This is an aria from "The Bohemian Girl" by Balfe. Interestingly, this links the story with "Eveline", as Frank took Eveline to see "The Bohemian Girl." Perhaps Maria is a sign of the future that Eveline will have after not leaving Ireland.

Another reference to the tensions between Catholics and Protestants in Ireland. Unlike some of the other mentions, such as the boys throwing stones in "An Encounter," the relationship is more optimistically viewed.

This is the central point of the story. All of the relationships are dictated by social opinion. Mrs. Mooney is able to trap Doran because of his fear of others as she knows exactly how to manipulate public opinion.

Normally owners of brothels are referred to as the "Madam." Mrs. Mooney is just running a boarding house, though some elements of her business, like her treatment of her daughter that is shown later on, are exploitative.

This story contrasts well with "The Sisters." In the previous story, the menace that the Reverend might have had on the boy is implied. In this story, the feelings of the boy are explicitly stated in response to the encounter.

When she had the opportunity to change her life, she could not take it. Many of the Joyce stories deal with that incompleteness.

After reading the story, I thought that this line was very important. "Araby" tracks the narrator through a coming of age as he realizes the world is not so romantic. This phrase reminded me of some of the Mansfield stories we read, specifically Laura's view of the workmen in "The Garden Party."

Ellipses are used very frequently in the dialogue of the story. They give the impression that all characters are unsure of how to deal with the death, similar to the daughters in "The Daughters of the Late Colonel." Joyce might be indicating that the Reverend has a similar somewhat malevolent presence in the lives of these characters.

Many of the previous stories have idealized adulthood. This story has more explicit internal conflict over becoming an adult.

This line shows that Isabel has some self-awareness about what she has become. The earlier line "vile, odious,..." could refer to both the letter (from her new perspective) and herself. Mansfield's recurring theme of self-realization appears in this story as well. In this case, it is not coming of age like in "The Garden Party" or the failure to become an adult as shown in "The Daughters of the Late Colonel". Instead, this story shows an adult transformation based more on social group/class.

Seems to be like the phrase "let's go", probably in Italian. William has been presented as the typical Englishman, whereas Isabel and her new friends are more bohemian.

The girl's words are very childish here. Many of Mansfield's stories reflect a liminal stage in between childhood and adulthood. This dialogue reflects that the girl is still in the childhood stage.

Not a very flattering description of the old woman gambler. Quite a contrast with the description of Mrs. Raddick's daughter, who was described much more positively.

Since their father had a grandson who seems in this chapter to be an adult, Josephine and Constantia must be much older than their behavior reflects. The overbearing presence of their father has likely stifled their emotional growth.

Their father has clearly dominated their lives. Every action to this point in the novel has indicated that the sisters are indecisive and somewhat juvenile, despite there being no mention of their ages.

After being confronted with death, Laura has regained her knowledge of the class divide. She realizes that Death equalizes all social classes in the end.

Laura has been shown to be more considerate than her mother and Jose when it comes to the working-class people surrounding her. However, at this critical moral moment, she chooses to disregard her class consciousness.

Laura and her family are definitely upper-class. These lines show Laura's naïveté and idealization of the working-class. One interaction with the workmen is apparently enough for her to long for a life outside of her own comfortable one.

In general, the novel ends happily. Franklin and Rachel are back together and get married, Betteredge is happy, and Godfrey (the thief) is no more. Included in this happy ending is the gem being restored in India. I think this ending indicates that the author sympathized with India and other colonies for their treatment by the British Empire.

Funny indication of what Betteredge's superstition really is. He chooses what parts of Robinson Crusoe to abide by based on what he wants to know.

Interesting how Ezra uses the word superstitious here in reference to Betteredge and Robinson Crusoe. Betteredge strongly denied any superstition in his narrative, but as a reader it was clear he had an odd dependence on the novel. Here, Ezra can be treated as representative of the reader, as he is an outcast compared to the other narrators.

Ezra seems to fit very well into the characteristics of a tragic hero. He is clearly virtuous, as he takes so much interest in proving Franklin innocent and bringing Rachel and Franklin back together. However, based on the character background we have been given, Ezra was accused of something, could not clear his name, and is suffering from a disease. He mirrors Franklin in many ways.

Ezra seems to have been accused of a crime and was not able to ever clear his name. In this sense, he is a mirror of what Franklin could be, if the investigation does not conclude with another culprit.

The description of Ezra Jennings is probably the most detailed physical description that has appeared in the novel. The lengthy descriptions were previously seen in Betteredge's narration and were reserved for particularly important character. Ezra Jennings will likely be important later in the investigation. Also interesting how out of place the description makes him seem.

Franklin capitalizes "Theft" and "Thief" throughout his narrative. I think this choice is to show just how large of an impact the affair of the Moonstone had on him personally. Based on the dates, the matter has been going on for at least a year and a half.

One character's arc has concluded fully here. Rosanna is the most tragic figure in the novel. I found it interesting how her letter was placed under Franklin's narrative, though it was fully her voice narrating the events that occurred in Betteredge's narrative.

I would like to learn more about computational techniques that can analyze tone, especially given the multiple narrators. Betteredge's narration is more of a more coherent stream of consciousness, while Clack's is written more formally. Bruff's narration is the driest, matching his profession.

Bruff is also the most objective and least involved narrator, which lends credibility to his view of Godfrey. Combined with Clack's revelations about him, Godfrey is clearly not as perfect as he appeared in Betteredge's narration. I think it would be a cool project to create different character models that use passages from each narrator as the data to observe changes over time.

Bruff is similar to Betteredge in his assessment of women's capabilities. Again, though, the woman in question is the exception to the rule. Interesting glimpse into the societal doctrine of separate spheres.

Through the comparison Rachel is making, it is clear that she is talking about Franklin being unworthy of her. However, Franklin has not been shown to have done anything wrong in Betteredge or Clack's narration. He is probably the reason why Rachel was acting so oddly in Betteredge's narrative after the Moonstone was stolen. Nice to see how the narration ties together the separate events piece by piece without revealing the full story yet.

Though Miss Clack has been shown to be tiresome for everyone, even in her own narration, it is hard not to feel some sympathy. Godfrey's image, previously so highly built up by Betteredge and Clack herself, has been revealed to be fake. I am sure that this moment will have severe implications for the rest of the novel.

Yet another instance of Miss Clack irritating other characters with her insistence on spreading Christianity. Collins, the author, shows very little respect for the behavior of Evangelicals through his humorous depiction of Miss Clack.

This passage clearly shows Miss Clack's hypocrisy. For a woman who claims to be so holy and Christian, she obviously wanted to be included in the will of her richer relative. This characterization of Clack is a broader criticism of the Evangelicals in Victorian society.

Again, very clear foreshadowing. Given that Cuff has been shown to be by far the most competent investigator, I'm sure that all three of these predictions will show up later. The prominence of foreshadowing prompts me to think about red herrings, which are a key part of mysteries. I wonder if computational models are advanced enough to distinguish between clues and red herrings, or indicate the probability that a clue is actually a red herring.

The whole conversation between Cuff and Lady Verinder has very interesting class implications. Cuff is a policeman and presumably not a gentleman or lord, whereas Lady Verinder is very much upper-class. Cuff should really be in charge of the investigation, but he is instead limited by propriety dictated by Lady Verinder. I doubt his conclusion that Rachel is guilty is correct, but it is at the very least the most plausible explanation so far and should be pursued. Instead, he is practically taken off the case.

The most clear foreshadowing from chapter IV has come to pass at this point. Now all statements from earlier in the novel are worth examining for clues to what actually happened to the Moonstone. Rosanna seems to be the most tragic figure in the novel as she clearly knows more about what happened than everyone bar Sergeant Cuff and possibly Miss Rachel. Also, it is interesting to note how Betteredge's grief reflects a closer relationship than earlier, when he laughed at the thought of her being in love with Franklin.

This statement calls back to our discussion on superstition. Betteredge clearly believes that the Diamond had a negative impact on the party, despite his earlier assertions that he is not superstitious. Essentially, if Betteredge believes it, then in his mind it is not a superstition. Superstition is only the beliefs of others.

This character trait certainly seems like foreshadowing. It is very specific and confirms her loyal character. It is likely that in future chapters, one of her "playfellows", perhaps Franklin, will do something that she will take the blame for.

This description of women by Betteredge is interesting in its casual misogyny. He clearly believes in the societal view of women, that they were less capable than men. However, his view of the important female characters (Lady Julia, Rosanna, Miss Rachel, Penelope) have been much more favorable than what he thinks of women as a whole. This asymmetric view of women is a fascinating insight into the gender dynamics of the 1800s.

I'm looking forward to seeing how changes in the narrator affect the tone and how the story is told. Betteredge's narration throughout the first few chapters is very focused on establishing the setting, with long descriptions of several characters, including himself. Betteredge's tone is quite informal. As the mystery becomes clearer, the narration will likely shift to Franklin's perspective, which may be more serious.

This chapter is interesting in that it restates much of the prologue. It confirms the initial characterization of John Herncastle as greedy and unpleasant person. The overlapping characterizations will be interesting to analyze, especially if the descriptions differ. For example, a model looking at Big Five personality traits for a specific character may have very different results based on the chapter and/or narrator.

It seems like most characters in the novel will be introduced in this way by Gabriel Betteredge. Given that the novel is epistolary, there will likely be other narrators with different perspectives on the same characters. I wonder how those differences will impact the development of the mystery and the suspense for the reader.