Anne's interest in fashion becomes a motif that shows what a novelty it is for an orphan to possess nice things. In Chapter 11, Anne wishes that Marilla would make her a dress with puffed sleeves:
“Oh, I am grateful,” protested Anne. “But I’d be ever so much gratefuller if—if you’d made just one of them with puffed sleeves. Puffed sleeves are so fashionable now. It would give me such a thrill, Marilla, just to wear a dress with puffed sleeves.”
Despite Anne's plea, Marilla refuses to make her a fancier dress. She even says that puffed sleeves are "ridiculous-looking things" and that she prefers "the plain, sensible ones." This scene creates a contrast between Anne and Marilla, both in terms of age and in terms of their exposure to fashion. Marilla remains unimpressed with the latest styles, while Anne is enraptured by them. She desperately wants to experience the "thrill" of wearing the latest style.
In Chapter 2, Anne reveals the true reason for her interest in fashion:
But I do hope that some day I shall have a white dress. That is my highest ideal of earthly bliss. I just love pretty clothes. And I’ve never had a pretty dress in my life that I can remember—but of course it’s all the more to look forward to, isn’t it? And then I can imagine that I’m dressed gorgeously.
She makes this confession to Matthew, who takes it to heart. Later in the story, he buys her a very nice dress with puffed sleeves. Anne, who has "never had a pretty dress in [her] life," is absolutely elated. But her interest in clothes lies beyond a superficial or even social interest. Nice clothes represent life beyond the orphanage, and Matthew's kind gesture assures her of his support and understanding of her feelings. Having the same clothes as the other girls makes Anne feel less like an outsider and satisfies her appetite for beauty.
Pithy moral axioms—as well as Anne's defiance of them—recur in Anne of Green Gables to remind the reader of her independence. For example, in Chapter 5, Marilla asserts that peoples' names do not matter so long as they behave themselves:
“I guess it doesn’t matter what a person’s name is as long as he behaves himself,” said Marilla, feeling herself called upon to inculcate a good and useful moral.
Here, Marilla feels obligated to "inculcate" a "moral" in Anne. However, Anne resists, quoting Shakespeare's Romeo and Juliet and doubting that "a rose would be as nice if it was called a thistle or a skunk cabbage." Her humorous interpretation shows boldness, intelligence, and willingness to challenge the snappy moral sayings that Marilla accepts without much critical thought.
Anne also defies the saying that "Children are to be seen and not heard" in Chapter 2, a common 19th-century idiom:
It’s such a relief to talk when one wants to and not be told that children should be seen and not heard. I’ve had that said to me a million times if I have once. And people laugh at me because I use big words. But if you have big ideas you have to use big words to express them, haven’t you?
Here, Anne expresses relief at Matthew Cuthbert's quiet acceptance of her fanciful chatter. She asserts her own "big ideas" and never refuses a chance to share her opinions. She defies this lesson and many others throughout Anne of Green Gables, always giving reasonable explanations of why they are wrong. Despite the fact that moral sayings often sound good, they do not always make logical sense. Anne's character might be unruly, unpolished, and prone to mistakes, but she remains admirably honest and unbothered by stifling social customs. The motif of moral idioms, along with Anne's consistent refusal to accept them, highlights Anne's independent intelligence.
The natural world becomes a motif in Anne of Green Gables that suggests the beauty and mystery of life. From the first moment of her arrival, Anne expresses awe at Avonlea's natural features. In Chapter 4, on Anne's first morning at Green Gables, she peers out her window at a cherry tree in full bloom:
A huge cherry-tree grew outside, so close that its boughs tapped against the house, and it was so thick-set with blossoms that hardly a leaf was to be seen. On both sides of the house was a big orchard, one of apple-trees and one of cherry-trees, also showered over with blossoms; and their grass was all sprinkled with dandelions. In the garden below were lilac-trees purple with flowers, and their dizzily sweet fragrance drifted up to the window on the morning wind.
This tree embodies the bountiful beauty of Avonlea. It is so "huge" and "thick-set with blossoms" that Anne can barely see its leaves. She gazes at the tree and the garden below with "beauty-loving eyes," briefly distracted from the memory that she might have to leave Green Gables. With effusive affection, Anne nicknames this cherry tree "Snow Queen" to honor its presence by her window.
Even winter has its charm in Avonlea. In Chapter 25, on Christmas day, Anne again peers out of her window at the scene below:
Anne peeped out from her frosted gable window with delighted eyes. The firs in the Haunted Wood were all feathery and wonderful; the birches and wild cherry trees were outlined in pearl; the plowed fields were stretches of snowy dimples; and there was a crisp tang in the air that was glorious.
The cherry tree lacks its former flowers but is no less beautiful; it becomes part of the winter landscape "outlined in pearl." Each season in the natural world, as well as each season in Anne's life, has its particular kind of appeal. She learns to appreciate the joys and even the sorrows of life as she strives to see the best in every situation. Throughout the novel, Montgomery continues to describe the natural world in incredible detail. It becomes a perennial source of delight for Anne, who no longer has to depend entirely on her imagination to experience joy.
Pithy moral axioms—as well as Anne's defiance of them—recur in Anne of Green Gables to remind the reader of her independence. For example, in Chapter 5, Marilla asserts that peoples' names do not matter so long as they behave themselves:
“I guess it doesn’t matter what a person’s name is as long as he behaves himself,” said Marilla, feeling herself called upon to inculcate a good and useful moral.
Here, Marilla feels obligated to "inculcate" a "moral" in Anne. However, Anne resists, quoting Shakespeare's Romeo and Juliet and doubting that "a rose would be as nice if it was called a thistle or a skunk cabbage." Her humorous interpretation shows boldness, intelligence, and willingness to challenge the snappy moral sayings that Marilla accepts without much critical thought.
Anne also defies the saying that "Children are to be seen and not heard" in Chapter 2, a common 19th-century idiom:
It’s such a relief to talk when one wants to and not be told that children should be seen and not heard. I’ve had that said to me a million times if I have once. And people laugh at me because I use big words. But if you have big ideas you have to use big words to express them, haven’t you?
Here, Anne expresses relief at Matthew Cuthbert's quiet acceptance of her fanciful chatter. She asserts her own "big ideas" and never refuses a chance to share her opinions. She defies this lesson and many others throughout Anne of Green Gables, always giving reasonable explanations of why they are wrong. Despite the fact that moral sayings often sound good, they do not always make logical sense. Anne's character might be unruly, unpolished, and prone to mistakes, but she remains admirably honest and unbothered by stifling social customs. The motif of moral idioms, along with Anne's consistent refusal to accept them, highlights Anne's independent intelligence.
The motif of religion recurs in the text as a symbol of discipline, order, and tradition (in contrast to Anne's unconventional beliefs). In Chapter 7, as Anne and Marilla debate the meaning of prayer, Anne asks an important question:
“Why must people kneel down to pray? If I really wanted to pray I’ll tell you what I’d do. I’d go out into a great big field all alone or into the deep, deep, woods, and I’d look up into the sky—up—up—up—into that lovely blue sky that looks as if there was no end to its blueness. And then I’d just feel a prayer.”
Anne insists that she can feel prayer, whereas Marilla insists that she perform it. Anne's unique views clash with Marilla's more traditional ones; she does not understand why the older woman is so adamant about a particular method of prayer. Marilla believes that she is doing the right thing by teaching Anne to kneel and pray. She wants Anne to be a good citizen of Avonlea and a respectable member of her household. Marilla finds Anne's "felt" prayers unacceptable, partly because she does not understand them, and partly because religious practices represent the best way to maintain order and control in Green Gables.
In response to Anne's unconventional prayers, Marilla demands that Anne learn the Lord's Prayer in Chapter 8:
Anne—be sure your feet are clean and don’t let any flies in—and bring me out the illustrated card that’s on the mantelpiece. The Lord’s Prayer is on it and you’ll devote your spare time this afternoon to learning it off by heart. There’s to be no more of such praying as I heard last night.
Here, Marilla tries to impose religious tradition upon Anne. She gives a list of commands: "be sure your feet are clean," "don't let any flies in," "bring me [...] the card," and most importantly, that Anne will "devote [her] spare time" to learning the Lord's Prayer. Marilla speaks in strong imperative sentences that make her seem curt and annoyed. At this point, she sees Anne's whims and questions as a hindrance to her religious development, not a help. The debate between Anne and Marilla becomes symbolic of their opposite personalities; Anne resists tradition, partly because it's foreign to her and partly because it doesn't always leave room for her feelings or imagination, whereas Marilla embraces tradition as synonymous with genuine religion and thus imperative to learn. Prayer becomes a motif that develops the novel's theme of religion and the ongoing difference in perspective between Anne and Marilla.
The motif of religion recurs in the text as a symbol of discipline, order, and tradition (in contrast to Anne's unconventional beliefs). In Chapter 7, as Anne and Marilla debate the meaning of prayer, Anne asks an important question:
“Why must people kneel down to pray? If I really wanted to pray I’ll tell you what I’d do. I’d go out into a great big field all alone or into the deep, deep, woods, and I’d look up into the sky—up—up—up—into that lovely blue sky that looks as if there was no end to its blueness. And then I’d just feel a prayer.”
Anne insists that she can feel prayer, whereas Marilla insists that she perform it. Anne's unique views clash with Marilla's more traditional ones; she does not understand why the older woman is so adamant about a particular method of prayer. Marilla believes that she is doing the right thing by teaching Anne to kneel and pray. She wants Anne to be a good citizen of Avonlea and a respectable member of her household. Marilla finds Anne's "felt" prayers unacceptable, partly because she does not understand them, and partly because religious practices represent the best way to maintain order and control in Green Gables.
In response to Anne's unconventional prayers, Marilla demands that Anne learn the Lord's Prayer in Chapter 8:
Anne—be sure your feet are clean and don’t let any flies in—and bring me out the illustrated card that’s on the mantelpiece. The Lord’s Prayer is on it and you’ll devote your spare time this afternoon to learning it off by heart. There’s to be no more of such praying as I heard last night.
Here, Marilla tries to impose religious tradition upon Anne. She gives a list of commands: "be sure your feet are clean," "don't let any flies in," "bring me [...] the card," and most importantly, that Anne will "devote [her] spare time" to learning the Lord's Prayer. Marilla speaks in strong imperative sentences that make her seem curt and annoyed. At this point, she sees Anne's whims and questions as a hindrance to her religious development, not a help. The debate between Anne and Marilla becomes symbolic of their opposite personalities; Anne resists tradition, partly because it's foreign to her and partly because it doesn't always leave room for her feelings or imagination, whereas Marilla embraces tradition as synonymous with genuine religion and thus imperative to learn. Prayer becomes a motif that develops the novel's theme of religion and the ongoing difference in perspective between Anne and Marilla.
Anne's interest in fashion becomes a motif that shows what a novelty it is for an orphan to possess nice things. In Chapter 11, Anne wishes that Marilla would make her a dress with puffed sleeves:
“Oh, I am grateful,” protested Anne. “But I’d be ever so much gratefuller if—if you’d made just one of them with puffed sleeves. Puffed sleeves are so fashionable now. It would give me such a thrill, Marilla, just to wear a dress with puffed sleeves.”
Despite Anne's plea, Marilla refuses to make her a fancier dress. She even says that puffed sleeves are "ridiculous-looking things" and that she prefers "the plain, sensible ones." This scene creates a contrast between Anne and Marilla, both in terms of age and in terms of their exposure to fashion. Marilla remains unimpressed with the latest styles, while Anne is enraptured by them. She desperately wants to experience the "thrill" of wearing the latest style.
In Chapter 2, Anne reveals the true reason for her interest in fashion:
But I do hope that some day I shall have a white dress. That is my highest ideal of earthly bliss. I just love pretty clothes. And I’ve never had a pretty dress in my life that I can remember—but of course it’s all the more to look forward to, isn’t it? And then I can imagine that I’m dressed gorgeously.
She makes this confession to Matthew, who takes it to heart. Later in the story, he buys her a very nice dress with puffed sleeves. Anne, who has "never had a pretty dress in [her] life," is absolutely elated. But her interest in clothes lies beyond a superficial or even social interest. Nice clothes represent life beyond the orphanage, and Matthew's kind gesture assures her of his support and understanding of her feelings. Having the same clothes as the other girls makes Anne feel less like an outsider and satisfies her appetite for beauty.
In Anne of Green Gables, the motif of romance takes shape in three ways. Firstly, and most prominently, it refers to Anne's tendency to romanticize her life. She idealizes every situation, relying on her optimism and imagination to endure hardships. For example, she expresses her distress at having red hair by calling her life "a perfect graveyard of buried hopes" because it sounds "so nice and romantic, as if I were a heroine in a book." Life as an orphan was dull and boring, so she read books that inspired her to reconsider her life through the lens of romantic imagination.
The motif of romance also bubbles under the turbulent surface of Anne and Gilbert's relationship. Gilbert treats her very badly, teasing her in class and pulling her hair. But then he develops a crush on Anne and tries to become her friend. Anne refuses until the very last chapters when she is moved by Gilbert's offer to give up his position at the Avonlea school so she can stay at Green Gables. Later in Montgomery's series, Anne and Gilbert get married and have seven children! Their dynamic evolution suggests that love can develop in unexpected ways.
And finally, some bonds are platonic, such as the friendship between Anne and Diana. In Chapter 18, they run through Lover's Lane on the way to visit Minny May:
The two little girls hastened out hand in hand and hurried through Lover’s Lane and across the crusted field beyond, for the snow was too deep to go by the shorter wood way. Anne, although sincerely sorry for Minnie May, was far from being insensible to the romance of the situation and to the sweetness of once more sharing that romance with a kindred spirit.
Here Anne considers romance in a novel-heroine way, but above all, she appreciates sharing a "romance with a kindred spirit." Anne often calls Diana her "bosom friend," which means that they can confide in each other, spend time together, and help each other when the other is in need. Their emotional bond exemplifies the depth of love between good friends. Love need not always be physical or sexual; as Anne and Diana demonstrate, it can take place between two very good friends. Throughout the novel, romance becomes a multifaceted motif that encompasses fun, curiosity, friendship, and dynamic emotional growth.
The natural world becomes a motif in Anne of Green Gables that suggests the beauty and mystery of life. From the first moment of her arrival, Anne expresses awe at Avonlea's natural features. In Chapter 4, on Anne's first morning at Green Gables, she peers out her window at a cherry tree in full bloom:
A huge cherry-tree grew outside, so close that its boughs tapped against the house, and it was so thick-set with blossoms that hardly a leaf was to be seen. On both sides of the house was a big orchard, one of apple-trees and one of cherry-trees, also showered over with blossoms; and their grass was all sprinkled with dandelions. In the garden below were lilac-trees purple with flowers, and their dizzily sweet fragrance drifted up to the window on the morning wind.
This tree embodies the bountiful beauty of Avonlea. It is so "huge" and "thick-set with blossoms" that Anne can barely see its leaves. She gazes at the tree and the garden below with "beauty-loving eyes," briefly distracted from the memory that she might have to leave Green Gables. With effusive affection, Anne nicknames this cherry tree "Snow Queen" to honor its presence by her window.
Even winter has its charm in Avonlea. In Chapter 25, on Christmas day, Anne again peers out of her window at the scene below:
Anne peeped out from her frosted gable window with delighted eyes. The firs in the Haunted Wood were all feathery and wonderful; the birches and wild cherry trees were outlined in pearl; the plowed fields were stretches of snowy dimples; and there was a crisp tang in the air that was glorious.
The cherry tree lacks its former flowers but is no less beautiful; it becomes part of the winter landscape "outlined in pearl." Each season in the natural world, as well as each season in Anne's life, has its particular kind of appeal. She learns to appreciate the joys and even the sorrows of life as she strives to see the best in every situation. Throughout the novel, Montgomery continues to describe the natural world in incredible detail. It becomes a perennial source of delight for Anne, who no longer has to depend entirely on her imagination to experience joy.
