The choices the March sisters make are not dramatic in the sense of involving obvious moral dilemmas.
They are instead the quieter and more difficult kind of choices about what kind of person you want to be.
Meg chooses love and domesticity over the wealth and status that her beauty could have obtained for her.
Jo chooses her own path over the comfortable and conventional life that marrying Laurie would have provided.
Amy chooses to take her artistic ambitions seriously at a time when female artists were not taken seriously at all.
Beth chooses contentment with small things at a time when ambition was being valorized all around her every day.
Each choice was made under social pressure to choose differently, which is precisely what makes each choice revealing.
Each sister proved her worth through her own choices.

One of Little Women's most enduring achievements is its refusal to rank the sisters' choices according to a single standard.
Victorian literature frequently judged female characters against a narrow template of virtue, sacrifice, and domesticity.
Alcott declines to use this template, which is a more radical act than it might appear to a modern reader.
She presents Meg's domestic happiness and Jo's literary ambition as equally legitimate expressions of authentic selfhood.
She does not suggest that Jo's path is more interesting or more admirable merely because it is less conventional.
Nor does she sentimentalize Beth's quiet life or diminish Amy's social ambitions by calling them shallow or vain.
What each sister proves through her choices is not superiority over the others but fidelity to her own truest self.
This is the standard Alcott proposes — not achievement by external measure but integrity with one's deepest nature.
Each sister proved her worth through her own choices.