Matthew enjoyed the drive after his own fashion, except during the moments when he met women and had to nod to them—for in Prince Edward Island you are supposed to nod to all and sundry you meet on the road whether you know them or not.
Matthew dreaded all women except Marilla and Mrs. Rachel; he had an uncomfortable feeling that the mysterious creatures were secretly laughing at him. He may have been quite right in thinking so, for he was an odd-looking personage, with an ungainly figure and long iron-gray hair that touched his stooping shoulders, and a full, soft brown beard which he had worn ever since he was twenty. In fact, he had looked at twenty very much as he looked at sixty, lacking a little of the grayness.
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 small Bright River hotel and went over to the station house. The long platform was almost deserted; the only living creature in sight being a girl who was sitting on a pile of shingles at the extreme end. Matthew, barely noting that it was a girl, sidled past her as quickly as possible without looking at her. Had he looked he could hardly have failed to notice the tense rigidity and expectation of her attitude and expression. She was sitting there waiting for something or somebody and, since sitting and waiting was the only thing to do just then, she sat and waited with all her might and main.
Matthew encountered the stationmaster locking up the ticket office preparatory to going home for supper, and asked him if the five-thirty train would soon be along.
“The five-thirty train has been in and gone half an hour ago,” answered that brisk official. “But there was a passenger dropped off for you—a little girl. She’s sitting out there on the shingles. I asked her to go into the ladies’ waiting room, but she informed me gravely that she preferred to stay outside. ‘There was more scope for imagination,’ she said. She’s a case, I should say.”
“I’m not expecting a girl,” said Matthew blankly. “It’s a boy I’ve come for. He should be here. Mrs. Alexander Spencer was to bring him over from Nova Scotia for me.”
The stationmaster whistled.
“Guess there’s some mistake,” he said. “Mrs. Spencer came off the train with that girl and gave her into my charge. Said you and your sister were adopting her from an orphan asylum and that you would be along for her presently. That’s all I know about it—and I haven’t got any more orphans concealed hereabouts.”
“I don’t understand,” said Matthew helplessly, wishing that Marilla was at hand to cope with the situation.
“Well, you’d better question the girl,” said the station-master carelessly. “I dare say she’ll be able to explain—she’s got a tongue of her own, that’s certain. Maybe they were out of boys of the brand you wanted.”
He walked jauntily away, being hungry, and the unfortunate Matthew was left to do that which was harder for him than bearding a lion in its den—walk up to a girl—a strange girl—an orphan girl—and demand of her why she wasn’t a boy. Matthew groaned in spirit as he turned about and shuffled gently down the platform towards her.
She had been watching him ever since he had passed her and she had her eyes on him now. Matthew was not looking at her and would not have seen what she was really like if he had been, but an ordinary observer would have seen this: A child of about eleven, garbed in a very short, very tight, very ugly dress of yellowish-gray wincey. She wore a faded brown sailor hat and beneath the hat, extending down her back, were two braids of very thick, decidedly red hair. Her face was small, white and thin, also much freckled; her mouth was large and so were her eyes, which looked green in some lights and moods and gray in others.
. . .
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 brown hand the handle of a shabby, old-fashioned carpet-bag; the other she held out to him.
“I suppose you are Mr. Matthew Cuthbert of Green Gables?” she said in a peculiarly clear, sweet voice. “I’m very glad to see you. I was beginning to be afraid you weren’t coming for me and I was imagining all the things that might have happened to prevent you. I had made up my mind that if you didn’t come for me to-night I’d go down the track to that big wild cherry-tree at the bend, and climb up into it to stay all night. I wouldn’t be a bit afraid, and it would be lovely to sleep in a wild cherry-tree all white with bloom in the moonshine, don’t you think? You could imagine you were dwelling in marble halls, couldn’t you? And I was quite sure you would come for me in the morning, if you didn’t to-night.”
which characters are static and dynamic? use evident from the passage above
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In the excerpt from "Anne of Green Gables," we can identify both static and dynamic characters based on their development and changes throughout the passage.
Static Characters:
Matthew Cuthbert: Matthew is mostly portrayed as a shy and gentle man who is uncomfortable around women outside of his familiarity with Marilla and Mrs. Rachel. His characteristics—awkwardness, discomfort, and reserved nature—remain consistent throughout the passage. While he does face an unexpected situation upon meeting Anne, his fundamental personality does not change; he continues to be the same timid and uncertain figure he starts as.
Dynamic Characters:
Anne Shirley (the girl at the station): Although we only see her introductory moment in this excerpt, Anne is portrayed as imaginative and lively. From the way she interacts with Matthew—from immediately introducing herself and expressing her imaginative thoughts about climbing a cherry tree—suggests her dynamic nature. Throughout the novel, Anne undergoes significant changes in character, developing from a spirited and impulsive girl to a mature young woman.
In the overall context of the story, Anne's character is marked by continual growth and development, making her a dynamic character. Matthew's character, on the other hand, remains largely unchanged as he continues to grapple with his social anxieties and approach to life, aligning him with the characteristics of a static character.
1 answer