Excerpt

Excerpt from Anne of Avonlea, by L. M. Montgomery

A pale little thing, with smooth ripples of fine, silky, fawn-colored
hair flowing over her shoulders, must, Anne thought, be Annetta Bell,
whose parents had formerly lived in the Newbridge school district, but,
by reason of hauling their house fifty yards north of its old site were
now in Avonlea. Three pallid little girls crowded into one seat were
certainly Cottons; and there was no doubt that the small beauty with
the long brown curls and hazel eyes, who was casting coquettish looks
at Jack Gills over the edge of her Testament, was Prillie Rogerson,
whose father had recently married a second wife and brought Prillie
home from her grandmother’s in Grafton. A tall, awkward girl in a back
seat, who seemed to have too many feet and hands, Anne could not place
at all, but later on discovered that her name was Barbara Shaw and that
she had come to live with an Avonlea aunt. She was also to find that if
Barbara ever managed to walk down the aisle without falling over her
own or somebody else’s feet the Avonlea scholars wrote the unusual fact
up on the porch wall to commemorate it.

But when Anne’s eyes met those of the boy at the front desk facing her
own, a queer little thrill went over her, as if she had found her
genius. She knew this must be Paul Irving and that Mrs. Rachel Lynde
had been right for once when she prophesied that he would be unlike the
Avonlea children. More than that, Anne realized that he was unlike
other children anywhere, and that there was a soul subtly akin to her
own gazing at her out of the very dark blue eyes that were watching her
so intently.

She knew Paul was ten but he looked no more than eight. He had the most
beautiful little face she had ever seen in a child . . . features of
exquisite delicacy and refinement, framed in a halo of chestnut curls.
His mouth was delicious, being full without pouting, the crimson lips
just softly touching and curving into finely finished little corners
that narrowly escaped being dimpled. He had a sober, grave, meditative
expression, as if his spirit was much older than his body; but when
Anne smiled softly at him it vanished in a sudden answering smile,
which seemed an illumination of his whole being, as if some lamp had
suddenly kindled into flame inside of him, irradiating him from top to
toe. Best of all, it was involuntary, born of no external effort or
motive, but simply the outflashing of a hidden personality, rare and
fine and sweet. With a quick interchange of smiles Anne and Paul were
fast friends forever before a word had passed between them.

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Explanation

Detailed Explanation of the Excerpt from Anne of Avonlea by L. M. Montgomery

This passage from Anne of Avonlea (1909), the second book in Lucy Maud Montgomery’s beloved Anne of Green Gables series, introduces Anne Shirley—now a young teacher—as she observes her new students on the first day of school. The excerpt is rich in characterization, thematic depth, and literary techniques, offering insight into Anne’s perceptive nature, her idealism, and her instant connection with the extraordinary child, Paul Irving.

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Context of the Passage

Anne of Avonlea follows Anne Shirley, now sixteen and teaching at the Avonlea school, as she navigates adulthood, friendship, and her passion for education. This scene occurs early in the novel when Anne first meets her students, including Paul Irving, a sensitive and imaginative boy who becomes one of her most cherished pupils. The novel explores themes of growth, belonging, and the transformative power of kindred spirits—central to Montgomery’s work.

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Themes in the Excerpt

1. The Search for Kindred Spirits

   • A recurring theme in Montgomery’s writing is the longing for deep, spiritual connections. Anne, who once felt like an outsider herself, immediately recognizes Paul as a kindred soul—someone who shares her intensity, imagination, and emotional depth.
   • The phrase "a soul subtly akin to her own" suggests an instant, almost mystical bond, reinforcing the idea that true understanding transcends words.

2. Beauty and the Idealization of Childhood

   • Anne’s descriptions of the children (particularly Paul) are steeped in romanticized imagery. Paul is portrayed as an almost ethereal figure—delicate, refined, and luminous—embodying Anne’s ideal of beauty and purity.
   • The contrast between Paul’s "sober, grave, meditative expression" and his sudden, radiant smile reflects Montgomery’s belief in the hidden depths of children, who are often more profound than adults realize.

3. Outsiders and Belonging

   • The passage briefly introduces several children who are, in some way, misfits:
     • Barbara Shaw (clumsy, awkward)
     • Prillie Rogerson (coquettish, perhaps neglected due to her father’s remarriage)
     • Annetta Bell (whose family’s literal movement of their house symbolizes displacement)
   • Anne, once an orphan and outsider herself, is particularly attuned to those who don’t fit in, making her connection with Paul—another sensitive, misunderstood child—even more meaningful.

4. The Power of First Impressions and Intuition

   • Anne’s immediate, almost psychic recognition of Paul ("a queer little thrill went over her") suggests that some connections are fated. Montgomery often portrays intuition as a guiding force in human relationships.

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Literary Devices and Stylistic Choices

1. Vivid Imagery and Sensory Detail

   • Montgomery’s descriptions are hyper-visual, painting each child with distinct, almost cinematic clarity:
     • "smooth ripples of fine, silky, fawn-colored hair" (Annetta Bell)
     • "long brown curls and hazel eyes" (Prillie Rogerson)
     • "too many feet and hands" (Barbara Shaw)
   • Paul is described in luminous, almost religious terms:
     • "a halo of chestnut curls" (saintly imagery)
     • "an illumination of his whole being, as if some lamp had suddenly kindled into flame inside of him" (light as a metaphor for inner spirit)

2. Contrast and Juxtaposition

   • The ordinary vs. the extraordinary:
     • Most children are described with humorous or mundane details (Barbara’s clumsiness, Prillie’s flirting), but Paul is set apart as otherworldly.
   • External vs. internal beauty:
     • While Prillie is a "small beauty" who uses her looks to flirt, Paul’s beauty is innate and spiritual, revealed only when he smiles.

3. Symbolism

   • Light and Illumination:
     • Paul’s smile is compared to a "lamp kindled into flame," symbolizing the inner radiance of a kindred spirit.
   • The Testament (Bible) as a Prop:
     • Prillie’s coquettishness is framed by her holding a Testament, ironically contrasting her flirtatious behavior with the sacred text—perhaps a subtle critique of performative piety.

4. Free Indirect Discourse

   • The narration blends Anne’s perspective with the author’s voice, allowing us to experience her thoughts directly:
     • "Anne thought, be Annetta Bell..."
     • "She knew this must be Paul Irving..."
   • This technique deepens our immersion in Anne’s subjective, emotional world.

5. Hyperbole and Whimsical Exaggeration

   • Montgomery’s style often leans into playful exaggeration for humor and charm:
     • Barbara Shaw’s clumsiness is so legendary that her rare success ("if she ever managed to walk down the aisle without falling") is treated as a miraculous event worth recording.
   • This lightheartedness balances the passage’s deeper emotional currents.

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Significance of the Passage

1. Anne’s Growth as a Teacher and Mentor

   • Unlike her own strict, uninspired teachers (like Mr. Phillips in Anne of Green Gables), Anne sees the individuality in each child. Her ability to recognize and nurture Paul’s sensitivity foreshadows her impact as an educator.

2. Paul Irving as a Reflection of Anne

   • Paul mirrors young Anne—imaginative, intense, and misunderstood. Their bond suggests that Anne, now older, can guide and protect a child like herself, fulfilling a cycle of mentorship.
   • His "spirit much older than his body" echoes Anne’s own precocious depth, reinforcing Montgomery’s theme that children often possess wisdom beyond their years.

3. The Idea of "Genius" and Soulmates

   • The phrase "as if she had found her genius" is striking. Here, "genius" doesn’t mean intellectual brilliance but rather a guardian spirit or muse—someone who inspires and understands her on a profound level.
   • This moment foreshadows Paul’s role in Anne’s life as a catalyst for creativity and emotional growth.

4. Montgomery’s Philosophy of Childhood

   • The passage embodies Montgomery’s belief that children are not blank slates but complex, spiritual beings. Paul’s smile is "the outflashing of a hidden personality," suggesting that children’s true selves are often concealed until the right person sees them.

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Close Reading of Key Lines

1. "a queer little thrill went over her, as if she had found her genius."

   • The word "queer" (meaning strange or uncanny) emphasizes the unexpected, almost supernatural nature of their connection.
   • "Genius" here aligns with Romantic-era ideas of a guiding spirit—Paul will inspire Anne as much as she inspires him.

2. "features of exquisite delicacy and refinement, framed in a halo of chestnut curls."

   • The religious imagery ("halo") elevates Paul to a saintly or angelic figure, reinforcing his purity and Anne’s reverence for him.

3. "an illumination of his whole being, as if some lamp had suddenly kindled into flame inside of him."

   • This metaphor of inner light suggests that Paul’s true self is hidden until revealed by kindness—a theme Montgomery often explores (e.g., Anne’s own transformation under Marilla’s care).

4. "With a quick interchange of smiles Anne and Paul were fast friends forever before a word had passed between them."

   • This line captures the wordless, instantaneous bond that defines kindred spirits in Montgomery’s work. It echoes Anne’s friendship with Diana Barry, where a single moment of understanding cements a lifelong connection.

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Conclusion: Why This Passage Matters

This excerpt is a microcosm of Montgomery’s broader themes: the magic of human connection, the beauty of misfits, and the idea that some souls are destined to recognize each other. Anne’s meeting with Paul is not just a teacher-student introduction but a meeting of two old souls, a moment that will shape both their lives.

Montgomery’s lyrical prose, keen observation, and emotional depth make this passage more than just a description—it’s a celebration of the rare, fleeting moments when we find someone who truly sees us. In a novel about growth and change, this scene reminds us that some bonds are timeless, formed in an instant and lasting forever.