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Motifs
Definition of Paradox
A paradox is a figure of speech that seems to contradict itself, but which, upon further examination, contains some kernel of truth or reason. Oscar Wilde's famous declaration that "Life is... read full definition
A paradox is a figure of speech that seems to contradict itself, but which, upon further examination, contains some kernel of truth or reason. Oscar... read full definition
A paradox is a figure of speech that seems to contradict itself, but which, upon further examination, contains some kernel... read full definition
Part 1, Chapter 1: Playing Pilgrims
Explanation and Analysis—Jo's Acceptance of Fate:
Jo March embodies paradox; she is a fiery tomboy who accepts the traditional fate of a woman. At the beginning of the story, Jo expresses her wish for freedom and financial independence through her writing. She also dresses boyishly and refuses to embrace the traditional female identity. Her unladylike personality distinguishes her from her sisters. She also rejects the idea of marriage. In Chapter 1, she says:
“I hate to think I’ve got to grow up, and be Miss March, …and look as prim as a China aster! 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. And it's worse than ever now, for I'm dying to go and fight with Papa. And I can only stay home and knit, like a poky old woman!"
Early in the story, Alcott establishes Jo's traditionally masculine qualities and emphasizes her resistance to femininity. However, as the story progresses, Jo becomes more girlish, begins to believe in the artistic value of writing, and yearns for marriage. When her father returns home from the war in Chapter 22, he declares:
“I don’t see the ‘son Jo’…I see a young lady who pins her collar straight, laces her boots neatly, and neither whistles, talks slang, nor lies on the rug[…]”
Jo accepts that being a woman means “giv[ing] up her own hopes, plans and desires, and cheerfully liv[ing] for others." This paradoxical tension between thoughts, desires, and ultimate outcomes creates intrigue and builds the reader's interest in Jo as the central character of Little Women.
Related Themes:
Part 1, Chapter 22: Pleasant Meadows
Explanation and Analysis—Jo's Acceptance of Fate:
Jo March embodies paradox; she is a fiery tomboy who accepts the traditional fate of a woman. At the beginning of the story, Jo expresses her wish for freedom and financial independence through her writing. She also dresses boyishly and refuses to embrace the traditional female identity. Her unladylike personality distinguishes her from her sisters. She also rejects the idea of marriage. In Chapter 1, she says:
“I hate to think I’ve got to grow up, and be Miss March, …and look as prim as a China aster! 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. And it's worse than ever now, for I'm dying to go and fight with Papa. And I can only stay home and knit, like a poky old woman!"
Early in the story, Alcott establishes Jo's traditionally masculine qualities and emphasizes her resistance to femininity. However, as the story progresses, Jo becomes more girlish, begins to believe in the artistic value of writing, and yearns for marriage. When her father returns home from the war in Chapter 22, he declares:
“I don’t see the ‘son Jo’…I see a young lady who pins her collar straight, laces her boots neatly, and neither whistles, talks slang, nor lies on the rug[…]”
Jo accepts that being a woman means “giv[ing] up her own hopes, plans and desires, and cheerfully liv[ing] for others." This paradoxical tension between thoughts, desires, and ultimate outcomes creates intrigue and builds the reader's interest in Jo as the central character of Little Women.
Related Themes:
