The Home Quotes
How we cite our quotes:
"I remember a time when this hand was white and smooth, and your first care was to keep it so. It was very pretty then, but to me it is much prettier now, for in this seeming blemishes I read a little history. A burnt offering has been made to vanity, this hardened palm has earned something better than blisters, and I'm sure the sewing done by these pricked fingers will last a long time, so much good will went into the stitches. Meg, my dear, I value the womanly skill which keeps home happy more than white hands or fashionable accomplishments. I'm proud to shake this good, industrious little hand, and hope I shall not soon be asked to give it away." (22.25)
Mr. March praises Meg for putting her attention to the home ahead of attention to herself – even her own body. On one level, it makes sense for him to commend her for being less vain. But there's a slightly extreme feel to his praise. The reference to a "burnt offering" makes her seem like more of a martyr than is really necessary.
It was a tiny house, with a little garden behind and a lawn about as big as a pocket handkerchief in the front. Here Meg meant to have a fountain, shrubbery, and a profusion of lovely flowers, though just at present the fountain was represented by a weather-beaten urn, very like a dilapidated slopbowl, the shrubbery consisted of several young larches, undecided whether to live or die, and the profusion of flowers was merely hinted by regiments of sticks to show where seeds were planted. But inside, it was altogether charming, and the happy bride saw no fault from garret to cellar. To be sure, the hall was so narrow it was fortunate that they had no piano, for one never could have been got in whole, the dining room was so small that six people were a tight fit, and the kitchen stairs seemed built for the express purpose of precipitating both servants and china pell-mell into the coalbin. But once get used to these slight blemishes and nothing could be more complete, for good sense and good taste had presided over the furnishing, and the result was highly satisfactory. There were no marble-topped tables, long mirrors, or lace curtains in the little parlor, but simple furniture, plenty of books, a fine picture or two, a stand of flowers in the bay window, and, scattered all about, the pretty gifts which came from friendly hands and were the fairer for the loving messages they brought. (24.14)
Alcott emphasizes that the size of Meg's first home with her husband doesn't matter – it's cozy, and they love each other, and that makes it better than a palace. But she also makes gentle fun of how tiny the place is, and how it contrasts with Meg's grandiose aspirations.
They were very happy, even after they discovered that they couldn't live on love alone. John did not find Meg's beauty diminished, though she beamed at him from behind the familiar coffee pot. Nor did Meg miss any of the romance from the daily parting, when her husband followed up his kiss with the tender inquiry, "Shall I send some veal or mutton for dinner, darling?" The little house ceased to be a glorified bower, but it became a home, and the young couple soon felt that it was a change for the better. At first they played keep-house, and frolicked over it like children. Then John took steadily to business, feeling the cares of the head of a family upon his shoulders, and Meg laid by her cambric wrappers, put on a big apron, and fell to work, as before said, with more energy than discretion. (28.2)
Meg's energy turns the Brooke family house into a home – but Alcott suggests that she can't and shouldn't go overboard and try to create a "bower."