Wide Wide World appeared around the time when Louisa May Alcott began to write Moods, one of her personal favourite novels which (once again) described her love for philosopher Henry Thoreau.
List of sources I have used in my studies:
Little Women, Louisa May Alcott, Penguin Classics edition with Elaine Showalter´s introduction
Days of Henry Thoreau by Walter Harding
Self-Reliancy by Ralph Waldo Emerson
Little women 150 years edition
Little Men 150 years edition
Jo´s Boys 150 years edition
Jo marries Goethe, Dr Bhaer as Louisa May Alcott´s representation of the Goethean ideal in Little Women by Meghan Armknecht
Singing Mignon´s song, German Literature and Culture in March Trilogy by Christine Doyle
The Sorrows of young Werther by J.W.Goethe
Wilhelm Meister´s Apprenticeship by J.W. Goethe
The cosmopolitan project of Louisa May Alcott by Laura Dassow Walls
Wide Wide World by Susan Warner
Wedding Marches, Louisa May Alcott, Marriage and the Newness of Little Women by Daniel Shealy
Louisa May Alcott and the Transcendentalist Tradition by Roberta Pardi-Oláh
Louisa May Alcott, The woman behind little women by Harriet Reisen
Finding private Suhre: On the trail of Louisa May Alcott´s "Prince of patients" by John Matteson
Louisa May Alcott, her life, letters and journals by Ednah Cheney
Margaret Fuller, The Dial
Little Women 150/ Under the umbrella
Facts and Fiction in Little Women by Jamie Lynn Burgess
Thoreau, Alcott and the mythic west by Fred Erisman
Rose in Bloom by Louisa May Alcott
Rose in Bloom, Endings and Beginnings (Louisa May Alcott is my passion)
Getting to know the principal characters in moods (Louisa May Alcott is my passion)
Long fatal love chase by Louisa May Alcott
Moods by Louisa May Alcott
Work story of experience by Louisa May Alcott
"Fun forever?" Toys, Games and Plays in Louisa May Alcott´s Little Women by Anne. K. Phillips
19th century German immigration to America by Tina Marie Schrader
Contradictions Between Thought and Action as a Source of Tension in Louisa M. Alcott’s Little Women by Jane Mattisson
Louisa May Alcott and Friedrich de la Motte Fouqué
Why Friedrich is better for Jo than Laurie is
"Little Women," Laurie, and the Argument for Racebent Casting
Highschool crush: On literary longing and mis-direct lust
Why Laurie and Jo don´t end up together
Not Just Passionlessness- Alternate Views of Sexuality in Victorian America By Kelsey Shober
Little Women official movie guide (published by Absram books 2020)
Jo March makes a choice by Kailey Rhone
Life lessons from Goethe by Adan Kirch, New Yorker, 2016 issue
Stella: A Play for Lovers (1776) (2018) English translation of Goethe's novel (Peter Land and Susan Gustafson)
Immortality, Milan Kundera, 1988
Did the real Amy March get together with the real life laurie letters between May Alcott and Alf Whitman (Louisa May Alcott is my passion)
J.W Goethe, Sorrows of young Werther, Finnish translation (nuoren Wertherin kärsimykset) Translation by Markku Mannila, otava, 1992
Goethe´s correspondence with a child, Bettina Von Armin, 1837
Goethe and Bettina (from Goethetc)
Little Women: Louisa May Alcott´s Views On Romantic Love (Umbrella Chapter Analyzed)
Three stages of 19th century courtship
Welcome to a deep dive in the world of Louisa may Alcott. Everything I share in these video essays is based on multiple studies made by Alcott scholars. You can find all the links from the description. To explore the development of Jo´s and Friedrich´s romantic relationship in the book I am going to use historian Karen Lystra´s studies from the 19th century romantic love and courtship as a comparison. There are three stages of 19th century courtship 1. Love comes by multitude of reasons 2. Shared looks enact mutual transaction of interior lives. This leads to identification of selves and mutual recognition of persons.
Jo´s sexual awakening
Jo spends quite a long time in New York, about 8 months. When she sees Friedrich for the first time she is immediately attracted to him. In fact, she checks him out multiple times during her stay at Mrs Kirk.
"When the parlor door opened and shut someone began to hum ”Kennst du das land” like a big bumblebee it was dreadfully improper I know, but I could´t resist the temptation and lifting one end of the curtain before the glass door I peeped in. Professor Bhaer was there and while he arranged his books, I took a good look at him. A regular German, rather stout, with brown hair stumbled all over his head, bushy beard, good nose, the kindest eyes I ever saw, and a splendid big voice that does one´s ears good after our sharp or slipshered American gabble. His clothes were rusty, his hands were large, and he hadn´t a really handsome feature in his face. Except his beautiful teeth yet I liked him. For he had a fine head, his linen was very nice and he looked like a gentleman".
Based on Jo´s first impression on Friedrich she seems to be completely enthralled by him. This is what Little Women fan Melodie Ellison has to say about Friedrich´s looks
”I think part of why people act like Friedrich is not attractive is because of the well known Louisa May Alcott quote about intentionally making a funny match for Jo. ”I wouldn´t be at all surprised if she didn´t quite mean that. Laurie was conventionally attractive. There are men in our current times, that fall in to the same category. Men like Zac Efron. For example if you were to ask me what i think of Zac Efron I´´ll tell you that he is handsome but I am not personally attracted to him. Like Jo I prefer my men bearded and a little stout but most importantly intelligent, hardworking and kind. I think folks who can´t accept an older less hot version of professor fail to understand his and Jo´s relationship. She respected him and he her and for her that was the ultimate sexiness”.
One of the biggest misconceptions about little women is that Jo is only based on Louisa. Louisa wrote Jo to be an idealized version of herself and there are elements in Jo that come from women who Louisa admired. I would argue that Louisa´s friend Elizabeth Powell was the true model for the 15 year old Jo. Based to the letter exchange between Elizabeth and Louisa, Elizabeth wasn´t too keen on the idea of marriage which is understandable since she was only 16. Elizabeth did fell in love and married 10 years later and it would seem that she continued being a model for Jo. First for Jo March and then for Jo Bhaer. Her life was still very similar to the book Jo.
Louisa was complete opposite. Louisa had a huge crush on her father´s best friend philosopher Waldo Emerson. Louisa wrote love letters to him but she never sent them and she used to sit under his window siniging Migon´s song. Mignon´s song is a song from Goethe´s novel, Wilhelm Meister´s apprenticeship. Which was one of Louisa´s favorite books. Emerson was one of the many models for Friedrich. Main model was philosopher Henry Thoreau who merited Louisa´s life long affection. When Jo meets Friedrich for the first time he is singing Mignon´s song.
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When Jo writes her letter home she says that the letter is rather ”bhaery” and that she is always interested from odd people. We can interpret this that Jo is fascinated by Friedrich´s eccentric-ism and this is where Jo finds her kindred spirit because all of her life she has considered herself as odd and not fitting.
One of the reasons why Jo´s and Laurie´s relationship, can never be a relationship between equals was that Laurie was looking for a mother figure in Jo, and Friedrich being older and more mature than Laurie is a paradox of that.
”I was in our parkour last evening and Mr. Bhaer came in. With some newspapers for Mrs. Kirk, she wasn´t there, but Minnie who is a little old woman, introduced me very prettily.
”This is Mama´s friend Miss March”
”Yes, and she is jolly and we like her lots” added Kitty, who is an ”enfant térrible”.
We both bowed and then we laughed, for the prim introduction and the blunt addition were a rather comical contrast.
Like their creator, Jo and Friedrich share their love for children. Already in the first novel, Jo escaped the female society and ran out to play with boys. In New York Jo is more interested from the doings of Franz and Emil, than her female-charges, Kitty and Minnie.
The more time Jo spends in New York, more attractive Friedrich becomes, both physically and intellectually.
When spring arrives, she makes notice on the ”pleasant curves around his mouth”, ”his eyes that were never cold or hard”, ”his big hands that had a warm, long grasp that was more expressive than words”.
Symposium / Mutual Interests
Before Jo goes to New York she has been quite frustrated from the way Laurie is not interested from his studies. Jo can not attend university because of her gender. Friedrich sees Jo as his intellectual equal. 1994 film captures the meeting of the minds perfectly. BPS series is so far the only adaptation that has included symposium, leaving the symposium. There is another reference to transcendentalism when Friedrich and Jo talk about Kant´s theories.
In the book Friedrich and Jo attend a symposium together. It is very important part in the books because the reader finds out that Jo´s and Friedrich´s morals go together. In the symposium Jo meets famous poets, writers and philosophers. Some who she has put on a pedestal but her opinions are about to change.
”Her reverence for genius received a severe shock that night and it took sometime for her to recover from the discovery that the great creatures were only men and women after all. Turning as from a fallen idol she made other discoveries which rapidly dispelled her romantic illusions. Imagine her dismay on stealing a glance of timid admiration at the poet who´s lines suggested ethereal being fed on spirit, fire and dew to behold him derringer his supper with an order which flushed his intellectual countenance.
Already in the first part of Little Women we find out that Jo doesn´t always enjoy the higher class social gatherings. Now that she is in the circles of writers, poets and intellectuals which is the world where she longs to be part of she is disappointed by her own illusions that she has created about that world.
”Before the evening was half over. Jo felt so dis-disillusioned that she sat down in a corner to recover herself. Mr Bhaer soon joined her looking rather out of his element and presently several of the philosophers each mounted on his hobby came baling up to hold an intellectual tournament in the recess.
Friedrich also seems to feel that he is in a wrong place. Jo becomes distressed when she is following the debate and one of the young philosophers puts intellect above god. After some hesitation Friedrich keeps his speech defending religion. Speech leaves an ever lasting impression on Jo and I would even argue that this is when Jo starts to realize that her feelings for Friedrich are more than friendship.
”She began to see that character is better possession than money, rank, intellect or beauty and feel that if greatness is what a wise man has to find it to be truth, reverence and good will, then her friend Friedrich Bhaer was not only good, but great”.
Jo´s journey as a writer (never in the films)
Little Women is a Bildungsroman. Bildungsroman is a literally genre that originates from Germany. English translation could be ”coming of age” novel.
The focus of a Bildungsroman is in the moral and psychological development of the character.
In movies and in all tv adaptations so far, scene where Fritz expressed his opinions about sensational literature has been turned into a conflict. I guess it is suppose to create more drama, but this is not the way things go in the book because Jo has already labelled her sensational writings as ”rubbish”.
Way before she even thinks of traveling to New York. She has assured herself that her intentions are good because she would use the money to help her family. This inner conflict that Jo has begins in chapter 27. Literally lessons.
In this chapter Jo attends to a lecture about pyramids. There she pumps into a young man who is reading a thrilling story written by Mrs Nordbury.
Jo is amused by the boys admiration of the ”trash” that is how Jo calls this type of literature which emphasizes her wish to detach herself from those stories. So Jo´s negative views towards sensational stories is clearly identified. When Jo hears how much Mrs Nordbury makes with her Stress and Thunder tales Jo begins to change her mind and soon starts to write them herself.
Stress and Thunder tales originate from Goethe. In German this genre is called ”Sturm und Drang”. It sounds way more cooler in German. Drang refers into deep emotional stress. Sturm und Drang was a movement in literature and music in late 18th century Germany and was largely influenced by Goethe´s writings and plays. There is a great emphasis on the faith of the individual and the movement was highly influenced by Shakespeare. Goethe´s Sturm und Drang plays were about very masculine Teutonic heroes which is probably what fascinated Louisa as an author. Jo´s first stories are poor attempts to capture the spirit of Sturm und Drang.
”Her story was full of desperation and despair as her limited acquaintance of those uncomfortable emotions enabled her to make it. Jo takes in consideration all the advice she gets from everyone around her instead of seeking advice from someone who could help her to improve as a writer. She goes against her own judgement when she knows that some of the advice she receives does not improve the story.
”So with Spartan firmness the young authoress laid her first-born on the table and chopped it up as ruthlessly as any ogre. In the hope of pleasing everyone she took everyone advice and like the old man and his donkey in the fable, it suited nobody. After submitting to bunch of magazines
Jo writes her first novel, which is a romance and it receives mixed reviews. Jo appreciates the feedback and learns from it.
”Her family and friends, administered, comfort and accommodation liberally, yet it was a hard time for sensitive high-spirited Jo, who meant so well and had apparently done so ill but it did her good, for those whose opinions had real value, gave her criticism which is author´s best education and when the first sourness was over, she could laugh at the poor little book, yet believe in it still, and feel herself yet wiser and stronger for the buffeting she had received”.
In chapter 34 when Jo enters to the publishing world in New York, she enters to the world that is male-dominated. Her sensational story is cut from third of it´s original length. Jo is frustrated the way Mr Dashwood wants to cut out all the morals away from the story and the morals are what Jo wishes to keep.
Eventually Jo agrees to these alternations to be made. Despite of her masculine shield, Jo is quite emotional internally even though she doesn´t like to show it and writing thrilling tales becomes distressing.
”She was living in a bad society, and imaginary thought it was, it´s influence effected, for she was feeding hard and fancy on dangerous and unsubstantial food and was fast brushing the innocent bloom from her nature, by a premature quittance of the darker side of life. Which comes soon enough to all of us.”
Fritz knows that Jo writes and he is curious about it but Jo is ashamed of her writings. She is adamant about using a pseudonym and she doesn´t tell anyone at home what she is doing and neither she has shown her stories to Fritz. Friedrich never criticisms Jo as a writer. He is criticizing the genre. Friedrich is honest.
He wants Jo to take herself seriously as a writer. The book Jo does not shout or argue with Fritz, unlike the movie Jo does because Friedrich expresses what Jo has been thinking all long.
As a result Jo burns her trashy novels, then the book Jo tries to write for children. It doesn´t feel right. Then she writes stories that only has moralities, that doesn´t feel right either. She jumps from one literal genre to another. Experimenting.
Friedrich does turn out to be a friend. He encourages Jo to study real-life people so she can develop her characters, and as a Christmas gift, he gives her a set of Shakespeare´s novels. Goethe, Louisa´s idol, would have had similar thoughts towards sensational stories that Friedrich had. Here is a quote from Megan Armknecht who has done some extensive research between Friedrich´s character and Goethe.
”Bhaer is trying to help Jo to become a genuine writer, instead of one who catered, to the whips of the crowd. This is something Goethe would have done. He disliked superficiality in people and in art and was through life frequently offended by the shallow pretensions, the false aims, writers who because they had some poetic sensibility and some gift of expression”.
Louisa credited Goethe being the one author who has thought me the most about creating and understanding characters. In the 1994 film Jo argues with Friedrich about her writings. Film kind of portrays Jo as an ultra-feminist when Jo says that too bad her writings are not good enough for Friedrich´s high morals, this is complete opposite to the book Jo, because book Jo and Friedrich, they have always shared the same morals. Some viewers of the 1994 film, have taken Jo´s side on the argument probably because of it´s ultra-feminism.
Here is a quote from a person who joined #teambhaer after becoming familiar with Friedrich for the first time through Greta Gerwig´s film and they got inspired to read the book.
”Never read or watched Little Women before this but I am so phenomenally found of Friedrich, just in general. But this is coming from someone who watched the 2019 film first and had no context prior to this. As a writer cinema-savy person, I was made aware of Gerwig´s cinematic parallelism of the past and the present during my watch and I could tell that there must have been something taken out of the equation. As a means to balance out Gerwig´s vision. Yet I took fondly of the man who was basically void of existence mid-movie barely on the fact that Gerwig´s method of narrative essential ism still had me appreciate his weight. In the same 2019 Jo summarized the entirety of her loneliness in a single sweep, as I later found out, she dedicated an entire chapter to such somber chills. I found that Friedrich´s clean sweep came down to lines that could be easily over-looked if one came from acting instead of script. ”But do you have anyone to take you seriously?”
To talk about your work, he was essentially the one meant to simply see her. That in a single line Greta Gerwig had essentialised his character. This correlates with the book Fritz.
”Now Mr Bhaer was a different man and slow to offer his opinions. Not because they were unsettled, but too sincere and earnest to be lightly spoken, as he glanced from Jo to several other young people attracted by the brilliancy of the philosophic pyrotechnics. He knit his brows and longed to speak fearing that some inflammable, young soul would be let astray by the rockets to find when the display was over”. Of course as I actually admitted it 2019 Friedrich, was my first version of Friedrich and he still managed to catch my attention, for all he was worth. It was nice reading book 2 and finding out that Alcott wrote him as a worthy addition, rather than a cop-out, as I´ve had the misfortune, to read criticism as of late, that I was shocked at all that anyone would argue otherwise".
This makes me wonder why Greta has spend so much time and energy bashing the book Friedrich while promoting her film. With just that simple line he is established as someone worthy of Jo´s love, Gerwig´s film has it´s focus how much Jo has discomforts with change, and the feedback scene doesn´t promote the ultra-feminism but Jo comes out more childish. She yells she never speaks to him again and it is not something that the book Jo would do. In the pbs series Friedrich actually yells at Jo. That is not something that the book Friedrich does.
Friedrich wasn´t biased to Jo when it came to his feelings, he knew she could do more and wanted her to be as good as she wanted to be. He sees her as an equal, as a woman with true heart and soul, a woman with talent. He isn’t easy on her but neither is he cruel to her when it comes to her writing. I think ultimately she appreciates that Friedrich never softened the blow but always treated her as someone who’s ideas and thoughts were meant to be listened to.
Here is another quote from chapter 27 literary lessons:
"that's just it. I've been fussing over the thing so long, I really don't know whether it's good, bad, or indifferent. It will be a great help to have cool, impartial persons take a look at it, and tell me what they think of it."
The whole chapter is about how Jo learns to define her craft from the feedback she receives, way before she meets Friedrich, and it foreshadows the arrival of Friedrich´s character. There is a longing to find a person who can not only give her constructive criticism but also encourage her to explore her capacity as a story teller. The 2018 film did pretty good job by making Bhaer Jo´s editor and a professor of literature, and so far it is only film where Jo listens and embraces the feedback she receives same way as the book Jo does.
Here is a quote from Edna Cheney who was one of the first Louisa May Alcott biographers
Louisa was always a creature of moods; and it was a great relief to work off certain feelings by the safe vent of imaginary persons and scenes in a story. She had no one to guide or criticize her; and the fact that these gambols of fancy brought the much-needed money, and were, as she truly called them, "pot boilers," certainly did not discourage her from indulging in them. She is probably right in calling most of them "trash and rubbish," for she was yet an unformed girl, and had not studied herself or life very deeply.
Pressure and mental health problems caused by Weekly Volcano
When I was doing this research I actually came appalled when I realized that the scene in Little Women where Jo is having a mental breakdown because of the stories that she has to write to weekly volcano, that is never in the films.
When Louisa was in her early twenties she wrote into a New York news paper called Frank Lesley´s weekly illustrated newspaper. Weekly Volcano is a caricature of that newspaper. We tend to have quite one-dimensional way of thinking what it comes to historical people because historical people had morals. Just like we have morals. Louisa was writing for money and writing for money it came with mental health problems. She had to look up things that made her feel uncomfortable. They had stories of men abusing women and some of the stories were racist and sexist. These things contradicted with Louisa and her own morals.
Which is why she quit. There is a literal quote in her journals where she writes about these moral struggles and her friend Emerson says hey you don´t need to write anything you don´t want to write and just like Jo in the book Louisa feels relieved when she stops. You can find this journal online. You can read it for free. All these script writers they have had access to read it over a decade.
Love for philosophy (and philosophers)
There has been lots of unnecessary stereotyping made towards Friedrich´s character. I will point out some of them, partly because they are truly ridiculous but also because they show how long journey we have to understand Louisa May Alcott´s world view.
In one supposedly "feminist" study that I read, the author pointed out that Bhaer having Shakespeare, Milton, Plato and Homer in addition to his German Bible in his bookshelf represent the way Jo is now a captive of the male power. Apparently if a fictional male character who happens to be a teacher of philosophy has books about philosophy in his bookshelf that must make him a sexist.
Louisa herself grew up reading books and teachings of these particular philosophers. Plato was actually one of the first philosophers who talked about gender equality.
Christine Doyle points out that throughout the book series Friedrich´s character represents the positive aspects of the German culture that the new immigrants embodied.
Well-read and well educated—Friedrich´s shelf contains volumes of Shakespeare, Milton, Plato, and Homer in addition to his German Bible—he is nevertheless remarkably unpretentious, darning his own socks, for example. at the gathering He is deeply religious, standing up for the importance of religion of intellectuals he and Jo attend. This is a particularly important detail since, unlike the working-class German immigrants, the German intelligentsia were highly suspect for their “godlessness,” and it is actually against proponents of Kant’s and Hegel’s intellectualism that Friedrich launches his defense of religion. Even the great supporters of German literature, the Transcendentalists, sometimes found it difficult to come to terms with what they read as immorality and even atheism
Movie Laurie´s missing arc
When Laurie starts to make his moves on Jo the book Jo feels very uncomfortable by that. She says no many times, but he doesn´t listen or respect her. In the book Jo is way more mature character than Laurie is but in the recent adaptations this is not the case.
In Greta Gerwig´s film after Jo has nearly confessed to Marmee that she is in love with Friedrich the film Jo suddenly decides to write Laurie and accept his proposal. One might argue that the open ending is a cop- out not to handle Jo´s loneliness and maximize the profits of the film by trying to please This does not happen in the book. everyone.
When Laurie proposes to Jo he says he wants Jo to take care of him and he doesn´t want Jo to continue writing when Laurie´s behavior becomes possessive it is now that Jo finally realizes what it feels like for a woman when someone does not respect your boundaries. Laurie guilt-trips Jo for a very long time and he makes fun of Friedrich even when he has never met him.
This is a common narrative in Louisa May Alcott´s novels. In Rose in Bloom Charlie wishes to marry Rose, because of her money. He is a lot like Laurie, a champ who everyone likes but he is also very sensitive and escapes himself to gambling and alcohol. Rose eventually falls for Mac who is basically a younger Scottish-American version of Friedrich.
In Work story of experience the protagonist Christie is courted by a man called Fletcher. A wealthy man who would like to own her and Christie feels very uncomfortable by his possessive behavior. There was no me-too campaigns in the 19th century. In true Alcottian style these men are all forgiven. Laurie goes through a process in which Amy plays an important part and thanks to her low bs level Laurie actually improves himself. Fletcher and Charlie are not so lucky and in their death beds they apologize to the protagonist. Laurie was never in love with Jo. He was looking for an excuse to keep their relationship as it was so that he would not have to grow or to take responsibility of his actions, but Jo wants to leave that toxic cycle they are in. Especially after she has returned from New York and opened her heart for Friedrich.
Laurie and the Friedrich archetypes in LMA´s novels
I am going to read you a quote from my friend Chelley and Chelley knows Louisa May Alcott´s books like their own pockets. "
"In my opinion Louisa May Alcott draws a lot deliberate similarities between characters like Laurie, Charlie in Eight cousins and Rose in Bloom, Tom in an old fashioned girl, Jack in Jack and Jill and Thorny in under the lilacs. All of whom are raised in relatively comfortable settings. Are kind hearten and clever, and talented but more than a little wild, and indolent, and are influenced whether for good or evil, most heavily by women. In Laurie´s case the Marches are explicitly referred to as a positive influence over him, but it´s Marmee, Jo and Amy who ultimately hold the most sway and each of their relationships with him represents some version of semi-domesticated feminine power; mother, sister the lover. Despite the stated importance of the first two influences however Laurie isn´t really inspired to better himself simply for the sake of being a better person growing up until he talks to Amy who instead of mothering him or spearing his feelings speaks to him honestly and tells him, he needs to grow up.
In Rose in Bloom Rose´s primary issue with Charlie is that Charlie is expecting her, the woman, to be the angel who saves him from himself, keeps him from harm and he repeatedly wounds Rose, by exploring her natural kind heart and desire to help. Louisa could have gone down that same route with Nat and Daisy, Tommy and Nan and Even Jo and Laurie or Laurie and Amy, but in all those other cases, she writes a story where woman requests to be afford the same respect they want, and expect that from their life partners, an d the men either shape up and meet them on equal footing or miss out".
Then there is the Friedrich archetype. That is Mac in Rose in Bloom, Friedrich in Little Women, John in Hospital Sketches, Adam in Moods, David in Work. The Friedrich archetype, he is usually older and more calm, self-reliant and more grounded than the Laurie archetype. There is silent passion for the protagonist. Desire to be on equal grounding with them. The idea that love beautifies a person and that when you are in a relationship with a right person you inspire each others to be better. This is a very common theme in Louisa May Alcott´s novels. In Friedrich´s case, he wants to be worthy of Jo. He applies to a job in the west so he can provide both for Jo and his nephews. In the equals you can very clearly see how well Jo and Fritz perfectly balance each others.
The Friedrich archetype is mainly based on Henry Thoreau. He was the great love of Louisa´s life. There was a very strong friendship between them. With Louisa and Henry there was almost a telepathic understanding between one another. Here is another quote from Chelley,
The love story of Mac and Rose in Rose in Bloom, is one of the most romantic ones in all of Louisa May Alcott novels and a lot of that hinges on that telepathic form of communication. It letters that sort of opens a window to their souls, to each other and they connect on an intellectual level that to them deepens the love. Silent passion is good way to describe it. I think the idea of Louisa May Alcott modeling her heroine´s love interest after men she admired in real life is almost tragically funny because while she is writing something and thinking here is the happy ending, our beloved protagonist learns life lessons and finds love and future happiness with a mate who is worthy and equal to her, a large portion of her readership is going ”she married that guy why?” because they are having trouble looking past the outward appearance and unfortunately I think a lot of people now days still miss her main point because they get so hanged up on who didn´t end up together, that they fail to see why the people who did end up together are right for each other and how that marriage based on love and trust and respect and similar goals was so radical for a time that emphasized financial stability and or upward mobility over personal happiness".
Love and Sex in Little Women
The fact that Louisa May Alcott was in love with Henry Thoreau and that she had a fling with young Wisniewski this is common knowledge. You can read about it from pretty much every single Louisa May Alcott biography and from online as well. For example Alcott scholar Susan Bailey who runs Louisa May Alcott is my passion blog, she has written tons of informative, fact-based articles on Louisa´s relationship with these men.
I am going to read you a quote from Marlowe Dailey-Galeone
”Alcott shows women finding their own empowerment and satisfaction through their writing, through their art, through their relationships with others. The way their structure domestic activities even in the way they are thinking about marriage as a partnership. Also Alcott anticipates discussion on women´s pleasure and fulfillment. When I teach little women I like to ask my students if they enjoyed the sex scene? This is a subtle but important scene of intimacy and pleasure after Meg and John have a discussion about finances, Alcott carefully includes a moment when Meg puts on John´s coat. The coat that he is only able to buy because she returns the dress and they have enough money. She puts on the coat, welcomes him home. Kinda racy. We might have missed it. What comes next is a blissful state of things, so she, Louisa, is engaging with the idea of pleasure. Again I think a nice thing to remember that in 1868 and 1869 Louisa May Alcott is thinking about this.
Louisa May Alcott and transnational family
Louisa May Alcott was a transcendentalist. Transcendentalism was a philosophical and Christian movement. Transcendentalism was based to the ideas of German philosopher Immanuel Kant and his ideology about the universal family. Belief that all nations can learn from one another. Transcendentalists they took this message to their hearts. If you know anything about 19th century world events and conflicts the transcendentalist were seen radical but they were also a head of their time. Getting familiar with other cultures was encouraged. The German immigrants were widely discriminated. Transcendentalist welcomed them. The most respected and valued literature, poetry and plays and art all came from Germany and Louisa´s whole world view was based on German philosophy.
The 2019 film has been criticized for not including the transcendentalist ideas and when Greta Gerwig was promoting her film, she made tons of xenophobic statements on Friedrich´s character. Him being German and him speaking with a German accent and how Greta Gerwig thought it was repulsive. All these xenophobic comments they don´t align with Louisa´s philosophy about transnational family and Greta Gerwig is a descendant of German immigrants herself. Some of the criticism what I have come across about Greta Gerwig is that she is reluctant to have minorities presented in her films. Which is very unfortunate.
When Jo decides to stop writing to the Weekly Volcano, she makes a remarkable realization. As a creator everything that she writes to her novels has either a good or a bad influence to her readership and she stops to think how much damage she has done by writing stories that conflicted with her own morals. She is not even paid well for those stories. Friedrich he represents the older Louisa and her whole transcendentalist world view. He reminds Jo who she is as a person and that she has a good heart. Jo grew up in a family that was always ready to help those in need and her mother took Jo and her sisters with them when she went to help the immigrant families and her father lost his job when he took a black child to his school. The Alcott´s were abolitionist and even hid black slaves at their home. Louisa had first hand witnessed people being discriminated because of their ethnicity.
Love beautifies a person
Gerwig also complained about Friedrich´s looks and this is the one thing that most people miss in Little Women. Katherine Hepburn and Paul Lukas from the 1933 film probably are closest to what the characters are written to look like. The whole point of the story is that love beautifies a person. Jo is not written to be beautiful but she finds Friedrich very attractive and he is attracted to her. Louisa was not particularly beautiful either. Even her fans were disappointed when they saw her. There is a hilarious scene in Jo´s boys. There is an adult fan who comes to meet Jo Bhaer. Jo´s and Friedrich´s son, he points out the portrait of his mother and this fan is like ”oh no! I expected her to be 15 and pretty and having pig tails. I don´t think I want to see her now, because she looks so mundane”. Laurie is written to be conventionally good looking character, but his actions over Jo are ugly. Films are sold with beautiful people, but I would be more worried about the way the film makers gloss over Laurie´s flaws.
Because of her looks, sometimes Jo feels herself as a freak and that she is not worthy of love. Friedrich basically tells to Jo that it is okay to be clumsy and unconventional and still be worth of loving.
Real life Laurie
Louisa met Ladislas ”Laddie” Wisniewski in Switzerland when she was working as a companion for an invalid woman called Anna Weld. Laddie was a 21 year old composer from Poland. He was very charming and he called Louisa his ”little mama”. He had tuberculosis and Louisa nursed him. Louisa was a trained nurse. He was flirting with Louisa. Something happened between Ladislas and Miss Weld. They got into an argument. Some believe that he tried to force her to sleep with him and others say that he proposed to her. There is an Alcott story called ”Anna´s whim”. There is a character who sounds just like Ladislas and he proposes a rich heiress called Anna. So maybe the proposal idea is not so far fetched.
This is what Louisa writes ”Anna troubled about Laddie who was in a despairing state of mind. I could not advice them to be happy as they desired. So everything went wrong and both worried”.
Previous diary markings suggest that Laddie had been flirtatious with Louisa and had even mentioned possible future together. Louisa had written that Anna Weld was ”whiny, needy, foolish, and didn´t have a glue about Goethe”. The tone of Louisa´s diary markings change. She begins to sympathize Anna and becomes more suspicious about Laddie. When Louisa writes ”could not advice them to be happy as they desired?” what does she mean? did Ladislas and Anna had suddenly become affectionate with one another. It is very unlikely because quite soon Ladislas announced that he was leaving. Imagine being Louisa. First this handsome young guy is flirting with you all the time and being romantic and then he proposes to your boss. Louisa was not rich at the time. She was not considered particularly beautiful and Louisa was about 32 when this happened. When her employment ended she went to Paris and spent a day with him without a chaperone, which was very scandalous and after that she wrote to her very censored journal words ”couldn´t be”.
If you guys have read little women 2019 film guide Greta Gerwig writes ”Jo and Laurie could be a great couple if they would like to be”. Well, it does seem that Louisa did not want it. This reminds me what Emily said in our Laurie podcast. When Laurie was proposing Jo, he was looking for someone to nanny him. Alcott biographer Harriet Reisen points out that perhaps Ladislas was a conman who prayed on wealthy women. There are things that suggest that Wisniewski might have been a conman. Louisa writes in her journal about his ”miraculous recovery from tuberculosis”. Tuberculosis killed millions of people and very conveniently, Ladislas is miraculously healed, just before he has this conflict with Miss Weld.
I don´t know if he was a conman or not but I do believe that he might have mistaken Louisa´s care for him as something romantic and that he did want her to nanny him, which is not something that you can build a healthy relationship on and I am pretty convinced that he was not on Louisa´s intellectual level and she could not rely on him being supportive on her writing.
Real life Friedrich
Susan Cheever writes in American Bloomsbury that every-time when Alcott´s moved back to Concord, Louisa would find herself loving Henry more and more every time when they returned. Louisa loved very masculine men. She writes in her journals that she loves soldiers and uniforms. She writes in her journals that Henry is the perfect man and there is a quote where she compares Henry to Napoleon and her friend Emerson to Goethe. In Little Women Friedrich is Jo´s sexual awakening. He is written to be more masculine and more mature than Laurie. He has a beard, big hands, deep voice. In Little Men the narrator even says that Jo loves very ”manly” men. There is some criticism over guys who are thin and more effeminate. Like Laurie and Nat. In Jo´s boys there actually quite many scenes where Jo and Friedrich are kissing and there is also a scene where they are making out. They are about to do the dirty and their sons come in and interrupt them. I am actually surprised that Louisa got away with that.
It is pretty fair to say that Louisa wanted someone on her side who could feed and stimulate her brain. Henry wasn´t a great looker but there was something about him because he had quite a few female admirers in Concord. Louisa was attracted to him but the most important aspect of that relationship was their similar interests and the intellectual connection that they had and they did spent a lot of one-on-one time together. She would visit him at his hut at the Walden´s pond. They took long nature walks, and he would often take her to boat trips. I have said this before and I say it again, the age difference between them was the same as between Jo and Friedrich, 16 years.
Henry passed away when Louisa was 27. Rest of her life with Ladislas, and other men and women who she encountered. She never found them to be even remotely as intellectually stimulating as Henry was. In Little Women Jo confesses to Friedrich that, he is her first love, and therefore the best.
Something I found very interesting in my Thoreau research, was that Henry and the whole Thoreau family, they had reputation that they despised gossip and supported individualism. This is something that Louisa admired. You can read from their journals that both Henry and Louisa often felt themselves as outsiders. Very similar to Jo and Friedrich who are connected by their feelings of outsiderness.
The self-censoring, it happens even in Little Women. It raises the question what is the intention of the author? In the book when Amy burns Jo´s manuscript it happens because Jo has been bullying Amy for weeks and she has had enough. Little Women is framed against Pilgrim´s process. A story where the protagonist learns to overcome their biggest flaws. For Jo her biggest flaw is her temper. Why would Louisa make her literal counterpart to face that if there was no intention? She is the creator and the one who controls the story? another explanation is that Louisa is censoring her own writing, because when Jo writes the story again, it becomes a lot better.
Second self censoring happens with Weekly Volcano. As I explained earlier Louisa used herself as an example but never admitted that. In the last Little Women book, Jo´s boys, when Jo has become a famous writer, she is very much against when her nephew Demi begins to write stories for a magazine. Jo does not approve. Almost like Louisa is echoing her own history with sensationalism.
Louisa began to self-censor her diaries when Little Women became a best-seller. As a writer she was marketed as ”the friend of all children”. It is also important to point out that in the 19th century sex was a taboo. There was times when Louisa struggled with the children book format because she preferred to write adult themes, especially after Louisa´s passing, the early Alcott scholars took everything that she had written literally, most of these people were completely unaware that Louisa had self-censored her own journals. Not only did Louisa write about her own love life in Little Women in literal disguise, she also wrote about her experience writing the sensational stories. We might even say that she wrote her biggest secrets to the novel. It is no wonder that she had very conflicted feelings about it. Some of us might be very eager to judge her for this, the way she tried to detach herself away from Little Women, but in the 19th century woman having a good reputation, that was a lot more valuable than all the money that they owned.
The idealization of masculinity
There is something that I would like to talk about. It is the heart core of studying Little Women, from the perspective of gender. That is the idealization of the masculine. In one of her journal markings Louisa has written ”I am a hero worshiper by nature”. If I quote one of my blog readers ”Jo was drowning into internalized misogyny”. Jo puts Laurie to a pedestal because Laurie is a boy. Laurie does the same to Jo, because she is the first person, who pays any attention to him. When Laurie is cat fishing Meg, Jo doesn´t see any problems in his behavior, and it´s actually Laurie who Jo feels bad for, and this has made many modern readers, female readers especially, quite upset. What we know about Louisa is that, she always preferred the male company rather than women. Friedrich is idealized for complete different reasons than Laurie. He is idealized because Jo is in love with him. When we get into the courting and the umbrella chapter, the roles are reversed between Jo and Friedrich and it is now Friedrich who openly admires Jo. Friedrich´s model of masculinity is different. He respects her boundaries and does not over-step them, and only makes his moves on Jo when he has Jo´s full consent. When Friedrich proposes to Jo he gives her German title ”Professorin”, which does not mean ”professors little wife” like it was translated into my older Finnish version of Little Women, it is German and means ”female professor” and by doing that Friedrich acknowledges Jo´s thirst for knowledge and considers her as his intellectual equal.
In both 1994 film and 2019 film Jo and Friedrich part in bad terms, but in the book they part as friends both wondering if it could lead into something more in the future.
”Early as it was he was at the station next morning to see Jo off and thanks to him, she began her solitary journey with the pleasant memory of a familiar face smiling it´s farewell, bunch of violets to keep her company and bets of all the happy thought ”well, the winter is gone and I´ve written no books, earned no fortune, but I´v made a friend worth having and I´ll try to keep him all my life”. Jo and Fritz spent the next two years writing letters to each others. Taking care of Beth forces Jo to re-evaluate her life. After Beth´s passing she goes through a period of depression, grief and loneliness. In the book right after Beth´s death, Laurie sends Jo a letter from Europe and proposes her again. This happens the moment when Laurie has realized he has feelings for Amy. Jo sends him a polite answer and refuses again. Laurie´s second proposal has never been adapted.
In the book shared looks continue when Friedrich comes courting.
”Though a very social man, I think Mr Bhaer would have gone decorously away and come again another day. How could he when Jo shut the door behind him and bereft him of his hat. Perhaps her face had something to do with it for she forgot to hide her joy at seeing him and showed it with a frankness that proved irresistible to the solitary man who´s welcome far exceeded his boldest hopes. Stealthy glance now and then refreshed her like sips of fresh water after a dusty walk. For the side-long peeps showed her propitious omens. Mr Bhaer´s face had lost the absent minded expression and looked all live with interest in the present moment, actually young and handsome, she thought”.
The Umbrella, Identification of selves
Shared looks were a big part of courting. When Jo comes to the realization that Friedrich has truly come to court her, Jo flushes. She becomes fully self-aware and she is quite pleased and thrilled by the idea.
Then we get into the third and the most important part of 19th century courtship. Identification of selves, mutual recognition of one another. Which in Little Women is the umbrella. Courting is usually rushed in the films. Friedrich in fact, visits the Marches for two weeks and during all this time he is hoping to see signs of love from Jo.
”For a forth-night professor came and went with a lover like regularity”. Then he stayed away for three whole days and made no signs for proceeding, which caused everybody to look sober and Jo to become pensive at first, and then alas for romance, very cross”.
The idea of loosing Friedrich has become petrifying. She goes to the German block to look for him, but he is nowhere to be found. It starts to rain and Jo is ready to burst into tears and then he is there.
”I feel to know the strong minded lady who goes so bravely under many horse-noses and so fast through much muss. What do you do down here my friend?”
Mr Bhaer smiled, as he glanced from the pickle factory on one side to the wholesale hide and letter concern on the other, but to her, he only said politely.
”You have no umbrella, may I go also and take for you the bundles”.
”Yes, thank you”.
Jo´s cheeks were as red as a ribbon, and she wondered what he thought of her but she didn´t care for in a minute, she found herself walking away arm in arm with her professor. Feeling as if the sun had suddenly burst out with uncommon brilliancy that the world was alright again and that one truly happy woman was basking through the wet that day.
Jo doesn´t have lots of experiences with men, so it makes sense that she is quite clumsy and awkward around him. In an earlier version of the script of Greta Gerwig´s film, Jo actually pulled down a chair when Fritz came to visit and and he fixed it in a very calm manner. At least they included the part of Jo, setting herself on fire, and the viewer finds out that Friedrich was just as clumsy.
”We thought you had gone” said Jo hasty, for she knew he was looking at her. Bonnet wasn´t big enough to hide her face and she feared he might think the joy of it betrayed unmaidenly.
Once again Jo flushes and she is very aware of his presence. The sharing of the interior lives happens while trying interpret the other persons tone and voice and gestures.
When Friedrich tells her about the new job and that he can now provide a better home for his nephews Jo is encouraged by the prospects.
”Indeed you should. How splendid it will be to have you doing what you like and be able to see you often and the boys” said Jo clinging to the lads as an excuse for the satisfaction. She could not help betraying.
”Ach, but we shall not meet often I fear, this place is at the west”.
”So far away” and Jo let her skirts to their faith”, as if did not matter now what became of her clothes, or herself.
Mr Bhaer could read several languages, but he had not learned how to read women yet. He flattered himself that he knew Jo pretty well and was therefore much amazed by the contradictions of voice, face and manner. Which she showed him in a rapid succession that day. For she was in half-dozen different moods in the course of half an hour. When she met him she looked surprised, though it was impossible not to suspect that she had come for that express purpose. When he offered her his arm, she took it with a look that filled him with delight but when he asked if she missed him, she gave such chilly formal reply that the despair fell upon him, but learning his good fortune she almost clapped her hands. Was the joy all for the boys? Then on hearing his destination, she said ”so far away” in a tone of despair that lifted him onto a pinnacle of hope but the next minute, she stumbled him down again, by serving like entirely absorbent in the matter.
The narrator points out the difficulties, of the mute courting, the narration of love. How to verbalize it through non-verbal clues.
When they go shopping Jo is very clumsy and Friedrich starts to see how Jo indeed goes by contradictions. In the store she hides her cried face into a shawl.
”Does this suit you Mr Bhaer” she asked. Turning her back to him, feeling deeply grateful, for the chance of hiding her face.
I actually always thought that this scene was very intimate. It gives me some serious 1995 Sense and Sensibility vibes.
The next moment she rummages the counters like a ”confirmed bargain hunter”. Jo´s pattern is to hide vulnerabilities into action, but Jo has got into a point where she is ready to let down all her walls.
”For now the sun seemed to have gone, in as suddenly as it came out, and the world grew muddy and miserable again and for the first time she discovered that her feet were cold. Her head ached and that her heart was fuller of pain than the ladder. Mr Bhaer was going away. He only cared for her as a friend. It was all a mistake, and the sooner it was over the better. With this idea in her head she hailed an approaching omnibus with such a haste gesture that the daisies flew out of the pot and were badly damaged”.
This is where we get into the culmination. The mutual recognition of one another.
”I beg your pardon. I didn´t see the name distinctly. Never mind, I can walk. I am used to paddling in the mud. Returned Jo winking heard, for she would have died, rather than openly wiped her eyes.
Mr Bhaer saw the drops on her cheeks though she turned her head away. The sight seemed to touch him very much, for suddenly stooping down he asked in a tone that meant a great deal.
”Hearts dearest why do you cry?”
Liking someone is scary. These two have liked each others for quite a long time. When you first bring somebody into your life, it is scary because you have to admit to yourself that you are fully open. Taking a step forward, to tell you love them, it´s like standing on an edge of a cliff. Jo and Friedrich are both standing on that cliff and when Jo opens up Friedrich tells her that he has already fallen hard.
”Now if Jo had not been new to this sort of thing, she would have said, she wasn´t crying, had a cold in her head, told any other feminine fib proper to the occasion. Instead of that undignified creature answered with and irresistible sob,
”because you are going away”
”Ach mein gott, that is so good” said Mr Bhaer, then he clapped his hands despite of the umbrella and the bundles.
”Jo I have nothing but much love to giv 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 added all in one breath.
”Oh yes!” said Jo, and he was quite satisfied, before she folded both hands over his and looked up at him with an expression that plainly showed how happy she would be to walk through life beside him even though she had no better shelter but an old umbrella, if he carried it.
Friedrich wants to go on to his knees, but they are on the middle of the street covered in mud. It makes it difficult so they express their love by looking at each others and they no longer care about the surroundings. Jo calls Friedrich by his first name for the first time. Which delights him. He says that his sister was the last person calling him Friedrich. Poor man, that was five years ago. Friedrich also calls Jo as Jo and not as Miss March. The conversation is now open and tender. Louisa´s love for Germany continues when Friedrich asks Jo to use the word ”thou” instead of English ”you”. For those of you who don´t speak German, there is ”Sie” which is how you adress another person formally. Then there is ”Du” which is informal and in the 19th century context a much intimate. In old English ”thou” was the more intimate version of ”you”.
Friedrich shows Jo the poem that brought him to her. Poem is called ”in the garret” and Jo wrote it after Beth´s death, while feeling very lonely. In most adaptations, Friedrich has come bringing Jo her new book. Poem shows that Friedrich has taken the time to follow Jo´s career. When Jo asks what kept him away for so long, we find out that he has been looking for a job so that he could provide a home for Jo. This highlights Friedrich´s self reliance which is a value that Jo appreciates. Chapter ends into the very famous ”not empty now” line.
”I am glad you are poor. I could not bare a rich husband”. Then added in a softer tone. ”Dont´t fear poverty I´v known it long enough to loose my thread and be happy working for those I love and don´t call yourself old. 40 is the prime of life. I couldn´t help loving you if you were 70!
Professor found that so touching that he would be glad of his handkerchief. As he couldn´t Jo wiped his eyes for him and said laughing, as she took away a bundle or two. I may be strong minded but no one can say I am out of my sphere now and bearing burdans. I am to carry my share Friedrich, and help to earn the home. Make up your mind on that, or I´ll never go”. She added resolutely as he tried to reclaim his load.
”Ach, thou give me such hope and courage, I have nothing to give back but a full heart and these empty hands”. Sighted the professor quite overcome.
Jo never would learn to be proper. For when he said that as they stood upon the steps, she put both of her hands into his whispering tenderly. ”Not empty now” and stooping down kissed ”her Friedrich” under the umbrella.
Here is another quote from Christine Doyle.
”While Meg and John are the down to earth couple. Amy and Laurie are the romantics the artists. Jo and Friedrich combine the two. One of Friedrich´s most compelling qualities, is that he combines the domestic and the romantic heroism”.
Most 19th century courtship restrained from crossing the line until marriage, but that did not nessecarily mean that all relationships lacked passion. Lystra mentions that middle to upper middle class couples often did not take physical consummation until marriage. However during unchaperoned courtship, they would. Primary sources tend to suggest that during the 19th century sex became linked to sentimental love, especially for women. While women were supposed to be pure by nature, Lystra asserts that Victorians saw the sexual, spiritual and the moral in the concept of true love.
Here is a quote from Little Women fan Kymberly East:
”In the professor, Jo found a candidate for a kind of marriage she had not considered possible. A union between two people where freedom and partnership intertwine. In such a relationship, she didn´t have to sacrifice anything. As a matter of fact, she was able to realize a dream, that she otherwise may not have been able to achieve and in later books, she finds success as an author as well as providing a home for boys. Her liberation is completed and no sacrifice has been required of her”
Thank you for watching. Check out the episode I and Emily did about Jo´s and Friedrich´s relationship. Stay well and make good choices.
All the sources are listed here.
The Laurie Problem
Hello friends and welcome to Small Umbrella In The Rain. A podcast series on all things Louisa May Alcott and Little Women. This is a special episode. A collaboration between me and booktuber Emiloid. Emily and I discovered that we had lots of similar opinions and thoughts about Little Women and our first conversation actually lasted four hours!
This episode has been heavily edited :) and we had so much fun that we are probably going to do more collaborations in the future. I hope you guys enjoy this. This is Small Umbrella In The Rain: The Laurie Problem.
Emily: Hello I am Emily. I am also known as Emiloid. I run a booktube channel by the same name and I am also a big fan of Little Women the novel and also a great fan of discussing the adaptations as well.
Niina: I am Niina. Hello everyone and I am a blogger on YouTube and I have a channel called Small Umbrella In The Rain. I do gender studies on Little Women and been lately focusing mostly on the male characters.
Emily: Also I am relatively well-known for my channel for a review I did on the newest Little Women adaptation.
Niina: Which was a really good review.
Emily: To say the least. Openly critical of the film and Niina reach out to me because we have lot of the same perspectives on the book and the films. I am very honored. I am really flattered that you asked me because I had literally found your blog when I was preparing for my video.
Niina: So nice because it was a really big surprise for me how many people reached out after I published it. You always learn new things when people reach out to you like that. They share their views and it´s been a pleasure.
Emily: Yeah. I had lots of people reaching out to me ”wow I am so grateful that you have reflected my views on this film” and it feels like they finally got presented. Before I even knew you I remember thinking about your blog post like, ”wow this person agrees with me” because you really love professor Bhaer and this film did not have professor Bhaer in it, pretty much. You know, they didn´t have our professor Bhaer in it.
Niina: Yeah, where is our professor Bhaer?
Emily: Yeah, where is this beautiful relationship?
Emily: Today you wanted to discuss Laurie.
Niina: Among other things, yes.
Emily: Yes, among other things.
Emily: So we are going to do one video on this channel. On Niina´s channel and then one video on my channel, where we will be discussing Jo and professor Bhaer but you will probably find that our discussions will go on different directions.
Niina: Very likely.
Emily: We have lots of feelings about these adaptations and this book. Alright, how about we start out talking about the Laurie model. By the way I literally just watched the 2017 series last night.
Niina: oh you did?
Emily: I think I agree with a lot what you said about it. I like what they expanded but the ending is very rushed.
Niina: It is. I felt like the writer should have had four episodes to do it properly.
Emily: Yeah. Somehow they managed to expand on some things but somehow the ending was just really rushed. I was so surprised at the end.
Niina: Yeah and it did not build enough for the two couples. That really bothered me.
Emily: They didn´t really thought through the whole process for Jo and professor Bhaer and suddenly the school is established and they don´t build up on that. It was a bit weird. You sent me a bunch of articles and blog posts about this subject and you clearly had done very deep dive into his character.
Niina: I think my biggest problem with all Laurie´s presentations in the films is that it never follows the book´s narrative. This is something that really reflects to the way people read Little Women. I find it very problematic to say the least.
Emily: I know I remember you said that basically Laurie has to go through a whole growth process in the book, I guess we should preface it by saying that lot of the adaptations idealize him. What you said in your blog post. He is kind of this young, pretty guy who is in love with Jo. We are supposed to feel bad for him but what the adaptations leave out is how immature he really is and actually how horrible he is sometimes.
Niina: One of my blog readers. She wrote a very eye -opening review about Little Women how Jo and Laurie, the ideas that they feed to each others, they actually end up harming each others on a long run and that is something that people constantly ignore.
Emily: Yes! I think a big example is, remember when Laurie was like ”Ah I don´t want to go to university and Jo is like just run away you don´t have to go to the uni and Meg is like ”No, don´t tell Laurie, not to go to uni. No, you need to do it”. At that point I was like wow these two are not good influence on each other at all.
Niina: Laurie was that kind of character that he always did what he was told to do. He always wants to do what he is told not to do and he has this constant inner conflict because of it.
Emily: That is true. He kinda reminds me of bit of me, I don´t think he really appreciated lot of the priviledge he had at the start because he is like ”I don´t like uni” because he is sort of expected to fit into a certain mold in the society what he doesn´t really properly appreciate. He was just sort of a party boy in college and messes around and everything. He doesn´t really know how to be a productive member of society. He doesn´t really understand what that means.
Niina: When Jo gets older, it really starts to bother her. That he doesn´t take responsibility of himself. She is like a little mother for him. She is always taking care of him and it is quite sad the way Jo feels bad that he has all these priviledges that she doesn´t have.
Emily: He kinda represents lot of the things that she can´t have but he really takes for granted. I think you might have pointed this out in your blog post but Jo is very much taking care of him because he is really looking for a mother. He really kind of falls in love with her, or he thinks, because he is really looking for this character who is going to nanny him.
Niina: People forget that Laurie is an orphan. He doesn´t really have a stable parental figure until Jo arrives.
Emily: Yeah and he is always envying that really idyllic view of the March family. All the sisters and their relationship with Marmee and Marmee essentially becomes his secondary mother in away. I think you also pointed out, despite of craving this maternal figure in his life, he and Jo like to make fun of very feminine girls. They have really mutually negative reforcing views on femininity and masculinity as well. I was surprised when I re-read the book and I was like wow! Laurie was actually ...am I allowed to swear on your channel?
Niina: Go ahead.
Emily: He is a fuckboy.
Emily: Yeah he is really a fuckboy but then he turns around and talked bad about these girls to Jo and I am like Wow, this is exactly the kind of guy I would have tried to avoid back in uni. He is quite misogynistic. I wonder what you think because you pointed out that Jo is dissappointed with Laurie but I think also Amy is as well. I think Amy even if she doesn´t have the same kind of relationship with Laurie also really steps in and is the one to say ”Hey, you are really not being productive person and you are really idle” and she taps his hand. She is like, your hands, they have never done days work and I´m wondering if you could talk about your view on Jo and why Jo is kind of his mother but isn´t able to build that kind of relationship with him that Amy is somehow able to come out. Give him the same kind of talk but then isn´t really his mother and is actually able to get through him.
Niina: There is a theory that Amy already had a crush on Laurie when she was 12. When I read the book like that it makes sense because there is the scene where Laurie goes to cheer her up when she is staying at aunt March and all that.
Niina: I always liked that chapter but when I read Little Women last time what I noticed is that Laurie always behaves a lot better with Amy than he does with Meg or with Jo. With Meg or with Jo he always seems to have this idea that he is somehow above them but that doesn´t really happen with Amy. It´s really interesting.
Emily: Do you think it is because they are both younger siblings of Jo and Meg and they kind of are able to reach some sort of equal footing that way?
Niina: They are all just very different people. There is that chapter where Laurie forges letters in John´s name and then he is catfishing Meg and then Jo wants Meg and Laurie to get together. To keep Laurie in the family. She doesn´t really see how harmful that is to Meg´s reputation and Laurie doesn´t see any kind of harmful elements in his actions.
Emily: He is just kind of making fun but it really is a mean joke to play at somebody. Especially when one of them involves his teacher, who he really does not appreciate enough.
Niina: He really takes Mr Brooke for granted.
Emily: I think I read this on your blog and this really resonated with me. He is also quite toxic towards Jo especially when he wants to be in a relationship with her. He is saying ”I am going to kill myself” you know ”over you”.
Niina: There is lots of mental blackmailing and it´s quite hard to read sometimes.
Emily: Yeah it is. I think you quoted somebody who said, Laurie is a ”nice guy”, so called. He is one of those nice guys who expect to get what he wants because he is so nice to that person.
Niina: He doesn´t really see Jo as an actual person at that point. He wants to marry her because he is expected to marry someone. When there is that time period when he is in Vienna and he is trying to compose. It is like he doesn´t really care who he is going to marry or who is this romantic woman that he is composing these operas for. It doesn´t really matter at that point because he has this idea that this is what a man is supposed to be like.
Emily: I think he writes about how he has this phantom of a woman in his mind and it is not really vague. He is not really thinking about Jo´s characteristics or anything like that. He just have this sort of Goethean idea of a woman. What we know doesn´t resemble Jo at all.
Niina: It is this phantom princess who is waiting for a prince to arrive, from an opera or a ballet. It´s really not Jo March and it is really not Amy either but when he starts to have more deeper feelings for Amy, this phantom it starts to look more and more like Amy. It is one of those things that is never adapted in the adaptations.
Emily: I am surprised. You are absolutely correct. No one gives Laurie this arch. Nobody delves into his feelings about the March girls. People even cut out that kind of toxic behaviour that he has.
Niina: It is really weird. Very odd.
Emily: I am surprised. You know how these days we are talking about Twilight. Twilight is so toxic because Edward stalks Bella and is so possessive and I am just like, well you know, here is this nice guy who is very toxic towards the person he wants to be with and is no better. It really bugles my mind. That even a grown up reader could go back to this character and be like ”oh Laurie should have been with Jo” and I don´t know if you saw but I think they are even coming out a book called ”Jo and Laurie”.
Niina: Yeah, I heard about it. I am not going to read it. It´s going to make me angry.
Niina: I know better!
Emily: I don´t want to read it either. If you want to write fan fiction, fine, but I can´t believe people are actually publishing this stuff.
Niina: It´s ridicilous.
Emily: Buy this narrative that they should have been together. I really can´t believe it.
Niina: What it comes to Louisa, the whole premise of Little Women was to write a book for girls about how to marry someone who you can actually live with for the rest of your life and she really does this very well when you think about it because she especially crafted Friedrich´s character for Jo and then he is based on men who Louisa was in love with.
Emily: As we pointed out before, we don´t have lot´s of full characterizations of Laurie in the films. I am wondering, did you expect the 2019 film to do a better with his character?
Niina: I read very early interviews of Greta Gerwig who talked about the way Jo and Laurie has this relationship that is not romantic and that gave me hope but then I read the movie guide for the new film and then she goes back with it. I think she is a Jo and Laurie shipper. Which is why Laurie doesn´t have an arch. What I have seen in Little Women circles with lot of the people who I have talked with and interviewed for my articles, is that there are lot of people now who think that Laurie is very immature in that film and they are glad that Jo ended up with the professor. So it is some kind of improvement but he is still million times more idealized in that movie that he is in the book.
Emily: The really dreamy Timothee Chamalet.
Niina: He doesn´t have a character arch. They did very good job with Amy in that movie.
Emily: Yes, yes.
Niina: But it doesn´t work without Laurie´s arch. That is the problem.
Emily: That is very true. I was hoping to discuss this with you. Despite of my very critical review of the new film. I think they were doing okay with Amy and Laurie. For up until the Europe part because I think setting up their relationship is pretty good. I think I said before in my review. I didn´t like how they contrived that with Amy´s painting being the set up for that because I think that is actually a very awful scene that is supposed to be a scene or righteous anger and I didn´t like that it was made to be comical. I liked that they did some work on establishing their relationship before hand. I´d be okay with this and in Europe they have that discussion. Amy gives him a talk and then Amy also doesn´t want to play second to Jo. I was like okay, this was fine. But then you noticed how Laurie doesn´t have to do any work for Amy?
Niina: Yeah, that´s true.
Emily: I always found this to be very crucial part of their arch. Amy even encourages him to be a productive member of society but then he never does any of that. That aspect of their story is left hanging and just incomplete and then it´s back to Beth´s death to speed up their relationship instead of himactually putting work in, which really sat badly with me.
Niina: That is something that really bothered me in the film and that kind of reflected in Jo´s character because she was not given a character arch either.
Emily: She is not. I said in my review her arch is flat without professor Bhaer.
Niina: If we compare that to the 1994 film, Jo has a full arch there. That is the way it goes in the book.
Emily: Yes she does. Despite Laurie not having much of a characterization, maybe not much more in the 1994 film. I liked that they actually acknowledged that he went away to actually better himself before coming back to Amy.
Niina: It doesn´t really build up their relationship as much as the 2019 film but Laurie has some sort of arch in that movie.
Emily: Now that we are talking about 1994 film. I think you said in your blog post we don´t get a sense of his temper and how he would clash with Jo which is why we don´t always buy that they would kill each others.
Niina: That is the same with all adaptations. I mean, Louisa makes a really big effort in the book. She describes that Laurie has a temper and that he has these violent outbursts sometimes and Jo has them as well.
Emily: You get this sense that Laurie is butting heads with Jo, what he kind of is, but he also clashes with her in other ways but they never really represent that. I think in 1994 Christian Bale is really wonderful for the character that they wrote but I guess a lot of people have accused the film of making that relationship with Amy creepy. Underdeveloped maybe, but I never found it creepy particularly.
Niina: I think it´s because Amy is 12 in the first part and Laurie is 16 but it´s just a four years age different and they are not romantically together in that way but then people also say that Jo and Friedrich are creepy but Jo is 24 when they meet. I never saw that creepy.
Emily: They are both adults.
Niina: It was written in the 19th century. Most marriages were marriages with age gaps and Louisa had a thing for older guys.
Emily: Back then it was super common.
Niina: Yeah, for most people there was an age gap in the marriages or in relationships in general.
Emily: Because families generally wanted their daughters to marry established gentlemen. Who already had a living and generally it would take time for a guy to actually establish his career and when he did at that point he would marry somebody. So it is not shocking at all that you would have age gaps like that.
Niina: If you think about some of the recent films. For example the new Emma. In the original Jane Austen´s Emma, the Knightley and Emma age difference is 19 years. In the new film, Knightley´s actor is much younger looking. They do that now days. The male lead is hired to be a young looking guy, even if the actor is actually a bit older in reality.
Emily: It´s funny, you know in the 2019 film they did that with professor Bhaer. They were not going to do the proper arch anyway but they made him younger too.
Niina: The actor is actually 36 so his age is really close to the book Fritz but he looks much younger. It´s just Hollywood the way it does it but then if I think about Amy and Laurie in the 1994 film, I don´t think it´s creepy but if you think about how people could actually avoid that why can´t they actually hire a 16 year old guy to play Laurie but people are going to complain about everything, it doesn´t matter who we are going to cast to play Laurie.
Emily: In the 2019 film I felt that it had bit an issue with Florence Pugh looking older in all of her scenes, when Laurie just looked young in all of his scenes.
Niina: The actors they are the same age.
Emily: They are the same age. It´s just that, you could not quite buy Amy or Florence Pugh as a child and you could never buy Timothee Chamalet as an adult. Whatever their real-life age is. It just doesn´t work in the sense of that visual contrast. I mean people have pointed out to me that Christian Bale was only 20 when he played Laurie but he is able to transition from being an teen ager into an adult. Sometimes you know, even if the real age matches, that is the thing about casting, you need certain people to pass of different ages. It is weird because I haven´t seen the 1933 film but I noticed that both 1949 and 1994 don´t pay that much attention to Amy´s and Laurie´s arch. In fact I think 1949 less so. It is not even there.
Niina: No. There is this scene before Laurie goes to propose Jo and Amy is looking at Laurie with a sad expression on her face. I think that is the only scene with them together and then there is the end when they end up together. That is their arch. Laurie´s proposal is extremely romanticised in that film and it´s really romanticised in 1933 film and 1994 film. 2019 film did better but then it completely erased Friedrich´s character so it kind of sucks.
Emily: Laurie in the 1949 film. I recall his proposal being pretty angry and I think that was the only time we could ever really buy into his character having a temper.
Niina: It is the same in 1933 film. Laurie has bit of a temper in it but after that it is just really flat in the next adaptations.
Emily: I have watched the proposal scene in the 1933 film with Katherine Hepburn. At least he has that line ”I can´t believe you, you don´t know what you want”. Jo in 1949 was probably my least favorite. She never really handles scenes like that with much sensitivity. I don´t recall her being very in-depth about emotions in it with Laurie. My problems with 1949 film is that they had no balls to do lot of things. Amy´s caining, they come up right against it and back down from it, remember that. When she get´s her hand beaten for having limes. They have the teacher almost hit her hand and then he doesn´t do it.
Niina: I really like Elizabeth Taylor as Amy but the problem with that movie is that they make her the butt of the joke and I don´t like that because that is not something that the book does so it kind of brings out this Amy against Jo positioning again. It shouldn´t be there. It romanticises Laurie the same way as it does with Mr Bhaer´s character so it becomes Laurie versus Fritz and then Amy versus Jo and it´s just not the way the book goes. The book makes it very clear that Amy is really perfect for Laurie, and Fritz is perfect for Jo. I still haven´t seen an adaptation that does it the way the book does.
Emily: Yeah that´s true. I think they did professor Bhaer pretty well in 1949 film.
Niina: They actually build up that relationship pretty well.
Emily: I appreciated that.
Niina: He is Italian, but I´m going to over-look that.
Emily: We should probably save this for the professor Bhaer video.
Emily: I like it when the adaptations build up that relationship. I guess some people will argue and say. Oh you can´t really develop some of these scenes because or run-time. Because there isn´t really time for to do these things but I feel like there is not really an excuse sometimes. When you have the really incomplete archs for everybody. The 2019 film tried to do this with Meg´s arch, dealing with poverty in her marriage, but then they just kind of slapped on a happy ending on that and they were just like we are not going to explore it. We are not going to have any sort of conclusion.
Niina: It was left half-developed but I think that happens a lot with Meg´s character.
Emily: In the beginning I liked that they were trying to do something with her. They ended up not really properly deal with her in away that I would like. First of all Emma Watson, as we´ve discussed can´t carry on that kind of quiet strength that Meg has. When you bring something like a marital issue, a serious marital issue, I don´t think you should be like ”Oh I am just going to sell it! Get rid of the silk” you didn´t make the issue go away.
Niina: There was an older version of the script. One of the older versions where her melt-down was included but it wasn´t added into the movie and I heard that it was because of Emma Watson´s performance and that James Norton had to carry out many of the scenes. It goes back to the casting I guess.
Emily: We dicussed this before, casting Emma Watson was very much based on her other accomplishments other than acting. Because she plays the same character in every film she is in. I do admire her as an activist but I have not been impressed with her since Harry Potter. Having recently watched the 2017 film..mini-series. Did you think they did any better with Laurie´s arch or no? Because I dont´t think he really put in much work either. What did you think?
Niina: I think he was very idealized in that version once again. He is very melacholic character there. Laurie in the books, he can be very up-lifting and very funny sometimes.
Emily: Like I said, his interractions with Amy, they were able to build up that relationship a bit more. They acknowledged his musical side. Which is an improvement. I think they tried to get in some of his clashes with Jo. When their characters bummed up their heads sometimes. I think they do bit of that. When he ends up with Amy, when they come together. We don´t see Amy getting him to put his life in order. I feel again, that is such an important part of their story. That Amy is the one to get him to be a productive person.
Niina: Amy´s portrayal in that series it is really a villanization. It was once again putting Amy against Jo. For once they adapted my favorite chapter, which is Calls. She gets to go to Europe and Jo doesn´t get to go to Europe because Jo is actually really rude towards aunt March.
Niina. In that particular version it was framed that we should admire Jo for being rude to aunt March and Jo is like a feminist hero because of that and then Amy actually is quite happy that Jo doesn´t get to go. Then in the book it is the opposite. Amy is really horrified by Jo´s actions and she feels ashamed by it. It is not something that she is secretly glad about and when she finds out that she is chosen and Jo is not chosen. She is really sad for Jo. She really feels bad for her. I think 2019 film had that part done much better.
Emily: Jo and Amy rivalry, the problems I had with 2017 I had similar issues with 2019 where I felt like Amy and Jo were somehow in competition over Laurie, which I don´t like that dynamic.
Niina: That doesn´t happen in the book because Jo never wants to be with Laurie romantically. She is very clear about it since the beginning.
Emily: Yeah, the only reason she would ever consider accepting Laurie is if Laurie accepted again and that´s because she was lonely and that was really the only reason. I think in 2017 when I saw Jo is like ”oh she is engaged to Laurie what! And I was like ”No” they are not supposed to be in competition over this guy. That is not how it works.
Niina: It really has to do a lot with the script writer and how they feel about the characters because I read interview from Heidi Thomas who wrote that show and she was not a big fan of Amy. So you can really see how that reflects in the film. Jo doesn´t really have an arch and Amy doesn´t really have an arch. It´s all just a mess.
Emily: I did feel some of the weaknesses in the writing. I don´t know if it is the issue with that actress who plays Jo but sometimes she can´t always pass off Jo´s lines in a belieavable way. I liked other aspects of that series. The civil war. They included a lot of elements of that which I appreciated. There is a lot more of Marmee and their father.
Niina: That was something that I really liked about it and they developed their characters a bit more and it was a new take so it was refreshing.
Emily: I am always a fan of a strong Marmee because Marmee has to deal with so much. She has to mother the four girls. She is kind of a secondary mother to Laurie. She has to give him adressing down at some point and she has to run a household that is financially struggling. So you need a very subtantial Marmee and I love what they did with her in that mini-series. That´s an issue I had with 2019 film. She is so overly happy about everything.
Niina: It was a bit strange and they didn´t really put that much effort to show the struggles that were going on. In the opening of the film I think there was a quote from Louisa ”I write happy stories because of my stragic life” or something like that. You don´t really see any of that stragic life there. That was something that bothered me because you see that in Little Women, the book itself.
Emily: I know, the whole point of Little Women is about people getting over their struggles and to find the happiness despite the unhappiness. That is why I don´t like the framing device of the 2019 film. ”Oh well the childhood was so simple and warm and happy and now this dark time and adulthood is so complicated” I am just like ”No, it wasn´t never that happy even when they were kids. They were poor and they had to struggle. They had to work very hard from a young age. It was not that simple. It is very pessimistic too because the whole point is that you are supposed to build up into adulthood and you know find your happiness there as well. That thematic bent on it I did not agree with it at all.
Niina: What it comes to Amy´s character and her relationship with Laurie, the dilemma against Amy´s character is that some people say she is really vain, or that she marries for money, but then if you actually read the book, she says that she want´s to marry...what was the name of the rich guy she was dating?
Emily: Fred Vaughn
Niina: Fred Vaughn! Because she wants to provide a good life for her family. So she is thinking it is some kind of a sacrifice that she must make. That she is not going to marry for love but marry for convenience.
Emily: I don´t think she loves the idea of marrying for money. She always has her family in mind. I think the book burning incident sends lot of people against Amy and I think that incident always makes Amy seem like an anti-Jo in away but she is also a kid at that point. Later on we are supposed to see her become this really mature person and eventually is able to set the guy she marries stray, so she does marry for love and it works out very well for her. She is incredibly mature character. She has a sense of social graces. She actually genuenly cares about Jo.
Niina: Yes, she does.
Emily: 2019 film really keeps setting up Amy and Jo even with their artistic pursues. Did you notice that? Amy being like ”I am always in the shadow of Jo” implying that even artistically she is in competition with her.
Niina: If you read the first part of Little Women before the whole book burning accident Jo is really making fun of Amy constantly and she is bullying her. There is a whole episode how she is being a mean big sister. It is pretty normal what it comes to siblings that you fight with them. Especially when you are younger and they both have high tempers. It is when Amy wants to become a lady. She starts to work on her flaws. She starts to control herself. She sees that she can be better and then the whole premise of Little Women is that all the sisters they want to improve themselves somehow. With Jo her biggest issue is her anger and she is very aware of that and Amy thinks that it is her vanity that is the problem. If you actually read the book. She is not really a vain person. It´s in her head.
Emily: The vanity is more about her desire to fit into the certain circles of society.
Niina: They are very poor family and Meg has the same problem, that she wants to fit into the society. To the world of the young girls. Then she thinks it is vain for her wanting to do that because she comes from a different social class but the Marches they used to be part of the higher social class and they fell down. Meg is the one who still remembers what it was like.
Emily: It really hits harder for her because she remembers the days when her family was still living comfortably.
Niina: It is not wrong for her for wanting to be that again but she makes it a big deal for herself and that is quite sad but I think it also has lot to do with 19th century Christian morals and all that. We can´t really fully understand that because we live in 2020.
Emily: It is hard for us now to really identify with that Christian perspective that novel really has because when I read it this time around ”wow there is a lot of Christianity in this book”. They structured their entire lives around these ideals. Of course I can understand why they would now try to tone it down in the adaptations but I am not really fan of how they totally wash that out because that played such a big part in how they viewed their labour in life.
Niina: It also explains lot of the things that people struggle now days to understand in Little Women. I think it would be important to talk about it more.
Emily: I think so. I think that the Christianity, transcendentalism aspect of the story is very important and I liked that the 1994 film actually acknowledged that intellectual circle that they were part of.
Niina: That´s one of my favorite things about that film.
Emily: They got lots of nice historical, context in that film. The philosophical discussion I love it. But definitely Christianity it´s such a huge thing and why Little Women is also such fundamentally American novel is that ideal. You work hard and things will be okay.
Niina: That´s very important part of American literature in general.
Emily: You can really understand our current ideals about personal responsibility, personal development, when you really dwelve into this book and it plays out with all the characters. About being able to grow up and become productive and give back. I think, you know, people are always so upset about Jo not becoming a famous writer. You know she finds joy in being productive.
Niina: She does become a famous writer but people just don´t read the sequels.
Niina: She is very famous in Jo´s Boys. She is so famous she is really annoyed by her fame. When do we get Jo´s boys adapted?
Emily: I confess to not reading Jo´s Boys but I have read summaries of the book and people are like ”oh she doesn´t become famous” and I´m like, she does become famous in Jo´s boys.
Niina: It took Louisa a long time to become a famous writer. It´s the same with Jo. It doesn´t happen in one night. It takes work.
Emily: It does! Art is work. Jo she had to go through a lot creative failures to get into that point. Art is hard. I know that to be true. I feel like we are heading into Jo discussion now.
Niina: Okay, back to Laurie.
Emily: Back to Laurie!
Niina: In the book when he is in Vienna, he really goes through that process of self-discovery, self growth and self understanding. I have this thing when I read Little Women I always get really frustrated by Laurie because I don´t understand his character, his actions and it is not until there is that chapter when he is in Vienna I start to understand who he actuall is. It´s really interesting and it happens after Amy´s lecture. She is the first one he actually listens and I think the difference between Amy and Jo is that Laurie took Jo for granted. He doesn´t take Amy for granted. I don´t think Laurie was even in love with Jo. He was in love with the idea of being in love. He was afraid to grow as a person so he was clinging on to Jo so that he doesn´t need to grow and so that he doesn´t need to take responsibility of his life. Amy actually tells Laurie the truth. This is the way it is and you need to do something about it. In away Amy´s character is similar to Friedrich, in that sense, Friedrich tells Jo the truth. This is the way it is. You can improve yourself or you can stay in the same level you have been. This is what is missing in the adaptations. That whole sequence of Laurie in Vienna and the way he actually decides to be useful for the society. Do a favor for himself. He is about 24 at that point. He has been living in a bubble for most of his life. Very privileged, young, aristocrat life. I just love that scene when Amy and Laurie are rowing the boat together and that has never been adapted either.
Emily: I feel like it is so important to his story because lots of young people could probably identify with that now. Lot of people come from that priviledged circle and they have these dreams that may take little bit longer to process. ”I am just going to be an artist” you know. ”I am just going to live this bohemian life” and then it´s like ”oh well I didn´t really contribute anything and these are all just fantasies. Naturally I am just going to get into work now”. It is funny in our culture because I don´t know if I am wrong but I feel that lot of us really want that ideal ”oh no be an artist, follow your dreams”. For some people it is only talk and what they really need to do is to get a job”
Niina: He doesn´t even really know how to be an artist. He hasn´t really done that work-in-process that it takes to get into that level that he wants to be.
Emily: He hasn´t worked on his art the same way as even Jo has because Jo gets that it is work.
Niina: It is the same with Amy, when she comes to the realisation that she is not going to be a great artist. She continues doing art but then at the same time she combines that with her other passions, like charity work and supporting young artists. She finds a different way to approach her passions.
Emily: I found a recent youtuber who reviewed the new film and they were almost like ”oh I didn´t like that in the book, that everyone is just married”
Niina: What a misunderstanding!
Emily: Not married in the exclusion of everything else. I mean sometimes it´s just a reality for people. Sometimes they can´t make it so sometimes they need to channel their passions in different ways. That is the reality of life. That is what Louisa May Alcott understood.
Niina: That is what I like about Little Women is that you can have it all. You can have a good career and you can have a relationship with a person that respects you. It´s such a win-win situation really.
Emily: I can not for the life of me undertand why people find that unsatisfactory. It is even a promise for people who don´t even feel like they could find someone that they could marry. Even if you would feel like couldn´t be with anyone. Then you can find somebody. It is something that I don´t think the 2019 film really understood. I think they really wanted to push that whole independent woman narrative and I just really don´t like what that film seems to misunderstand about that book. They at least did nice job with Amy and her speech about marriage being an economic proposition. That´s a pretty good scene actually. That´s a scene I didn´t hate.
Niina: In the 19th century marriage was an economical proposition. It was really interesting when I did my research on Louisa and especially on Friedrich´s character. She was part of the movement, where it became more important that love and romance was part of marriage and not just money. That is something that Louisa is promoting in all of her novels. That is something that people are not aware these days. We don´t like to bother ourselves with historical facts about the author but there is lots of misunderstandings about Louisa as a person that are reflected in the way we read Little Women. It´s been really interesting to do research about her.
Emily: She is a real feminist in lot of ways and I think people have these very contradictory ideas about her and I don´t know if it is because Little Women has been around so long that our interpretations are changeabale in lot of ways because we are like ”oh she was a feminist” I think they kind of understand that but then ”oh no but Louisa would have been on board with these other notions now, she didn´t really want marriage she forced her characters into it”. They want to force Little Women to conform into their own modern narrative when you really can not do that. That is the problem, in the adaptation if you do that.
Niina: This idea that Louisa was forced to marry her characters, it is really the opposite. She puts lots of effort to explain why these marriages work and why it should be this way. These character archs they are really beautifully crafted in the book and the way these characters the way they compliment each others and it is really the same in all of her novels. I have been reading quite many of Louisa´s novels recently and I always surprised the way she does that. It is something that she is really into.
Emily: Jo´s story really doesn´t work, I mean none of them really work essentially without their partnerships, not because they are nothing without their parterships but because being able to share a life with somebody, she saw that as being able to achieve harmony in your life. To be able to form your own circle, your own family.
Niina: In many ways that fits with the transcendentalist idea of romance. There is this quote from Louisa, well not a quote, but something she had highlighted from her favorite books, how the character evolves, person transcends with another person. She is very found of this idea.
Emily: That is a very Christian idea, to form an union with the person that you marry. It is not that you are not your own person, just that you build something better with another person, that is bigger that both of you.
Niina: I think that was something that was very radical idea in the 19th century and now days we take that for granted.
Emily: It is a real shame that so much of Little Women has been worked over time by our modernizing world. Like I said before, we seem to have the desire to form Little Women into our modern world, into our modern ideals when really we are just restoring the work.
Niina: It is difficult to understand Little Women if we don´t know the historical context of it.
Emily: That´s very true. I really admire adaptations that try to put the story into it´s historical context. I think that context is everything. You might have heard me criticising the costuming in the new film for instance they are like ”we are trying to make it sort of you know pseudo-modern and we are trying to make it relatable and we are trying to do this and that to make it more relabtable to the audience” and I´m just like ”are you saying that you need to strip away that context in order to make it relatable. Are you saying we can´t relate to Civil War? Or anything from that era? Is that what you are saying?” That seems very condescending.
Niina: It takes away from the story itself when we are being distracted by the modernism in away, or post-modernism in this case. Or the post-modern ideas which are not part of the story itself.
Emily: We touched a bit the Amy rivalry with Jo. You felt that they had kind of villanization of Amy in the 2017 show. They expanded her character a bit more in 2019. How do you feel about how they expanded Amy´s character and that rivalry? Because I think they really lean into it remember when Jo is flashing back to Amy falling in the lake and she burned the book and she is like ”oh Amy finds away to get out of easy situations, get out of hard situations” which took me backwards because it was like ”No, she was called to be with aunt March, she was travelling with aunt March. In that other situation I´d say, she was very ashamed of what she did and she almost died. I don´t understand where you are coming from one you say that she gets out of situations.
Niina: That is a very weird way to look at Amy. In the book, she feels humiliation. She really regrets the things that she does. Jo also regrets things that she has said to Amy. Jo also regrets some of her behavior patterns. But I think that the 2019 film did okay in that sense it showed that Jo and Amy were sides of the same coin. They are very similar and when they realize that they are actually very similar they become much closer. That is an improvement what it comes to Jo and Amy and understanding their relationship. One of the biggest problems in all the adaptations is really idealizing Jo a lot and not really see her as a full character. Really as a human being who actually does regret sometimes the things that she says. Things that she does.
Emily: She is very flawed.
Niina: Yeah, she is very aware that she is flawed. We live in this culture where we are suppose to idealise people who are adamant and don´t want to change or are rude or aggresive. That´s just not the way Little Women is written to be. Jo sees that her actions are harming other people and that is one of the reasons why she doesn´t want to be with Laurie, or hang out with him on the second part because she sees that they are feeding each others with these toxic ideas.
Emily: I don´t know how much young adult fiction you read but it is a common trend to have this female protagonist, you even see that in Star Wars where we have this female character who can do no wrong. Is very spunky and we are suppose to admire that. I think our culture has become a bit adversed to what we are trying to get of from Little Women. Jo is supposed to soften out. She is trying to not harm people with her behaviour and it is a good thing for her because she becomes more compassionate person. That is what becoming more tender means. That is how her father puts it. She has become more tender person because she is just more compassionate individual. That is also what happens with Amy as well. She also wants to be a productive person. She also gets to understand that all these things you get in life, you have to work for them as well.
Niina: Amy is very compassionate and she is very kind person. I really like that in the books. She cares about other people.
Emily: You noticed even when Fred Vaughn asked her to marry him, she is like ”it´s not fair for either of us”. She has to think herself and this other guy and, it wouldn´t be kind to either of them. I really respect her character a lot.
Niina: I think Amy was really the one in the family who really loved aunt March. They really ruined aunt March for me in the 2019 adaptation because she was way too kind in it. It is really who makes her a bit softer in the book. Meryl Streep is great don´t get me wrong but aunt March is a tough person to get along with.
Emily: She is a very tough lady. She is a very crusty lady because she has lived alone for a while. Her kid died. Her husband died. She has got a little bit bitter over the years. You can´t really blame her and Jo was like ”oh I am just so done with this gig, reading to this lady” Amy is the only one who is really able to properly connect to aunt March. Aunt March in her heart she loves these girls. She loves them all.
Niina: She does. She loves her nephew as well but she is not impressed by his way of being.
Emily: Sometimes when, she was like ”oh you made this really awful decision I can´t believe it” sometimes I feel that way about other people in my life ”oh I can´t believe you did that in your life what are you doing?”
Niina: She is quite relatable in the end.
Emily: Yeah she is really relatable. I mean isn´t that what adulthood is eventually relating to aunt March.
Niina: The part of her loosing her child, I didn´t realise that until last time I read the book. Somehow it had slipped off. I had a talk about in Louisa May Alcott group in Facebook with some people and we were all thinking what was the back story of aunt March and this child and her husband.
Niina: That would make a really interesting story for someone to write. It seemed that they had a very loving relationship based to the book, it must have made her bitter to loose it.
Emily: Somebody write the aunt March book. She is that sort of person you need to come to her level and when you do, she´ll be nice to you. She will do things for you. Amy is really cabable of doing that. She doesn´t even take aunt Marches belongings. Aunt March gives her a turquoise ring. She is like ”I am not going to always wear it, it wasn´t just for the material possessions that I worked hard”. I think they wasted Meryl Streep in the 2019 film. They did not do enough of her at all. I think her job was to be like ”well you know as a woman you are supposed to marry well” and that was it for her character. There is lot more dimensionality I like that other adaptations add that on.
Niina: I love her in 1994 film. She is one of my favorite characters. Very much like in the book.
Emily: You have to have that kind of element of thoughness and also those nuances as well. I love Angela Landsbury as her in 2017 series.
Niina: She was very good.
Emily: She is very good.
Niina: I liked the way that version developed her relationship with Jo.
Emily: That final scene between the two of them.
Niina: It didn´t really do that well with Amy and aunt March because it didn´t do that well with Amy but there is always something that seems to be missing.
Emily: Little Women, it is so hard to adapt, so hard to get all these elements.
Niina: There are elements that I like in all adaptations and there are things that I don´t like in all the adaptations.
Emily: That is true. I am so critical about the 2019 film and there are things that I like in it, refering to comments on my video ”why did you hate it? Why did you say that?” ”well I did like this aspect of the film like I didn´t like these ten other things”.
Niina: We are talking about a book that was written 150 years ago. We are allowed to be critical about the adaptations and we are allowed to talk about the things that are missing, like Laurie´s arch.
Emily: We should.
Niina: Things don´t move forward if we don´t talk about these things and the way we approach the book.
Emily: I think we should have these discussions. To some extend a lot of people are too afraid to talk about against the 2019 film because I got that sense from lot of my comments ”I didn´t like this all that much but I couldn´t really validate why I didn´t like it until I saw your video” and so many people were so up and arms against when I criticised it and I´m just like ”well if you are really that upset with me then go find these other people that talk other ways”. I even appreciate it when people talk about some aspect that in the 1994 film that don´t work as well which I also acknowledge. You are adapting 500+ page book there are things you are not going to get. I get that Amy and Laurie relationship isn´t that developed and I would have liked it if Meg would have had more screen time after she got married. I do appreciate those things.
Niina: Laurie is connected to all of this.
Emily: He is a side-character but he plays different roles to different people.
Niina: When I started to do my research on Laurie´s character specifically I began to understand him better when I started to pay more attention to the way he has this emotional turmoil because when I was younger I used to be very much the same. I wish that we would see that more in the adaptations because that is the part that is always missing and people misudnerstand it because they see that something romantic. We don´t see Laurie´s struggles. He is really a creep sometimes. If we would see that we wouldn´t have the TeamBhaer/TeamLaurie debate. Especially if you are hardcore TeamBhaer like you and I are, if you really like Amy as well and you actually have read the book many many many times. It just puzzles my mind how people can misunderstand the book so terribly.
Emily: I feel that even the fans of the book who have also read it many times still have this view on Laurie and these characters which still feels such a surface level interpretation of the book.
Niina: Feels like they haven´t really payed that much attention to what they have read. That´s all in the book and they still don´t seem to understand it. That was one of the reasons why I wanted to do an in-depth study on Laurie and Friedrich as well. It really surprised me that it was really difficult to find un-biased views on Laurie that weren´t about Jo or Amy but Laurie himself as a character, his actions and his behaviour.
Emily: In a sense we are no better, when people first read ”Young Werther” by Goethe. People looked at Werther and were like ”Oh my God, we should all die suicide for love and I think Goethe was ”No, don´t do that, this was not about that”.
Niina: Yeah, he was criticising himself and his own behaviour as a young person. For those of you who are new here. Louisa based Laurie´s character arch to young Werther which is Goethe´s novel from the 18th century Germany. Just a little sidenote and Friedrich is based on Goethe on one-level. We will get into that.
Emily: Yes. In the other video. I read Werther in German. It´s a lovely read but you also see some of the ridicilousness of that kind of romantic vision because he really relates to these big storms, these thunder storms. It signifies his emotional events and it really makes fun of that and people at the time didn´t get that and people also don´t seem to get that now.
Niina: It is very harmful when suicide is being romanticised in general or trying to blackmail someone for ”romantic” reasons that is really harmful and that is something that is still not recoginised fully enough.
Emily: Like I said before if we are criticising that behaviour in books now, in fiction that is coming out now, then why can´t we change the way that we see this character. I wonder if people decide how they see him because of the films.
Niina: I´v been thinking about this a lot. The films they tend to include the same scenes. Then there are those scenes that are being dismissed. Laurie he is idealised and romanticised. His flaws are downgrated and with Amy it is the opposite.
Emily: Which is why some people get angry when they get together. You are missing all that nice context. I think really Little Women needs a proper show. Not even just a mini-series. We need a show. Otherwise you don´t pick up on all these really great scenes that add dimensions to these characters. I really liked that exploration you did based on Goethe because I hadn´t really seen that characater that way before. More discussions like these need to happen.
Niina: I just love this. This is great.
Emily: I am having a lot of fun.
Niina: Next people who are going to adapt Little Women, have a good listen of these talks we are having.
Emily: I hope so. I really hope so.
Niina: Both me and Emily are definitely available to be consultans on these matters and we know people who can help you more.
Emily: Hollywood needs to head us up. That´s our discussion on Laurie and Amy also on different films as well. Of course we went on different tangions on different characters because all these things are connected. I hope you enjoyed our discussion of Laurie.
Niina: Thank you for listening guys.
Emily: Thank you.
Louisa May Alcott, the germanophile
Poet Ezra Pound said that literature does not exist in a vacuum, and semi biographical novels are exactly that, semi biographical. A work of fiction strongly influence by events in an author's life.
Writer Janet Manley describes Fritz Bhaer as a perfect mystery, a perfect crush, he is the perfect text, a space offering up multiple interpretations. In the spirit, I explore Frederic's historical and cinematic evolution through gender studies, his and Jo's relationship, and the development of their romance, and how it correlated with Louisa May Alcott's own life, Louisa's adoration towards Germany and German culture.
I will touch the fan culture as well and how certain themes that have been repeated in the movies again and again affect the way people see Jo and Friedrich. The key ingredient in understanding Friedrich's character lies within Louisa May Alcott's love for Germany, German people, German language, German philosophy, and most importantly German literature. We might even refer Louisa May Alcott as a Germanophile, a person who has a great deal of interest towards German culture. Make sure to give a like to this video and subscribe to my channel, Small Umbrella In The Rain, for in-depth Little Women content.
There are multiple references to Germany in Little Women. On the very first chapter of Little Women, Jo receives a copy of Undine and Sintram as a Christmas present. Undine and Sintram is a collection of Scandinavian and Germanic fables written by a French-German author, Friedrich de la Motte Foque.
Beth catches the scarlet fever, which is terrible, but the Marches never blame the Hummels. Epidemic disease were rather common back then, and Louisa always writes about the Hummels with a great sympathy.
In the chapter Camp Lawrence, John Brooke translates a German song for Meg, and reads her parts from Mary Stuart, which is a play that was written by German poet and philosopher Friedrich Schiller. On Meg's and John's wedding, Laurie suggests that they dance like the Germans do.
When Jo stays in New York, her hostess in the boarding house, Mrs. Kirk. Kirk is an anglicized last name for German word Kirche, meaning church. When it comes to 19th century German culture and the influences of German immigration into American culture, Little Women saga is consistently favorable towards it.
Friedrich as Goethe
One of Louisa's favorite authors was the German poet Goethe. Goethe was one of the models for Friedrich's character. In Little Women, on her grand tour in Europe with Aunt March, Amy visits Goethe's house and writes home and tells about it.
On her first trip to Europe, Louisa herself made a pilgrimage to Goethe's house. Went to Wiesbaden first, a pleasant, gay place full of people. Saw the gambling hall and people playing, the fine grounds and drives. And then went to Frankfurt. Here I saw and enjoyed a good deal. The statues of Goethe, Schiller, Faust, Gutenberg, and Schaeffer, are in the squares. Goethe's house is a tall, plain building with each story projecting over the lower, and a Dutch roof. A marble slab over the front door recording the date of Goethe's birth. I took a look at it and wanted to go in, as it was empty. But there was no time.
The most obvious and most important German influence in Little Women is, of course, the love of Jo's life, Friedrich Bhaer. Little Women takes place in the feminine sphere, which is one of the biggest reasons why I and millions of other readers love it.
When it comes to main three male character, Laurie, Fritz, and John, Louisa did not write explicit backgrounds stories to any of them. To explore Friedrich's character and to get better understanding of him, we need to explore Louisa. Her personal life, philosophy, values, and of course her love for Germany.
Friedrich is introduced quite early on in the second novel, and Jo is curious about him from the moment she sees him. And she finds him to be a kindred spirit.
As I went downstairs soon after, I saw something I liked. The flights are very long in this tall house and as I stood waiting at the head of the third one, for a little servant girl to lumber up, I saw a gentleman come along behind her, take her heavy load of coal out of her hand, carry it all the way up, put it down at a door nearby, and walk away. Saying with a kind note and a foreign accent, "It goes better so. The little back is too young to have such heaviness."
Wasn't it good of him? I like such things. For as Father says, trifles show character. When I mentioned it to Mrs. K that evening, she laughed and said, "That must have been Professor Bhaer. He is always doing things of that sort."
Mrs. K told me he was from Berlin, very learned and good. But poor as a church mouse and gives lessons to support himself, and two little orphan nephews who he is educating here. According to the wishes of his sister, who married an American.
A Man from Berlin
Not a very romantic story, but it interested me, and I was glad to hear that Mrs. lends him her parlor for some of this scholars. There's a glass door between it and the nursery, and I meant to peep at him and then I'll tell you how he looks. He's almost 40, so it's no harm, Marmee.
Fritz is about 16 years older than Jo, which would mean that Friedrich is somewhere between 37 and 39 when they meet. There is a reason why Fritz is 16 years older than Jo. Louisa had a professor of her own and we'll get into that later on. In Little Women musical, Fritz is slightly younger. When he goes to court Jo, we find out that he has just had his 35th birthday. In the book, Friedrich returns to Jo's life during the springtime, some months after Beth's passing.
If we compare the two, we can make an assumption that Fritz was born in the spring. If Fritz is almost 40 after the American Civil War, this means that he was born some time between 1825 and 1827.
Fritz is very extroverted. He enjoys lively conversations, makes friends easily, sees beyond cultural boundaries. He's deeply religious, honest, cultured, but also quite a romantic. It is not a coincidence that Friedrich is from Berlin.
By the time Alcott wrote Little Women, Berlin was gaining more importance and would become the capital of the new German Empire in 1871. While being born and living Berlin, Fritz would have absorbed all that the city had to offer. Architecture, literature, churches, philosophy circles, symposiums, markets, and Biergartens.
It is mentioned in the book that Fritz speaks several languages, and in the books he speaks French a few times. Berlin was one of the most multicultural German cities in the 19th century, and there was a large French speaking immigrant population.
The fact that Fritz speaks several languages indicates that he has done some traveling, and is in that sense as much of a cosmopolitan as Amy and Laurie are.
We learn that Friedrich used to be a respected professor in Berlin and this only increases Jo's interest towards him.
Jo valued goodness highly but she also possessed a most feminine respect for intellect and a little discovery which she made about the professor added much to her regard for him. He never spoke of himself and no one ever knew that in his native city, he had been a man much honored for learning and integrity, till a countryman came to see him.
He never spoke of himself and in a conversation with Miss Norton divulged the pleasing fact. From her, Jo learned it and liked it all the better because Mr. Bhaer had never told it. She felt proud to know that he was an honored professor in Berlin, though only a poor language-master in America, and his homely, hardworking life was much beautified by the spice of romance which this discovery gave it.
Friedrich´s Journey to America
It is very likely that Louisa had Humboldt University in her mind. During the time when Louisa did her first visit to Germany, it was known as the University of Berlin. University was established in 1809, which makes it only fitting that Friedrich would have studied and worked as a professor there. University is known for producing some of the most well known German thinkers and philosophers.
We are not told a lot about Friedrich's family. We find out that he had a sister, Minna, who married an American and on her deathbed, she asked Fritz to take care of his nephews and raise them in America. It is not part of the canon, but I have read a couple fan fics where Minna's husband was an American journalists who abandoned his family and Minna was also quite possibly a journalist. This would explain why Friedrich does his best to look after the boys, wants to be a good role model, and someone who never abandons them. Book does imply that Friedrich and Minna were very close. This is a common narrative pattern in Louisa May Alcott's novels. In Work Story of Experience, the protagonist's love interest, David, has lost a connection with his sister. In Moods, the character of Jeffrey Moore takes care of his ill sister until she passes away. Of course, the loss of a sister is something that also bonds Jo and Fritz.
In the 19th century, German immigrants were the second biggest group of immigrants in the US, only surpassed by Irish immigrants. March family and the Alcotts in real life were descendants of Irish immigrants.
Between 1847 and 1855, German immigrants came to US in large numbers. Many came in the hopes of better way of life, others because of individual curiosity, economic hardships, political struggles, or religious persecutions. Many escaped the crop failure and famine.
When we first meet Friedrich, we find out that he has been living in New York for five years, which means that he arrived in 1860. In the early 1860s, many transportation across the Atlantic was made with sails and the trip could last one to three months. This would mean that Fritz would have arrived with a sailing ship that was designed for a cargo carriage. These ships were quite hazardous and accommodation were small and dark. The second wave of German immigrants arrived in the end of the 1860s, escaping the German wars. Friedrich's reasons for leaving his home country are family related. There are a couple occasions in Little Women that do give an impression that Fritz has faced oppression and discrimination, and Jo does make a note to herself that he must have had a hard life.
It is not a coincidence that Jo and Friedrich meet in New York, of all places. Many of the German immigrants moved into the cities in north, like New York, which already had established German communities. These communities were tight, and Friedrich comes to visit Jo in Concord, the reader finds out that he has German friends there. Louisa very intentionally included messages of social justice to her works. A lot of the details of Friedrich's backstory are not included in the movies and TV adaptations because of the screenwriters personal biases, xenophobia, and ignorance over the source material. Yes, this is going to be a video about Louisa May Alcott's inter-sectional feminism.
Louisa May Alcott was born into New England's transcendentalist movement. Transcendentalism was very much an American movement, but its roots were within German philosophy and romanticism. Especially in the transnational ideas of Immanuel Kant and his new ethic of universal hospitality. There are a couple basic principles within transcendentalist philosophy. Human beings are inherently good and pure. Nature was the ultimate mediator and expression of God was present all around. Self-reflection and being true to one's self was encouraged.
From a very early age, Louisa practice self-reflection and observance. And from her novels, Little Women and Old-Fashioned Girl, have biggest transcendentalist influences. Little Women film from 1994 is one of the rare adaptations with clear references to transcendentalism. When Jo meets Fritz, they talk about German philosophy. Jo mentions that her parents were part of a rather unusual circle in Concord, and she mentions that she adores Goethe. Friedrich quotes a poem from another transcendentalist, Walt Whitman, and Jo joins him.
Transcendentalists believe that it was through the observation and appreciation of nature that the human soul was enlightened. The idea of being true, authentic self becomes part of their conversation. Transcendentalist love for nature can be seen in the movie in the presence of flowers and plants in the outdoors and indoors. Proposal scene in the movie movie and in the book takes place in nature and it correlates the way in the book Friedrich has kept Jo's poem. Be worthy of love and love will come in the falling of summer rain. Louisa May Alcott was surrounded by the greatest thinkers of her time. Margaret Fuller, Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne. Father Bronson Alcott showed her an idealistic and ultimately unworkable version of the movement.
Throughout Louisa's childhood, Bronson pursued philosophical ideas by establishing The Temple School, where he sought to teach children according to his transcendental ideas. Some of Bronson's ideas were too radical for the parents and eventually he was forced to resign when he took a black child as a student. Soon after the closing of The Temple School, the family moved to farmstead to establish a utopian society called Fruitlands. There they attempted to live off the land, follow a strict vegetarian diet, and more fully implement the ideas that Bronson deemed important.Fruitlands was a terrible failure. The Alcotts were subjected to backbreaking work, but barely survived the winter. After a little less than a year on the homestead, they left. Although Louisa had seen her father's transcendentalist projects fail, she still believed in the philosophy as much as he did, and blamed the setbacks on poor planning and execution.It was after this that they moved to Concord, where the transcendentalist movement started to take shape. Emerson was good friend of Bronson and Louisa frequently borrowed books from Emerson's library and learned about nature from Henry David Thoreau.
Margaret Fuller made an everlasting impression on Louisa with her philosophy and feminist ideas. It was unusual for the time for mother to work outside the home, but Abba Alcott did. Bronson had determination to give his daughters proper education, also unusual for the time. Abba had less interest towards the ideological side of transcendentalism, but more in what practical tools transcendentalism offered. Louisa had mixed emotions about transcendentalism. Intrigued and inspired by the ideal of self-reliance, she still knew from firsthand experience that self-reliance really meant reliance on others and required the self-sacrifice of family members. Louisa wanted to tie the two opposite knots of her parents ideas. This drew her to Ralph Waldo Emerson's theories and ideas, as the represented a more complete way of living out of the transcendental philosophy. Her journals illustrate her love for his philosophies, calling him the man who has helped me most by his life, his books, his society. Emerson's philosophy on how good deeds bring happiness and satisfaction to one's life deeply affected Louisa and her written works. Louisa was as well heavily affected by Goethe's ideas of self-reliance. Topic of self-reliance is a constant theme in Little Women and is essentially important when getting to know the characters.
Blogger Katie Rhone points out "As a German immigrant, Professor Bhaer understands and experiences hard work and struggle. He bears in mind the responsibility he has in caring for a woman, if he is to marry. He is more grounded and stable than Laurie, whose idealized hopes of marriage remind me of Louisa's own description of her imprudent father." Quote, "He was a man in a balloon, with his family holding the ropes trying to hold him down to earth."
Here's a quote from Little Women.
"In a minute, a hand came down over the page so that she could not draw, and Laurie's voice said, with a droll imitation of a penitent child, "I will be good. Oh I will be good."
"But Amy did not laugh, for she was in earnest and tapping on the opposite hand with her pencil, said soberly, "Aren't you ashamed of a hand like that? It's as soft and white as a woman's and looks as if it never did anything but wear Jouvin's best gloves and pick flowers for ladies."
Amy, being a working class girl, she doesn't have any problems reminding Laurie that he has not worked a day in his life.
Many Alcott scholars believe that the poor nutrition in Fruitlands might have affected on Louisa's hormonal balance. Same as Jo, Louisa was a tomboy. Louisa was very protective of her mother, who she adored, and her love for her family was fierce. From very early on, she took the role of the provider, or the way Jo describes herself as the man of the house.
Anna Alcott was 11 years older than her little counterpart, Meg March, when she married. Same way as Jo grieved Meg marrying, so did Louisa. Not because John, the real and the fictional one, was a bad person, but because it meant the change in the family dynamics.
In the book, Jo says that she'd rather marry Meg herself, which has led many to believe that Jo is a lesbian. But with Jo there is no context for her fear because Jo's childhood was quite safe and idyllic, whereas Louisa's was more unstable and turbulent. Family went through a lot together.
Louisa was upset when Anna announced that she was getting married. Anna was 28 at the time and Louisa was 27. It happened only three weeks after they had lost their sister Lizzie. Louisa wished to keep the family together and fear of losing it is understandable. If you do research on transcendentalist, you will soon find out that there was a great deal of gender fluidity. I would highly recommend Susan Bailey's article on the 19th century female relationship in Little Women. I'll add the link to the description.
We live in a culture in which it is common not to try and understand what the other says and means. In this case, the author. But to assume it is some preconceived idea or trope we have in our heads, we love something, that we hate, we love, or we want to think that we are. It is a pity that it is so, because when we erase the fragility and faults of characters, we deprive ourselves from seeing the reflection of our own in them, and learn and grow. Masculinity and femininity are social structures made of biological and culture factors. Jo struggles to find a balance between the two, during the time that the world between man and woman was separated. There's a stereotype that Jo is quite adventurous. Is she? She's quite adventurous inside her head and she's good at making up stories and likes acting. Writing is a safe escape to live vicariously, because she can do that from a safe place. With Laurie, she can live on boy's world through his masculine energy.
Jo likes to speak about sports and such, but because of her gender she's prevented to join any teams. In the first book, after Laurie pretended to be John Brooke and catfished Meg with letters and deeply hurt her, which is not never included in any movie adaptations, he asks Jo to go to Washington with him and surprise Mr. Brooke. Jo is tempted by the idea, but she sees that such a trip is Laurie's way of getting away from his grandfather.
Jo likes to dream but she knows that reality will be completely different, and Laurie never grows if he doesn't learn from his mistakes. Louisa's attempt, however, is not to make certain habits in a person clearly masculine or feminine, but to blur the lines. Jo is good at sewing and in fact she's a good dressmaker, likes to knit and mend clothes. Louisa herself liked sewing. We see all the girls sewing together in the beginning of the 1933 film, and the 1949 film Jo sews and knits. In the book, Jo sees that Mr. Bhaer is mending his own socks and she's both surprised and impressed about it. She's impressed how self-reliant he is.
Some readers have found it odd how Jo wants to start a school for boys. When Jo sees the hungry look in Laurie's eyes when he looks at her family, she practically adopts him. Louisa in her personal life was devoted to charity work and she worked as a nurse. Taking care of others was something that came naturally to her.
Gender fluidity continues in the sequels. Character of Nat is very sensitive, musical, and a lot like Laurie. Dan is almost too masculine and doesn't want to show his vulnerability. In Little Men, Jo's niece Daisy complains how boys won't include her into their games, and Jo privately thinks that in the house that is filled with boys the only girl is the most difficult to please.
She gets Daisy a small toy stove and teaches her to cook, while turning it into a play. This is not the 15 year old Jo who thinks that everyone should be like her. Instead, she supports Daisy's individuality. Daisy's femininity is balanced by Nan, who is another tomboy. Even her name is a mixture between Nan and Dan.Jo doesn't like to go to parties or social events, like Meg and Amy do. She'd rather stays at home and writes. Jo doesn't fit well to Concord or the traditional female role. She's allowed to be herself in her home. She does compare herself to Meg and the way she's treated differently for being traditionally feminine.
Same happens with Amy in the second book. Jealousy Jo sometimes feels is caused by the fact that her sisters are better accepted than she is because of her nonconformity, and this causes Jo feelings of isolation. In chapter Calls, she rather speaks to pets and plays with the children of the house then talks with the adults. Jo makes the assumption that the aunts take her to Europe, even after when she has blurted to Aunt Carol that she hates French. Neither she seemed to have put much effort to study languages, which would be quite important if she would have seriously wanted to go to Europe with the aunts.
Jo dreams about the foreign, but if she was abroad, especially with people like Aunt March who she had difficult relationship with, Jo would be rather homesick.
In New York, Jo hesitates in the door of the newspaper quite a while when she tries to sell her first story. She rather spends time with Friedrich than goes to see new acquaintances. And in her letters to Marmee and Beth, she writes that she feels shy among strangers.
Friedrich is based on several people in Louisa's life, and I have traced Friedrich to five different men and I intend to talk about all of them in these essays. I agree with many Alcott scholars that philosopher Henry David Thoreau was the real life Friedrich. I have made an entire video about his and Louisa's relationship. Check it out after you have finished this one.
I am now going to read you some passages from Little Women and Walter Harding's Thoreau biography.
Thoreau invited the Alcotts in for the Sunday dinner. Thoreau quickly realized that Alcott provided a very different intellectual fare than did even the most stimulating Concord farmer. The two found much in common to talk about and Alcott often read to Thoreau from his correspondence with his English disciples on theories of education. While the rest of the world was denouncing Bronson Alcott as an impractical dreamer, Thoreau was able to overlook his faults and foibles, of which there were unquestionably meany.
Little Women, chapter Surprises. Mr. Bhaer's face had lost the absentminded expression and looked all alive with interest in the present moment. Actually young and handsome, she thought, forgetting to compare him with Laurie as she usually did with strange men.
Then he seemed quite inspired, though the burial customs of the ancients, to which the conversation had strayed, might not be considered an exhilarating topic. Jo quite glowed with the triumph when Teddy got quenched in an argument, and thought to herself as she watched her father's absorbed face, how he would enjoy such a man as my professor to talk with every day.
This part reminded me the way Jo notices how Friedrich is helping the servant girl.
Even the household maids were delighted, for Thoreau was already ready and willing to mend what was broken, even before they would call them to his attention.
Henry appears in multiple disguises in Louisa's novels. He's Friedrich in Little Women, Dan Kean in Little Men and Jo's Boys, Adam Warwick in Moods, David in Work Story of Experience, and Mack in Rose In Bloom, just to name a few.
Many of Louisa's diary markings about Henry are censored. Still, 160 years ago people had right to their privacy.
Thank you for watching, guys. Next video is going to be all about the umbrella and the way Jo wishes that she would have someone to help her with her writings, much before she travels to New York. Make sure to tune back for it.
You can find my full Friedrich Bhaer research here.
Sarah Davenport as Jo and Ian Bohen as Freddy (Fritz) Bhaer in this modern adaptation of Little Women.
Lying to make money is one thing, but lie about your favorite character by erasing their arc is a whole new game.
sMALL UMBRELLA IN THE RAIN
Small Umbrella In The Rain is an on-going series of video essays, articles and podcast episodes that examines the different intersections in Louisa May Alcott´s Little Women.