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 19 - (VERSO)

3(begin strikethrough)2(end strikethrough)36 336
with her than with amusement at a selection that was rather threadbare even in Avonlea (begin subscript)^(end subscript)(begin superscript)H11 (end superscript)¶ Only one number on the programme failed to interest her. When Gilbert Blythe recited “Bingen on the Rhine,” Anne picked up Rhoda Murray’s library book and read it until he had finished, when she sat rigidly stiff and motionless while Diana clapped her hands until they tingled.

It was eleven when they got home, sated with dissipation, but with the exceeding sweet pleasure of talking it all over still to come. Everybody seemed asleep and the house was dark and silent. Anne and Diana tiptoed into the parlour, a long,


LMM Notes

LMM Note H11
; and when Mr. Phillips gave Mark Antony’s oration over the dead body of (begin strikethrough)Cesaer(end strikethrough) Caesar in the most heart stirring tones–looking at Prissy Andrews at the end of every sentence–Anne felt that she could rise and mutiny on the spot if but one Roman citizen led the way.


"Mark Anthony's oration" [in H11]: From Shakespeare’s Julius Caesar, III.ii.77–276.


"¶": Note another pilcrow to indicate where Montgomery wanted the paragraph to break.


"Bingen on the Rhine": The Caroline Sheridan Norton poem Anne mentioned in Chapter 5 as one she already knows by heart. The poem was often set to music.