Classic novels are that of wondrous means, wondrous that no one individual can classify a novel as classic. Nobody knows the one great thing that defines a novel of greatness. There are achievable qualities to which a classic novel should use to obtain significance such as morality, timelessness, and truthfulness. Although these characteristics are important to have present within a novel, classifying the novel itself as timeless is incorrect. A classic must remain alive as influence, and not as reading.
For a classic novel’s influence to prevail through the ages it first has to appeal personally to it’s audience. “I suggest that the only books that influence us are those for which we are ready, and which have gone a little farther down our particular path than we have yet got ourselves.” (Forster). Similar to what Forester has said, a classic pushes the boundaries that of a contemporary book. Louisa May Alcott establishes this very clearly in Little Women with her radical feminist views. In her time Alcott had very highly acclaimed work. Around the time this work was written she was also socializing with other highly acclaimed authors. Thoreau would accompany Alcott on strolls around her estate; she would frequently visit with the likes of Nathanial Hawthorne, and Ralph Waldo Emerson (The Literature Network). It was within this intellectual circle where Alcott wrote the majority of her more unsuccessful work. It was later after Alcott and her family moved away to The Concord House, that the author produced her more wholesome tales. It was these stories - stories that revolved around family and the importance of home - that succeeded. To say that her stories like Little Women, The Good Wives, or Jo’s Boys succeeded is to say that their influence and views have continued to exist to the modern day. This was due to the fact Alcott connected to her audience on a personal level in Little Women and her other relative works. Alcott utilized those methods of a classic novel; the most prominent being morality.
A classic novel should say something of value. It should draw attention to the relatable human problems. In the case of Little Women Alcott addressed two: the issue of feminism in the late nineteenth century, and the importance of the people you love. A women’s place in this time period was in the home and housework in nineteenth century America was harsh physical labor (Mintz). This is vividly displayed in the novel when describing the countless chores the March girls endured. While the teenage characters hated the work, they would tolerate it in hopes that at the end of the day they would sit by the fire and enjoy the company of their loved ones. The way of living portrayed, that hard work pays off, is still very apparent today and takes the necessity of family from the novel into the heart of the reader.
Alcott's work is a classic coming of age story, which partially accounts for its enduring appeal. It is often better classified, as a young adult novel than a children's book (A Peculiar Influence). Even with this classification, Alcott explores issues of identity, loyalty, women's roles, personal development and death, among others, but much of this exploration takes place in dialogue between the characters. It is through narrator musings or within an individual character's thoughts, rather than through plot devices, that the classic appeal is established. Jo March displays this often, as she is the protagonist and her inner thoughts occur more often, "I'll try and be what he loves to call me, 'a little woman,' and not be rough and wild; but do my duty here instead of wanting to be somewhere else." (Alcott).
The characters are made so relatable, four average teen girls, experiencing average challenges, relationships, failures and successes. By making the March girls so ordinary it allows room for that connection to occur. Once the attachment has been made to the roles the March girls have determined within the novel, then the themes can be better receipted. For example, Jo March is considered to be a very opinionated tomboy. Saying such things as “I rather crave violence.” (Alcott) or “I am angry nearly everyday of my life.” (Alcott). She grabs the attention of the reader and you learn to grow fond of her character. So when Alcott introduces the idea of women’s success out of the home she uses Jo March as a medium to do so. As the character Jo is based on Alcott herself and they both share the love of writing, it is most reasonable to have Jo achieve literary success, just as Alcott. As a reader you share the joy with the March girls, as they become independent women outside of gender constraints.
A classic novel, as mentioned earlier, is not timeless itself. It is the morals and ideas proposed in a novel that make the novel timeless, and therefore a classic. Louisa May Alcott uses the methods essential in a classic novel, but only to develop a connection to audience. Alcott then proceeds to inaugurate her personal views on large universal themes, in particular, gender roles and significance of family and love. From warm, compassionate Marmee, to bold, audacious Jo, even 140 years after the publication of Little Women the characters and their influence have etched themselves into the heart of the reader. Little Women should and will continue on conquering its rightful spot in classic literature.
