"Friedrich, why didn't you..."
"Ah, heaven, she gifs me the name that no one speaks since Minna died!" cried the Professor, pausing in a puddle to regard her with grateful delight.
"I always call you so to myself--I forgot, but I won't unless you like it."
"Like it? It is more sweet to me than I can tell. Say `thou', also, and I shall say your language is almost as beautiful as mine."
"Isn't `thou' a little sentimental?" asked Jo, privately thinking it a lovely monosyllable.
"Sentimental? Yes. Thank Gott, we Germans believe in sentiment, and keep ourselves young mit it. Your English `you' is so cold, say `thou', heart's dearest, it means so much to me," pleaded Mr. Bhaer, more like a romantic student than a grave professor.
One of the inspirations for Friedrich´s character in Little Women was the German poet Goethe. When Goethes poems are translated into English the German word “du” becomes “thou” as in old English. Louisa adored Goethe and German romanticism, philosophy and writing in general. This is why Friedrich prefers to use the word “thou” over “you”… and of course Jo loves the fact that he is from Germany.
#Endless Friedrich Bhaer appreciation #Louisa Knew What She Was Doing # I am not making this up
#Read any LMA Biography
#Fritz is such a romantic #Jo freaking loves it
“Mrs. Rachel Lynde was a red-hot politician and couldn’t have believed that the political rally could be carried through without her, although she was on the opposite side of politics. So she went to town and took her husband – Thomas would be useful in looking after the horse – and Marilla Cuthbert with her.”
— L. M. Montgomery, Ch 18: Anne to the Rescue
What is most distressing in all the previous Little Women adaptations is the lack of Laurie´s character arc and not showing him as a full character. In the book when Laurie moves to Concord before that he has been tossed around in Europe from one boarding school to another and then he moves to live with his grandfather and they have to build their relationship from the scratch. Older Mr Lawrence had rejected the marriage of Laurie´s parents so since the beginning Laurie feels unwanted and this is why he becomes so attached to the Marches and even calls Marmee his mother and this is also why he is clinging on Jo all the time and because of Jo´s idealisation towards the masculine Laurie thought that he could do anything and she would always forgive him. This huge part of Laurie has never been shown in the films.
Hannah describes Laurie as a weathercock. He is a character with constant mood changes. He can be sensitive but he also has high temper (which has never been shown in the films). He can be very inconsiderate towards other people´s feelings. Times when Laurie is sweet and caring are the times when he puts other people before him. Like during Beth´s illness and when he went to cheer up Amy when she was staying at aunt March. There are times when Laurie is vain like a peacock. He likes nice clothes and keeping up good appearance. Which is something that Jo at times makes fun of. He can be funny but also very childish. He wants to break free from his grandfather´s obeisance but he is afraid to do that.
Laurie is an orphan, the relationship with his grandfather is complicated. For older Mr Lawrence Laurie resembles both children he lost and this is why he doesn´t want to hear music because of the painful memories and I suppose self-blame. It is only with his encounters with Beth that these wounds start to heal. Laurie doesn´t like school. He wants to go to Italy and be a composer and to reconnect with his roots. In films Friedrich´s German background is always mentioned and it is a big part of his character but Laurie being Italian-American it is only once mentioned in the 1994 film. Laurie´s temper, his love for music and his brown skin are connected to his Italian background.
Jo, Fritz and the piano, Little Women 1949
Friedrich´s film portrayals are always closer to the book than Laurie´s
The only adaptations where Laurie actually plays the piano come from the 70´ (also in the end of the 2017 series). What it comes to the movies it is Friedrich who is much more musical and Fritz does sing and plays music in the books. But it is weird that there are only couple adaptations where Laurie actually plays the piano and after all Laurie is a composer. So far the earlier film versions have had their focus on romanticising Jo and Laurie instead of giving him a full personality.
They follow the Hollywood narrative that the only reason why Laurie exists is to be pretty and to be in love with Jo and he doesn´t have any other aspirations or inspirations outside that.
In the beginning of Good Wives when John and Meg move to their new home Laurie comes bringing gifts ; a knife cleaner that spoils all the knives, soap that takes skin off one´s hands, sweeper that leaves all the dirt. Each week when Laurie is on a holiday from college he brings them some random useless things. It can be a funny joke for the first couple of times but Laurie does it for months. It´s behaviour you could expect from a teenager but not from a 21 year old. John and Meg are poor. Laurie is rich. He could give them something useful. None of Laurie´s pranks are never shown in the movies either.
Little Women 1994 Laurie packing to college. Laurie´s time in college has never been included to any adaptations.
Big part of Jo´s desire to be more boyish and her being dismissive over feminine was about showing off. Laurie´s pranks were his way of showing off and to get attention which we can maybe lead back for him being an orphan. It is when Laurie goes to college the gender expectations of the time start to have more bigger impact to Jo´s and Laurie´s behaviour. Laurie is not very interested from his studies. He goes to college simply to please his grandfather (In the 1994 we only see Laurie packing for college). Laurie is more of a party boy in college. That is not necessarily a character flaw. Quite many young people still today go to college to do just that. In college Laurie plays pool, smokes, drinks, speaks slang, flirts with girls, gets into fights, gets nearly expelled multiple times and Jo criticises him for doing these things. Jo doesn´t want to do any of these things but she wishes that she could have the liberty to do whatever she wants without being judged by the society. Jo was very aware of the unfairness of the situation.
Call to conform
In the books Jo never likes Laurie romantically and his romantic interest only makes Jo feel uncomfortable. Not only does their dynamics change just because Jo doesn´t want to fit into the traditional female role of the time but Laurie is fitting to the traditional young wealthy 19th century male role almost too well. Their relationship in their youth worked when there was more space for gender fluidity but it starts to fall apart when they are called to conform more. When Laurie develops a crush on Jo he breaks that brotherly bond and that shatters Jo´s ideas of masculinity the way she has come to know it. It has never been showed in the movies. The closest example to the way it is described in the books is the song "Astonishing" from Little Women Musical.
Laurie´s behaviour becomes more possessive and as result Jo travels to New York to work as a governess and there she meets Mr.Bhaer. The movies have swapped the timeline so that Jo travels to New York after she has rejected Laurie´s proposal when in the books the proposal happens after Jo has returned to Concord. When Jo meets Friedrich in New York he is not only her sexual awakening (something I know Gerwig´s film is going to handle) but Friedrich´s masculinity collapses the male/female binary that Jo knows. When Jo meets Friedrich the narrator says that for the first time Jo did not compare a man to Laurie.
Up until to that point Laurie has been her idea of masculinity but those old models have failed her miserably and then she meets a man who provides her a new definition of masculinity which does not demand Jo to change or to be traditionally feminine as Laurie´s model did.
Two very different proposals
Lot of the relationship between Jo and Laurie was based on mutually reinforcing ideas of toxic masculinity. Eventually this turned out against both of them. In Jo´s case it made her to loose the trip to Europe and in Laurie´s case it brought out his temper and more possessive behaviour. The best example why Jo rejected Laurie and why she fell in love with Friedrich is to examine the two proposals.
When Laurie proposes Jo he says he loves her because Jo has always been so good to him. He doesn´t love her because of her personality or her ambitions but because she has always looked after him. Jo had a tendency to mother Laurie and we can probably explain this with the fact that the young men who were inspirations for his character were much younger than Louisa (?) Being a maternal figure was something that came naturally to Jo. In away Marches adopted Laurie to be part of their family unit. That Jo sees Laurie as her brother makes perfect sense and sisters often do become pseudo-mother figures to their brothers.
In movies we only see Laurie´s pain but we never see the pressure he puts on Jo (and he does pressure her for a very long time) or how uncomfortable his actions make her feel. When we read the book and see Laurie´s character through movies lens it perpetuates the idea that the controlling behaviour he has in the books doesn´t matter and it is a sign of love. Yet the book Laurie is not in love with Jo. He is in love with the idea of love. Laurie´s story and his character arc in Little Women it is not about Amy or Jo. It´s a story how Laurie becomes a man.
Laurie seems to be thinking that Jo would fall in love with him because that is what girls do. If we take a look at the narrative of the first book Laurie has said similar things as a teen ager. Things like some day I´ll get you Jo. Which is quite possessive thing for a 15 year old boy to say and it highlights how much the two have fed each others with harmful stereotypes on gender roles. Now that they are adults Jo feels the need to leave this toxic cycle. Not just because of her own sake but also for Laurie´s sake and it is toxic because up until to that point Laurie has been told what to do by Jo, John Brooke or his grandfather. Laurie wants to keep the status quo of their relationship so that he does not need to grow or take responsibility of himself or his own actions. Laurie was not used to making decisions. Marrying Jo is an easy escape of his life remaining the same rather than different as it is meant to be.
Most adaptations have also chosen the easy escape by not showing the slow and painful personal transformation that Laurie does go through in the books. If we now take look at the narrative of the second book. There are no glimpses into Laurie´s head where he would be dreaming about Jo or thinking about the future with her. When Jo leaves New York we do get a glimpse inside Friedrich´s mind where he does admits to himself that he is indeed in love with Jo and he wonders what life with Jo would be like. Laurie´s actions in most part of the second book don´t make any sense because Laurie´s mind is a complete mess. Almost like the lack of Laurie´s inner thoughts in the book, the book is telling us that Laurie hasn´t thought things through. This is another contrast between Laurie´s shallow idealized dreaminess and Friedrich´s deeply grounded realism. Jo is honest with Laurie. She sees that if she would marry him their arguments would escalate into violence. Laurie´s relationship to Jo is more codependent. When Jo rejects Laurie we should be on Jo´s side.
90 % of Little Women adaptations have ignored Laurie´s character arc. His temper is toned down in 1933, 1949, 1994, 2018 films, series from 1950 and 2018, Little Women Musical and even in Japanese anime.
Little Women 2019 costumes:
Jo and Laurie in 1994 and 2017 versions. Jo has her hair down in the proposal scene and her dress has a softer look to it making her look more feminine than usual. It´s an obvious effort to make the scene more romantic
but the Greta Gerwig´s version assuming it is also the proposal scene is really interesting because with Jo´s hair up she looks more adult and instead of flowy dress she is wearing a jacket and a tie. You can see exactly what they mean by switching the gender roles in this photo. Her hair is still perfectly waved blowing in the wind but it is Laurie who looks soft with the velvet waist coat and the flowy white sleeves and the unbuttoned collar. This really works because Laurie is the vulnerable one in this scene. He is the romantic who gets his heart broken and Jo is the stronger emotionally mature one. I get why previous versions really want to make Jo pretty for this scene but having her look masculine and most importantly grown-up makes a lot of sense for the characters here.
Proposal as a power play
Trying to threat someone you say you love is never a good idea. Instead of seeing any fault in his own actions Laurie blames it on someone else and he wants Jo to feel guilty for rejecting him. Then he guilt strips her even more by saying that she will marry someone and that she will be a silly woman by going back on her word of never marrying. Jo has a brilliant response but Laurie does not want to hear it.
Then Laurie threatens to go to the devil and behaves like a 19th century brat boy. Laurie´s proposal is always abridged or completely changed in the adaptations and it is portrayed to be a romantic scene when in the book it is a conflict. Little Women is often a misunderstood book because it does something very unique and powerful. Laurie´s proposal was never about Jo. It was all about him. This is the dialogue between Laurie and his grandfather afterwards.
It is still all about him and he still wants Jo to feel guilty. Thank god for the grandfather. Six months later Laurie meets Amy in Europe and they have not meant for four years and they start to spend some time together. Amy finds him changed and different. She scolds him and his attitude but it comes from a good place because Amy knows that Laurie has potential to make most of his life and when she carefully asks what happened between him and Jo...
It is still about him.
Long and painful process of self-discovery
Amy´s lecture did Laurie good. Though of course he did not own it until long afterwards. Men seldom do. For when women are the advisers. The lords of creation don´t take the advice until they have persuaded themselves that it is just what they intended to do. Then they act upon it and if it succeeds they give the weaker vessel half the credit of it. If it fails they generously give her the whole.
Amy´s words start to effect on Laurie yet in his mind Laurie thinks that Amy´s advice was unnecessary and that he had always meant to do something. Laurie´s biggest flaws are his pride and vanity but also his lack of ability to put himself into another person´s position and this is why his growth process is slow and painful. Still at this point Laurie doesn´t see women as individuals. He sees himself above them. In Vienna he starts to compose an opera which would horrow Jo´s soul and melt her heart. Once again it is all about him. But the opera doesn´t go that well. He want´s to capture his romantic passion and all things that come to mind are Jo´s flaws, oddities and freaks.
The moment Laurie caught himself thinking the word brotherly and Jo it is almost like he is seeing himself as a character in an opera he is trying to compose. He immediately sends Jo a letter and proposes her again (never shown in ANY film or tv adaptations). Once again it is all about him and not about Jo. Proposing someone right after they´v lost their sister is not a good idea. But when Jo´s response arrives and she still says no Laurie feels relieved but instead of feeling bad for hurting Jo and guilt tripping her for quite a long time he wants to cherish his memory as being the "tragic romantic hero". It is still all about him.
We should not ignore Laurie´s background
Why was Laurie so obsessed and why he did not listen what Jo had to say? and why he felt guilty when he started to develop romantic feelings towards Amy since we know that Jo never cared about him like that? As being said there isn´t any scenes in the books where Laurie is thinking about Jo romantically or dreaming about a life with her. All his dreams are really about him seeing himself as a romantic hero. Laurie feels guilty because his love for Jo is mainly gratitude. She invited him to be part of their family. Something that Laurie was always lacking thanks to the over the top ideas of masculinity that he and Jo fed to each others Laurie did not learn to respect women (and it took quite a while for Jo to learn that as well).
In the terms of Little Women Louisa did not write explicit background stories to any of the male characters from the little we know of Laurie´s background. It would seem that when he was a child he was tossed from a boarding school to another and he did not have any stable parental figures or that he never spent enough time in one place to be able to establish such relationships. Quite early in the novel Laurie admits to Jo that he feels envious about the sisters bond to their mother. Laurie´s and Jo´s relationship is characterised by childhood innocence. They are two non-conforming kids. Laurie is a brother figure for Jo and Jo represents the nurturing feminine aspect for him.
Jo and the March family becomes a refuge of stability for Laurie. It is only when he moves to Concord at the age of 15 for the first time he is surrounded by people who stick long enough to put boundaries and try to raise him. More than often Laurie was extremely frustrated by Jo´s lectures but at the same he was depending on them.
Bettina Von Armin
Falling in love with the idea of love
Little Women is a semi-biographical novel. We can trace Laurie´s actions to Louisa. Same way as Laurie´s Louisa´s childhood was unstable and turbulent and the family moved very often. When Louisa was young she had a big crush to family friend and next door neighbour philosopher Waldo Emmerson. Emmerson was also one of the many men who were the inspirations for the character of Fritz. More than often Emmerson saved the Alcott´s from troubles and he became a symbol of stability for Louisa, same way as Jo is for Laurie.
Louisa became a obsessed with German female writer and social activist Bettina Von Armin and her book Goethes briefwechsel mit einem Kinde (Goethe´s correspondence with a child) which includes love letters Bettina wrote to the poet Goethe. Bettina represents herself as a lover. A role that is traditionally seen as more masculine. Bettina was in love with the idea of love. Love as an emotion. Not with a love relation. In her letters she does not ask his opinions or share ideas with him.
I turned myself into Bettina and made Emmerson my Goethe
Laurie is not in love with Jo. He is in love with the idea of love. It is about putting up on a role and a narcissistic one for that when it hurts other people. Which is exactly what happened between Jo and Laurie and Bettina and Goethe. Let´s call Laurie´s behaviour with it´s actual name. Harassment. When Louisa was an adult she did tell Emmerson how she had built this romantic fairy tale scenario in her head. Emmerson himself had been completely unaware of it. Nevertheless they had a very strong friendship throughout their lives.
There is the famous Little Women passage to adulthood rite (which by itself would make a fascinating research topic). It basically means that a reader who has read the book as a child and romanticized Jo and Laurie and quite possibly watched the 1994 film more than once reads the book as an adult and finds out that Laurie was very childish and he and Jo were very ill-matched and they move on to root Jo and Fritz or Amy and Laurie or both.
We can see it as a metaphor how a person develops and mildly delusional obsession over another especially young boys and girls think that their life only has a meaning when they find a partner who´s only reason for existing is them but it is not healthy and not love. When you truly love someone. You love them for who they are. Not the way you want to see yourself with them. In Little Women Laurie himself is the one character who goes through the Little Women passage of adulthood rite. It is not until he goes through the painful process of self-growth and begins to see the women in his life as what they really are he is truly able to love someone.
When we compare the two proposals not only there is a huge difference in Jo´s reactions but it comes pretty clear that Laurie is essentially begging and Friedrich is making an offer. Fritz wants to tell her how he feels about her and let her decide. After Jo has left New York they have been writing letters to each others and when he comes to visit Jo in Concord he hopes to see signs of love from Jo and when he reveals to Jo that he has gotten a job and he is going to the west Jo´s walls go down.
"Jo I haf nothing but much love to gif you; I came to see if you could care for it, and I waited to be sure that I was something more than a friend. Am I Can you make a little place in your heart for old Fritz?
He gives Jo all the power and control and he lets her know that everything what she feels and thinks is important for him and he wants to make sure that she returns to his feelings and that their lives and goals work together. He is not even making a marriage proposal he is asking if she could love him. In comparison to Laurie Friedrich´s screen portrayals are always much closer to the books even if most of his parts are left out because he is less romanticised character. He also acknowledges his flaws and is aware of them same way as Jo acknowledges hers. In terms of Friedrich´s narrative Little Women is also about identity but in his case it is not so much about building identity but when he falls in love with Jo he reshapes his already existing identity.
Friedrich Bhaer as Goethe
Louisa was a great admirer of German writer and poet Goethe and lots of research has been made on Goethe´s influence on many Louisa May Alcott´s works. For example Long Fatal Love Chase has many parallels with Goethe´s Faust. Less research has been done between Goethe´s writings and Little Women. Goethe was one of Louisa´s favourite authors and in the transcendentalist circles which Louisa was part of Goethe was an important figure. She had a great admiration towards German romanticism and philosophy. Louisa´s copy of Wilhelm Meister´s Apprenticeship (to which she had scribbled notes all over) was given to her by Waldo Emmerson who noticed young Louisa´s interest towards the author to whom she later credited to be her greatest teacher what it comes to writing. In Little Women Friedrich gives Jo copy of Shakespeare´s work and through that Jo learns how much more there is to learn about storytelling. Goethe was one of the models for Fritz which puts Friedrich´s positive impact on Jo´s writing into a new light.
Laurie as a Goethean protagonist
Trigger warning there will be mentions of suicides.
What it comes to Laurie´s character arc there are lots of themes that come straight from Goethe´s writings. Goethe´s first financially successful novel The sorrows of young Werther. Is a semi-biographical novel. Both protagonist young Werther and Goethe himself grew up privileged same way as Laurie. Werther´s love interest Charlotte is marrying another wealthy man Albert. Werther makes Charlotte his only sole purpose of his living. He is not only miserable. He is proud of his misery. In fact he endorses it. As a result he commits a suicide. What kills Werther is not being disappointed in love. It has nothing to do with Charlotte. What kills him is the toxic self-centeredness. What is common with Werther and Laurie is that they are both extremely sensitive. Same way as Little Women the Sorrows of young Werther has often been misread. Some readers endorsed and glamorized Werther´s suicide and when the book came big it actually caused a wave of suicides of young people in Germany. Who tried to emulate the tragic end of their romantic hero.
"the children took especial interest in the love-story, and when poor Laurie was so obstinately refused by Jo, “they wept aloud, and refused to be comforted,” and in some instances were actually made ill by grief and excitement" (Cheney).
“When I re-read the novel in my early twenties, I still technically thought Jo should have ended up with Laurie, but I started to feel uncomfortable about feeling that way. Wasn’t it weird, I thought, to feel that way when the character of Jo so explicitly rejected his proposal? Wasn’t it a bit like telling a dear friend she should date someone she wasn’t crazy about just because he had feelings for her and is *such a good guy*? I dismissed this though because a) death of the author, non-canonical pairings are a-ok, etc. and b) I have a moderate grasp on reality and I do recognize Jo is a fictional character, not my friend. But re-reading Little Women this month, I realized with mounting alarm that as a potential romantic partner for Jo, Laurie isn’t a good guy; he is, in fact, a Nice Guy™. […] The story of Laurie and Jo is not, as I had previously remembered, one of Jo *seeming* like she loves Laurie and making an out-of-left-field decision. It is very much in the field! Jo consistently indicates that she does not have feelings for Laurie, does not want him to flirt with her, and tries to prevent him from doing so every time he flirts with her. And he ignores her, again and again. But wait, there’s more! When Jo realizes that her very consistent attempts to communicate her disinterest are not working, she decides to move to New York for adventure and also to get away from Laurie. […] There may be some who would accuse me of selective reading. After all, Laurie isn’t a terrible person! […] To which I say: yes, but all of this can be true *and Laurie can simultaneously still be a terrible potential partner for Jo*. […] What I realized re-reading Little Women as a grown-ass adult is this: making Jo and Laurie perfect for each other wouldn’t just require a different ending, it would require an entirely different book. So, it’s been over twenty years in the making, but better late than never: Louisa May Alcott, I’m sorry. You were right.” Maddie Rodgriguez, ‘Laurie Isn’t a Good Guy, He’s a Nice Guy™’ (bookriot.com)
Little clip from German film Young Goethe in love (2010)
Little Women 2019 Jo rejecting Laurie
Wilhelm Meister´s Apprenticeship and Laurie´s redemption arc
Wilhelm Meister´s Apprenticeship is a story about self-realisation. The story centres around Wilhelm who wants to escape empty, mundane, bourgeois life of a businessman. After a failed romance he joins into a theatre company. In Wilhelm Meister´s apprenticeship and in many Goethe´s works in general has elements from Shakespeare´s plays. In fact in the novel´s dialogue there is a great deal of discussion about Shakespeare´s work and Wilhelm´s theatre group also performs a production of Hamlet where Wilhelm plays the lead. Theatre world is filled seductions, love affairs and scandals. The more Wilhelm sees it, the more he dislikes it and he realises that he is not fitting for that type of lifestyle. What Wilhelm really needs is to figure out who he is, what he wants from life and how he should live.
Wilhelm is a restless disorganized young man. He saves an Italian girl Mignon who has been taken away by travelling bandits when she was a child. Together they travel to country side with their theater party, go on sunny picnics where they joke and flirt. Mignon has a constant longing for home to Italy where the oranges bloom and the marble buildings are.
Mignon falls in love with Wilhelm but he marries another and eventually she dies for longing (a common theme in Goethe´s works).
“The pale roses Amy gave him were the sort that the Italians lay in dead hands, never in bridal wreaths, and for a moment he wondered if the omen was for Jo or for himself”.
When Jo spies on Fritz for the first time he is singing the song of Mignon from Wilhelm Meister's Apprenticeship and when he goes to court Jo they sing "Kennst du das land" (Mignon, do you know the land) as a duet, opening line of Mignon's love song.
Know'st thou the land where the citron blooms, used to be the Professor's favorite line, for `das land' meant Germany to him, but now he seemed to dwell, with peculiar warmth and melody, upon the words..
Both Werther and Wilhelm can be seen as failed genius. They are sensitive and artistic but they are not creatively productive enough. There is a scene where Wilhelm throws his poems into the fire (same way as Laurie throws away his music notes in the moment of frustration). Laurie in this case is more similar to Wilhelm. Because unlike Werther Laurie goes through the process of self-discovery and like Wilhelm Laurie also becomes a husband and father and a contributing member of society which is not something he was before.
"Throughout his many works, Goethe stresses love as the foundation of relationships, and he did so living in a culture where marriage matches were typically determined by economic factors. It was a radical position to take.
Ask any contract attorney: the slightest of typographical changes can have profound ramifications. “You love me!” and “You love me?” The substitution of a question mark for an exclamation point “changes the meaning completely,” (Gustafsson)
Louisa is not interested from the marriage question but she spends a great deal of time describing how the central characters fall in love and how they grow during the process. That if Louisa herself went through similar process is difficult to tell but the fact she burned all her journals and quite adamantly tried to protect her reputation would heavily suggest so.
One of the basic principles of Goethe's philosophy is to see (and to find out) the purest forms in art, love and faith in our transitions. Laurie failing as a composer is not a failure but part of his self-discovery process. Childhood is over and a natural desire to harness his energy to something that fits better for his talents and personality takes place.
I'll let it simmer, and see what comes of it," he said, with a secret suspicion all the while that it wasn't genius, but something far more common. Whatever it was, it simmered to some purpose, for he grew more and more discontented with his desultory life, began to long for some real and earnest work to go at, soul and body, and finally came to the wise conclusion that everyone who loved music was not a composer. Returning from one of Mozart's grand operas, splendidly performed at the Royal Theatre, he looked over his own, played a few of the best parts, sat staring at the busts of Mendelssohn, Beethoven, and bach, who stared benignly back again. Then suddenly he tore up his music sheets, one by one, and as the last fluttered out of his hand, he said soberly to himself...
"She is right! Talent isn't genius, and you can't make it so. That music has taken the vanity out of my as Rome took it out of her, and I won't be a humbug any longer. Now what shall I do?" (Little Women, chapter 41)
The purest form of love is to see the full-reality of the other person.
She did not hear him cross the courtyard beyond, nor see him pause in the archway that led from the subterranean path into the garden. He stood a minute looking at her with new eyes, seeing what no one had ever seen before, the tender side of Amy's character. Everything about her mutely suggested love and sorrow, the blotted letters in her lap, the black ribbon that tied up her hair, the womanly pain and patience in her face, even the little ebony cross at her throat seemed pathetic to Laurie, for he had given it to her, and she wore it as her only ornament. If he had any doubts about the reception she would give him, they were set at rest the minute she looked up and saw him, for dropping everything, she ran to him, exclaiming in a tone of unmistakable love and longing...
Is it possible that anyone who has not been happy with the books and has tried to fit the authors life to fit into Jo´s life have been looking both Laurie and Fritz from completely wrong perspective?
Evolution of Laurie part 3. Amy and Jo
My first aesthetics board. I like all characters in Little Women but Friedrich is extra-special. There is something about him that I just can´t get enough.
More articles with Little Women theme:
Little Women and Tender Masculinity Quest of Friedrich Bhaer (and why my inner Jo loves him)
Equal marriage lost in translation
Best Jo and Fritz fan fics you´ve ever read
He was attractive as a genial fire
Little Women 1970 Amy Laurie Romance
Thoughts on #TeamLaurie and #TeamBhaer
Little Men and Tender Parenthood
Little Women 1933
Little Women Symbolism of the Umbrella
Little Women 2019 Trailer (Long Rant)
Character designs for Diana Wynne Jones´s Howl´s moving castle.
Witch of the waste.
My wizard Howl became a strange mixture of Jack Skellington and Lucius Malfoy.
Hattie and Lettie.
Hestia is one of my favorite goddesses in Greek mythology. She is the goddess of the home and hearth fire.
Artist, illustrator, writer and a folklorist. Gryffinclaw. Comes from Finland. Likes cats, tea and period dramas.
Please keep the comment section civil, respectful and connected to the topic at hand. Thank you. Spammy/rude/passive-agressive comments will be blocked and reported.