59 pages • 1 hour read
Laura Ingalls WilderA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
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As Laura is such a young child at the beginning of The Little House in the Big Woods, there are bound to be many significant first times and early memories involved in her story. These involve events such as Butchering Time, eating maple sugar, the dance at Grandpa’s, going to town, and seeing a wheat threshing machine at work. She receives her first doll, helps make butter and cheese, and experiences the seasons. These first times take place throughout the narrative and help provide structure to young Laura’s life. They are also a useful device for displaying the daily routines that are part of the pioneering lifestyle and imbue the book with a sense of optimism and wonder that helps make it such a beloved story among children. As the Little House books all together create a narrative that forms Wilder’s coming-of-age story, these first times are stepping stones in her biography; they help influence the woman she is to be in the future as she and her family continue to navigate life on the frontier and as she becomes a teacher, wife, mother in later books.
Although the later books in the series do not focus so much on storytelling, this one includes songs and stories in almost every chapter. A few of the songs are nonsensical, meant to evoke a feeling resulting from events in the chapter, or reflecting some of the popular ditties from the era. Others, however, and especially the longer stories that Pa or others tell, impart specific lessons involving morality and survival. In one, he tells the girls about how he was naughty and took too long to bring the cows home, resulting in a torn toenail and a whipping from his father. In another, Uncle Peter describes the unnatural behavior of his dog, whose hostility actually saved them from a panther. On Sabbath Sunday, Pa tells Laura a funny story about how hard it was for her Grandpa to be good on the day of rest. The stories are fun and mildly exciting for children, giving them knowledge in an engaging way about how to deal with the world around them. He is also imparting family history to his children in an era in which communication is more difficult due to distances and the level of technology and types of transportation available to people.
Throughout the story, though it is clear that the Ingalls family is eking out an existence that requires much hard labor for bare survival, Laura feels safe and cozy in her little house with her parents and sisters. Part of this, it appears, comes from the knowledge that her family can survive and be almost completely self-reliant in a sometimes hostile wilderness. It also comes from the comforts of home, which, when contrasted with the difficulties of daily life, seem all the more special and sweet. There are many moments of happiness to outweigh the fear and uncertainty of pioneer life, from Christmas with relatives to Pa’s nights of singing and fiddling at home: “All alone in the wild Big Woods, and the snow, and the cold, the little log house was warm and snug and cosy. Pa and Ma and Mary and Laura and Baby Carrie were comfortable and happy there, especially at night” (Page 38). That sense of security permeates The Little House in the Big Woods, which is one of the reasons it has become such a popular tale for children.
Dolls are a repeated symbol in the Little House series, representing status and a way to channel the natural drives, both nurturing and cruel, of young children. They also provide a way of navigating social status and relationships between youthful peers. In the beginning of the book, Mary has a rag doll named Nettie, while “Laura had only a corncob wrapped in a handkerchief, but it was a good doll. It was named Susan. It wasn’t Susan’s fault that she was only a corncob” (Page 20-21). Little Laura makes do with her corncob doll until Christmas, when she, as the youngest girl (other than the babies who are too young for dolls), she finally receives one she names Charlotte: “She was so beautiful that Laura could not say a word. She just held her tight and forgot everything else” (Page 76). This doll represents several things: the promise and attainment of a better life along the frontier and the idea of growing up and maturing into a happier, more grown-up and refined state. Laura starts out with a toy that is barely enough for her, made from an everyday object from the garden. She then receives a new doll, made from white cloth, black ink, and yarn, which inspires a little girl’s love and care. There is much joy in simple things, adding to the comfort and love that Laura’s childhood encompasses. Since she is required to share, the doll also represents the values and manners that Pa and Ma are instilling in their children.
By Laura Ingalls Wilder