Allusions

Little Women

by Louisa May Alcott

Little Women: Allusions 7 key examples

Definition of Allusion

In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals, historical events, or philosophical ideas... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to... read full definition
Part 1, Chapter 1: Playing Pilgrims
Explanation and Analysis—Pilgrim's Progress:

Characters often allude to John Bunyan's The Pilgrim's Progress. This story chronicles the journey of a man named Christian as he strives to conquer his sins and win salvation. Bunyan's text resembles Little Women in many ways. Firstly, it celebrates family life. Secondly, the plot unfolds in a similar sequence. Thirdly, it showcases the struggles necessary to produce a strong moral character. Alcott adapts the religious pilgrimage to the domestic sphere as the March sisters strive to conquer their less-good impulses and complete their journeys of moral development. 

Explanation and Analysis—Shakespeare:

Alcott and her characters frequently allude to Shakespeare. In Part I, most of the allusions appear in the form of character comparisons or dialogues about the content of the texts.  But in Part II, the allusions become enmeshed with the story itself:

A Russian prince condescended to sit in a corner for an hour and talk with a massive lady, dressed like Hamlet's mother in black velvet with a pearl bridle under her chin.

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Part 1, Chapter 2: A Merry Christmas
Explanation and Analysis—Hither, Hither:

Alcott's poem "Hither, Hither" marks a significant allusion to her work in verse. It appears in Chapter 2 when Meg and the other March girls are performing skits and songs on Christmas Day:

Hither, hither, from thy home,

Airy sprite, I bid thee come!

Born of roses, fed on dew,

Charms and potions canst thou brew?

Bring me here, with elfin speed,

The fragrant philter which I need.

Make it sweet and swift and strong,

Spirit, answer now my song!

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Part 1, Chapter 4: Burdens
Explanation and Analysis—Raphael:

In an allusion to the famous Renaissance artist, the March sisters call Amy "Raphael" because she likes to draw and paint. 

"Little Raphael," as her sisters called her, had a decided talent for drawing, and was never so happy as when copying flowers, designing fairies, or illustrating stories with queer specimens of art. Her teachers complained that instead of doing her sums she covered her slate with animals, the blank pages of her atlas were used to copy maps on, and caricatures of the most ludicrous description came fluttering out of all her books at unlucky moments.

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Part 1, Chapter 12: Camp Laurence
Explanation and Analysis—Plato & Socrates:

Alcott makes frequent allusions to Greek philosophers including Socrates and Plato, which demonstrates her (and her characters') erudition.  In Chapter 12, Jo hangs her hat on a bust of Plato as she reads letters from Marmee. 

And hanging the antique broad-brim on a bust of Plato, Jo read her letters.

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Part 2, Chapter 33: Jo’s Journal
Explanation and Analysis—The Bible:

The morals of Little Women are grounded in Christianity. Mrs. March tries to cultivate generosity, graciousness, productivity, and womanhood in her daughters. The Bible is not directly referenced, but Alcott subtly alludes to its lessons. For instance, Meg indirectly references Galatians 5:14 in Chapter 2 when she says that giving their Christmas breakfast to the Hummels is “loving our neighbors better than ourselves, and I like it.” 

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Part 2, Chapter 34: Friend
Explanation and Analysis—Shakespeare:

Alcott and her characters frequently allude to Shakespeare. In Part I, most of the allusions appear in the form of character comparisons or dialogues about the content of the texts.  But in Part II, the allusions become enmeshed with the story itself:

A Russian prince condescended to sit in a corner for an hour and talk with a massive lady, dressed like Hamlet's mother in black velvet with a pearl bridle under her chin.

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Part 2, Chapter 37: New Impressions
Explanation and Analysis—Shakespeare:

Alcott and her characters frequently allude to Shakespeare. In Part I, most of the allusions appear in the form of character comparisons or dialogues about the content of the texts.  But in Part II, the allusions become enmeshed with the story itself:

A Russian prince condescended to sit in a corner for an hour and talk with a massive lady, dressed like Hamlet's mother in black velvet with a pearl bridle under her chin.

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Part 2, Chapter 40: The Valley of the Shadow
Explanation and Analysis—The River:

In Chapter 40, Jo writes a poem for Beth just before her death. The prose in this chapter becomes quite poetic as the river is introduced as a metaphor for the region between life and death:

A sad eclipse of the serene soul, a sharp struggle of the young life with death, but both were mercifully brief, and then the natural rebellion over, the old peace returned more beautiful than ever. With the wreck of her frail body, Beth's soul grew strong, and though she said little, those about her felt that she was ready, saw that the first pilgrim called was likewise the fittest, and waited with her on the shore, trying to see the Shining Ones coming to receive her when she crossed the river.

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Part 2, Chapter 45: Daisy and Demi
Explanation and Analysis—Plato & Socrates:

Alcott makes frequent allusions to Greek philosophers including Socrates and Plato, which demonstrates her (and her characters') erudition.  In Chapter 12, Jo hangs her hat on a bust of Plato as she reads letters from Marmee. 

And hanging the antique broad-brim on a bust of Plato, Jo read her letters.

Unlock with LitCharts A+