Excerpt

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

A tall, slim girl, “half-past sixteen,” with serious gray eyes and hair
which her friends called auburn, had sat down on the broad red
sandstone doorstep of a Prince Edward Island farmhouse one ripe
afternoon in August, firmly resolved to construe so many lines of
Virgil.

But an August afternoon, with blue hazes scarfing the harvest slopes,
little winds whispering elfishly in the poplars, and a dancing slendor
of red poppies outflaming against the dark coppice of young firs in a
corner of the cherry orchard, was fitter for dreams than dead
languages. The Virgil soon slipped unheeded to the ground, and Anne,
her chin propped on her clasped hands, and her eyes on the splendid
mass of fluffy clouds that were heaping up just over Mr. J. A.
Harrison’s house like a great white mountain, was far away in a
delicious world where a certain schoolteacher was doing a wonderful
work, shaping the destinies of future statesmen, and inspiring youthful
minds and hearts with high and lofty ambitions.

To be sure, if you came down to harsh facts . . . which, it must be
confessed, Anne seldom did until she had to . . . it did not seem
likely that there was much promising material for celebrities in
Avonlea school; but you could never tell what might happen if a teacher
used her influence for good. Anne had certain rose-tinted ideals of
what a teacher might accomplish if she only went the right way about
it; and she was in the midst of a delightful scene, forty years hence,
with a famous personage . . . just exactly what he was to be famous for
was left in convenient haziness, but Anne thought it would be rather
nice to have him a college president or a Canadian premier . . . bowing
low over her wrinkled hand and assuring her that it was she who had
first kindled his ambition, and that all his success in life was due to
the lessons she had instilled so long ago in Avonlea school. This
pleasant vision was shattered by a most unpleasant interruption.

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Explanation

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

Context of the Source

Anne of Avonlea (1909) is the second book in Lucy Maud Montgomery’s beloved Anne of Green Gables series. It follows Anne Shirley, now sixteen, as she begins her career as a schoolteacher in her hometown of Avonlea, Prince Edward Island. The novel explores themes of growth, responsibility, and the tension between youthful idealism and the realities of adulthood.

This excerpt opens the novel, introducing Anne in a moment of quiet introspection—one that quickly shifts from scholarly discipline to fanciful daydreaming, a hallmark of her character.

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Breakdown of the Excerpt

1. Setting and Atmosphere

The passage begins with a vivid description of an August afternoon on Prince Edward Island, a setting that is almost a character in itself in Montgomery’s works. The imagery is richly sensory and romantic:

• "Blue hazes scarfing the harvest slopes" → The landscape is soft, dreamy, and alive with natural beauty. The word "scarfing" personifies the haze, suggesting it gently drapes the land like fabric.
• "Little winds whispering elfishly in the poplars" → The wind is given a mischievous, magical quality ("elfishly"), reinforcing the enchanting mood.
• "A dancing splendor of red poppies outflaming against the dark coppice of young firs" → The contrast between the vibrant poppies and dark firs creates a striking visual, while "dancing" and "outflaming" suggest movement and passion.

This pastoral, almost fairy-tale-like setting is deliberately at odds with the discipline of studying Virgil (a Roman poet often associated with rigid classical education). The natural world here is more alluring than academia, pulling Anne away from her intended task.

2. Anne’s Character and Inner Conflict

Anne is introduced as:

• "A tall, slim girl, ‘half-past sixteen’" → The phrase "half-past sixteen" is a whimsical way of saying she’s just past sixteen, emphasizing her youthful, not-quite-adult status.
• "With serious gray eyes and hair which her friends called auburn" → The description is subtle but telling. Her "serious" eyes suggest depth and thoughtfulness, while the mention of her hair being "called auburn" (rather than definitively stated) hints at Anne’s self-consciousness and the way others perceive her.

Her initial resolve to study Virgil is quickly abandoned:

• "The Virgil soon slipped unheeded to the ground" → The book’s physical fall mirrors Anne’s mental drift from duty to fantasy.
• "Her chin propped on her clasped hands, and her eyes on the splendid mass of fluffy clouds..." → Her posture is one of contemplation and escape, gazing upward toward the sky (symbolizing imagination) rather than downward at her book (symbolizing obligation).

This moment captures a central tension in Anne’s character:

• The idealist vs. the realist – She wants to be disciplined (studying Virgil), but she is irresistibly drawn to imagination.
• Youth vs. maturity – At sixteen, she is on the cusp of adulthood but still deeply connected to childhood wonder.

3. Anne’s Daydream: The Teacher’s Grand Vision

Anne’s mind wanders to a fantasy of her future influence as a teacher:

• "A certain schoolteacher was doing a wonderful work, shaping the destinies of future statesmen, and inspiring youthful minds and hearts with high and lofty ambitions."

  • The language here is grand and heroic ("wonderful work," "shaping destinies," "high and lofty ambitions"), reflecting Anne’s romanticized view of teaching.
  • She sees herself as a molder of greatness, a theme that ties into Montgomery’s broader interest in the power of education and mentorship.

• "You could never tell what might happen if a teacher used her influence for good."

  • This line reveals Anne’s optimism and faith in potential. She believes in the transformative power of guidance, a belief that drives her throughout the novel.

• "A famous personage... bowing low over her wrinkled hand and assuring her that it was she who had first kindled his ambition..."

  • The future scene she imagines is highly dramatic and sentimental, typical of Anne’s melodramatic tendencies.
  • The "wrinkled hand" suggests she is aging gracefully, still revered in old age for her past influence.
  • The vagueness of the famous personage’s achievements ("just exactly what he was to be famous for was left in convenient haziness") is humorous—Anne cares more about the idea of greatness than the specifics.

This daydream is both endearing and slightly absurd, highlighting:

• Her idealism (she genuinely believes in her ability to inspire).
• Her self-importance (she pictures herself as the pivotal figure in someone’s success).
• Her love of narrative (she frames her life as a story with a grand climax).

4. The Interruption: Reality Intrudes

The passage ends abruptly:

• "This pleasant vision was shattered by a most unpleasant interruption."
  • The abrupt shift from fantasy to reality is a common narrative device in Montgomery’s work, reinforcing the fragility of Anne’s daydreams.
  • The unspecified interruption creates suspense, pulling the reader into the next scene.

This moment serves as a microcosm of Anne’s journey in Anne of Avonlea:

• She wants to believe in her grand visions, but life (and people) often disrupt them.
• The novel will explore how she balances her ideals with the messier realities of teaching and adulthood.

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Themes in the Excerpt

1. The Power of Imagination vs. the Demands of Reality

   • Anne’s escape into fantasy is a coping mechanism, but the interruption reminds us that she must eventually engage with the real world.
   • This theme is central to Anne of Avonlea, where Anne must grow up without losing her creativity.

2. The Romanticization of Teaching

   • Anne views teaching as a noble, almost mythic calling, but the novel will show her struggling with unruly students, bureaucratic challenges, and her own inexperience.
   • This sets up a contrast between expectation and reality, a key motif in coming-of-age stories.

3. Nature as a Catalyst for Dreaming

   • The beauty of the Island landscape inspires Anne’s reverie, suggesting a deep connection between nature and creativity in Montgomery’s work.
   • The poppies, winds, and clouds are not just scenery—they active participants in Anne’s emotional state.

4. Youthful Idealism

   • Anne’s belief in her own potential impact is both naïve and admirable.
   • The novel will test whether her ideals can survive contact with the ordinary.

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Literary Devices

1. Imagery & Sensory Language

   • Montgomery’s vivid descriptions ("blue hazes scarfing," "elfishly whispering") create a dreamlike, immersive setting.
   • The contrast between the red poppies and dark firs is visually striking, reinforcing the tension between passion and discipline.

2. Personification

   • The wind whispers "elfishly," the haze "scarfs" the slopes—these choices give the natural world a magical, almost sentient quality, aligning it with Anne’s imaginative mindset.

3. Irony & Humor

   • Anne’s grand visions are understood by the reader to be exaggerated, creating a gentle, affectionate humor.
   • The vagueness of the "famous personage’s" achievements is playfully absurd, showing how Anne prioritizes emotion over logic.

4. Foreshadowing

   • The interruption at the end hints at the challenges Anne will face as a teacher—her idealism will be tested.
   • The Virgil slipping to the ground symbolizes how her academic ambitions may take a backseat to real-life experiences.

5. Stream of Consciousness

   • The passage flows seamlessly from external description to Anne’s inner thoughts, mimicking the wandering nature of her mind.

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Significance of the Excerpt

This opening scene establishes the core of Anne’s character and the novel’s central conflicts:

• It introduces Anne as a dreamer, but one who is beginning to engage with adult responsibilities.
• It sets up the tension between her ideals and reality, a struggle that will define her growth.
• It reinforces Montgomery’s signature blend of whimsy and wisdom—Anne’s fantasies are charming but not entirely practical, and the novel will explore how she navigates the space between the two.

For readers, this moment is nostalgic and relatable—it captures the universal experience of being young, ambitious, and a little bit deluded about one’s own importance, all while finding beauty in the world around us.

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Final Thoughts

This excerpt is a perfect encapsulation of Anne Shirley’s essence: intelligent but distractible, idealistic but grounded enough to be lovable, and deeply connected to both nature and her own vivid imagination. The contrast between the disciplined study of Virgil and the wild beauty of the Island mirrors the larger conflict in Anne’s life—how to hold onto wonder while stepping into adulthood.

Montgomery’s lyrical prose and keen psychological insight make this more than just a simple scene—it’s a meditation on youth, ambition, and the power of dreams. And yet, the humor and lightness keep it from feeling overly sentimental, making Anne’s flaws as endearing as her virtues.

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Questions

Question 1

The passage’s description of the natural landscape—“blue hazes scarfing the harvest slopes,” “little winds whispering elfishly in the poplars,” and “a dancing splendor of red poppies”—serves primarily to:

A. establish the pastoral simplicity of rural Prince Edward Island as a foil to Anne’s intellectual ambitions.
B. underscore the transience of summer beauty, mirroring Anne’s fleeting youth and unrealized potential.
C. create a sensory and emotional environment that seduces Anne away from disciplined study into imaginative reverie.
D. symbolize the untamed, chaotic forces of nature that Anne must learn to control as she matures into adulthood.
E. provide a realistic backdrop to the scene, grounding the reader in the historical and geographical setting of the novel.

Question 2

The narrator’s observation that Anne “seldom [comes] down to harsh facts . . . until she had to” implies which of the following about her character?

A. A deliberate avoidance of responsibility, suggesting a moral failing that will hinder her growth.
B. A pragmatic understanding that idealism must eventually yield to the demands of adulthood.
C. A cognitive and emotional predisposition toward romantic fantasy, which the narrative treats with affectionate irony.
D. An immature refusal to engage with reality, positioning her as an unreliable protagonist.
E. A strategic retreat into imagination as a means of coping with the oppressive expectations of her community.

Question 3

The “famous personage” in Anne’s daydream is deliberately left vague (“just exactly what he was to be famous for was left in convenient haziness”). This narrative choice most effectively:

A. highlights Anne’s lack of concrete goals, revealing her as an aimless dreamer rather than a serious educator.
B. invites the reader to project their own ambitions onto the scene, creating a universal appeal.
C. underscores that Anne is more enamored with the idea of influence and legacy than with the specifics of achievement.
D. suggests that Anne’s vision is prophetic, and the personage’s fame will indeed be so extraordinary it defies categorization.
E. reflects the limited opportunities available to women in Anne’s time, forcing her to imagine success in abstract terms.

Question 4

Which of the following best describes the relationship between the passage’s tone and its portrayal of Anne’s daydream?

A. The tone is gently mocking, indulging Anne’s fancifulness while subtly exposing its impracticality.
B. The tone is uncritically reverent, presenting Anne’s vision as a noble and achievable ideal.
C. The tone is ambivalent, oscillating between admiration for Anne’s ambition and frustration at her naivety.
D. The tone is didactic, using Anne’s daydream to illustrate the dangers of unchecked idealism.
E. The tone is nostalgic, framing Anne’s youthful imagination as something already lost to the passage of time.

Question 5

The “unpleasant interruption” at the end of the passage functions structurally as a:

A. comic deflation, undercutting Anne’s grandeur with bathos to elicit humor.
B. narrative hook, introducing a conflict that will dominate the remainder of the novel.
C. symbolic representation of the adversity Anne will face in her teaching career.
D. thematic reinforcement of the passage’s central tension between imagination and reality.
E. authorial intrusion, reminding the reader of the constructed nature of the story.

Solutions and Explanations

1) Correct answer: C

Why C is most correct: The passage’s lush, sensory descriptions of the landscape are not merely decorative; they actively lure Anne away from her intended task (studying Virgil) into a state of dreamy contemplation. The personification of natural elements ("whispering elfishly," "dancing splendor") imbues the setting with a seductive, almost magical quality, making it a catalyst for her imaginative escape. This aligns with Montgomery’s broader use of nature as a portal to fantasy in her works.

Why the distractors are less supported:

• A: While the passage contrasts nature with intellectual discipline, the landscape is not a foil in the traditional sense (a direct opposition to highlight Anne’s flaws). Instead, it colludes with her tendencies, making this option too adversarial.
• B: Transience is not the focus here; the imagery emphasizes vibrancy and allure, not decay or fleetingness.
• D: The natural forces are not framed as chaotic or untamed—they are inviting and harmonious, not something Anne needs to "control."
• E: The description is not purely realistic; it is heightened and poetic, serving a psychological and thematic purpose beyond mere setting.

2) Correct answer: C

Why C is most correct: The narrator’s phrasing—"seldom did until she had to"—carries a tone of affectionate irony. It acknowledges Anne’s chronic idealism as a quirk rather than a flaw, suggesting the narrative indulges her tendencies even as it gently pokes fun at them. This aligns with Montgomery’s portrayal of Anne as endearingly flawed, not morally deficient or pragmatically astute.

Why the distractors are less supported:

• A: The passage does not frame Anne’s behavior as a moral failing; the tone is playful, not judgmental.
• B: Anne’s eventual concession to "harsh facts" is not presented as a mature understanding but as a reluctant necessity, making this option too generous.
• D: The narrative does not treat Anne as unreliable; her imagination is part of her charm, not a liability.
• E: There is no indication that Anne’s retreat is a strategic coping mechanism—it is spontaneous and habitual, not a calculated response to external pressure.

3) Correct answer: C

Why C is most correct: The vagueness of the "famous personage" reveals that Anne is more invested in the emotional gratification of being remembered than in the practical details of achievement. The phrase "convenient haziness" is key—it suggests that the specifics are irrelevant to her fantasy; what matters is the narrative of influence itself. This reflects her romantic, abstract thinking.

Why the distractors are less supported:

• A: While Anne’s goals are abstract, the passage does not criticize her as aimless; her daydream is portrayed as whimsical, not pathological.
• B: The vagueness is not an invitation to the reader but a character revelation—it tells us about Anne’s priorities.
• D: The passage does not treat the daydream as prophetic; the irony lies in its unrealistic grandeur.
• E: The text does not link the vagueness to gendered limitations; it is a character trait, not a societal constraint.

4) Correct answer: A

Why A is most correct: The tone is warm but subtly amused. Phrases like "convenient haziness" and the abrupt interruption of Anne’s fantasy undermine its seriousness, revealing the narrative’s gentle mockery. The passage celebrates her imagination while winkingly acknowledging its impracticality, a hallmark of Montgomery’s style.

Why the distractors are less supported:

• B: The tone is not uncritically reverent; the irony in "convenient haziness" signals a lighthearted skepticism.
• C: The tone does not oscillate—it is consistently affectionate and ironic, not ambivalent.
• D: The passage is not didactic; it does not warn against idealism, merely observes it with humor.
• E: The tone is not nostalgic; Anne’s imagination is very much alive in the present, not a lost relic.

5) Correct answer: D

Why D is most correct: The "unpleasant interruption" is not just a plot device but a thematic echo of the passage’s central tension: imagination vs. reality. It reinforces the idea that Anne’s daydreams are fragile, repeatedly disrupted by the mundane or unexpected. This mirrors the novel’s broader exploration of how Anne’s ideals will clash with real-world challenges.

Why the distractors are less supported:

• A: While there is humor in the interruption, it is not purely comic deflation—it serves a structural and thematic purpose.
• B: The interruption is not a major narrative hook; it is a microcosm of the novel’s conflict, not a specific plot catalyst.
• C: It is not a direct symbol of teaching adversity; it is a generalized reinforcement of the imagination/reality divide.
• E: There is no authorial intrusion; the interruption is diegetic (within the story world), not metatextual.