Chapter 30 focuses on the story of Amy’s participation in Mrs. Chester’s fair. While the fair itself presents a small event, it plays an important role in the novel in revealing more differences between Jo and Amy. The situation with fair acts as a reflection of Amy’s position in society. Instead of being the center of attention for her outstanding art, Amy is placed “in a corner with nothing to do” (Alcott par. 30). Moreover, the flower table was unpopular at the fair due to the season, and Amy’s flowers “began to droop long before night” (Alcott par. 28). The symbolism reflects Amy’s concerns about her future if she will continue being in her sister’s shadow. Lastly, Amy’s participation at the fair eventually becomes a success thanks to her hard work, refined manners, and Joe’s help. In this case, the symbolism in aunt Carrol’s choice of Amy over Jo illustrates how Amy’s continuous attempts to become a gentlewoman allowed her to receive recognition.
Next, chapter 31 focuses on Amy’s letters from her journey, describing her sightseeing experience and relationships with Fred Vaughn. While the chapter follows the narrative of Amy’s letters to the family, the author had fewer opportunities to place valuable symbols in the text. However, the difference in the choice of recipients for the letters can symbolize the connection between the journey and Amy’s character development. Thus, the first letter addressed to “dearest people” focuses on the differences between the British and American people (Alcott par. 2). The second letter, addressed to “dear girls,” talks about the delights of Paris that Amy wanted like to share with her sisters (Alcott par. 23). The last letter is addressed to “dear Mamma” and talks about Amy’s intentions to accept Fred’s marriage proposal (Alcott par. 33). Thus, the change of letters’ recipients reflects Amy’s development from a young and curious traveler to a lady capable of making marriage decisions.
The following chapters focus on Jo’s moving and life in New York. In chapter 32, Jo decides to leave for New York when she realizes that Laurie’s love for her continues to grow. One of the key symbols mentioned in Laurie and Jo’s dialogue is an “apron string” (Alcott par. 52). The symbol of an item in a women’s wardrobe refers to men’s desire to form a marriage bond with one woman until the end of life. In the following chapter 33, composed from Jo’s journal entries, the reader is introduced to the character of Mr. Bhaer. The author emphasizes readers’ attention on Mr. Bhaer’s poor financial situation in describing his clothes that need “washing and mending” (Alcott par. 55). After becoming acquainted with Mr. Bhaer, Jo agrees to mend his clothes, which symbolizes her affection and desire to care for him by fulfilling traditionally female-oriented tasks.
Furthermore, chapter 34 focuses on Jo’s attempts to write sensational fiction. Jo and Mr. Bhaer have an argument about the nature of sensational literature and its adverse effect on children. The discussion starts when Jo laughs at Mr. Bhaer’s “paper soldier cap” that he forgot to take off (Alcott par. 46). In a way, the paper cap symbolizes Jo’s attitude towards writing fictional stories: she immediately notices the cap even though it is invisible and weightless for the wearer. Thus, the load of several meaningless written stories for Weekly Volcano falls on Jo’s shoulders only when Mr. Bhaer points Jo’s attention to it.
Lastly, in chapter 35, Laurie plays piano at home after Jo’s rejection. The open window lets in the sounds from March’s house and releases the sounds of Laurie’s sad piano play. The window symbolizes Laurie’s inseparable bond with the March sisters and emphasizes his pain from rejection. However, when Laurie’s grandfather invites him to travel to unwind from the heartbreak, the open window becomes a symbol of new opportunities for Laurie. Thus, before leaving, Laurie often stares at Jo from his window to gain courage and move away from her.
Work Cited
Alcott, Louisa May. Little Women. Roberts Brothers, 1868.