that vary and each highlight the predicaments of women in the times.
Gender Stereotypes in 19th Century and Different Feminisms in the Novel
In Little Women, Alcott sheds light on the gender stereotypes that were prevalent in the 19th century. These gender stereotypes can be seen through both female and male characters who strive to transcend societal boundaries that constrain characters of both genders. With the help of contrasting characters, including the four sisters and Laurie, the novelist is able to illuminate how stereotypes play out through the characters.
Alcott confronts gender norms first with the help of the protagonists, Laurie and Jo. Clare Bender a claims that the friendship of the two serves as a source for Alcott to challenge many traditional gender roles (Bender 141). According to Bender, Alcott also breaks the cycle of gender stereotypes by choosing such names to her characters, Jo and Laurie (Bender 141). As mentioned earlier, the former can be perceived as a masculine name, and the latter can be confused with a more feminine name. Aside from the names of the characters, both Jo and Laurie break the stereotypes through their professional aspirations. For example, while Jo desires to be a successful writer, which is considered a male-dominated field, Laurie wants to be a musician since he “comes naturally by his love of music” and does not see himself in the business field, a common path for most men (Alcott 65). When both characters meet for the first time, neither appears to be bothered or astounded by the other’s name. Thus, the idea behind such an approach is never to criticize an individual based on their name and categorize them into specific gendered groups based on their names. Naming becomes one of the ways in which gendered expectations are thwarted in the novel.
From the first pages of the text, Jo not only refuses to comply with the conformist rules of society but refuses to do so as an act of rebellion, even with her mother’s pressure and endeavors to change her daughter. In comparison to another one of her sisters, Meg behaves in a suitable manner expected from a woman. Meg acts in accordance with her mother’s perception of a ‘ladylike’ personality. She criticizes Jo for using jargon and whistling, telling Jo that she is old enough to stop behaving like a child and start acting like a true lady. When scolding her sister, Meg alludes to Jo’s looks and behavior, claiming that even hair is an essential feminine attribute that should be well-kept (Alcott 13). Thus, Alcott highlights the societal expectations by contrasting Meg and Jo.
However, there are more moments when Jo feels that her true personality is suppressed due to the common expectation of femininity in society. Another such moment is the preparation for Gardiner’s party, where Meg and Jo face a slew of challenges in order to look visually appealing (Bender 142). Since the girls have one pair of stained gloves, it is decided that they would wear one glove that is clean and hold the smeared piece in the other hand (Bender 142). This scene demonstrates what kind of scrutiny from society the women of this time had to endure. Alcott makes it clear how young girls had to constantly look graceful, wear beautiful dresses, and watch every step in order to avoid criticism.
Jo and Beth are two women in the novel who represent two strands of feminist space, albeit with different endings and a tragic death of Beth. Bender’s study of the novel sees Beth as an epitome of the ideal 19th-century woman, who is comfortable being an obedient, people-pleasing woman. Yet this essay reads Beth with a nuance and recovers a feminist space within the text through her. From a Künstlerroman perspective, the readers are able to observe the path of Beth. The young girl has always been passionate about music and is soon gifted a new piano by James Laurence. Due to Beth’s condition, her only option is to lead an ordinary domestic life, which resembles the path of the majority of women in the 19th century, whose main goal was “to comfort and sustain” everyone and put other people’s interests first (Alcott 707). During this period, many women had no choice but to abandon their hobbies and education in order to take the roles of mothers and wives (Bender 145). Since only a few women could provide for themselves, the home was seen as a haven with security and stability. Yet, the aspect of Beth’s illness must be emphasized. As a woman and a sick figure, Beth becomes an even more marginalized character in the novel.
Alcott’s novel reminds that women like Beth, though gifted, are rarely appreciated and cannot claim their space in society. Their efforts are only seen when this “little cricket on the hearth stops chirping” (Alcott 79). Alcott is referring to the idea that, sometimes, even the most talented individuals cannot fulfill their aspirations. In the case of Beth, this young talented girl could become a great musician, but she is forced to lead a quiet life, not fulfilling her true potential due to scarlet fever. First, her being a woman limits her aspirations to her musical talents, and secondly, her illness makes her an “othered” diseases presence, thus removing her twice from the overarching spaces of the text and the society’s expectations.
Analysis
Little Women: Künstlerroman
Künstlerroman is a subcategory of Bildungsroman, and its plot focuses on the protagonists, more specifically on their aspirations and ambitions in the field of art, including writing, poetry, painting, or music. While Little Women highlights character growth and maturation of Jo March, Alcott accentuates the significance of Jo’s enthusiasm and strength in her quest to become a prominent writer.
Meanwhile, throughout Jo’s life, the reader can see the struggles and shifts in the young woman’s writing. In the first part of the novel, Alcott describes in detail how rich Jo’s imagination is and the kind of great talent and dreams the aspiring writer has. Jo defines her “castle” as “rooms piled with books” and a “magic inkstand” (Alcott 188). Additionally, though Jo must learn how to perform household chores, her desire to be a writer is never viewed as a flaw in her character by her family. Instead, her blessing and skills win support and recognition from her sisters, who fully endorse her aspirations. For example, one of the sisters, Beth, is impressed by Jo’s ability to “act such splendid things” when completing their theater repetitions (Alcott 18). Her family views her as a Shakespeare, admiring and respecting her talent. However, such sisterly support and encouragement indicates that Beth, along with Jo, is a woman of radical views as well. Thus, Bender’s claim that Beth has no place in this world, implying that weak and ill individuals are not taken seriously, is problematic.
Jo believes in her ability to become wealthy and famous through her writing, and this only intensifies after her story is published. After first publishing the narrative, Jo’s sisters express their happiness and even cry with excitement (Alcott 203). To a certain degree, Jo’s early triumph alleviates her prior stress about failing to create outstanding works and gives her more opportunities to pursue a writing career in the future. She improves her writing skills when she receives criticism. Additionally, she considers publishing her works anonymously, implying that it was written by a man. However, this is problematic because as a woman, her identity is hidden, but a man’s pseudonym allows her space to resist the patriarchy and continue to write in the woman’s voice. To Jo, this is a quest where both wealth and recognition as a writer take precedence. She sees writing as an opportunity to both provide for her family and build her writerly self, which is a radical act.
Jo experiences a shift in her writing at a certain point in the novel. This is a significant moment in the novel as Künstlerroman. When Mr. Dashwood, a publisher, pushes Jo to change the story and write something that the “mainstream” audience would accept, Jo feels as if she “betrayed herself” because her primary aim and style of writing have rotated and now were different from her initial dreams (Alcott 674). As Killmer discusses, after this revelation, Jo abandons her desire to write sensational books, which can be perceived as a pivotal moment in her writing path (Killmer 16). She is “ashamed” and sees her works as nonsense and is appallingly embarrassed by perceiving writing only as a means of making money (Alcott 674). Thus, this moment allows Jo to become closer to writing as a form of art rather than merely as a source of profit and also shows her the development of her character. From then on Jo makes a promise to herself that she will use her skills not to captivate the audience but to express her opinion and delve deeper into what interests her. This not only encapsulates the moment of growth as a writer but her maturity and it enhances the perception of Little Women as a feminist Bildungsroman and Künstlerroman.
As soon as Jo starts to perceive writing as a conduit for her emotions and opinions, it becomes her personal therapy. Writing serves as an amalgamation of self-expression means and medicine for her. At some point, Jo writes two poems that reveal her thoughts and feelings on everything happening internally to her. The first poem reveals her grief after the death of her beloved sister Beth, assuring that her life was full of meaning and everybody gained a lot of wisdom from her. In another one of her poems, Jo expresses her loneliness and desire to love and be loved. While admitting that her poems are not perfect, they bring her a sense of serenity. Thus, for Jo writing “has done its duty” to share emotions (Alcott 904). It is not only a way for Jo to articulate her thoughts and feelings, but it is also a source of peace and comfort for her.
Thus, Jo’s story is a combination of Bildungsroman and Künstlerroman. As a Bildungsroman, the novel depicts Jo’s maturation from a rebelious young girl trying to find her true identity to a woman who ultimately finds comfort in her body; as a Künslterroman, the novel shows how this maturation is tied to Jo’s artistic development. What can be seen is the desire of the protagonist to become a prominent writer and gain respect and recognition through her skills and knowledge, an anomalous wish in her times. According to Nabilla Rahmadhiya Ekasanti, during this journey, several changes take place that further indicate the maturiation of the character (Ekasanti 112). Jo surpasses this stage like she surpasses her rich vocabulary and rebellious enthusiasm. Like a Künstlerroman heroine, Jo experiences transitions in her writing style, going from writing to excite and captivate the audience to putting her interests first and using this form of art as a therapy and conduit for emotions and opinions and finally gain her voice (Ekasanti 112). Jo escapes from traditional constraints and blossoms into a self-sufficient and brave female writer.
Another example of the novel as Künstlerroman can be found in Jo’s sister Amy. However, the case of Amy shows how a combination of talent and aspirations can lead to major success. While Jo captivates readers with her rebellious nature and eagerness to achieve greater heights as a writer, Amy seems to be almost in her shadow. However, readers can also see how Amy transforms from a “vain, self-obsessed little girl” into a serious painter who goes to study art in Paris (“Artists in Literature: Amy March From Little Women“). Amy’s story begins when she receives palettes, brushes, and paints from a friend. Amy puts effort into all kinds of visual arts, from sketching to painting. However, Amy does not see her passion as a fleeting interest. Through painting, Amy reaches her true self and her growth does not stop after several experiments but goes further, including trips to Europe, where Amy can master her skills. Even though the heroine ultimately marries, she does not abandon her passion for art and combines these two parts of her life. As discussed later, this journey undertaken by Amy becomes a key aspect in carving out her Künstlerroman framing in the novel.
Gender Fluidity in Jo March
The gender fluidity of Jo March is evident when comparing Jo at the beginning and end of the story. At first, the reader sees an obstinate adolescent who is not afraid to dream big and rejects conformist ideas of family and gender roles. In the end, according to Agapi Theodorou’s dissertation, Jo is comfortable marrying a professor, taking on more household duties, and removing writing aspirations as the main priority (Theodorou 2).
Jo’s personality has evolved significantly by the end of the book. Theodorou believes that she transforms into a much more feminine character while maintaining the strength of her character (Theodorou 2). In this sense, while in the beginning, the inner world of Jo represented chaos, since the character was torn between two personalities, in the end, Jo earned how to combine the two characters effectively. Thus, the gender fluidity of Jo March is represented through the combination of both essences of genders, rather than trying to resort to only one. In Jo’s case, even though she cares for her family and does domestic work, she possesses stereotypical male characteristics, such as an outspoken nature, independence, ambitiousness, and freethinking.
In order to observe the complete transition of Jo March and the triggers that make her personality shift between gender inclinations, it is necessary to consider how Alcott emphasizes the challenges Jo has to endure due to pressure to conform to patriarchal stereotypes. As seen from Jo’s lines, she likes “boy’s games, and work, and manners” and “it’s bad enough to be a girl” when comparing women rights and freedom to those of men (Alcott, 3). According to Donna-Marie Tuck, among the most complicated and transgressive issues in Little Women is the frustration that stems from one’s sexuality, “being “made” of one sex whilst desiring to “be” of another” (Tuck 82). As a result, one observes the inner struggles of Jo, who seeks to transcend gender binaries.
Jo’s gender fluidity can also be discussed through physical and psychological features in the text. Sarah Bott observes that when it comes to appearance, Jo March’s sisters, unlike her, are well-versed in the newest trends and wear feminine garments and exquisite accessories (Bott 10). However, Jo does not desire to comply with the rules of modern fashion, resorting to a more comfortable style (Bott 10). In her dress choices, she straddles the edge dangerously, at times infuriating her sister, Meg. Jo March opts for plain clothing over traditional ornaments and decorations like gloves and jewelry, preferring convenience above tradition. Additionally, she is unconcerned about her beauty, quickly lowering her prestige in a group of sophisticated peers (Bott 10). Jo finds delight in being in the rain without an umbrella and sinking boots ankle-deep in the dirt when outside in the rainstorm. The only time Jo makes compromises on the looks is when she is required to. For example, when the family attends various events, including their neighbor’s mansion, and the young girls have to appear appropriately dressed for their social status. Though Jo is not as enthusiastic as her other sisters, like Meg, she does not wish to upset her mother.
Otherwise, Jo’s appearance is one of the few areas where she feels free to be herself. Jo lives with three sisters who enthusiastically comply with the norms of society and revel in the plethora of dress options endowed upon their gender. Contrarily, Jo’s garments are connected with her perceptions about female sexuality and the injustice of being born a woman (Bott 10). When being dressed up by Amy, Jo admits that she is “perfectly miserable,” and every time she is forced to wear something fashionable to look presentable, she only sighs (Alcott 553). As previously mentioned, Jo is “being “made” of one sex, whilst desiring to “be” of another” (Tuck 82). Jo once says that “it’s bad enough to be a girl, anyway, when I like boy’s games and work and manners! I can’t get over my disappointment in not being a boy” (Alcott 3). She almost openly expresses her desire to be of the male gender, and she still finds the inequality offensive and disappointing.
Hairstyle is another central point of reference when analyzing Jo March’s gender fluidity. Hairstyle is generally considered an advantage for women, but it is a vital factor in decoding a character’s association with femininity and masculinity. Jo’s hair was formerly long and thick and recognized for its attractiveness, but she cut it shorter and sold it to help her family since she was uncomfortable asking her aunt for money. Such drastic change is met with negative emotions from her family, who refuse to believe that she has disposed of her “one beauty” (Alcott 319). Despite the fact that it bothers Jo at first, she does not hesitate to forget about this matter and concentrate on the bright side, claiming that it “will be good for [her] vanity” (Alcott 320). Thus, through such focus on hair, often conceived as a preestablished frame of woman’s beauty, Alcott poses Jo as its opposite yardstick. Jo’s hair-cutting becomes a rebellious gesture to demonstrate that ideals of beauty may be reconsidered outside of their established patriarchal constraints. Though the practice of cutting and selling hair to earn money was not uncommon underprivileged women did it, among upper-class women, it was not only rare but could be considered an act of madness, “a filthy spectacle”, or a sign of disease (Brownmiller 56).
Apart from physical features, gender fluidity can be more complicated and involve psychological features. As Sarah Bott rightly points out, the gender fluidity of Jo March can also be traced with the help of her tomboyish attitude (Bott 17). As per the definition given by Bott, a “tomboy” is “a young girl [who] behaves in a non-feminine way, conducting herself in a masculine manner that is socially reserved for boys” (Bott 17). Shardai Smith also adds to this idea of Jo March’s tomboyish nature. The protagonist even refuses to be called Miss March, and when speaking to Laurie, she asserts that she is “only Jo” (Alcott 43). This helps Jo lose the part that makes her feminine and refers to her single status in her name against her will.
As traced in this discussion, the reader can see a combination of the traits of character that are usually attributed to women and men. By nature, Jo possesses traditional feminine qualities, including empathy and familial love. Yet, she strives to practice such characteristics beyond the traditionally feminine roles of wife and mother. Jo’s association with Laurie, the educated and sophisticated friend who gently but surely becomes infatuated with Jo, is one illustration of the heroine preferring ambitions to love (Bott 18). Unfortunately for her admirer, Jo maintains a platonic love toward him, seeing this relationship as her responsibility to raise “her boy” (Alcott 622). Rather than perceiving him as a lover, Jo wants to help Laurie grow into a great man. It can be argued that Jo’s rejection stems from her skepticism that she would ever experience the feeling of love toward anything beyond her work, much alone a real man (Bott 18). However, at the same time, it can be seen that Jo strives to be the protecting figure and her romantic rejection is not simply a mechanism but an innate desire to share her love and support. Thus, the usual associations of feminine sentimentality and love become coded more as human emotions than specifically feminine ones.
When it comes to the way she communicates with her close circle and supports the household, Jo blurs the lines between gendered associations as well. Jo’s position in her family is both financially practical and psychologically supportive. First, she is adept at tailoring, and it is mentioned that Jo was heavily engaged in sewing, “for she was mantua-maker general to the family” (Alcott 551). Jo took great pride in the fact that she was able to wield needles with the same success as working with a pen. Here, it is noteworthy to mention that tailoring was considered feminine employment in the 19th century, and daughters were usually taught by their mothers how to sew (Jordan 2). Yet, at this point, considering that Jo March was of higher social status, her desire to sew rather than pay for this service yet again indicates her independence.
Jo views herself as capable of taking the leading role and directing the household in times of hardship and replacing the father, who is absent during wartime. Sarah Bott also points out that usually, the part of a responsible party is given to another man in the family, such as a son (20). As per the statement of Jo March, ever since the father went to the war, she is the one who has to be “the man of the family” and provide since he instructed her to take particular care of their mother at such time (Alcott 15). The fact that Meg is the eldest and Jo made the decision to become the breadwinner shows her determination and boldness. Jo finds fulfillment in taking on the traditionally male-dominated position of family protector.
Amy March, the Artist and the Forgotten Character Beth March
While Jo March is a character who fights for her dreams and ambitions, there are two other characters in the novel who also drive the Künstlerroman focus.
As mentioned before, another example of a Künstlerroman heroine is Amy March, a gifted artist who desires to pursue the path of a painter. The artistic course of the character begins with experiments in painting that include “fire to oil” (Alcott 294). The March family is constantly concerned about “the odor of burning wood” or “smoke issued from attic” (Alcott 294). Amy’s transitions in art later include charcoal portraits and finally the sketching in which she can capture flowing rivulets or blooming fields. Her passion even leads her to catch “endless colds” since she always spends time on damp grass (Alcott 295). Thus, while Amy craves “money, position, fashionable accomplishment, and elegant manners,” she must be seen through her greatness in art and desire to “do something worthy to be called “high art” (Alcott 296). She is an aspiring young woman who strives to create an identity of artist within the patriarchal limitations of her times. Amy’s path in the art realm, admiration of fashion, and desire to be feminine proves that femininity and art are not irreconcilable.
Near the end of the story, Amy starts recognizing marriage as an economic proposition that can yield more benefits for her (Flint 57). Amy also understands that a career of an artist may not bring her financial freedom due to societal norms (Blewett). As Amy concludes, “talent isn’t genius, and no amount of energy can make it so,” she seems to become content with her decision to marry and live comfortably, pursuing art as a passion rather than a profession (Rao, Alcott 465). Essentially she makes the choice to marry so as to pursue her passion as a passion; this might suggests that one does not need to make money from art in order to be a true artist.
Beth and her musical aspirations provide another narrative about the value of women’s lives and creativity. Although Beth is portrayed as an innocent woman who dies young, she is not a one-dimensional character. As argued earlier, Beth displays various attributes that distinguish her as a talented person, including her potential for self-improvement, passion for music, and ability to conquer the fear of interaction with people. Like her other sisters, Beth is a gifted individual, though her space in the novel becomes tenuous after her sickness.
The readers become acquainted with Beth, her personality, and her ideals in the opening pages of Little Women. The first words Beth says are related to her family, with her stating that the March family had each other. According to Daniel Shealy, this moment illustrates the importance of family to the character and the gentle nature of her character (Shealy 19). Yet, one might forget Beth puts immense value on music as well. Beth states that she desires to spend the money she is given on new music (Alcott 8). Evidently, she has other interests in her life that drive her also.
Indeed, shy Beth seems to communicate best through music. For instance, it is mentioned in the beginning that nobody except Beth is able to “get much music out of the old piano” (Alcott 26). She has the skill of lightly pressing the buttons and inducing an array of emotions in others with the help of her play. Additionally, whenever Beth is not aiding her household with chores, she may be seen chatting about and playing an instrument. Alcott accentuates Beth’s passion, stating that she “loved music so dearly, tried so hard to learn, and practiced away so patiently” (Alcott 79). Although she has no money to afford private lessons to learn music further or afford a new piano, she never abandons her passion.
Beth’s musical ability is powerfully depicted when she is asked to perform on Mr. Laurence’s piano. The opportunity for Beth to perform at Mr. Laurence’s residence is an excellent distraction from her old instrument (Beelen 26). Moreover, this moment serves as one of the rare occasions when Beth does not show any social anxiety and interacts with someone outside of her close circle. When Beth performs using Mr. Laurence’s piano, she interprets the melody as “the voice of a beloved friend,” which demonstrates Beth’s intimate relationship with her gift (Alcott 119). Just like Jo, Beth presents artistic features that are not sustained. While Jo struggles in her writing path due to her gender, Beth has to undergo another level of hardship because of physical illness.
Beth suffers from an illness and her eventual death. Due to this condition, Beth is compelled to remain at home as her sisters explore their possibilities and think about their future. Interestingly, Graña Rodríguez views Beth as an epitome of the stereotype of “the angel of the house” (18). According to Rodrigez, this term refers to the Victorian concept of femininity: meek, gentle, and obedient (18). In her book, Anne Rioux (65) also claims that since Beth finds the most peace around her family, it seems appropriate for her to spend the remainder of her lifetime at her family’s house. However, the perspectives of Rodríguez and Rioux might be somewhat unfair towards Beth. It is crucial to view Beth’s life through the lenses of both her disability and art as well as her gender.
Unlike her sisters, whose motivations change and develop, Beth maintains her passion and goals, which are neither romantic nor career-focused. According to Alcott, “there are many Beths in the world, shy and quiet” (Alcott 79). Nevertheless, it is also important to view Beth’s character in terms of the sacrifices she must make in the disempowered space she exists in, which makes her strong. Unlike her sisters, whose motivations change and develop, Beth maintains her passion and goals, which are neither romantic nor career-focused. Although both Beth and Jo are the supports of the family, Jo strives to provide financial support, while Beth offers mental support.
Aside from such criticism, through Beth, the author is also perhaps implying that if a woman does not detach herself from domesticity and does not follow her ambitions, she will perish. In this way, Beth’s death “may be intended as critique of domesticity as the ideal sphere for a lady” (Graña Rodríguez 20). Thus, it is clear why Alcott opted to create the novel Little Women with four sisters in the plot. This provides an opportunity to demonstrate to a younger generation that a woman’s life may expand in a variety of ways. On the other hand, it is vital to consider the heroine’s circumstances and the importance of her existence. From a Künstlerroman perspective, this character was not given a chance to flourish and hone her musical skills. While her condition limits her life and artistic endeavors, they are nonetheless meaningful. Thus, this young woman has potential and talent, yet is a victim of her illness and has to adapt to the new reality.
Conclusion
As this essay argues, Little Women proves to be a feminist Bildungsroman that focuses on female protagonists and their growth. Through Jo, it is possible to observe how the author confounds common gender stereotypes and ossified perceptions of a woman’s purpose. Jo March is one of the four sisters who has big aspirations and goes against the societal norms, lacking interest in fashion and striving to become a successful writer. Amy is another interesting character who follows her passion for art and creativity in the novel, highlighting the Künstlerroman frame and that women can claim their voice and space through art, though she too has to negotiate and balance this with marriage. Aside from the gender fluidity and rebellious character of Jo, another sister, Beth, illustrates the unfulfilled talent and the tragic space of a sick woman in a society and the ending such a woman meets. Being equally talented, Beth’s death is a reminder of the pitfalls of domesticity and how illness is perceived for a woman. The novel carefully questions the belief that women are expected to conform who can play only one role: parent or wife. If anything, it seems to value creativity for its own sake as the highest form of art, and one that is not in conflict with, for example, marriage. It is interesting that both Jo and Amy ultimately pursue art for passion’s sake (though Jo does experience art as a means of income) and also ultimately take on domestic roles, rather than live as, say, bohemian artists supporting themselves through their art. So, on the one hand, the novel can be seen as a step back from total liberation, but on the other, it shows a multifaceted femininity and conception of woman-as-artist.
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