Article #544-2 | Gutenberg Articles

Excerpt

Excerpt from Anne's House of Dreams, by L. M. Montgomery

“Thanks be, I’m done with geometry, learning or teaching it,” said Anne
Shirley, a trifle vindictively, as she thumped a somewhat battered
volume of Euclid into a big chest of books, banged the lid in triumph,
and sat down upon it, looking at Diana Wright across the Green Gables
garret, with gray eyes that were like a morning sky.

The garret was a shadowy, suggestive, delightful place, as all garrets
should be. Through the open window, by which Anne sat, blew the sweet,
scented, sun-warm air of the August afternoon; outside, poplar boughs
rustled and tossed in the wind; beyond them were the woods, where
Lover’s Lane wound its enchanted path, and the old apple orchard which
still bore its rosy harvests munificently. And, over all, was a great
mountain range of snowy clouds in the blue southern sky. Through the
other window was glimpsed a distant, white-capped, blue sea--the
beautiful St. Lawrence Gulf, on which floats, like a jewel, Abegweit,
whose softer, sweeter Indian name has long been forsaken for the more
prosaic one of Prince Edward Island.

Diana Wright, three years older than when we last saw her, had grown
somewhat matronly in the intervening time. But her eyes were as black
and brilliant, her cheeks as rosy, and her dimples as enchanting, as in
the long-ago days when she and Anne Shirley had vowed eternal
friendship in the garden at Orchard Slope. In her arms she held a
small, sleeping, black-curled creature, who for two happy years had
been known to the world of Avonlea as “Small Anne Cordelia.” Avonlea
folks knew why Diana had called her Anne, of course, but Avonlea folks
were puzzled by the Cordelia. There had never been a Cordelia in the
Wright or Barry connections. Mrs. Harmon Andrews said she supposed
Diana had found the name in some trashy novel, and wondered that Fred
hadn’t more sense than to allow it. But Diana and Anne smiled at each
other. They knew how Small Anne Cordelia had come by her name.

Explanation

**Detailed Explanation of the Excerpt from Anne’s House of Dreams by L. M. Montgomery**

This passage opens Anne’s House of Dreams (1917), the fifth book in L. M. Montgomery’s beloved Anne of Green Gables series. The novel follows Anne Shirley Blythe as she and her husband, Gilbert, begin their married life in the coastal village of Four Winds, Prince Edward Island. This excerpt, set just before their departure, captures a moment of transition—Anne’s relief at leaving behind her teaching days, her deep bond with Diana, and the nostalgic beauty of Green Gables.

Context & Setting

The scene takes place in the garret of Green Gables, the attic space that has been a sanctuary for Anne since her childhood. The garret is a liminal space—both a physical and symbolic threshold between Anne’s past (her girlhood in Avonlea) and her future (marriage and a new home). The description of the garret and the landscape outside is rich with sensory imagery, grounding the reader in the familiar yet bittersweet atmosphere of departure.

Key contextual details:

Anne’s character arc: Once a dreamy, impulsive orphan, Anne is now a married woman, a former teacher, and a stepmother (to Gilbert’s orphaned ward, Little Jem). Her declaration about geometry reflects her growth and weariness—she has outgrown the rigid structures of academia (symbolized by Euclid) and is ready for new adventures.
Diana’s role: Diana Wright (née Barry) is Anne’s childhood best friend, now a mother. Their friendship, a cornerstone of the series, is reaffirmed here through shared secrets (the naming of "Small Anne Cordelia").
Prince Edward Island (PEI) as a character: The island’s natural beauty—the Gulf of St. Lawrence, Lover’s Lane, the orchard—is almost a living presence, tying Anne to her roots even as she prepares to leave.

Themes

Transition & Letting Go
- Anne’s vindictive thumping of the Euclid book and her triumphant declaration (“I’m done with geometry”) symbolize her rejection of past constraints. Geometry, with its rigid rules, contrasts with Anne’s imaginative, emotional nature. Her relief suggests a desire for freedom—both from teaching and from the expectations of others.
- The garret as a metaphor: Garrets are often associated with hidden dreams, memories, and creativity (think of Jo March’s attic in Little Women). Anne’s perch on the book chest suggests she is literally and figuratively closing a chapter.
Friendship & Shared Secrets
- Diana and Anne’s wordless understanding about the name "Cordelia" (a reference to Shakespeare’s King Lear, hinting at loyalty and tragedy) highlights their unbreakable bond. The name is a private joke—perhaps a nod to Anne’s dramatic childhood (she once named a pond "Lake of Shining Waters") or a literary homage.
- The Avonlea gossips’ disapproval (e.g., Mrs. Harmon Andrews) contrasts with the women’s quiet defiance, reinforcing the theme of female solidarity against judgment.
Nature as a Mirror of Emotion
- The sensory richness of the setting (scented air, rustling poplars, snowy clouds) reflects Anne’s mixed emotions: excitement for the future, nostalgia for the past. The distant sea foreshadows her move to Four Winds, a coastal village where the ocean will play a central role.
- The contrast between the garret’s shadowy interior and the bright exterior mirrors Anne’s internal conflict—she is torn between the comfort of home and the allure of the unknown.
Motherhood & Legacy
- Diana’s child, "Small Anne Cordelia," is a living link between the past and future. The name honors Anne while also asserting Diana’s independence (choosing an unconventional name despite gossip). This subtly foreshadows Anne’s own journey into motherhood.

Literary Devices

Imagery & Sensory Language
- Visual: "Gray eyes like a morning sky," "snowy clouds in the blue southern sky," "white-capped, blue sea."
- Auditory: "Poplar boughs rustled and tossed," the "thump" of the book.
- Olfactory/Tactile: "Sweet, scented, sun-warm air."
- Effect: Immerses the reader in the scene, making the garret feel alive and nostalgic.
Symbolism
- Euclid’s geometry book: Represents structure, duty, and the past. Anne’s rejection of it signals her embrace of creativity and change.
- The garret: A liminal space between childhood and adulthood, reality and imagination.
- The sea: Symbolizes the unknown future (Anne’s new life in Four Winds).
Foreshadowing
- The distant sea hints at Anne’s upcoming move to a coastal town.
- "Small Anne Cordelia": The name (from King Lear) may foreshadow trials of loyalty or sacrifice in Anne’s future.
Irony & Humor
- Anne’s dramatic dislike of geometry is humorous given her usually romantic nature.
- The gossips’ misunderstanding of the name Cordelia adds lighthearted social commentary.
Personification & Pathetic Fallacy
- The poplar boughs "rustled and tossed" as if alive, mirroring Anne’s restless energy.
- The sun-warm air and snowy clouds create a harmonious yet transient mood, reflecting Anne’s emotions.

Significance of the Passage

Character Development
- Anne is no longer the impulsive girl of Green Gables but a woman carving her own path. Her defiance (slamming the book, naming choices) shows her growing confidence.
- Diana’s matronly yet dimpled appearance contrasts with Anne’s youthful spirit, highlighting their different life stages while preserving their bond.
Nostalgia & Change
- The passage lingers on the beauty of Green Gables, making the reader (and Anne) reluctant to leave. This sets up the emotional weight of Anne’s departure.
- The sea’s presence—both in the distance and as a future setting—creates a bridge between past and future.
Montgomery’s Signature Style
- Lyrical descriptions of nature (a hallmark of Montgomery’s work) elevate ordinary moments into something poetic.
- Small-town gossip (e.g., Mrs. Harmon Andrews) adds realism and humor, grounding the story in its early 20th-century PEI setting.
Feminist Undertones
- Anne’s rejection of teaching (a conventional role for women) and her move toward marriage on her own terms reflect early feminist themes.
- Diana’s naming of her child despite gossip shows female agency in a patriarchal society.

Line-by-Line Breakdown (Key Moments)

"Thanks be, I’m done with geometry, learning or teaching it," said Anne Shirley, a trifle vindictively…"
- Tone: Playfully defiant. Anne’s vindictiveness is humorous but also reveals her frustration with constraints.
- Action: Thumping the book and banging the lid symbolizes finality—she is physically and emotionally closing this chapter.
"The garret was a shadowy, suggestive, delightful place, as all garrets should be."
- Atmosphere: The garret is mysterious and full of potential, much like Anne’s future.
- "Suggestive": Implies hidden stories and dreams, reinforcing the garret as a metaphor for Anne’s inner world.
"Beyond them were the woods, where Lover’s Lane wound its enchanted path…"
- Symbolism: Lover’s Lane represents romance and nostalgia—Anne’s past with Gilbert and her idealism.
- "Enchanted": Suggests magic in the ordinary, a key theme in Montgomery’s work.
"Diana Wright, three years older than when we last saw her, had grown somewhat matronly in the intervening time."
- Contrast: Diana’s maturity (motherhood, marriage) vs. Anne’s youthful spirit (still perched on a book chest like a girl).
- "Somewhat matronly": Implies social expectations of women, which Diana has embraced while Anne resists.
"Avonlea folks were puzzled by the Cordelia… Diana and Anne smiled at each other."
- Shared secret: Their smile is a silent rebellion against gossip, reinforcing their unbreakable bond.
- Literary reference: "Cordelia" (from King Lear) may hint at loyalty tested by hardship, foreshadowing challenges ahead.

Conclusion: Why This Passage Matters

This excerpt is more than just a scene—it’s a microcosm of the entire series. It captures:

Anne’s growth from a dreamy girl to a woman ready for new adventures.
The tension between tradition and change (geometry vs. imagination, Avonlea vs. Four Winds).
The power of female friendship (Anne and Diana’s unspoken understanding).
The beauty of PEI as both a home and a symbol of possibility.

Montgomery’s rich imagery, symbolic depth, and warm humor make this passage nostalgic yet forward-looking—a perfect opening for a novel about dreams, love, and the courage to embrace the unknown.

Would you like a deeper dive into any specific aspect, such as the Shakespearean reference or the role of nature in Montgomery’s work?

Questions

Question 1

The passage’s description of Anne thumping the Euclid book and banging the chest lid serves primarily to:

A. illustrate Anne’s long-standing academic struggles, which have left her bitter toward formal education.
B. contrast the rigidity of mathematics with the fluid, imaginative world Anne prefers to inhabit.
C. enact a symbolic rejection of past constraints as Anne prepares to transition into a new phase of life.
D. emphasize the physical weariness Anne feels after years of teaching, foreshadowing her need for rest.
E. provide a humorous moment that underscores Anne’s dramatic flair, even in mundane actions.

Question 2

The garret’s dual windows—one framing the inland landscape and the other the distant sea—function most significantly as a:

A. spatial metaphor for Anne’s psychological tension between rootedness in Avonlea and the allure of her unknown future.
B. literal representation of Prince Edward Island’s geography, grounding the scene in a specific regional identity.
C. device to contrast the pastoral simplicity of rural life with the chaotic, unpredictable nature of the ocean.
D. symbol of the generational divide between Anne and Diana, the former gazing outward while the latter remains inward-focused.
E. foreshadowing of the novel’s central conflict, where Anne will be torn between land-based stability and maritime adventure.

Question 3

Diana and Anne’s shared smile over the name “Cordelia” is most effectively interpreted as an expression of:

A. nostalgic amusement at their childhood penchant for melodramatic literary references.
B. quiet defiance against the judgmental norms of Avonlea’s conservative community.
C. maternal pride in passing down a name that carries personal, if obscure, significance.
D. ironic detachment from the gossips, whom they view as too unsophisticated to understand their choices.
E. a private language of friendship that transcends the need for explicit explanation or external validation.

Question 4

The passage’s portrayal of Mrs. Harmon Andrews’ disapproval of the name “Cordelia” primarily serves to:

A. expose the narrow-mindedness of Avonlea’s social milieu, which polices female creativity and individuality.
B. provide comic relief by juxtaposing the gossips’ prosaic worldview with Anne and Diana’s romantic idealism.
C. highlight the generational gap between older women like Mrs. Andrews and the younger, more progressive Anne.
D. underscore Diana’s vulnerability to social pressure, despite her outward confidence in naming her child.
E. foreshadow the eventual reconciliation between Anne and the Avonlea community as she matures.

Question 5

The “snowy clouds in the blue southern sky” and the “white-capped, blue sea” are most thematically resonant as:

A. visual motifs that unify the passage’s contrasting landscapes, suggesting harmony between permanence and change.
B. metaphors for the fleeting nature of youth, as Anne stands on the cusp of adulthood and motherhood.
C. symbols of the isolation Anne feels, surrounded by beauty yet poised to leave her childhood home.
D. literal descriptions that emphasize the idyllic, almost mythic quality of Prince Edward Island’s scenery.
E. foreshadowing of the storms—both literal and emotional—that Anne will face in her new life.

Solutions and Explanations

1) Correct answer: C

Why C is most correct: The act of thumping the Euclid book and banging the lid is ritualistic and performative, signaling Anne’s deliberate severance from a chapter of her life. Geometry, with its rigid rules, stands in for the structures she has outgrown—teaching, academic expectations, and perhaps even the disciplined role of a schoolmarm. Her vindictive tone and physical force suggest this is not merely relief but an assertion of agency as she prepares for marriage and a new home. The passage frames this as a threshold moment, making C the most thematically defensible choice.