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这部小说以家庭生活为描写对象，以家庭成员的感情纠葛为线索，描写了马奇一家的天伦之爱。马奇家的四姐妹中，无论是为了爱情甘于贫困的海格，还是通过自己奋斗成为作家的乔，以及坦然面对死亡的贝思和以扶弱为己任的艾米，虽然她们的理想和命运都不尽相同，但是她们都具有自强自立的共同特点。描写了她们对家庭的眷恋；对爱的忠诚以及对亲情的渴望。
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，乔便尽情地扮演男角。她对一双黄褐色的长统皮靴尤为满意。因为靴子是她的一个朋友赠送的，这位朋友认识一位女士，女士又认识一位演员。这双靴子、一把旧钝头剑，还有某个艺术家用来画过几幅画的开衩背心，这些便是乔的主要宝藏，任何场合都得登台亮相。因为剧团小，两个主要演员必须分别扮演几个角色。她们同时学习三四个不同角色的表演，飞快地轮番换上各式各样的戏服，同时还要兼顾幕后工作，其努力精神值得称道。这种有益的娱乐活动可以很好地锻炼她们的记忆力，并可以打发闲暇，排遣寂寞，减少无聊的社交。
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.
圣诞之夜，十二个女孩子挤在花楼--一张床—-的上头，坐在黄蓝二色混合的磨光印花帘幕前面，翘首以盼，焦急地等着看戏。幕后灯光朦胧，不时传来沙沙的响声和悄悄的话语声，偶尔还传来容易激动的艾美在兴奋之中发出的咯咯笑声。不一会铃声响起，帘幕拉开，《歌剧式的悲剧》开始了。
