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Greta Haley

Mrs. Detsch

AP Literature

22 March 2023

The Gender Analysis of Little Women

From the moment the four March girls were written down on a page, their stories

influenced the lives of people all over the country and around the world. From the grace of Meg

to Jo’s wit, with Amy’s charm and Beth’s innocence, each of these girls brings a unique

perspective on the lives of women. Little Women by Louisa May Alcott is a story of women

finding their own path along with finding themselves. Throughout the novel, Alcott emphasizes

the roles and societal pressures of women and men during the mid-1800s and the struggles of

fitting into a specific role shown through dialogue and conflict. One of these conflicts has to do

with Jo who always feels as if she is more than her gender; thus conflicting with herself and

other people's indifference. Throughout the novel, Jo chooses to act against societal gender

norms by having “boyish” qualities that are not suited for women during her time. While Jo

shows boyish characteristics, Laurie is portrayed in a feminine light which shows how they are

both similar and yet completely different. Thus, Alcott demonstrates the roles of genders as well

as societal norms during this time through her characters.

The Internal Conflict of Jo March on the Roles of Gender

Throughout the novel, Jo is known to have a fiery spirit, whether it is about the roles of

women, opinions about war, or her love of writing. It is evident in this story that Jo is

opinionated about many subjects; one of them happens to be the roles of women. While the other
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sisters were growing into more of a feminine role, Jo did not seem to like that idea. The societal

norms during this time did not meet Jo’s ambitions. Women were meant to be nothing more than

housewives with no career or ambitions; Jo refused to accept those terms. She expressed to Many

how “It’s bad enough to be a girl, anyway, when I like boys’ games and work and manners!”

(Alcott 5). Jo emphasized the boyish aspect of her in an attempt to drown out the feminine

aspects of herself. In her mind, women have no life, therefore she must become a man to have

one. She views everything that a woman is meant to do in a negative light. Jo further explains

that “I’m dying to go and fight with Papa, and I can only stay at home and knit, like a poky old

woman!” (Alcott 5). She would rather go fight in a war than sit and knit. This also shows how Jo

sees the potential in women; women can fight and make a life of themselves, and not just do

busy work. Jo sees her father being able to fight in a war as a man, while she has to stay home,

regardless that she is only fifteen and too young to fight anyway. While it may seem that Jo

dislikes women, she dislikes how society views women. By giving herself a masculine

nickname, Jo further challenges the way society sees women. While Jo’s given name is

Josephine, she feels it is “too sentimental! I wish every one would say Jo instead of Josephine''

(Alcott 30). Her given name is a very feminine name, but she decides to give herself a masculine

nickname. While Jo chooses to give herself masculine characteristics, there is nothing she can do

with what gender she is.

Even though she wishes to be a man, Jo is a feminist that wants a better life for women

like her who strive for more. By acting like a man, she feels as if there are bigger opportunities

waiting rather than acting like the perfect woman. When she meets Laurie, her closest confidant

and neighbor, they bond over their laid-back personalities. When Laurie reveals he is going to

college, Jo exclaims “How I wish I was going to college!”(Alcott 31). Jo wants the life a man
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can live, and part of that is further education or just education in general. While Jo expresses she

wants to be a man, she rather wants the same opportunity that a man can have; that is what she is

envious of. Jo chooses to focus on her manly qualities, but she has a lot of feminine qualities that

add to her character. She cares for her sisters like a mother, as well as attends balls and theaters

to appease her sister, Meg. Jo is Meg’s confidant, Beth’s caregiver, and Amy’s reasonable voice.

Clare Bender, a graduate of the University of Northwestern explains that "Ultimately, it seems

that Louisa’s intention was to grant Jo the perfect blend of maintaining her true self but also

balancing that with femininity"(Bender 151). Jo’s true self is to be boyish, not a quiet woman.

She has strong feminine qualities that could also be mistaken for masculine behavior. Wanting a

better life for herself, rather than what is waiting for her is often mistaken for boylike qualities,

when, in reality, it is Jo wanting to be her true self. Jo’s character is a feminist in its original form

that applies masculine qualities to emphasize the point that women are more than housewives.

The Analysis of Jo March and Her Identity

Jo March has a lot of qualities about her that lead to the fact that she is androgynous; with

both feminine and masculine characteristics. Not only does Alcott show this through Jo’s actions

and words, but also their appearance. Alcott describes Jo as having “Round shoulders [. . .], big

hands and feet, a fly-away look to her clothes, and the uncomfortable appearance of a girl who

was rapidly shooting up into a woman, and didn’t like it”(Alcott 6). These characteristics are the

opposite of what most women are deemed as. In contrast, Alcott describes Meg as “very pretty,

being plump and fair, with large eyes, plenty of soft, brown hair, a sweet mouth, and white

hands”(Alcott 6). Meg is meant to be the graceful sister with all of the poise while Jo is a

growing woman stuck in a boy’s mindset. Alcott makes it evident that Jo is the complete

opposite of Meg. While Meg is graceful and compliant, Jo is clumsy and argumentative. These
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two sisters are a juxtaposition to one another. Jo’s lack of grace comes out quite often throughout

the novel. While the sisters are all singing, “Meg had a voice like a flute” while “Jo wandered

through the airs at her own sweet will, always coming out at the wrong place with a

croak”(Alcott 13). Alcott intentionally uses little events such as this to emphasize the difference

between the two sisters. Through the novel, Jo is continuously compared to Meg, not only with

looks and appearance, but the way they both act and their morals. Meg is always the reasonable

and collected sister, while Jo is the one to make rash decisions. While Jo could not be a man

herself, she enjoyed acting like one. Meg held Jo accountable saying “‘Don't, Jo, it's so

boyish!'[...]'You are old enough to leave off boyish tricks, and to behave better'"(Alcott 5). Alcott

often puts conflict between the two sisters to show their differences and how they view the

world.

Jo is continuously reminded that the way she acts is not ladylike, and yet, Jo doesn’t

listen. The reason that people find her so odd is because she actually has her own opinion and

stands up for what she believes in, which was rare for women during this time. Bender explains

it as “Through Jo, Alcott exemplifies her ideas about feminism fairly well. She provides a picture

of a woman who can be not only feminine but also strong and vocal"(Bender 151). Most of the

characters within the story of Little Women view Jo’s behavior as unladylike, but she is really just

strong willed. Through the turmoil the Jo endures, Alcott makes a point to view Jo in her truest

form. Throughout the novel, Jo’s opinion of herself and of the world does not waver even after

her sister's comments as well as others.

While Jo and Meg are complete opposites, Amy is more like Jo. Amy wants to become a

famous painter who can make her own money. The difference between Amy and Jo is that Amy

is a perfect balance between lady-like and masculine. Amy has a view on the world much like Jo.
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Amy expresses that “talent isn’t genius, and no amount of energy can make it so. I want to be

great, or nothing. I won’t be a common-place dauber, so I don’t intend to try anymore”(Alcott

436). Just like Jo, Amy wants to make a life for herself with her own talents. Just like Meg, Amy

acts in a feminine way that she develops on her journey to Europe where she wishes to make a

career. Beth is not only feminine, but also fragile, both mentally and physically with scarlet

fever. Because of this fragile nature, the other sisters have taken it upon themselves to care for

her, especially Jo (Alcott 188-200). Between the four sisters, each have their own view on the

world as well as their own fiery spirits. Each balances out each other, and together they become

whole.

The Androgynous Qualities of Jo and Laurie

While Jo has a strong masculine personality, Alcott chose to give Jo a character to

compliment her: Laurie. Everything about Jo appears masculine; the way she holds herself, her

actions, and her words. Laurie on the other hand possesses more feminine qualities. While his

name is Theodore Lawrence, which is a masculine name, he chooses to use the name Laurie

which is predominantly a woman's name during this time. Alcott describes him often in a

feminine light. For example, Laurie is often seen as fragile and emotional. During this time

period, men were meant to show no emotion, for it would show weakness. Alcott made an effort

to show the fragility of Laurie’s character. One of these instances was when ‘“Laurie drew his

hand across his eyes, but could not speak till he had subdued the choky feeling in his throat and

steadied his lips. It might be unmanly, but he couldn't help it, and I am glad of it’”(Alcott 197).

This is just after the news of Beth and her scarlet fever. Instead of telling Jo to “man up,” Laurie

also grieved with her. This is one of the few moments where Jo and Laurie show a moment of

weakness. The “manly” man was so normalized during this time, that a simple showing of
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affection or emotion from Laurie paints him in a feminine character. Jo and Laurie have opposite

roles in their relationship. Jo is the “man” while Laurie is the emotional and caring woman-like

character. As Jo was upset about Beth's health, Laurie comforted her and stroked her hair just as

a mother would do (Alcott 197). Laurie cares for Jo in a motherly way. In the view of society,

Laurie should not act like that. He should not act like a mother, but a man who has no sentiment.

Not only do their actions and words suggest they act like the other gender, but their activities do

as well. Bender analyzes their relationship by explaining that "Laurie shows interest in

feminine-coded activities, such as writing music and playing piano, while Jo shows more

masculine interests, such as joining the war"(Bender 143). These two characters, while having

qualities of their own gender, their qualities and characteristics of the opposite gender often

outweigh other aspects. Alcott does not degrade Laurie and Jo for acting in these ways, she

encourages it. Claire Bender describes it as "However, rather than being a whole, androgynous

person, they are a whole because they fit together in perfect symmetry. Together, Laurie and Jo’s

attributes complement one another’s"(Bender 144). In fact, they often complement each other so

often that most readers expected them to get married. Their relationship is unique and something

unheard of because they have opposite qualities. Jo and Laurie often struggled with their

opposite qualities. Jo was often ridiculed for being too “manly,” while Laurie was often thought

of as weak. Jo, in fact, said to Laurie "'Take it like a man, and don't do anything rash, for God's

sake'"(Alcott 396). As the “man” of the relationship, Jo is the one to tell Laurie in a state of

fragility to “man up.” Their gender roles restricted them from being the person they wanted to

be. Bender describes it as "If ‘a whole person’ could not exist in that era, it was because

nineteenth-century society would not accept or recognize that there is more to people than their

gender-identified roles"(Bender 145). Alcott added these qualities intentionally to defy the
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gender norms of the time, and to emphasize how societal roles do not, and should not restrict the

prosperity of a person.

The difference of qualities between Jo and Laurie are present when Laurie proposes to Jo.

Laurie is the one to ask, and Jo rejects him. Laurie is heartbroken but Jo says “I agree with

Mother that you and I are not suited for each other, because our quick tempers and strong wills

would probably make us very miserable”(Alcott 393). While Jo and Laurie might have opposite

personalities regarding their gender, they both have “quick tempers and strong wills” even if they

are on opposite sides of extremes. While the two might seem like polar opposites, their

characteristics are often similar.

Conclusion

Each of the March girls made their own way in life. Some followed the norms of society

like Meg and Beth, while others like Amy and Jo made their way by striving for more than who

they are supposed to be. During the 1800s, it was hard to be accepted in society if the gender

norms were not followed. Alcott chose to show this through Jo’s fiery opinions, her masculine

qualities, and the gender roles between Laurie and Jo. The androgynous qualities of both Laurie

and Jo help to emphasize the roles of gender during this time. Women had to stay home and be

proper, while the men had to work and be “manly.” Little Women is argued to be a feminist novel

by a lot of critics. Based on the way that Alcott portrays each of the sisters, especially Jo, their

analysis of the novel is convincing. Not only does Alcott defy gender roles, she also goes one

step further and does not marry Jo to the obvious person. Instead of marrying Laurie like

everyone hoped, Alcott married her to an unromantic and odd character that matches Jo’s

awkwardness. Alcotts portrayal of these characters changed the views of many people across the
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country and the world and helped to change the way men and women are portrayed in their

gender roles.
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Works Cited

Alcott, Louisa May. Little Women. Bantam Classic, 2007.

Bender, Clare. "Gender Stereotyping in Little Women:“Let Us Be Elegant or Die!”."

Midwest Journal of Undergraduate Research 8 (2017): 140-151.

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