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這部小說以家庭生活為描寫對(duì)象，以家庭成員的感情糾葛為線索，描寫了馬奇一家的天倫之愛。馬奇家的四姐妹中，無論是為了愛情甘于貧困的海格，還是通過自己奮斗成為作家的喬，以及坦然面對(duì)死亡的貝思和以扶弱為己任的艾米，雖然她們的理想和命運(yùn)都不盡相同，但是她們都具有自強(qiáng)自立的共同特點(diǎn)。描寫了她們對(duì)家庭的眷戀；對(duì)愛的忠誠以及對(duì)親情的渴望。
No gentleman were admitted, so Jo played male parts to her heart's content and took immense satisfaction in a pair of russet leather boots given her by a friend, who knew a lady who knew an actor. These boots, an old foil, and a slashed doublet once used by an artist for some picture, were Jo's chief treasures and appeared on all occasions. The smallness of the company made it necessary for the two principal actors to take several parts apiece, and they certainly deserved some credit for the hard work they did in learning three or four different parts, whisking in and out of various costumes, and managing the stage besides. It was excellent drill for their memories, a harmless amusement, and employed many hours which otherwise would have been idle, lonely, or spent in less profitable society.
由于不收男士，喬便盡情地扮演男角。她對(duì)一雙黃褐色的長統(tǒng)皮靴尤為滿意。因?yàn)檠プ邮撬囊粋€(gè)朋友贈(zèng)送的，這位朋友認(rèn)識(shí)一位女士，女士又認(rèn)識(shí)一位演員。這雙靴子、一把舊鈍頭劍，還有某個(gè)藝術(shù)家用來畫過幾幅畫的開衩背心，這些便是喬的主要寶藏，任何場合都得登臺(tái)亮相。因?yàn)閯F(tuán)小，兩個(gè)主要演員必須分別扮演幾個(gè)角色。她們同時(shí)學(xué)習(xí)三四個(gè)不同角色的表演，飛快地輪番換上各式各樣的戲服，同時(shí)還要兼顧幕后工作，其努力精神值得稱道。這種有益的娛樂活動(dòng)可以很好地鍛煉她們的記憶力，并可以打發(fā)閑暇，排遣寂寞，減少無聊的社交。
On christmas night, a dozen girls piled onto the bed which was the dress circle, and sat before the blue and yellow chintz curtains in a most flattering state of expectancy. There was a good deal of rustling and whispering behind the curtain, a trifle of lamp smoke, and an occasional giggle from Amy, who was apt to get hysterical in the excitement of the moment. Presently a bell sounded, the curtains flew apart, and the _operatic tragedy_ began.
圣誕之夜，十二個(gè)女孩子擠在花樓--一張床—-的上頭，坐在黃藍(lán)二色混合的磨光印花簾幕前面，翹首以盼，焦急地等著看戲。幕后燈光朦朧，不時(shí)傳來沙沙的響聲和悄悄的話語聲，偶爾還傳來容易激動(dòng)的艾美在興奮之中發(fā)出的咯咯笑聲。不一會(huì)鈴聲響起，簾幕拉開，《歌劇式的悲劇》開始了。
