In Chapter 2, Alcott personifies sunshine:
The rooms were very still while the pages were softly turned, and the winter sunshine crept in to touch the bright heads and serious faces with a Christmas greeting.
In this passage, sunshine is portrayed as a benevolent force that "greets" people in the March household. It shows how happy and peaceful they are on Christmas morning. This is also an example of what's called pathetic fallacy (when the weather reflects elements of plot and characterization).
Another example of the personification of nature appears in Chapter 41, when Amy visits an old garden by the lake:
A pleasant old garden on the borders of the lovely lake, with chestnuts rustling overhead, ivy climbing everywhere, and the black shadow of the tower falling far across the sunny water. At one corner of the wide, low wall was a seat, and here Amy often came to read or work, or console herself with the beauty all about her.
Each element of the scene seems to keep Amy company. The lovely lake consoles her, while the "climbing" ivy and "falling" shadow create a sense of enlivening movement. The whole scene seems to live and breathe; even though Amy feels homesick and lonely, she is able to derive comfort from the presence of nature. Little Women often emphasizes the power of these seemingly small moments of solace and joy.
Alcott personifies emotions to dramatize scenes. For example, when Mr. Davis finds the limes in Amy's desk in Chapter 7, the other schoolchildren heave sighs of disappointment, and hope is personified as it flees from their hearts.
There was a simultaneous sigh, which created quite a little gust, as the last hope fled, and the treat was ravished from their longing lips.
This is also an example of hyperbole because it is a dramatic description of a very simple scene. A teacher finds fruit in his student's desk. No big deal, right? Not to Amy March and her classmates! Their sighs create a "gust" of wind, their hope flees, and the fruit is "ravished" from their "longing" mouths.
Why does Alcott choose to dramatize the scene in this manner? Because Mr. Davis shocks her with his subsequent behavior. The scene seems much grander than a simple schoolroom skirmish; it takes on epic proportions in terms of description. This evokes the emotions of Amy and the other children, who likely consider this to be a major event in their young lives. Amy, whose family has shown her unconditional love throughout her life, has not been exposed to violent disapproval. She commits minor transgressions (like burning Jo's book) but is always forgiven. However, beyond the home, wrongdoing—however small—is punished without mercy. Hyperbole and personification communicate the perceived gravity of this scene.
Alcott often personifies emotions when describing the quarrels between Amy and Jo. In the following passage from Chapter 8, the narrator describes how Beth prevents another explosive interaction between the two sisters:
When they got home, they found Amy reading in the parlor. She assumed an injured air as they came in, never lifted her eyes from her book, or asked a single question. Perhaps curiosity might have conquered resentment, if Beth had not been there to inquire and receive a glowing description of the play. On going up to put away her best hat, Jo's first look was toward the bureau, for in their last quarrel Amy had soothed her feelings by turning Jo's top drawer upside down on the floor. Everything was in its place, however, and after a hasty glance into her various closets, bags, and boxes, Jo decided that Amy had forgiven and forgotten her wrongs. There Jo was mistaken, for next day she made a discovery which produced a tempest.
Here, Beth tries to act as an emotional buffer between the sisters. She asks Jo about the play so Amy doesn't have to. In one sense, preventing Amy's curiosity from "conquering" her resentment preserves the tension between them. However, one could also say that Beth reduces the opportunity for conflict between them. The personification of curiosity and resentment helps create a sense of how palpable the emotion is between Amy and Jo.
In Chapter 2, Alcott personifies sunshine:
The rooms were very still while the pages were softly turned, and the winter sunshine crept in to touch the bright heads and serious faces with a Christmas greeting.
In this passage, sunshine is portrayed as a benevolent force that "greets" people in the March household. It shows how happy and peaceful they are on Christmas morning. This is also an example of what's called pathetic fallacy (when the weather reflects elements of plot and characterization).
Another example of the personification of nature appears in Chapter 41, when Amy visits an old garden by the lake:
A pleasant old garden on the borders of the lovely lake, with chestnuts rustling overhead, ivy climbing everywhere, and the black shadow of the tower falling far across the sunny water. At one corner of the wide, low wall was a seat, and here Amy often came to read or work, or console herself with the beauty all about her.
Each element of the scene seems to keep Amy company. The lovely lake consoles her, while the "climbing" ivy and "falling" shadow create a sense of enlivening movement. The whole scene seems to live and breathe; even though Amy feels homesick and lonely, she is able to derive comfort from the presence of nature. Little Women often emphasizes the power of these seemingly small moments of solace and joy.
