مساعده في little women

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Style
Point of View
Little Women is written from a third-person omniscient perspective. The narrator knows the girls' personalities, thoughts, and feelings intimately. This allows the reader to see happenings that the family often does not, such as when Jo cries because she is secretly disappointed that Amy is the one going to ****pe.
The narrator also knows the girls' futures, as there are occasional references to what will happen at a future time. Alcott uses both subtle foreshadowing and explicit references to future events. When the Marches and the Laurences set up their makeshift post office, the Laurence's gardener sends a secret love letter to Hannah, the March's housekeeper. Alcott comments, "How they laughed when the secret came out, never dreaming how many love letters that little post office would hold in the years to come!" This statement not only intrigues adolescent readers, but also foreshadows future pleasant letters as well as the cruel joke Laurie plays on Meg by sending forged love letters.
The omniscient narrator does not abuse her power by censoring the characters' faults and mishaps. On the contrary, flaws and bad judgment are included in the story to add a dimension of realism and make the characters believable. Laurie's cruel joke on Meg, Meg's silly domestic dramas as a wife, Jo's intentionally not telling Amy to be careful on the ice — all of these show the characters as human beings with faults.
Structure
The structure of Little Women is episodic, alternating stories of each of the sisters. Each chapter focuses primarily on an incident in one of the girls' lives. This structure accomplishes two things. First, it requires a relatively short attention span that is appropriate for Alcott's young audience. Second, this structure makes it easier to see the girls' growth as young women. Rather than charting subtle cues, as an author might in an adult novel, Alcott allows the reader to see changes in the characters each time they are revisited. For example, at the beginning of the novel, Jo is unconcerned with her appearance and keeps her hair down, her clothes crumpled, and her boots untied. In subsequent scenes, Jo is seen tying her boots and putting her hair up, so that the reader notices the changes easily. Readers become aware that while they were watching Meg, Beth, and Amy, Jo grew up a little. The same is true for the other sisters, too

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