While perusing the internet in search of a subject to focus
this blog post on, it came to my attention that a musical iteration of Little
Women was released on Broadway in 2005.
Initially, I pondered the logistics of making such a
production based on Louisa May Alcott’s novel. Then, I began to think about how
important music was throughout the book and why Alcott would include this
specific motif time and time again in a myriad of ways.
It seems, looking back through the story, that music was
often used as a way to connect people and create an overall sentiment of
togetherness and camaraderie. Perhaps the quintessential musical moment is in
chapter six when Beth enters Mr. Laurence’s house to play the piano. She is
initially scared of the older man, but it is this moment that bonds the two
together. He eventually sends her his granddaughter’s piano signifying a
friendship and kinship between the two. “There, Beth, that’s an honor to be
proud of, I’m sure,” Jo told her sister. This is a tremendous moment in the
interweaving of the March and Laurence family.
Along with bringing the sisters closer together to other
characters, music provides a connection between the family and religion. At the
end of the chapter “Playing Pilgrims,” the family sings together as they often
do most nights. “At nine, they stopped work, and sung, as usual, before they
went to bed.” This particular occasion is right before Christmas morning,
signifying a divine presence and sense of God. This is just one juncture where
Alcott uses music as a precursor to religious events or to create a more
heavenly feel for the situation.
Furthermore, it seems that music indicates the femininity of
the March family. Marmee signs constantly throughout the book as the head of
the household and molder of the eventual little women. Beth, perhaps the most
inherently “perfect” of the sisters, is apparently a beautiful singer. On the
contrary, the less ladylike, the less musically inclined the girls are. Amy
doesn’t have a great voice and Jo—the most independent and free-spirited—has
the worst voice of all.
Additionally, the same overall theme can be seen in the male
characters too. Laurie is extremely interested in music throughout the novel
and has dreams of becoming a musician, yet he doesn’t seem to be as
well-adapted at becoming a true man in his era’s sense of the word compared to
his peers. Although music is seen as a positive throughout the story, it
definitely errs on the side of the female gender and can be seen as a negative
for males.
Music is certainly a presence throughout Little Women. As Gregory has stated, it often associated with femininity, with little “housewifey” Beth being the best and most enthusiastic musician of the March family. However, major male characters have at least some connection to music as well. Mr. Laurence has the grand piano, and is able to connect with Beth by being able to “...artfully lead the conversation to music…” (59). The old gentleman respects music in Beth, as he is reminded of his granddaughter, whose piano he eventually gifts to Beth. In regards to Laurie, Mr. Laurence is much less inclined to see music as a positive. Mr. Laurence fears that Laurie “... was getting too fond of it [music]...” as music led his son, Laurie’s father, away from him (59). His grandfather’s anxiety does not stop Laurie from having some vague aspirations of being a famous musician when in Europe. It is there where he realizes that he did not have “... genius, but something far more common,” in regards to music (422). Even Professor Bhaer has some connection to music, as he sings at various points in the novel. When Bhaer sings he sings like “...a true German, heartily and well…” (453). Music may often be seen as something feminine, but it is not exclusively seen as such.
ReplyDeleteMusic is very much prevalent throughout the entirety of Little Women. As stated previously by Gregory and Kylie, music appears to be related to the femininity of the March sisters while being significant to the male characters as well. I agree with the premise of both ideas; however, I believe a far greater role of music in the story is to relate one character to another, as mentioned by Gregory, and describe the state of the relationship between them. During Amy and Laurie’s reunion abroad, their relationship appears to be progressing in a more romantic direction than in the past. While at the Christmas ball, Laurie was “involuntarily keeping time” to Amy’s white slipper as she danced around the floor which suggests that they were becoming more, attuned to each other in an unexpected way (386). Furthermore, music clearly defines the peaks and valleys of the relationship between Meg and John. The “infectious spirit” during the “impromptu ball” in the garden perfectly captures the joy surrounding the newlyweds after their ceremony (253). In contrast, Meg asks Jon to attend a concert together “to put me [Meg] in tune” as she tries to move past the shortcomings that she has seen in her relationship with John ever since the babies were born (398). Music is important to the development of many individuals throughout Alcott’s writing, but it also provides important insight to the reader about how the many relationships develop and evolve over time.
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