37 Matching Annotations
  1. Aug 2018
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    1. That was a good thirty years ago if it was a day.

      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.

  3. Jul 2018
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    1. Maria laughed and laughed again till the tip of her nose nearly met the tip of her chin.

      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.

    2. Then she dried her eyes and went over to the looking-glass. She dipped the end of the towel in the water-jug and refreshed her eyes with the cool water. She looked at herself in profile and readjusted a hairpin above her ear. Then she went back to the bed again and sat at the foot. She regarded the pillows for a long time and the sight of them awakened in her mind secret, amiable memories. She rested the nape of her neck against the cool iron bed-rail and fell into a reverie. There was no longer any perturbation visible on her face.

      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.

    3. They had reached the corner of Ely Place.

      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.

    4. THE grey warm evening of August had descended upon the city and a mild warm air, a memory of summer, circulated in the streets. The streets, shuttered for the repose of Sunday, swarmed with a gaily coloured crowd. Like illumined pearls the lamps shone from the summits of their tall poles upon the living texture below which, changing shape and hue unceasingly, sent up into the warm grey evening air an unchanging unceasing murmur.

      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.

    5. Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.

      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.

    6. It crept onward among ruinous houses and over the twinkling river.

      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.

    7. peaceful and resigned

      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!

    8. The room through the lace end of the blind was suffused with dusky golden light amid which the candles looked like pale thin flames.

      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.

    1. ...

      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.

    2. on the stage

      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.

    3. perched

      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.

    4. Out came the thin, butter-yellow watch again, and for the twentieth—fiftieth—hundredth time he made the calculation.

      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.

    5. shrewd grey

      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.

    6. in the new way

      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.

    7. persistent gnawing

      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?

    8. There was a wind like ice. People went flitting by, very fast; the men walked like scissors; the women trod like cats. And nobody knew—nobody cared. Even if she broke down, if at last, after all these years, she were to cry, she’d find herself in the lock-up as like as not.

      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.

    9. At that she threw back her coat; she turned and faced me; her lips parted. “Good heavens—why! I—I don’t mind it a bit. I—I like waiting.” And suddenly her cheeks crimsoned, her eyes grew dark—for a moment I thought she was going to cry. “L—let me, please,” she stammered, in a warm, eager voice. “I like it. I love waiting! Really—really I do! I’m always waiting—in all kinds of places... “ Her dark coat fell open, and her white throat—all her soft young body in the blue dress—was like a flower that is just emerging from its dark bud.

      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.

    10. How did one meet men? Or even if they’d met them, how could they have got to know men well enough to be more than strangers?

      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?'

    11. Cyril still lingered

      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.

    12. The very smoke coming out of their chimneys was poverty-stricken. Little rags and shreds of smoke, so unlike the great silvery plumes that uncurled from the Sheridans’ chimneys. Washerwomen lived in the lane and sweeps and a cobbler, and a man whose house-front was studded all over with minute bird-cages. Children swarmed.

      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.

    13. And the perfect afternoon slowly ripened, slowly faded, slowly its petals closed

      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.

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      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.

    2. His property was entirely at his own disposal, and was of two kinds. Property in land (I purposely abstain from using technical language), and property in money.

      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.

    3. When the Christian hero of a hundred charitable victories plunges into a pitfall that has been dug for him by mistake, oh, what a warning it is to the rest of us to be unceasingly on our guard! How soon may our own evil passions prove to be Oriental noblemen who pounce on us unawares!

      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.

    4. He has purchased my time, but not even HIS wealth can purchase my conscience too.1

      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.

    5. So the years pass, and repeat each other; so the same events revolve in the cycles of time.

      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.

    6. On the day before, Mr. Godfrey Ablewhite arrived at his father’s house, and asked (as I know from Mr. Ablewhite, senior, himself) for a loan of three hundred pounds. Mark the sum; and remember at the same time, that the half-yearly payment to the young gentleman was due on the twenty-fourth of the month. Also, that the whole of the young gentleman’s fortune had been spent by his Trustee, by the end of the year ’forty-seven.

      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.

    7. “And Murder!” added Gooseberry, pointing, with a keener relish still, to the man on the bed. There was something so hideous in the boy’s enjoyment of the horror of the scene, that I took him by the two shoulders and put him out of the room.

      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'.

    8. which seems to grow keener and keener, as the time comes nearer and nearer when I shall endure and feel no more? How useless to ask these questions! Mr. Blake has given me a new interest in life. Let that be enough, without seeking to know what the new interest is.

      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.

    9. If the excellent Betteredge had been present while I was considering that question, and if he had been let into the secret of my thoughts, he would, no doubt, have declared that the German side of me was, on this occasion, my uppermost side.

      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.

    10. Inquiring at the hotel, I received the necessary directions for finding the Sergeant’s cottage. It was approached by a quiet bye-road, a little way out of the town, and it stood snugly in the middle of its own plot of garden ground, protected by a good brick wall at the back and the sides, and by a high quickset hedge in front. The gate, ornamented at the upper part by smartly-painted trellis-work, was locked. After ringing at the bell, I peered through the trellis-work, and saw the great Cuff’s favourite flower everywhere; blooming in his garden, clustering over his door, looking in at his windows. Far from the crimes and the mysteries of the great city, the illustrious thief-taker was placidly living out the last Sybarite years of his life, smothered in roses!

      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.

    11. You are an observant man–did you notice anything strange in any of the servants (making due allowance, of course, for fright and fluster), after the loss of the Diamond was found out? Any particular quarrel among them? Any one of them not in his or her usual spirits? Unexpectedly out of temper, for instance? or unexpectedly taken ill?”

      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.

    12. Being restless and miserable, and having no particular room to go to, I took a turn on the terrace, and thought it over in peace and quietness by myself. It doesn’t much matter what my thoughts were. I felt wretchedly old, and worn out, and unfit for my place–and began to wonder, for the first time in my life, when it would please God to take me. With all this, I held firm, notwithstanding, to my belief in Miss Rachel. If Sergeant Cuff had been Solomon in all his glory, and had told me that my young lady had mixed herself up in a mean and guilty plot, I should have had but one answer for Solomon, wise as he was, “You don’t know her; and I do.”

      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.

    13. While we were waiting, Sergeant Cuff looked through the evergreen arch on our left, spied out our rosery, and walked straight in, with the first appearance of anything like interest that he had shown yet. To the gardener’s astonishment, and to my disgust, this celebrated policeman proved to be quite a mine of learning on the trumpery subject of rose-gardens.

      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.

    14. I began to feel a little uneasy. There was something in the way Penelope put it which silenced my superior sense. I called to mind, now my thoughts were directed that way, what had passed between Mr. Franklin and Rosanna overnight. She looked cut to the heart on that occasion; and now, as ill-luck would have it, she had been unavoidably stung again, poor soul, on the tender place. Sad! sad!–all the more sad because the girl had no reason to justify her, and no right to feel it.

      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.

    15. Still, this don’t look much like starting the story of the Diamond–does it? I seem to be wandering off in search of Lord knows what, Lord knows where. We will take a new sheet of paper, if you please, and begin over again, with my best respects to you.

      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.