Book Anatomy · Anne of Green Gables
Anne of Green Gables: Prose style
17 lenses on prose style for Anne of Green Gables by L.M. Montgomery. Count lenses are exact for our text. AI lenses are our reading and cite only quotes that passed a word for word check.
Jump to: H1 H2 H3 H4 H5 H6 H7 H8 H9 H10 H11 H12 H13 H14 H15 H16 H17
H1. Readability score per chapter. Count
Flesch reading ease for the whole book is about 77 (higher is easier; 60 to 70 is plain English).
Reading ease per chapter, chapter by chapter
H2. Vocabulary range. Count
7,548 different words. On average 51 in every 100 words are new within a 500 word stretch. 3,397 words appear only once.
H3. Signature words: what this author uses far more than others. Count
anne, diana, matthew, school, anne's. See the full lens on the book page.
H4. Adverb and adjective rates. Count
About 16.5 words ending in 'ly' and 9.16 likely adjectives per 1,000 words. (rough estimate from word lists)
'ly' words per 1,000, chapter by chapter
H5. Share of weak verbs such as "was" and "had". Count
'Was', 'were', 'had', 'is' and 'are' make up 3.1% of all words.
H6. Passive voice rate. Count
About 4.3% of sentences use a passive form such as 'was taken'. (rough estimate from word lists)
H7. Variety of sentence openings. Count
The five most common first words start 28% of sentences: i, but, anne, she, oh.
| First word | Sentences |
|---|---|
| i | 885 |
| but | 368 |
| anne | 293 |
| she | 271 |
| oh | 243 |
| it | 240 |
| and | 221 |
| the | 207 |
| i’m | 162 |
| you | 157 |
H8. Rhythm: how much sentence length varies. Count
Sentence length varies by 0.72 of its mean on average (higher means a more varied rhythm).
Variation per chapter, chapter by chapter
H9. Similes and metaphors: how many, and of what kind. Both
194 likely similes ('like a', 'as ... as'): 1.88 per 1,000 words. (rough estimate from word lists)
Ch 1, para 9: With this Mrs. Rachel stepped out of the lane into the backyard of Green Gables. Very green and neat and precise was that yard, set about on one …
Ch 1, para 14: Marilla was a tall, thin woman, with angles and without curves; her dark hair showed some gray streaks and was always twisted up in a hard little knot …
Ch 1, para 24: “Well, we’ve been thinking about it for some time--all winter in fact,” returned Marilla. “Mrs. Alexander Spencer was up here one day before Christmas and she said she …
Ch 2, para 5: When he reached Bright River there was no sign of any train; he thought he was too early, so he tied his horse in the yard of the …
Ch 2, para 16: Matthew, however, was spared the ordeal of speaking first, for as soon as she concluded that he was coming to her she stood up, grasping with one thin …
Ch 2, para 28: Matthew, much to his own surprise, was enjoying himself. Like most quiet folks he liked talkative people when they were willing to do the talking themselves and did …
Montgomery uses similes and metaphors abundantly, often comparing emotions and nature. Examples: Anne's hair as a source of shame, the 'White Way of Delight' for the road, and the 'bend in the road' as life's uncertainty. Most are romantic and emotional rather than violent or dark.
Chapters: Ch 2, Ch 4, Ch 5, Ch 38
the White Way of Delight. Isn’t that a nice imaginative name? (Ch 2, para 54)
There was scope for imagination here. (Ch 4, para 4)
When I left Queen’s my future seemed to stretch out before me like a straight road. I thought I could see along it for many a milestone. Now there is a bend in it. (Ch 38, para 26)
H10. Senses used: sight, sound, smell, touch, taste. Both
Share of sense words. sight 56%, touch 19%, sound 17%, taste 6%, smell 1%. (rough estimate from word lists)
| Sense | Words |
|---|---|
| sight | 741 |
| touch | 250 |
| sound | 229 |
| taste | 81 |
| smell | 18 |
Sight dominates: cherry trees, red hair, puffed sleeves, beautiful landscapes. Sound appears in dialogue and music. Smell and taste are rare; touch is minimal. The book privileges visual beauty and emotional sensation over physical sensation.
Chapters: Ch 4, Ch 11, Ch 24, Ch 25
There was scope for imagination here. (Ch 4, para 4)
I tried to imagine mine were puffed, too, but I couldn’t. Why couldn’t I? (Ch 11, para 30)
I’m to have a wreath of white roses on my hair and Ruby Gillis is going to lend me her slippers because I haven’t any of my own. (Ch 24, para 15)
H11. Repetition, lists of three and other patterns. Both
88 lists of three in the pattern 'a, b and c': 0.85 per 1,000 words. (rough estimate from word lists)
Lists of three appear frequently: 'scope for imagination,' 'kindred spirits,' and emotional states. Repetition of key phrases like 'bosom friend' and 'White Way of Delight' anchors themes. Patterns of apology and forgiveness recur throughout.
Chapters: Ch 4, Ch 12, Ch 16, Ch 18
I solemnly swear to be faithful to my bosom friend, Diana Barry, as long as the sun and moon shall endure. (Ch 12, para 36)
Oh, Marilla!” Anne clasped her hands. “How perfectly lovely! You are able to imagine things after all or else you’d never have understood how I’ve longed for that very thing. (Ch 16, para 9)
Even Diana gets along better than I do. But I don’t mind being beaten by Diana. Even although we meet as strangers now I still love her with an inextinguishable love. (Ch 17, para 41)
H12. Old words that may trip modern readers. Count
Old forms that may trip a modern reader: thee, art, thy, whence, wilt, thou.
| Word | Times |
|---|---|
| thee | 9 |
| art | 3 |
| thy | 3 |
| whence | 2 |
| wilt | 1 |
| thou | 1 |
| nay | 1 |
| methinks | 1 |
H13. Showing against telling, with examples. AI
Montgomery shows character through action and dialogue more than summary. Anne's temper with Mrs. Lynde (chapter 9) and her rescue of Minnie May (chapter 18) reveal her nature. Marilla's love is shown through small acts rather than stated directly.
Chapters: Ch 9, Ch 10, Ch 18, Ch 27
Leaving this Parthian shaft to rankle in Anne’s stormy bosom, Marilla descended to the kitchen, grievously troubled in mind and vexed in soul. (Ch 9, para 51)
At that moment Marilla had a revelation. In the sudden stab of fear that pierced her very heart she realized what Anne had come to mean to her. (Ch 23, para 25)
she could hear his voice saying, “My girl--my girl that I’m proud of.” Then the tears came and Anne wept her heart out. (Ch 37, para 18)
H14. How much description comes before action. Both
Description is woven throughout rather than dumped in blocks. Landscape details emerge as Anne notices them during action. The opening paragraph is an exception: it describes Mrs. Lynde's location at length before introducing her character.
Chapters: Ch 1, Ch 4, Ch 12, Ch 31
not even a brook could run past Mrs. Rachel Lynde’s door without due regard for decency and decorum (Ch 1, para 1)
There was scope for imagination here. (Ch 4, para 4)
I shall always like to remember that there is a brook at Green Gables even if I never see it again. (Ch 4, para 15)
H15. Filter words such as "saw", "felt", "heard". Count
Filter words ('saw', 'felt', 'heard' and so on): 5.08 per 1,000 words.
| Word | Times |
|---|---|
| thought | 150 |
| felt | 106 |
| saw | 71 |
| knew | 65 |
| heard | 50 |
| seemed | 46 |
| noticed | 13 |
| realized | 9 |
| watched | 7 |
| wondered | 6 |
H16. Shifts in tone. AI
Tone shifts from comic (early chapters with Anne's mishaps) to serious (Matthew's death, chapter 37) to bittersweet acceptance (chapter 38). The narrative voice maintains warmth throughout but darkens when addressing loss and duty.
Chapters: Ch 9, Ch 16, Ch 27, Ch 37, Ch 38
Leaving this Parthian shaft to rankle in Anne’s stormy bosom, Marilla descended to the kitchen, grievously troubled in mind and vexed in soul. (Ch 9, para 51)
It was the last night before sorrow touched her life; and no life is ever quite the same again when once that cold, sanctifying touch has been laid upon it. (Ch 36, para 43)
God’s in his heaven, all’s right with the world,’” whispered Anne softly. (Ch 38, para 64)
H17. How the comedy works. AI
Comedy arises from Anne's misunderstandings and exaggerations: the currant wine incident, the liniment cake, and her hair-dyeing disaster. Humour also comes from the gap between Anne's romantic ideals and practical reality, and from Marilla's dry observations.
Chapters: Ch 16, Ch 21, Ch 27
Not a thing but raspberry cordial,” sobbed Anne. “I never thought raspberry cordial would set people drunk, Marilla--not even if they drank three big tumblerfuls as Diana did. (Ch 16, para 46)
Mercy on us, Anne, you’ve flavored that cake with Anodyne Liniment. I broke the liniment bottle last week and poured what was left into an old empty vanilla bottle. (Ch 21, para 44)
It’s called ‘The Jealous Rival; or In Death Not Divided.’ I read it to Marilla and she said it was stuff and nonsense. (Ch 26, para 14)
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