Here we find yet another personification of air, which enwraps the story with subtle layers of movement and circulation. We could trace this pattern, and its effects on narrative time and narrative progress, through concordances and dispersion plots of "air" and any wind-related words.

The windows allow a "fresh breeze" to enter Mrs. Mooney's house, opening up a circulatory channel between the house's interior and the summery world that surrounds it. A concordance and dispersion plot of the word "window" would allow us to trace the figure of the window across all of the stories. After all, the window paradoxically enables characters like Eveline to behold the outside world--and all of the openings and escapes that the view suggests--but blocks immediate access to wider horizons.

This interlude slows the narrative down with sensory details that evoke unease and gloom: from the icy air, to the skeleton-like trees, to the clustered houses, to the trudging passengers, the reader cannot help but anxiously anticipate the events and conversations that will follow. We can broaden our exploration of how the story creates this mood by tracing the words "cold," "pale," and "dark" with word counts, concordances, and dispersion plots.

This word occurs five times in this story, both as a verb (i.e., to become pale, or to appear less important and remarkable in comparison to something else) and as a drab color. Along with a concordance, a dispersion plot with "pale" and the more vibrant colors that populate the story would illuminate the visual, textural, and perhaps symbolic significance of paleness.

The motif of facial flushing/blushing would be interesting to trace with a concordance and dispersion plots. What are the material, affective, and characterological causes and significances of blushing in this story? Put more simply, when and why do women blush?

Throughout the story, the narrator references specific parts of articles of clothing (e.g., "collar," "sleeve," etc.). We could use concordances and dispersion plots to trace this clothing motif and begin to investigate its material and affective significances.

This is the thirtieth and final time that the word "justice" appears in The Moonstone. What does "justice" mean in this text? In what ways does the novel's conclusion do (or fail to do) "justice" to the narrative buildup? What do different characters mean when they mention "justice"? What would a concordance and dispersion plot illuminate about the linguistic and conceptual workings of "justice" throughout The Moonstone?