Warning: If you have a visual impairment, use the manuscript transcript version including the Lucy Maud Montgomery’s foot notes and contextual annotation references.

Chapter 17

her. And, indeed, when she told the whole story to Matthew that night, she did laugh heartily over Anne’s tribulations. K9


Chap. 17

A New Interest in Life

The next afternoon Anne, bending over her patchwork at the kitchen window, happened to glance out and behold Diana down by Dryad’s Bubble beckoning mysteriously. In a trice Anne was out of the house and flying down to the hollow, astonishment and hope struggling in her (begin subscript)^(end subscript)(begin superscript)expressive(end superscript) eyes. But hope faded when she saw Diana’s dejected countenance.

“Your mother hasn’t relented?” she gasped.

Diana shook her head mournfully.

“No; and oh, Anne, she says I’m never to play with you again. I’ve cried and


LMM Notes

LMM Note K9
But when she stepped into the (begin strikethrough)eas(end strikethrough) east gable before going to bed and found that Anne had cried herself to sleep (begin strikethrough)in(end strikethrough) an unaccustomed softness crept into her face. “Poor little soul,” she murmured, lifting a loose curl of hair from the child’s tear-stained face. Then she bent down and kissed the flushed cheek on the pillow.


"Then she bent down and kissed" [in K9]: A perfect example of where Montgomery's revising adds real depth to scene and character even if the general shape of the original outlined story did not change. Here, rather than ending the scene with Marilla laughing at Anne's mishap with the wine, Montgomery ends the chapter with tenderness: Marilla kisses Anne's tear-stained cheek.


"In a trice": In an instant. Notice that Montgomery chooses a poetical way of expressing Anne’s response when the scene itself is what Anne considers "romantic."