Anne of Green Gables - Chapter 3

Summary

Stories Podcast: A Bedtime Show for Kids of All Ages Episode Summary: Anne of Green Gables - Chapter 3 Release Date: June 6, 2025

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Overview

In this episode of the Stories Podcast, host Amanda Weldon and producer Andrew Martin bring to life Chapter 3 of Lucy Maud Montgomery's beloved classic, Anne of Green Gables. This chapter delves deeper into the challenges faced by Anne Shirley as she adjusts to her new life at Green Gables, highlighting themes of acceptance, identity, and the longing for belonging.

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Key Plot Points

Marilla's Disappointment and Anne's Despair

The episode opens with Marilla Cuthbert expressing her surprise and disappointment upon meeting Anne. Expecting a boy to help with farm chores, Marilla is taken aback by Anne's appearance—a girl with "long braids of red hair and the eager, luminous eyes" (02:26). This unanticipated turn leads Marilla to confront the situation, emphasizing their need for a boy as an assistant on the farm.

Anne, feeling rejected, grapples with intense emotions of not being wanted. Her despair is palpable as she admits, "You don't want me because I'm not a boy. I might have expected it. Nobody ever did want me." (04:15). This heartfelt confession underscores Anne's vulnerability and the profound impact of Marilla and Matthew's expectations on her self-worth.

The Struggle for Acceptance

As Anne attempts to settle into her new environment, Marilla and Matthew grapple with the implications of Anne's presence. During dinner, Anne's reluctance to eat further highlights her inner turmoil. When confronted, she explains her inability to eat, drawing a vivid picture of "a lump comes right up in your throat and you can't swallow anything, not even if it was a chocolate caramel" (08:40). This metaphor not only illustrates her emotional state but also her deep-seated desire for acceptance.

Sleeping Arrangements and Isolation

Marilla devises Anne's sleeping arrangements, reflecting their uncertainty and reservation. Anne is ultimately placed in the east gable room, described as "a lonely heart, hungry, friendless child" (16:21). Her solitary tears symbolize the isolation she feels, setting the stage for future developments in her relationship with the Cuthberts.

Marilla and Matthew's Conflict

A significant portion of the chapter focuses on Marilla and Matthew's differing perspectives regarding Anne. Marilla is adamant about returning Anne to the asylum, citing practical reasons and her preference for a male helper. In contrast, Matthew shows a subtle yet profound empathy towards Anne, hinting at his soft spot for her. This conflict lays the groundwork for the evolving dynamic between the two guardians and Anne's eventual place in their lives.

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Notable Quotes

• Anne Shirley: "You don't want me because I'm not a boy. I might have expected it. Nobody ever did want me." (04:15)

• Anne Shirley: "Oh, this is the most tragical thing that ever happened to me." (04:30)

• Marilla Cuthbert: "Anne is a real good, plain, sensible name. You've no need to be ashamed of it." (06:30)

• Anne Shirley: "I've always imagined that my name was Cordelia, at least I always have of late years." (07:00)

• Matthew Cuthbert: "We might be some good to her." (10:45)

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Themes and Insights

1. Identity and Self-Worth: Anne's struggle with her identity, compounded by Marilla and Matthew's expectations, highlights the importance of being valued for who one truly is.

2. Acceptance and Belonging: The chapter underscores the universal desire for acceptance and the pain of rejection, laying the foundation for Anne's journey toward finding her place at Green Gables.

3. Contrast Between Characters: Marilla's practicality and Matthew's empathy create a dynamic contrast that adds depth to their characters and sets the stage for future character development.

4. Emotional Resilience: Anne's ability to express her emotions openly, despite feeling unwanted, showcases her resilience and sets her apart as a spirited protagonist.

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Conclusion

Chapter 3 of Anne of Green Gables profoundly explores the complexities of new beginnings, the yearning for acceptance, and the challenges of adapting to unforeseen circumstances. Through vivid narration and emotional depth, the episode captures Anne's initial hardships and the seeds of transformation that will blossom as the story progresses.

Listeners can anticipate further developments in Anne's relationship with the Cuthberts and her journey toward becoming an integral part of Green Gables in upcoming episodes.

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Timestamp Reference

• 02:26 - Introduction to Chapter 3
• 04:15 - Anne expresses feeling unwanted
• 04:30 - Anne's emotional collapse
• 06:30 - Marilla discusses Anne's name
• 07:00 - Anne's preference for her name
• 08:40 - Anne's inability to eat due to despair
• 10:45 - Matthew's compassionate remark

(Note: The timestamps provided are indicative based on the transcript segments and may not correspond to exact moments in the original podcast episode.)

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Transcript

[Amanda Weldon]

Hello. Welcome to Stories Podcast. I'm your host, Amanda Weldon.

[Andrew Martin]

Today's story is a chapter from the.

[Amanda Weldon]

Classic novel Anne of Green Gables by Lucy Maud Montgomery.

[Andrew Martin]

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[Amanda Weldon]

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[Andrew Martin]

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[Amanda Weldon]

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[Amanda Weldon]

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[Amanda Weldon]

Thanks. Enjoy the episode. Chapter 3 Marilla Cuthbert is surprised Marilla came briskly forward as Matthew opened the door. But when her eyes fell on the odd little figure in the stiff, ugly dress with the long braids of red hair and the eager, luminous Eyes. She stopped short in amazement. Matthew Cuthbert, who is that? She ejaculated. Where is the boy? There wasn't any boy, said Matthew wretchedly. There was only her. He nodded at the child, remembering that he had never even asked her name. No boy. But there must have been a boy, insisted Marilla. We sent word to Mrs. Spencer to bring a boy. Well, she didn't. She brought her. I asked the Station Master and I had to bring her home. She couldn't be left there, no matter where the mistake had come in. Well, this is a pretty piece of business, ejaculated Marilla. During this dialogue, the child had remained silent, her eyes roving from one to the other, all the animation fading out of her face. Suddenly she seemed to grasp the full meaning of what had been said. Dropping her precious carpet bag, she sprang forward a step and clasped her hands. You don't want me. She cried. You don't want me because I'm not a boy. I might have expected it. Nobody ever did want me. I might have known it was all too beautiful to last. I might have known nobody really did want me. Oh, what shall I do? I'm going to burst into tears. Burst into tears she did. Sitting down on a chair by the table, flinging her arms out upon it and burying her face in them, she proceeded to cry stormily. Marilla and Matthew looked at each other deprecatingly across the stove. Neither of them knew what to say or do. Finally, Marilla stepped lamely into the breach. Well, well, there's no need to cry so about it. Yes, there is need. The child raised her head quickly, revealing a tear stained face and trembling lips. You would cry too, if you were an orphan and had come to a place you thought was going to be a home and found that they didn't want you because you weren't a boy. Oh, this is the most tragical thing that ever happened to me. Something like a reluctant smile, rather rusty from long disuse, mellowed Marilla's grim expression. Well, don't cry anymore. We're not going to turn you out of doors tonight. You'll have to stay here until we investigate this affair. What's your name? The child hesitated for a moment. Will you please call me Cordelia? She said eagerly. Call you Cordelia? Is that your name? No, it's not exactly my name, but I would love to be called Cordelia. It's such a perfectly elegant name. I don't know what on earth you mean. If Cordelia isn't your name, what is? Anne Shirley Reluctantly, faltered forth the owner of the name. But oh, please do call me Cordelia. It can't matter much to you what you call me if I'm only going to be here a little while, can it? And Anne is such an unromantic name. Unromantic fiddlesticks, said the unsympathetic Marilla. Anne is a real good, plain, sensible name. You've no need to be ashamed of it. Oh, I'm not ashamed of it, explained Anne. Only I like Cordelia better. I've always imagined that my name was Cordelia, at least I always have of late years. When I was young I used to imagine it was Geraldine. But I like Cordelia better now. But if you call me Anne, please call me Anne. Spelled with an e. What difference does it make how it's spelled? Asked Marilla with another rusty smile as she picked up the teapot. Oh, it makes such a difference. It looks so much nicer when you hear a name pronounced. Can't you always see it in your mind just as if it was printed out? I can. And Ann looks dreadful, but Anne looks so much more distinguished. If you'll only call me Ann, spelled with an e, I shall try to reconcile myself to not being called Cordelia. Very well, then, Anne, spelled with an e. Can you tell us how this mistake came to be made? We sent word to Mrs. Spencer to bring us a boy. Were there no boys at the asylum? Oh, yes, there was an abundance of them. But Mrs. Spencer said distinctly that you wanted a girl about 11 years old, and the matron said she thought I would do. You don't know how delighted I was. I couldn't sleep all last night for joy. Oh, she added reproachfully, turning to Matthew. Why didn't you tell me at the station that you didn't want me and leave me there? If I hadn't seen the White Way of Delight and the Lake of Shining Waters, it wouldn't be so hard. What on earth does she mean? Demanded Marilla, staring at Matthew. She's. She's just referring to some conversation we had on the road, said Matthew hastily. I'm going out to put the mare in Marilla. Have tea ready when I come back. Did Mrs. Spencer bring anybody over besides you? Continued Marilla when Matthew had gone out. She brought Lily Jones for herself. Lily is only five years old and she is very beautiful. She has nut brown hair. If I was very beautiful and had nut brown hair, would you keep me? No. We want a boy to help Matthew on the farm. A girl would be of no use to us. Take off your hat. I'll lay it and your bag on the hall table. Anne took off her hat meekly. Matthew came back presently and they sat down to dinner. But Anne could not eat in vain. She nibbled at the bread and butter and pecked at the crab apple preserve out of the little scalloped glass dish by her plate. She did not really make any headway at all. You're not eating anything, said Marilla sharply, eyeing her as if it was a serious shortcoming. Anne sighed.

[Andrew Martin]

I can't.

[Amanda Weldon]

I'm in the depths of despair. Can you eat when you're in the depths of despair? I've never been in the depths of despair, so I can't say, responded Marilla. Weren't you? Well, did you ever try to imagine you were in the depths of despair? No, I didn't. Then I don't think you can understand what it's like. It's a very uncomfortable feeling indeed when you try to eat. A lump comes right up in your throat and you can't swallow anything, not even if it was a chocolate caramel. I had one chocolate caramel once, two years ago, and it was simply delicious. I've often dreamed since then that I had a lot of chocolate caramels, but I always wake up just when I'm going to eat them. I do hope you won't be offended because I can't eat. Everything is extremely nice, but still I cannot eat. I guess she's tired, said Matthew, who hadn't spoken since his return from the barn. Best to put her to bed. Marilla. Marilla had been wondering where Anne should be put to bed. She had prepared a couch in the kitchen chamber for the desired and expected boy, but although it was neat and clean, it did not seem quite the thing to put a girl there somehow. But the spare room was out of question for such a stray waif. So there remained only the east gable room. Marilla lighted a candle and told Anne to follow her, which Anne spiritlessly did, taking her hat and carpet bag from the hall table as she passed. The hall was fearsomely clean. The little gable chamber in which she presently found herself seemed still cleaner. Marilla set the candle on a three legged, three cornered table and turned down the bedclothes. I suppose you have a nightgown? She questioned. Anne nodded. Yes, I have two. The matron of the asylum made them for me. They're fearfully skimpy. There is never enough to go around in an asylum, so things are always skimpy, at least in a poor asylum like ours. I hate skimpy night dresses, but one can dream just as well in them as in lovely trailing ones with frills around the neck. That's one consolation. Well, undress as quick as you can and go to bed. I'll come back in a few minutes for the candle. I daren't trust you to put it out yourself. You'd likely set the place on fire. When Marilla had gone, Anne looked around her wistfully. The whitewashed walls were so painfully bare and staring that she thought they must ache over their own bareness. The floor was bare too, except for a round braided mat in the middle such as Anne had never seen before. In one corner was the bed, a high old fashioned one with four dark low turned posts. In the other corner was the aforesaid three cornered table adorned with a fat red velvet pin cushion hard enough to turn the of the most adventurous pin. Above it hung a little six by eight mirror. Midway between table and bed was the window with an icy white muslin frill over it, and opposite it was the washstand. The whole apartment was of a rigidity not to be described in words, but which sent a shiver to the very marrow of Anne's bones. With a sob, she hastily discarded her garments, put on the skimpy nightgown, and sprang into bed, where she burrowed face downward into the pillow and pulled the clothes over her head. Now for a quick ad break.

[Andrew Martin]

We'll be back with the rest of the story after this. If you'd like Stories Podcast and other favorite kid podcasts ad free. Subscribe to Wondery Kids on Apple Podcasts.

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[Amanda Weldon]

Thanks. And now back to the story when Marilla came up for the light. Various skimpy articles of raiment scattered most untidily over the floor, and a certain tempestuous appearance of the bed were the only indications of any presence save her own. She deliberately picked up Anne's clothes, placed them neatly on a prim yellow chair, and then, taking up the candle, went over to the bed. Good night, she said A little awkwardly, but not unkindly. Anne's white face and big eyes appeared over the bedclothes with startling suddenness. How can you call it a good night when you know it must be the very worst night I've ever had? She said reproachfully. Then she dived down into invisibility again. Marilla went slowly down to the kitchen and proceeded to wash the supper dishes. Mathie was smoking, a sure sign of perturbation of mind. He seldom smoked, for Marilla set her face against it as a filthy habit, but at certain times and seasons he felt driven to it. And then Marilla winked at the practice, realizing that a mere man must have some vent for his emotions. Well, this is a pretty kettle of fish, she said wrathfully. This is what comes of sending word instead of going ourselves. Robert Spencer's folks have twisted that message somehow. One of us will have to drive over and see Mrs. Spencer tomorrow, that's certain. This girl will have to be sent back to the asylum. Yes, I suppose so, said Matthew reluctantly. You suppose so, don't you know it? Well, now, she's a real nice little thing, Marilla. It's kind of a pity to send her back when she's so set on staying here. Matthew Cuthbert, you don't mean to say you think we ought to keep her? Marilla's astonishment could not have been greater if Matthew had expressed a predilection for standing on his head. Well, now, no, I suppose not. Not exactly, stammered Matthew, uncomfortably driven into a corner for his precise meaning. I suppose we could hardly be expected to keep her. I should say not. What good would she be to us? We might be some good to her, said Matthew suddenly and unexpectedly. Matthew Cuthbert, I believe that child has bewitched you. I can see as plain as plain that you want to keep her. Well, now, she's a real interesting little thing, persisted Matthew. He should have heard her talk coming from the station. Oh, she can talk fast enough. I saw that at once. It's nothing in her favor, either. I don't like children who have so much to say. I don't want an orphan girl, and if I did, she isn't the style I'd pick out. There's something I don't understand about her. No, she's got to be dispatched straight away back to where she came from. I could hire a French boy to help me, said Matthew, and she'd be company for you. I'm not suffering for company, said Marilla shortly, and I'm not going to keep her. Well, now, it's just as you say. Of course, Marilla, said Matthew, rising and putting his pipe away. I'm going to bed. To bed went Matthew. And to bed, when she had put her dishes away, went Marilla, frowning most resolutely. And upstairs in the East Gable, a lonely heart, hungry, friendless child cried herself to sleep. Tune in for another chapter next week.

[Andrew Martin]

Today's story was a chapter of Anne.

[Amanda Weldon]

Of Green Gables, written for your by Lucy Maud Montgomery, edited and produced for you by Andrew Martin and performed for you by me, Amanda Weldon. Thanks for listening.

[Disney Pixar]

Do you want to spend another summer stuck at home?

[Jim]

Hey, Jim, how's your back?

[Amanda Weldon]

Oh, you know.

[Jim]

I hear ya.

[Disney Pixar]

Leave the small talk behind because Disney and Pixar invite you on an out of this world adventure.

[Andrew Martin]

Engaging Hyperspeed this is awesome.

[Disney Pixar]

On June 20th.

[Jim]

Welcome to the communiverse.

[Amanda Weldon]

Prepare to be conquered.

[Jim]

But I just got here. Follow me. What is this, Lace? These are the lava tunnels. I am not fireproof.

[Disney Pixar]

Disney and Pixar's Elio in theaters June 20. Tickets available now. Rated PG for rental guidance Suggested.