Flashcards for Little Women

Amy March

Amy March is the youngest of the four March sisters and the most ambitious character in the novel.

character

Aunt March

Aunt March is the wealthy, sharp-tongued great-aunt of the March girls and one of the novel's most memorable supporting characters.

character

Beth March

Beth March is the third of the four March sisters and serves as the emotional core of Little Women.

character

Hannah

Hannah is the March family's dedicated housekeeper in Louisa May Alcott's Little Women, serving as a warm and essential part of the household.

character

John Brooke

John Brooke is Laurie's principled and quiet tutor who transforms from a minor character into a central figure through his relationship with Meg March.

character

Jo March

Jo March is the second of the four March sisters and serves as the novel's emotional core.

character

Marmee March

Marmee March is the heart and soul of the March family in Louisa May Alcott's Little Women.

character

Meg March

Meg March is the eldest of the four March sisters and provides a steady, domestic presence throughout Little Women.

character

Mr. Laurence

Mr. Laurence is the wealthy, white-haired patriarch living in the grand Laurence mansion next to the March family in Concord.

character

Mr. March

Mr. March acts as the moral and spiritual cornerstone of the March family in Louisa May Alcott's Little Women, even though he is physically absent for much of the story.

character

Professor Friedrich Bhaer

Professor Friedrich Bhaer is a kind-hearted, intellectually grounded German scholar whom Jo March encounters while boarding in New York City.

character

Theodore 'Laurie' Laurence

Theodore "Laurie" Laurence is the charming, wealthy boy-next-door whose journey takes him from a carefree companion to a humbled young man and, eventually, a content husband.

character

“I am not afraid of storms, for I am learning how to sail my ship.”

This powerful statement is made by Jo March, the spirited and fiercely independent second daughter of the March family, in Louisa May Alcott's Little Women.

Jo March · Chapter 38 – "On the Shelf"

“I'd rather take coffee than compliments just now.”

This witty, self-mocking line is delivered by Jo March, the spirited second-eldest sister, during a breakfast scene early in the novel.

Jo March

“Christmas won't be Christmas without any presents.”

This famous opening line is delivered by Jo March, the second of the four March sisters, at the beginning of Chapter 1 of Louisa May Alcott's Little Women (1868).

Jo March · Chapter 1: Playing Pilgrims

“I want to do something splendid before I go into my castle, something heroic or wonderful that won't be forgotten after I'm dead.”

This declaration is made by Jo March, the fiercely ambitious and independent second-eldest of the March sisters, in Louisa May Alcott's Little Women.

Jo March · Chapter 13 – Castles in the Air

“You don't need scores of suitors. You need only one, if he's the right one.”

This line is delivered by Marmee March, the wise and nurturing matriarch of the March family, likely during a conversation with one of her daughters — probably Meg or Jo — as they deal with the challenges of courtship and marriage in Civil War-era New England.

Marmee March

“Love is a great beautifier.”

This line comes from Marmee March, the loving and morally guiding mother of the four March sisters, in Louisa May Alcott's Little Women.

Marmee (Margaret) March

“I've got the key to my castle in the air, but whether I can unlock the door remains to be seen.”

This line comes from Jo March, the spirited and ambitious second-eldest of the March sisters, in Louisa May Alcott's Little Women.

Jo March

“I'm not afraid of anything. I've got my own way to go.”

This declaration is made by Jo March, the fiercely independent second daughter of the March family, at a crucial moment when she pushes back against the societal expectations placed on young women in 19th-century New England.

Jo March

“Be worthy love, and love will come.”

This quiet yet impactful line comes from Marmee March, the moral heart of the novel, as she talks with her daughter Jo during a tender moment.

Marmee March

“She is too fond of books, and it has turned her brain.”

This clever line comes from the narrator of Louisa May Alcott's Little Women, often linked to either Meg's voice or a critical community member, though Alcott herself employs it with a hint of irony.

Narrator / disapproving social voice (attributed ironically by Alcott)

“It takes two flints to make a fire.”

This line is delivered by Marmee (Margaret March), who serves as the novel's moral compass, during a conversation with her daughter Jo.

Marmee (Margaret March) · Chapter 8 – Jo Meets Apollyon

“Conceit spoils the finest genius.”

This line is spoken by Marmee (Margaret March), the moral guide of the March family, likely aimed at her daughters — especially Jo — during one of her many gentle yet firm lessons on character and humility.

Marmee (Margaret March)

Amy's Art

In Little Women, Amy's art reflects the struggle between ambition and self-awareness, highlighting the difficult journey of coming to terms with one's true limitations.

Beth's Piano

In Louisa May Alcott's Little Women, Beth's piano embodies selfless devotion, domestic virtue, and reflects the quiet, spiritual essence of Beth March herself.

Jo's Writing

In Little Women by Louisa May Alcott, Jo's writing reflects her strong independence, creative drive, and the struggle between expressing herself and meeting societal expectations.

Meg's Gloves

In Little Women by Louisa May Alcott, Meg's gloves represent the struggle between social ambition and genuine identity.

The March Home

In Little Women by Louisa May Alcott, the March home represents a place of moral safety, support among women, and the nurturing strength of family love.

The Pilgrim's Progress

In Little Women by Louisa May Alcott, The Pilgrim's Progress by John Bunyan symbolizes the moral and spiritual journey each March sister undertakes toward virtue and self-identity.

Allegory

The novel is built around a moral allegory that comes straight from John Bunyan's The Pilgrim's Progress.

Narrative Poem

Alcott uses a warm and somewhat intrusive third-person narrator who speaks directly to the readers—phrases like "as I cannot say" or "I dare say" create a blend of storytelling and personal conversation.

Motif

Domestic labor — sewing, cooking, cleaning, nursing — is a recurring theme that underlines the novel's main argument about women's work.

Allusion

Beyond the structural allusion to Bunyan, the novel is filled with literary references that define each girl.

Irony

Alcott wields irony most effectively in the novel's marriage plot.

Simile

Alcott's similes are simple yet accurate, tying abstract emotions to familiar domestic or natural imagery.

Symbolism

Jo's manuscript—the collection of stories she writes and ultimately burns—serves as the novel's most powerful symbol.

Juxtaposition

Alcott builds the novel through ongoing contrasts between characters: Jo's lively spirit versus Beth's calm demeanor, Meg's focus on home life against Jo's aspirations, and Amy's sophistication in contrast to Beth's simplicity.

Personification

Alcott brings abstract virtues and failings to life in ways that resonate with Bunyan's allegory.

Dramatic Monologue

Several chapters include extended first-person speeches that act as dramatic monologues, with Marmee's confession to Jo about her own anger standing out: 'I am angry nearly every day of my life, Jo, but I have learned not to show it.'

Epistrophe

Alcott effectively uses epistrophe — the repetition of a word or phrase at the end of successive clauses — most memorably in Marmee's moral teachings and the novel's recurring seasonal phrases.

Elegy

Beth's gradual decline—spread across two volumes, beginning with her battle against scarlet fever in Part One and culminating in Part Two—imbues the novel with a mournful quality that colors every moment of domestic joy.

grumbled

Said something in a low, discontented, complaining voice, expressing unhappiness without directly arguing or confronting anyone.

verb · Chapter 1

chaplain

A clergyman or minister attached to a military unit, responsible for the spiritual and religious welfare of soldiers rather than fighting himself.

noun · Chapter 1

slough of despond

A state of deep hopelessness and misery; borrowed from Bunyan's Pilgrim's Progress, it refers to a bog of despair that traps a traveler.

phrase · Chapter 4

jolly

Pleasantly cheerful, lively, and enjoyable; used here in the British sense to mean genuinely fun or delightful.

adjective · Chapter 3

corporal punishment

Physical discipline inflicted on a person as a penalty, such as striking a student's hand with a ruler, which was once common in schools.

phrase · Chapter 7

lofty

Behaving in a way that is haughtily superior or self-important, as though looking down on others from a great height.

adjective · Chapter 7

offence

A rule-breaking act or misdeed that deserves some form of punishment; here it refers to Amy's act of bringing forbidden limes to school.

noun · Chapter 7

Apollyon

The name of a terrifying demon in Bunyan's Pilgrim's Progress; used here as a symbol for Jo's own destructive temper or inner devil.

noun · Chapter 8

Vanity Fair

A place of empty worldly pleasures and social show, taken from Bunyan's Pilgrim's Progress; here it stands for the shallow, fashion-obsessed world Meg visits.

noun · Chapter 9

accomplished

Skilled in the social arts expected of a well-bred young woman of the era, such as music, drawing, languages, and refined manners.

adjective · Chapter 9

trump

A thoroughly fine, reliable, and generous person; a term of warm approval meaning someone who can always be counted on.

noun · Chapter 10

honorary member

Someone admitted to a club or society as a mark of respect and goodwill, without having to meet the usual membership requirements.

phrase · Chapter 10

henceforth

From this point in time onward; a formal way of saying 'from now on,' used here to give the club's announcement a grand, official tone.

adverb · Chapter 10

correspondence

Letters and written messages exchanged between people; here it refers to the notes and contributions passed among the club members through their pretend post office.

noun · Chapter 10

experiment

A deliberate trial or test of a new way of doing things, undertaken to see what the results will be; here it means the girls' attempt to run the household themselves.

noun · Chapter 11

elegant

Refined, graceful, and stylish in appearance or manner; used here with comic exaggeration to mean doing things in a grand, fashionable way no matter the cost.

adjective · Chapter 11

oppress

To weigh heavily on someone's feelings, making them feel burdened, obligated, or uncomfortable; here it means that receiving favors makes the speaker feel indebted and constrained.

verb · Chapter 12

affected

Behaving in an unnatural, pretentious way designed to impress others rather than expressing genuine feeling; putting on airs.

adjective · Chapter 12

castles in the air

Daydreams or fantasies about an ideal future that may never come true; pleasant imaginary plans with no firm foundation in reality.

phrase · Chapter 13

heroic

Showing great courage and nobility of purpose, worthy of being remembered and admired long after the deed is done.

adjective · Chapter 13

telegram

A brief urgent message sent over telegraph wires and delivered in printed form; in the 1860s it was the fastest way to send news across long distances.

noun · Chapter 15

sensationalist

Describing writing that relies on shocking, dramatic, or lurid events to excite readers rather than on truthful or artistically serious storytelling.

adjective

will

A legal document in which a person states who should receive their belongings after they die; Amy writes one because she fears she may not survive her illness.

noun · Chapter 19

intercepted

Secretly stopped and read a message that was meant to be delivered to someone else, preventing it from reaching its intended recipient.

verb · Chapter 20

forged

Wrote something falsely in another person's name in order to deceive; here Laurie wrote a fake reply pretending it came from Meg.

verb · Chapter 21