How we cite our quotes: Citations follow this format: (Chapter.Paragraph)
Quote #1
It was a comfortable old room, though the carpet was faded and the furniture very plain; for a good picture or two hung on the walls, books filled the recesses, chrysanthemums and Christmas roses bloomed in the windows, and a pleasant atmosphere of home peace pervaded it. (1.32)
Our first "view" of the March family home clues us in to the things that Alcott values: comfort, literature, and the beauty of the natural world. Together, these things turn a house into a home – a distinction that is especially important in a novel full of snug cottages and lonely mansions.
Quote #2
While making these maternal inquiries Mrs. March got her wet things off, her warm slippers on, and sitting down in the easy chair, drew Amy to her lap, preparing to enjoy the happiest hour of her busy day. The girls flew about, trying to make things comfortable, each in her own way. Meg arranged the tea table, Jo brought wood and set chairs, dropping overturning, and clattering everything she touched, Beth trotted to and fro between parlor and kitchen, quiet and busy, while Amy gave directions to everyone, as she sat with her hands folded. (1.63)
Each of the March girls takes on the domestic tasks suited to her character and talents. When they work together in this way, they make the house more home-like for their mother. Bustle is almost as important a characteristic of this house as love.
Quote #3
"Leave these things to time; make this home happy, so that you may be fit for homes of your own, if they are offered you, and contented here if they are not." (9.145)
For the March girls, the family home is like a laboratory where they experiment with and practice domestic science. If they get good enough at it and are lucky, they'll get to put their experiments into practice in homes of their own as wives and mothers.
Quote #4
She smiled, said nothing, and with Hannah's help did their neglected work, keeping home pleasant and the domestic machinery running smoothly. (11.18)
Mrs. March, or "Marmee" as her daughters call her, often does this invisible behind-the-scenes labor to keep her family's home all but perfect.
Quote #5
"Don't you feel that it is pleasanter to help one another, to have daily duties which make leisure sweet when it comes, and to bear and forbear, that home may be comfortable and lovely to us all?" (11.74)
The lesson Mrs. March teaches her daughters is an old-fashioned one – that labor is better than idleness, and that people are actually happier when they have something to do than when they just sit around all day. We're a bit skeptical that a group of four people would actually come to this conclusion after only two days, but it's a nice idea.
Quote #6
Then it was that Jo, living in the darkened room, with that suffering little sister always before her eyes and that pathetic voice sounding in her ears, learned to see the beauty and the sweetness of Beth's nature, to feel how deep and tender a place she filled in all hearts, and to acknowledge the worth of Beth's unselfish ambition to live for others, and make home happy by that exercise of those simple virtues which all may possess, and which all should love and value more than talent, wealth, or beauty. (18.3)
Beth's illness teaches Jo to see the home – and the homemaker – as more important than any worldly or ambitious concerns.
Quote #7
"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.
Quote #8
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.
Quote #9
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."
Quote #10
"That is the secret of our home happiness. He does not let business wean him from the little cares and duties that affect us all, and I try not to let domestic worries destroy my interest in his pursuits. Each do our part alone in many things, but at home we work together, always." (38.29)
Mrs. March suggests that the domestic sphere is a joint effort – husband and wife work together to create a home, instead of every aspect of it being the wife's responsibility.
Quote #11
It never was a fashionable school, and the Professor did not lay up a fortune, but it was just what Jo intended it to be – "a happy, homelike place for boys, who needed teaching, care, and kindness." Every room in the big house was soon full. Every little plot in the garden soon had its owner. A regular menagerie appeared in barn and shed, for pet animals were allowed. And three times a day, Jo smiled at her Fritz from the head of a long table lined on either side with rows of happy young faces, which all turned to her with affectionate eyes, confiding words, and grateful hearts, full of love for "Mother Bhaer." (47.31)
Unlike her sister Meg, Jo never turns a home into a domestic paradise for her husband. Instead, she creates a "homelike place," a cross between a home and a boarding school, where she is able to mingle her tomboyish personality with a more motherly spirit.