The explicit reference to time here reminds the reader of the vast time frame discussed not only in this short story, but in the Dubliners as a whole. Spcay's NER could accurately identify those time allusions in Dubliners, and equip us with the techniques to analyze how time fled under the narrative of The Dead, and in the Dubliners as well.

Maria was a very amiable figure in this short story and she laughed quite a lot. It would be easy to explore the context of her laughs, with the aid of Ngrams technique.It would also be funny to find all the quaint features of Maria: her tiny little body, her way of laughing, etc.

Polly's actions here could be analyzed by extracting the past tense verbs. She seemed to fall into a reverie of the future. Perhaps we could weigh her actions with regard to Mr.Doran's to penetrate what they genuinely expect from the affair.

Excessive spaces crammed in this passage. Wouldn't it be interesting to plot out the dispersion of spaces, or the tracks of their wandering? That might give some insight to the novel's spatial representation.

This paragraph was an exquisite work to invoke the readers' memories for such a grey warm evening of August. Whether it be coincidence or not, I think in this tiny section Joyce had packed a sense of circulation, a memory. For instance, in the last sentence, there was the recurring of 'unceasing', the lamp's shape and hue changed unceasingly, in turn, the evening air was endowed with the unceasing murmur. And there was the mention of 'grey warm evening' , or 'warm air', altogether 3 times. Interestingly, Joyce slightly varied the expressions of trigrams, the first time as 'grey warm evening', the second as 'mild warm air', the third as 'warm grey evening'. This variation itself created a touch of circulation.

Precisely allocated alliteration! The rhythm of this sentence is so beautiful! The act of 'driven' by vanity corresponds to 'anguish', and derision by the same thing corresponds accordingly to 'anger'. I wonder if there are more of this kind of usage in Joyce's novels.

This melancholy passage was imbued with active voices for what we often would consider as still objects. For instance, the hallstand 'received' the weight of the coat, the sight of the streets 'thronged' with buyers, and here, the train 'crept' onward. These active voices were extremely vivid and characterized Joyce's writing style.

James Joyce played around with adjectives for the corpse of the late Father. He described his face as 'very truculent, grey and massive, with black cavernous nostrils and circled by a scanty white fur' a few lines before, but here, he turned the whole picture around completely!

The candle flames were an oft-repeated motif in the story. It was related to death, and the 'dusky golden' light delineated here had a metaphorically sinister meaning. Mining amid the words that appeared frequently with this ominous light would probably further exploit its other allusions.

This punctuation mark appeared quite a lot in the maid's narrative. The loss of her Lady was unbearable to her. Her whole world used to revolve around her Lady. And a frequency comparison of '...' in this and other short stories of Katherine would probably show the maid's awkwardness in her monologue.

Katherine is adept at those trigrams that remind the readers of the theme of her stories. The ideal family was regarded by outsiders as an exemplar as if they were on the stage, and even in their own house, in their private times, the voice of their daughter was so histrionic as if she were on the stage.

How delicately Katherine had chosen her words! Mr.Hammond had always the feeling that Mrs.Hammond was like a bird, but a too delicate, too precious one, and that she would fly away if he let go. Here, the verb 'perch' most exquisitely demonstrated this point.

The watch is a recurring motif in this story. And time after time the 'thin', 'butter-yellow' aspects of the watch were underscored. And here Katherine demonstrated a peculiar use of the token '----' , maybe she used it in consistence with her other stories such as The Garden Party.

The author devoted a lot of beautiful adjectives to delineate Mr.Hammond's glance: 'quick', 'eager', 'nervous', 'shrewd', and so on. Maybe fetching those words would facilitate our understanding of this character.

A couple of times did the 'new' s appeared. Seemingly , Isabel had picked up a new way of living when she took her friend's advice and moved to the new house. In her reflection in her bedroom, the adjectives used were all negative, indicating a not-so-charming turn in her character. She had done everything in the new way: new house, new servants, new friends. And those that stood most intimate to her in the past were stifled in her heart, and her new self was jeering at them, and, by the few lines in the last two paragraph, no doubt William was among those. A search for 4-gram 'in the new way' or other synonyms of 'new' might reveal something.

A recurring element in the story is the persistent gnawing of William. Could look for bigrams 'persistent gnawing'. What exactly is the cause of the painful gnawing in his breast? His marriage to Isabel seemed empty and he hadn't the remotest notion what Isabel's life was like when he was not around. Is their marriage a dead one?

Intriguing are the similes here. Perhaps we could run a search for such key words of metaphor such as 'like' in the story, and find out how Katherine Mansfield's usage of them linked to the themes.

Could go in detailed analysis with all the striking colors. 'crimson','dark',;white', 'blue' and 'gold' appeared quite frequently in the story. Perhaps the colors were a symbolism of her status and her pensive nature. A young girl that was always waiting, in all kinds of places.

A series of questions exposed a hypothetical situation when the mother of Constantia and Josephine still lived. The death of their father somehow reminded them of their father's tyranny when it came to their contacts with eligible young men. These psychological questions lingered now that they have to make lives of their own. Perhaps we could separate these questions from other sentences to understand their frames of mind. Just as the repeated questioning: 'Now? But Now?'

I found the adverbs and verbs in this part of conversation between Cyril, Con and Josephine very descriptive. The subtle changes in the facial expressions and attitudes of Auntie Con and Josephine was delineated perfectly by those words when Cyril said that he didn't quite know whether his father was still fond of meringues breezily. Capturing those words may be crucial to analyze their relationships.

A comparison of the smoke that came out of the chimneys brings about a pathetically stark contrast of the socioeconomic lives of people who lived in such proximity. Perhaps an extraction of the adjectives used to describe their chimney smokes could better demonstrate the differences.

An intriguing metaphor: the novel's name is The Garden Party, but nothing happened at the garden party was narrated in the novel, the only allusion to the process of the party is this, a few compliments on Laura's stunning appearance, and good-byes. Perhaps the metaphor also indicates that Laura's innocent age, (when she had not a taste of life and death), slowly ripened, and slowly faded with the perfect afternoon at the exact same time.

Towards the end of the Mr.Bruff's narrative, the mysteries revolving around the Indians began to disperse at last. Mr.Bruff took a particular notice of date and time in his narrative, and thus the intimate connection of the chain of events after the Diamond left the country house was gradually unveiled.

In the solicitor's narrative, we can clearly see how his expertise in the law field influenced his narration. Such words as 'in the first place' , 'in the second place', 'then', 'in the latter event', 'in the former event', indicated his lucid consciousness to narrate events logically.

Miss Clark's narrative is embued with this sort of Sunday-school exclamations. She spontaneously took almost everything she experienced to a religious level, and she appeared to enjoy this didactic way of lecturing on human nature.

Here, I find it peculiar that Miss Clark demonstrated a strong sense of self-dignity here. In spite of her deep regard of Mr.Franklin as a 'spiritually-wealthy' relative, she depicted her employment of narrating the events of the Moonstone as due to Mr.Franklin's mere caprice. In addition, in her account of her acceptance of the 'pecuniary remmuneration', she empasized the struggle it took for her Christian humility to triumph over self-pride. She seemed to feel insignificant because of her monetary disadvantages, but at the same time she was unwillingly to suppress the 'sacred truth' for the sake of Mr.Franklin's wealth.

Mr. Murthwaite expressed a different sentiment towards the Moonstone. He didn't seem to deem it as a cursed diamond, but as a magnificent gem, whose sacredness was protected by the Hindoos. In his narrative, he used several collocations repeatedly, which is in accordance with his belief that 'the same events revolve in the cycles of time'. Perhaps his attitudes towards the Moonstone could be computationally analyzed by detecting repeated collocations.

The facts elicited by the inquiry were stated by Sergeant Cuff in the most discreet and circumspect manner. The Sergeant, though placidly retired at this moment, still retained his habitual discreetness when writing his report. He took a particular attention to the due dates and sum of money, which, evidently were the keys to unravel the mystery shrouding Mr.Godfrey Ablewhite's conducts.

The relish of the boy in the robbery and murder was 'hideous' to Mr.Franklin, but it is also something noteworthy to analyze the boy's 'detective fever'.

Ezra Jennings expressed his yearning for human sympathy and his admiration for Mr.Franklin here. It appeared to me that nearly every character of the novel had some reason to adore Mr.Franklin. The peculiarity of Jennings is that he had long been plagued by distrust and dwelt in solitude. This and the impending death painted his affection towards Franklin rather melancholy, since this affection was intertwined with his crave for youth, riches, health, etc., all of which he had never, and probably would never have, an opportunity, to possess.

Franklin's resolution to solve the mystery about the Moonstone was taken to a higher level. Previously, he was only piqued by the mystery solely because it can help him restore his relationship with Miss Rachel, but here, as he confessed, the obstinate German side of him, despite him claiming that it was merely the conjecture of Mr.Betteredge, took over. What is fascinating is that in this part of Franklin's narrative, he seemed to profess his determination quite a lot. Perhaps we could run a similar word detection and plot the dispersion of it, to discover how frequently he used words related to determination.

Right here, the tenderness of Sergeant Cuff emerged again. The adjectives used to describe his cottage and his lifestyle could be extracted to delineate a clearer profile of the Sergeant.

This series of questions Sergeant Cuff fired at Betteredge demonstrated his clairvoyance. The examples of anomalies after a theft came easily enough to him, showing the expertise he had in his profession. And the mention of "unexpectedly taken ill" immediately reminded the reader and Mr.Betteredge of Rosanna's implication in all these plots.

The twists and turns in the investigation had exhausted Mr.Betteredge, but hadn't worn out his faith in Miss Rachel. Despite his awfully miserable feeling at Miss Rachel's being suspected, his belief in Miss Rachel never wavered. It's interesting how Betteredge's acquaintance with the suspect varied his viewpoint. Was his belief blinded by his familiarity with Miss Rachel? Was it a "human infirmity" that Mr.Betteredge tended to protect Miss Rachel? It appears necessary to analyze Betteredge's attitudes towards Miss Rachel to evaluate his statement of Miss Rachel's innocence here.

The unconcealed passion the Sergeant Cuff had for the rosery garden initially impressed Betteredge as "trumpery", and evidently inappropriate of a man of his profession. Curiously enough, further reading reveals that whenever the detective was onto some clues, he would stare out the window, and whistle the song "The Last Rose of Summer" to himself. The Sergeant's affection for roses here not only did not impede his "horrid clearness", but symbolized his tenderness for human infirmity, from my perspective. Just like the roses, human nature is lovable and fragile, but with thorns that occasionally stings. As a detective, Cuff didn't have that much opportunity to execute his tenderness, maybe the roses is a vent for this.

Betteredge's demonstrative narrative here appeals to me. All along the way, the old man had been high up above, examining Rosanna's affections towards Mr.Franklin from behind the veils. However, the quiet stolidity of Rosanna described by his daughter "silenced" his "superiority sense". Not only that Rosanna had been stung in the tenderest chamber of her heart, but also her lack of justification of her feelings, had aroused the melancholy sense. I would be intrigued to analyze the turn of Betteredge's feelings towards Rosanna, as revealed here for an instance. Additionally, the old man's stereotypes towards Rosanna might be linked to class prejudice, since she was a mere servant in the house.

The author dedicated his narrative to a form of self-questioning and self-answering here, indicating a degree of delirium and self-awareness at the same time. Meanwhile, the author left the readers in suspense: how is the story going to unfold? The rhetorical question seems to serve as a bait for the reader, and a clue for the writer to continue his narrative in a brand-new light.