SA Hunt - SEALS Digital commons

THE DISCOURSAL CONSTRUCTION OF FEMALE PHYSICAL
IDENTITY IN SELECTED WORKS IN CHILDREN’S LITERATURE
A thesis submitted in fulfilment of the
requirements for the degree of
DOCTOR OF PHILOSOPHY
of
RHODES UNIVERSITY
by
SALLY ANN HUNT
January 2011
ABSTRACT
This thesis reports on an analysis of the discursive construction of female and male
physical identity in children’s literature and explicitly combines corpus linguistic
methods with a critical discourse approach. Based on three novels from each of the
Chronicles of Narnia and the Harry Potter series, it shows clear gendering of body
parts, not only in terms of the purely quantitative preferences for certain body parts to
be associated with one or other gender, but in terms of discourse prosody, or the uses
to which the body parts are put. Human body parts in these series are mostly used in
the following four ways, all of which show differences in realisation in terms of
gender:
•
to describe individuals, physically, in order to distinguish one from the other;
•
to convey emotion, unintentionally as well as consciously;
•
for physical interaction between people and
•
for interaction with the world more broadly: responses to danger and agency,
i.e. the ability to act on the world and the nature of what is achieved.
The use of body parts by characters to express emotion and act agentively on the
world is revealed to be strongly gendered in the two series. I characterise the most
prominent patterns in terms of the bodily products blood, sweat and tears, of which
the last is strongly connected to female characters, who are generally associated with
emotion. The other two, referring to active participation in fighting and injury, as
well as agency, are almost exclusively reserved for males, with female characters
rendered unable to act on the physical world as a result of overwhelming feelings.
The females’ response to danger suggests stereotyped discourses of inequality which
see women and girls as requiring protection and being physically incapable. Thus
gender is still a particularly salient aspect in these widely-read examples of children’s
literature, despite plots which appear to be fairly positive towards women. The
strength of the inclusion of a corpus approach in this study lies in its capacity to reveal
objective, and often fairly covert, trends in language use. These in turn enrich the
critical analysis of discourses in these influential texts, which facilitates social change
through linguistic analysis.
ii
ACKNOWLEDGEMENTS
First of all, my heartfelt thanks to my supervisor, Ralph Adendorff, for all his help
and support, and in particular for his insightful ability to pinpoint exactly what needed
to be done. Especially in these last weeks your warm encouragement and
understanding have been invaluable. Thank you.
To my other colleagues, my thanks for meaningful discussions and wonderful
collegiality, especially those who used to gather at the stone wall: Ian, Louise and
Mark.
I am also grateful to the Joint Research Committee of Rhodes University, for making
funding available for this project, and to the university for a crucial six months of
sabbatical leave.
My thanks, too, to Dr Laurence Anthony, author of AntConc concordancing software,
for his generosity in making his work freely available to the research community.
AntConc is integral to the analysis in this thesis and I am sincerely grateful for the use
of the program, as well as Dr Anthony’s willingness to respond to questions and
suggestions. There are also other academic authors, too numerous to mention here,
who responded with speed and grace to my questions and requests for additional
information. Your generosity strengthens my faith in academia as a community –
thank you.
Without the writing of C.S. Lewis and J.K. Rowling, I would have had no data for this
study and I am grateful to them for making my work so interesting to do, as well as
supplying me with wonderful reading material in my spare time.
To my local friends, thank you for understanding my distraction and the many
unreciprocated dinner invitations over the past few years. All that will change now I
hope! To my friends further afield, your support via email and phone, and
particularly your supportive messages on Facebook, have been a source of great
encouragement to me. I am especially grateful to my cousin, Keith, who generously
put me up for six months so I could do the bulk of the analysis away from the
distractions of home and whose genuine interest has inspired me. Also my list of
thanks would be incomplete without mentioning the animals who share my life and
how they have sustained me in ways beyond words.
Above all, I want to thank my dear parents, my late father, Derick, and my mother,
Joy, for their many contributions to my life, but mostly for letting me grow up
knowing I was loved. This work is for you, with my love.
iii
TABLE OF CONTENTS
ABSTRACT
ACKNOWLEDGEMENTS
TABLE OF CONTENTS
LIST OF TABLES
ABBREVIATIONS
II
III
IV
VI
VII
CHAPTER ONE: INTRODUCTION
1.0
1.1
1.2
1.3
1.3.1
INTRODUCTION
RESEARCH QUESTIONS
PHILOSOPHICAL APPROACH
THE DATA
The books and their authors
1.3.1.1
1.3.1.2
1.4
1.5
1
1
2
4
6
8
The Chronicles of Narnia: C.S. Lewis
Harry Potter: J.K. Rowling
THE SOCIAL CONTEXT OF WESTERN WOMEN IN THE TWENTIETH CENTURY
OUTLINE OF THE THESIS
CHAPTER TWO: THEORETICAL OVERVIEW
2.0
INTRODUCTION
2.1
IDEOLOGY, GENDER, LANGUAGE & THE BODY
2.1.1
Ideology
2.1.1.1
2.1.1.2
2.1.1.3
2.1.1.4
2.1.1.5
2.1.2
Gender
2.1.2.1
2.1.2.2
2.1.3
2.1.4
The origin and history of the term
Ideology: A definition
Ideology and language
Ideology and discourse
Critical approaches to discourse analysis
12
21
24
24
25
25
25
26
27
28
31
33
Introduction to gender
Sex and gender
33
34
Gender, discourse and ideology
The body
39
41
2.1.4.1
2.1.4.2
Approaches to the study of the body
The body and gender
2.1.5
Ideology, gender, the body and language
2.2
CHILDREN’S LITERATURE
2.2.1
The role of children’s literature
2.2.1.1
2.2.1.2
2.3
8
10
Gender, children’s literature and ideology
Gender and the linguistic representation of physical identity
CONCLUSION
49
50
51
54
59
66
CHAPTER THREE: METHODS & METHODOLOGICAL ISSUES
3.0
INTRODUCTION
3.1
METHOD
3.2
CORPUS LINGUISTICS
3.2.1
Types of corpora
3.2.2
Objectives and orientation of Corpus Linguistics
3.2.3
Previous research using Corpus Linguistics
3.2.4
Corpus Linguistics processes
3.2.4.1
3.2.4.2
3.2.4.3
3.2.4.4
3.2.4.5
41
47
Wordlists and Frequency
Keywords
Concordances
Collocation
N-grams or Clusters
68
68
68
69
71
72
73
75
77
79
82
83
95
3.3
CRITICAL DISCOURSE ANALYSIS (CDA)
3.3.1
Introduction
3.3.2
The origins of CDA
iv
96
97
98
3.3.3
Defining CDA
3.3.4
Critiques of CDA
3.3.5
Feminist CDA
3.4
THE COMBINATION OF CRITICAL DISCOURSE ANALYSIS & CORPUS LINGUISTICS
3.4.1
Analysis
3.4.2
Challenges & opportunities
3.5
CONCLUSION
CHAPTER FOUR: RESULTS
123
4.0
INTRODUCTION
4.1
DESCRIPTION: TABLES, NUMBERS & SIGNIFICANT NUMERICAL PATTERNS
4.1.1
Description: quantitative aspects
4.1.2
Description: the uses of body parts – quantitative data
4.1.3
Conclusion
4.2
DISCOURSE PROSODY
4.2.1
The description of appearance & identification
4.2.1.1
4.2.1.2
4.2.1.3
4.2.1.4
4.2.1.5
4.2.2
4.2.3
4.2.5
156
160
169
171
177
177
Touching for magic
Interpersonal contact: Greeting
Interpersonal touching: Conveying emotion
Interpersonal contact: Restraint and protection
Conclusion
Responses to danger (and behaviour in dangerous situations):
Conclusion
Interaction with the world: agency
4.2.5.1
4.2.5.2
4.2.5.3
4.2.5.4
4.2.6
156
Faces displaying emotion
Eyes displaying emotion
Lips and mouths displaying emotion
Other body parts and emotion
Conclusion
Interaction with the world: battles & other danger
4.2.4.1
4.2.4.2
123
124
125
130
132
134
135
135
142
152
153
154
Interpersonal contact
4.2.3.1
4.2.3.2
4.2.3.3
4.2.3.4
4.2.3.5
4.2.4
Hair as an identifying feature
Face as an identifying feature
Eyes as an identifying feature
Other body parts as descriptors
Conclusion
Unconscious displays of emotion
4.2.2.1
4.2.2.2
4.2.2.3
4.2.2.4
4.2.2.5
99
103
107
108
112
120
121
178
179
183
186
190
191
197
201
202
Altering the position of the body
Communication using the body
Acting on objects in the world
Conclusion
202
205
207
211
Conclusion: blood, sweat and tears
212
4.2.6.1
4.2.6.2
4.2.6.3
4.2.6.4
Blood
Sweat
Tears
Identity
213
215
216
217
CHAPTER FIVE: CONCLUSIONS
220
5.0
INTRODUCTION
5.1
GENDERED DISCOURSES OF THE BODY IN THE CONTEXT OF WESTERN
CULTURE: AN EXPLANATION
5.1.1
Characterisation and plot
5.1.2
Representations of the body and the mind
5.1.2.1
5.1.2.2
5.1.2.3
The discourse of emotional expression
The discourse of physical agency
Comparison of the two series
5.2
METHODOLOGICAL CONSIDERATIONS
5.3
LOOKING FORWARD
5.3.1
Application of the research
5.3.2
Future research
5.4
CONCLUSION
PRIMARY TEXTS
REFERENCES
220
221
222
224
227
228
229
230
231
231
232
233
235
236
v
LIST OF TABLES
Table One: Wordlists for CN and HP: Top ten words
78
Table Two: Normalised female scores as percentage of the total, per series
129
Table Three: The top two uses of the five most frequent types in both series
133
Table Four: Frequency of hair in both series
136
Table Five: Collocates of hand in HP: shake
173
Table Six: Collocating verbs of motion with female and male feet in HP
204
Table Seven: Blood, sweat and tears in both series: raw scores
212
vi
ABBREVIATIONS
CDA Critical Discourse Analysis
CN
The Chronicles of Narnia, the series by C.S. Lewis
DH
Harry Potter and the Deathly Hallows, the last book in the series
HP
Harry Potter, the series by J.K Rowling and the title character
KWIC Key Word in Context, a display of examples from a concordance with the
node in the centre
LB
The Last Battle, the last book in CN
LWW The Lion, the Witch and the Wardrobe, the first book in CN
MI
Mutual Information, a measure of the strength of a collocational relationship
MR
Members’ Resources, a CDA term referring to the knowledge inferred to be
available to readers or hearers
NCN Normalised scores from CN
NHP
Normalised scores from HP
PA
Harry Potter and the Prisoner of Azkaban, the middle book in the series
PC
Prince Caspian, the middle book in CN
PS
Harry Potter and the Philosopher’s Stone, the first book in the series
vii
CHAPTER ONE: INTRODUCTION
1.0
INTRODUCTION
Like many fortunate people, I have derived great pleasure from reading for most of
my life. Since my mother tricked me into reading on my own by going to make some
tea in the middle of an exciting chapter, I have had many late nights due to an
absorbing book, and have often had to be retrieved for meals and outings. In my
second year of school, our teacher began reading The Lion, The Witch and the
Wardrobe to us.
The Narnia series was the first gift I remember specifically
requesting for a birthday present and the set on my bookshelf still has my 7 year old
handwriting in it. The Harry Potter series has engendered a similar passion in many
children of my acquaintance and I must admit that by the time the seventh book came
out I too bought it on the day of release.
Both series have certainly enjoyed
tremendous commercial success and have become prominent in Western popular
culture – not only as books, but also as films and, in the case of the Narnia series, as a
television mini-series.
My interest in this thesis is the messages these popular books send to their young
readers, not in terms of plot or their overt moralising about the triumph of good over
evil, but in terms of the characterisation of the female and male characters who
populate the stories and who act as role models for the children who read them. In
particular I am interested in what the books say about how to be a (good) girl or
woman, physically, and, in contrast, for they are indeed contrasted, how to be a
(good) boy or man. These features are important because I believe, as does Wharton
(2005), that texts construct femininity and masculinity, as well as represent them.
Readers are consciously aware of the plot of a book, but seldom, if ever, consider the
more subtle representations of the world that, through constant repetition, are being
naturalised in their minds and often support dominant, and gendered, discourses.
Children are arguably even less critical in their interpretation of texts than adults and
are therefore more likely to adopt as common sense the ideologies contained in their
reading material.
1
Thus my own history and a persistent interest in gender issues, as well as my
theoretical and political investment in Critical Discourse Analysis, have resulted in
this study of children’s literature. As is often done in CDA studies, I have provided
here and in Section 1.2 a brief statement of my history and personal perspective in
relation to the topic in the interests of acknowledging my subjectivity and
contextualising the research.
This forms part of the general function of this
introductory chapter, which is to provide a backdrop to the research report. In the
next section, I outline the specific questions which have guided my research, followed
by the philosophical approach I have adopted in this work. In Section 1.3 I provide
details of the series that constitute the data for this project and a brief consideration of
the characters in each to facilitate in readers an understanding of the extracts from the
data presented in Chapter Four. I also describe how I chose particular books for
analysis. Because a crucial part of a critical analysis of discourse is to consider the
text in its social context, I continue in Section 1.4 with a review of the position of
women in the Western world since the second World War, with insights from the
types of feminism prevalent in these decades. I close the chapter with an outline of
the chapters that make up the thesis showing how each relates to my research goals.
1.1
RESEARCH QUESTIONS
The broad aim of this study is to explore the discoursal representations of Western
female physical identity in literature aimed at children from approximately 8 to 13
years old. In particular, I answer the following questions:
(i)
How is female physical identity encoded in selected texts from the series The
Chronicles of Narnia and from the Harry Potter series?
(ii)
What differences and similarities are evident in the data from (i) in
comparison to the data for male characters?
(iii)
What possible explanations are there for the findings in (i) and (ii) and what
are the ideological implications of these findings?
(iv)
What are the benefits and/or disadvantages of using both the multiple data
sources listed above, from different eras, and multiple methodological modes
in the collection, analysis and interpretation of the data?
2
In order to answer these questions, and those concerning the representation of female
physical identity in particular, I include frequent references to the representation of
male physical identity in the books. While not wishing to privilege male experience
or to use it as an evaluative yardstick for female representation, the similarities,
differences and even contrasts found between the two, as I show, may often be
usefully explored so as to highlight the significance of trends found in the corpus as a
whole, or in one sub-corpus and not the other, and also to illuminate absences and
presences in one or the other.
Unlike previous studies (see 2.2.1.1), I do not consider the elements of plot or the
numbers and occupations of female and male characters, as these overt features are
easily rendered ‘politically correct’. Rather, my focus is on the more subliminal
aspects which are unlikely to be consciously manipulated by the authors, specifically
those to do with the body parts of the characters, in order to reveal patterns in terms of
the gendered representation of physical identity. The methods used to answer these
questions are Corpus Linguistics and Critical Discourse Analysis (see Chapter Three),
which form an effective combination, guaranteeing both quantitative rigour and sociopolitical insight.
This research goes beyond a list of questions to answer, however. In line with the
recognition in critical discourse studies of language as a form of social action, I plan
to publish my findings, not only in academic formats such as this thesis and shorter
papers, but, with a view to fulfilling the emancipatory aims of the critical analysis of
language, also in the form of contributions to the print and electronic media and
meetings with teachers and parents. I also have several ideas for worksheets and
electronic materials to assist educators in teaching children to be more critical readers.
I believe that it is important that those who are in a position to mediate the literature
that children read, such as parents and teachers, be made aware of the potential for
beloved books to inculcate children with perhaps less desirable views of the world.
3
1.2
PHILOSOPHICAL APPROACH
In the interests of theoretical openness, I discuss briefly the philosophical approach I
adopt in this study in the context of my personal history and my background in
linguistics. My preference is for the discoursal side of language analysis and in both
teaching and research my focus has always been gender. My research emphasis has
been micro-level analysis, concentrating on gender in spoken language, although the
purists’ insistence, such as Schegloff (1997) amongst others, that social identity and
context should not be taken into account unless specifically invoked by the
participants has never been comfortable for me analytically, particularly as I regularly
teach, supervise, and enjoy assisting with, research which is explicitly critical and
socially located. Humans are social beings and to exclude those aspects of identity in
analysis is to miss the richness of how we construct ourselves in our language use and
how we are encouraged to view ourselves through the language use of others.
Therefore in this study I have shifted my focus to written language and to a form of
analysis that is centred on ideology and social power. My experience in linguistics
generally has given me the confidence to adjust and adapt the two approaches I apply
in this study so that they more powerfully achieve my research aims, rather than
treating the established methods as “holy writ” (Fairclough 2001: 92). I bring with
me, as a linguist, an interest in the detailed patterns of language, the covert uses and
meanings it can hold and the social effects it is capable of, and above all else an
abiding personal and political commitment to issues of gender.
I recognise that I also bring with me other aspects of my history, aspects which render
my analysis necessarily subjective, particularly in terms of gender. I was brought up
in a middle class home which, together with my educational environment, was
relatively conservative, politically. Gender differences were regarded as innate and
unchallengeable and, although it was always assumed, both by my parents and my
school, that I would enter tertiary education, there were also some constraints on the
kinds of work that were seen as appropriate for women which affected my choices.
My experiences at university, both curricular and social, amplified the feminist
inclination in me and provided the theoretical tools for me to understand my concerns
about the prevailing views of women and their role in society. Over the years I have
come to identify myself as a woman-oriented feminist and this necessarily colours the
4
assumptions and orientations I bring to my research. My agenda in this research is
therefore political: my investigation of the representations of females and males is not
an end in itself but has the aim of revealing social relations and thereby facilitating
social change.
This renders it ultimately subjective to some extent, despite my
attempts to be aware of the effects of my own worldview on my interpretation and the
use of Corpus Linguistics which lends a more objective method to the enterprise.
The post-structuralist view of language has, since its emergence in the early 1990s,
quickly colonised the study of language and gender (Cameron 2005), particularly in
the context of the ‘linguistic turn’ which has been so influential in social studies
generally. Despite the undoubted usefulness of the view of gender, and identity
broadly, as something one does, rather than something one has (Butler 1990, 1993), I
think this aspect in particular is rather more applicable to the study of genderlects, in
other words the ways in which males and females may use language differently,
thereby performing gender. In this regard post-structuralism has been central in
emphasising that identity is not fixed, and gender and sex are not binary in nature, but
that a multiplicity and a range of genders and sexes exist, all socially constructed and
textually mediated, although the notion of identity as socially constructed certainly
did not arise with this approach (Cameron 2005).
One of the problems associated with post-structuralism is the fact that, as Holmes
(2007) points out, if we are to take the post-structuralist criticism of essentialism to its
logical extreme, there should be no more research conducted in the field, ever, due to
its futility (see 2.1.2.2). With an emancipatory agenda always underlying my work,
this is intensely problematic for me. However, in my study I am interested in the
other side of the language and gender coin, how the authors construct the world for
the readers: how they set up gender expectations and value certain behaviours over
others in gendered ways. I am especially concerned with the extent to which they
build ‘gender duality’ (Cameron 2005) into the fictional worlds, i.e. the notion that
sex and gender are binary, by polarising the behaviours of males and females. This
focus renders a wholesale acceptance of post-structuralism less urgent than it would
be in variation studies, for instance, and Cameron notes that few researchers take this
option. In studies of language and gender, neo-Marxist critical analysis and poststructuralism resemble in practice more of a continuum than a binary choice, with
5
many authors taking predominantly one view but appropriating elements of the other,
or even failing to align themselves explicitly with one view but selecting useful
elements from each, partly due to there being a distinct lack of unified views within
the two approaches (ibid.). Initially, I found this problematic, regarding a composite
approach as something of a theoretical compromise. I recognise now however that I
alone will not be able to solve the problems of the incompatibilities between critical
theory and post-structuralism. I recognise, most importantly, that this is not the object
of this work. In this study, I take a social constructionist view, incorporating elements
from post-structuralism and Butler’s performance theory (see Sections 2.1.2.2 and
2.1.4.1), insofar as they help me to illuminate how the texts under analysis have social
effects via their representations of males and females. How this stance is concretised
in terms of my use of key concepts in this study is fleshed out in Chapter Two.
1.3
THE DATA
In order to answer the research questions in Section 1.1, I analysed three books from
each of two series written for older children, from approximately 8 to 13 years old. I
combined the strengths of Corpus Linguistics and Critical Discourse Analysis, using
the former as an efficient means to determine which body parts are most ideologically
interesting - across the series, and in individual series - both in terms of sheer
frequency, and also as regards the trends evident in the uses to which they are put by
the fictional characters. A critical analysis of these trends links the more micro-level
experiential and semantic encoding of ideological material to the broader social
context in which the books are produced and read, completing the progression from a
detailed and objective quantitative approach to a more focussed, in-depth and
qualitative, critical analysis. The method is described in full in Chapter Three.
The data sources are arguably the two most influential book series written for older
children (i.e. from 8 years and up) in English in the last half century, namely The
Chronicles of Narnia (1950 – 1956), by C.S. Lewis, and the Harry Potter series (1997
– 2007), by J.K. Rowling. In addition to giving the research a spread in terms of the
sex/gender of the authors (one male and one female) the selection spans the past 50
years. “Childhood” as a construct in Western society is a relatively modern invention
6
(Hunt 2001), and children’s fiction was first recognised as a separate genre in the
publishing industry in the 20th century (ibid.)1. Having the data cover this period is
helpful in that a great many of the adults alive in these societies today will have come
into contact with at least one of these series. While neither author nor their work can
be claimed to be ‘representative’ of their era (because they could have deliberately
written “against the grain” of the ideologies of their times, or because they could be
simply atypical), their potential influence due to their wide readership justifies their
selection. Their popularity and potential impact may be gauged by their sales, as well
as their adaptation to other media. Lewis’s Chronicles of Narnia (hereafter CN) have
sold over 100 million copies since they were first published in the 1950’s (Rachel
Churchill, The CS Lewis Company, personal communication 6 January 2011) and
have been made into television and radio series as well as stage and film productions2.
Rowling’s Harry Potter series (hereafter HP) had by 2008 sold in excess of 400
million copies (McCrum 2008) and all have been made into separate, enormously
successful, films3. Each series has also generated countless magazine and academic
articles, fanfics (stories written by fans to augment the original stories), websites,
electronic games and fan bases in various media.
In terms of characterisation, the series have correspondences which make comparison
appropriate in the context of this study. In the books chosen from CN, the central
human characters are two males and two females and in HP there are two main
characters apart from Harry himself: one female and one male, as well as several
others whose importance waxes and wanes from book to book.
The different
combinations in terms of the focus on female characters make for interesting
comparisons in the analysis (see 4.2). In CN as a whole, apart from the evil White
Witch, all but one of the main human characters are children, although they do spend
a small amount of time as adults, while in HP there are humans of a range of ages,
from infants to the very elderly. Thus the emphasis in characterisation in CN is more
tightly focussed on children of roughly the same age as the intended readers but HP
1
Hunt (1990) says that before the 18th century, literature was not written for children, although they
may have sometimes been the unintended audience. The recognition of children’s literature in Western
culture as a separate commercial genre only occurred after the first World War (Hunt 2001).
2
As I write in December 2010, the third ‘big screen’ film based on a Narnia book (as opposed to a
‘made for television’ production) has just opened in cinemas: The Voyage of the Dawn Treader.
3
In December 2010, the first of two films based on the final book, Harry Potter and the Deathly
Hallows, is on circuit worldwide.
7
provides characters from the entire life spectrum. Characters’ affiliations are also
much more varied in HP, with thoroughly good characters and very evil ones, as well
as those whose natures are questioned or less polarised. In CN, the human characters
are more binary, although Edmund provides an interesting counterpoint in being
fallible and therefore easily enticed by the superficial benefits of evil, but is proved to
be ultimately good. The variation found in the two series in terms of gender, age and
nature gives the child reader a variety of ways of being to emulate, although both
series make it clear that only the good characters should be seen as role models. The
relationships in the series between these features of age and especially nature, on one
hand, and physical identity, on the other, are particularly relevant to my research
questions about gender, as is reported in Chapter Four.
In order to provide the reader with sufficient background information to follow my
analysis in Chapter Four, I structure the following discussion to include for each
series an outline of when and where the particular series was written and by whom,
together with any relevant biographical information about the author.
A short
explanation of the storyline(s) of the books and the main characters follows, together
with a justification for the selection of the particular books for analysis.
1.3.1 THE BOOKS AND THEIR AUTHORS
1.3.1.1 THE CHRONICLES OF NARNIA: C.S. LEWIS
The Chronicles of Narnia, as mentioned above, were written and published in the
1950’s by British author and academic, C.S. Lewis, and were aimed at children of
between 9 and 13 years of age. An academic at Oxford, Lewis was in his fifties when
the first book in the series, The Lion, the Witch and the Wardrobe, was published, and
died some seven years after the publication of the final instalment, The Last Battle.
Apart from CN, he is best known for his theological works, and CN have a distinct
Christian influence and moral message, in which Narnia is seen as the afterlife, or
Heaven, and the central figure of Aslan the Lion is said to represent Jesus Christ,
although the inclusion of pagan elements portrayed in a positive light have ensured
that he has been criticised by both atheists and Christians (Chattaway 2005, BBC
8
News 2007). Lewis himself said “I wrote the books I should have liked to read” and
explained that he chose to write children’s fiction because “a children’s story is the
best art form for something you have to say” (Lewis 1950 – 1956: “About the author
of this book”, in each volume: n.p.).
For the purposes of this research, three of the seven books were chosen for analysis,
namely The Lion, the Witch and the Wardrobe (hereafter LWW), Prince Caspian
(hereafter PC) and The Last Battle (hereafter LB). The first and third were selected so
as to balance the data selection by analysing the first and the last books written about
these characters, to level out any changes which may have occurred in Lewis’
depiction of the males and females. PC was selected because all four children from
LWW are involved in the story (unlike some of the other intervening books) and there
is thus a balance in terms of the sexes of the children.
The central characters in two of the books used here (LWW and PC) are four human
children: Peter, Susan, Edmund and Lucy, who wander accidentally through the back
of an old wardrobe into the magical land of Narnia, where it is always winter and
never Christmas due to the control of the evil White Witch. In the first book, three of
them receive gifts which reveal their characters and roles in the stories: Peter, the
oldest and eventually the “High King”, receives a shield and a sword; Susan a bow
and quiver, as well as a horn which summons help, and Lucy, the youngest, who
becomes “Queen Lucy the Valiant”, a bottle of healing liquid and a small dagger to be
used “to defend yourself at great need” (Lewis 1950: 100). The weak and greedy
Edmund does not receive a present at this point as he was lured away with Turkish
Delight by the White Witch in order to entice him to serve her. By the end of the
book, the four rule over Narnia as kings and queens at Cair Paravel, and can hardly
remember their “other lives” as British schoolchildren.
In PC they return
(involuntarily) to Narnia to help when civil war breaks out and are surprised to
discover that, although very little time has elapsed in England, hundreds of years
seem to have passed in Narnia. In the third book analysed (LB) three of the siblings,
Peter, Edmund and Lucy, return to Narnia, Susan having become too interested in
“lipstick and nylons and invitations” to be bothered with such childish games as
magical countries and adventures. After the battle, the remaining three witness the
destruction of the “old” Narnia and realise that, in terms of “normal” life back in
9
England, they and their parents died in a railway accident. As Aslan gently explains
this to Lucy and shows them all the wonders of the “inner”, real England and the
“inner”, real Narnia, he makes the transition from small case “he” to upper case “He”
and from lion to God: “And as He spoke He no longer looked to them like a lion; but
the things that began to happen after that were so great and beautiful that I cannot
write them” (Lewis 1956: 165).
The Narnia books were published in the 1950s, and written between 1949 and 1954,
shortly after the end of the Second World War. As I explain in Section 1.4, in the UK
this was a time of nostalgia for the old ways as well as optimism about the future, but,
importantly for this study, a time when women had moved out of their traditional
roles to support the ‘war effort’ but experienced considerable pressure to return to the
domestic context afterwards. My focus in Chapter Five is on what this entailed for
the physical portrayal of female characters in the Narnia books.
1.3.1.2 HARRY POTTER: J.K. ROWLING
The Harry Potter series (hereafter HP), written by the British author J.K. Rowling,
was published between June 1997 and July 2007 after the idea occurred to her in
1990. Although Rowling is a graduate in French and Classics, she was actually
unemployed and on benefits when she completed the first book in the series (Dunn
2007). The main character in this series is of course the eponymous Harry Potter,
who achieved fame in the wizard world by miraculously surviving the attack on his
family when he was a baby by Voldemort, a very powerful, evil wizard. Harry is
unaware of this and his magical abilities and is cruelly brought up by his uncle and
aunt until he turns 11, when he is whisked away to Hogwarts, a school for wizards
and witches. The seven books in the series each represent a British school year and
most of the action takes place at Hogwarts. While Harry is the centre of all the events
in the books and the one from whose perspective the stories are told, he does,
however, have two close friends, Hermione and Ron, who are frequently involved in
his adventures and misdemeanours. Of the three, Harry tends to be impulsive and not
particularly good at the “book work” involved in studying to be a wizard, and Ron is
typically clumsy and accident prone, while Hermione is very hard-working and good
10
at spells and logical problems, despite being Muggle-born (born of non-wizarding
parents). Rowling (2006) is quoted as saying that she modelled Hermione on herself
to some extent which makes an investigation of her portrayal even more interesting.
The three books selected from this series for analysis are again the first, “Harry Potter
and the Philosopher’s Stone” (hereafter PS), the last, “Harry Potter and the Deathly
Hallows” (hereafter DH) and one taken from the middle of the series, “Harry Potter
and the Prisoner of Azkaban” (hereafter PA). As with CN, the selections were made
to achieve a broad reflection of the representations of female and male characters in
the books: those from the first book providing an introduction to the characters and
their patterns of behaviour, the mid-series references showing the development of the
characters and the portrayals in the final book reflecting how the three have grown up,
with most of the book focussed on what would have been their final year at school,
although they spend most of it in hiding.
Rowling wrote HP over the turn of the century in a period when many believed that
the battle with gender inequality had been won (Lewis 2002). Indeed, the lot of
Western women at the end of the 20th century and the beginning of the 21st is
markedly different to that of women 50 years earlier. The third wave feminism
dominant now encourages an unprecedented flexibility in terms of gender roles, as I
explain in 1.4, and women are no longer necessarily expected to forego a career for a
family. The gains, however, are uneven, with males seldom concerned about a
potential clash of interests between their occupations and having children. The extent
to which this milieu is reflected in the ways in which female characters are
represented physically is explored in Chapter Five.
While these two series are separated by fifty years, there are similarities: both are
written by British authors interested, to varying degrees, in language and classics. My
selection of works from each series was guided by the need to create legitimately
comparable sub-corpora, which in turn are justified in terms of their internal structure.
During the analysis of both series in Chapter Four, I supply brief explanations of
particular characters as required. An exhaustive list of characters is available for each
series online, should more detail be required:
11
http://en.wikipedia.org/wiki/List_of_The_Chronicles_of_Narnia_characters
12
December 2010;
http://en.wikipedia.org/wiki/Characters_in_harry_potter 12 December 2010.
In order to contextualise the series further, in the following section, views of women
and their place in society, in the UK in particular, are described so as to form a
backdrop to the analysis of the data.
1.4 THE SOCIAL CONTEXT OF WESTERN WOMEN
IN THE TWENTIETH CENTURY
The social context of Western women in the past half century is a vast and complex
area of study and scholarship. I chose therefore to characterise the context in which
the chosen series were written by focussing on the themes and ideas which have been
prominent in Western feminism over the past fifty years and the immediately
preceding decades. If feminism is concerned with and responsive to the way women
are oppressed and generally treated by society, if it is in fact part of that society itself
rather than a privileged external lens on human beliefs and culture, then the
preoccupations of feminism at any given time should provide a reflection of the social
conditions for women at that point in history. I also incorporate the writing of some
of the key authors who have commented on the relationship between women and
society in this time period, the place of women in society and the prevailing
ideologies surrounding women’s place in the social order.
This emphasis is
appropriate because the series I studied were conceived in this very political and
intellectual context, broadly speaking, and I use the analysts’ work to unpack the
discourses around women that are found in the stories. From their comments on the
situation in which women found themselves in the 20th century and their analysis
thereof, I extract social information to assist me in Chapter Five in interpreting and
explaining the trends and patterns in terms of gendered bodies I find in the data.
Writing about feminism presents a number of challenges. Using the singular noun
suggests a unitary phenomenon – both static across time and homogenous
synchronically – while feminism is at best a conglomeration of approaches, actions,
12
movements, political doctrines and philosophical frameworks which have as their
central concern “the liberation of women from oppressive social practices and
ideologies” (Lewis 2002: 185) and has become increasing fragmented in the last 50
years. There is also a tendency to suggest that feminism is universal and that the
waves or stages that have been identified in its history apply the world over, whereas,
despite some ‘global village’ effects in improving the lot of women worldwide,
feminism remains a largely Western concept and movement.
In addition, the
ubiquitous discussion of feminism in terms of three waves implies an unfortunate
classification scheme of progress, of causal relationships between the stages, of old
versus new, with the more positive value being attached to the new, as though
feminism has been constantly ‘evolving’ and improving, with ‘the’ feminist approach
of today being automatically better than that of before. As I have flagged with my use
of scare quotes above, characterising feminism as having stages also suggests discreet
boundaries between the periods, in terms of political approach and application in
research, when, in reality, the boundaries are fluid and graduated, with, for instance,
feminists who are most accurately second wave in orientation still active two decades
into the third wave. Cameron (2005) expresses similar reservations about the terms
due to the impression they give of a linear process that involves a complete transition
from one stage to the other.
The acknowledgement of the changes evident in
feminism, however, is important as it points to the usefulness of tracing the constant
shifting in feminist writers’ approaches for my task of describing the place of women
in Western society over the past century.
I should also point out that in discussing opposition to the oppression of women and
the position of women in society I could cover a much broader range, both historically
and geographically. I have chosen the elements I have because they are directly
relevant to the books I have studied: the social conditions in particular societies,
specifically Western societies where English is spoken as a/the major language and
especially the United Kingdom because both series were written by members of that
society (who had, presumably, children from the UK in mind as their ideal readers),
as well as the dominant discourses around the roles of men and of women in the
particular historical period - all these provide the broader social context in which the
series were written and within which they are read by their intended audience. It is
this social context which is relevant to the explanation of the texts. Lastly, despite the
13
concerns I have raised above and although I prefer Lewis’ (2002: 186) view of
feminism as “a cultural space which has enabled criticism to take place”, in the
discussion which follows I use a chronological structure to outline Western feminism
in the last century simply for its convenience.
The first of the three waves refers to the era of the suffragette movement which was
centrally concerned with political access, in other words, obtaining the vote for
women. Liberal politics within the industrial societies of the US and Europe formed
the context for first wave feminism which arose in the latter half of the 19th century
(Krolokke and Sorensen 2006). This was primarily an educated white middle-class
movement and was not particularly concerned with the rights of other women –
women of the working classes or other races (Lewis 2002) – although in the US it was
initially more inclusive (Krolokke and Sorensen 2006). Women challenged their
ascribed roles by engaging in protest behaviour which flew in the face of the norms
for ‘feminine’ behaviour, such as speaking in public. In challenging the “cult of
domesticity” and “ignoring her biological weaknesses”, a woman was actually
engaging in behaviour that was considered masculine (op cit.: 5). This mirrors a view
of women evident in the limited amount of research into women’s language during
the period (see Jespersen 1922, apparently the first, and very frequently cited, author
on the subject), which saw women’s language as suffering from an immutable deficit
– an innate and universal lack - in comparison with the language of men. This kind of
essentialist view of the sexes was even used by some as an argument for the
enfranchisement for women by claiming that their unique attributes would enhance
politics (Krolokke and Sorensen 2006). This was one of two competing forces which
contributed to the context of the struggle for votes: British Utilitarianism and social
Darwinism. The former advocated education and eventually the vote for women on
the grounds that a better educated woman would contribute more to society,
especially in terms of teaching children, while the latter hindered the quest for
equality in its insistence that groups and individuals, including women, could be
arranged hierarchically and that one’s place in society was immutable (Lewis 2002).
As Lewis (2002: 189) explains:
Femininity, as a cultural condition, was characterized in terms of
women being ‘fair’, weak, emotional, natural, sexual, unreasonable,
14
nurturing and domestic. In other words, the social role that women had
been ascribed during the rise of modernity had become ideologically
integrated into what Barthes would call the cultural mythology of the
times. Women’s biology and (lack of) civility inevitably positioned
them on a lower social scale. As numerous feminist historians have
explained, these ascriptions of character were produced through various
representations and discourses; the cultural space that women occupied
in the nineteenth century was justified in terms of biological deficiency
and the determinism of ‘nature’.
The rejection of biological difference as a valid justification for political inequality
was the hallmark of liberal “equity feminism” which advocated that everyone should
have the same access to resources and that their contributions should be recognised,
regardless of their sex (Krolokke and Sorensen 2006: 6).
Socialist/Marxist feminism developed parallel to liberal first-wave feminism,
predominantly in Europe and America, with an emphasis on women from other
classes and “their involvement in class struggle and socialist revolution” (op cit: 6).
As Krolokke and Sorensen explain (2006: 7),
[t]he concept of equal opportunity framed a particular type of equity
research, which arose outside the academy in the first half of the 20th
century, and gradually provided the basis for a growing field of research
in ‘the women issue.’
Following the scientific paradigm of
structuralism as a set of ways and means of knowing, equity research
initially took the basic format of muted group theory.
Virginia Woolf’s 1929 A Room of One’s Own and Simone de Beauvoir’s 1949 The
Second Sex are both regarded as influential texts from this period, as well as setting
the scene for second wave feminism (Krolokke and Sorensen 2006; Lewis 2002).
Woolf, a liberal humanist, made the case for women’s unique contribution, free from
the male ‘sentence’, and their need for the space, physical, political and intellectual,
within which to make it, while the more radical de Beauvoir, influenced by Marxism,
illuminated the system of patriarchy by pointing out how women are ‘othered’ in
society, while men are the ‘normal’ against which (the necessarily deficient) women
are measured in the context of patriarchal capitalism (Lewis 2002).
She also
foreshadowed the much later performative view of sex and gender by famously
arguing that one is not born a woman, but becomes one.
15
Eventually, the vote for women was won: in the UK, women who met certain
conditions could vote in 1918; in the United States in 1920 and all UK women in
1928. The first place where women could vote was New Zealand in 1893, while the
last Western country to extend suffrage to women was Lichtenstein in 1984 (IPU
n.d.). After the winning of the vote in the major Western nations of the UK and the
US, however, from the 1930s to the 1960s, there was a degree of slippage in the
position of women and a relaxation in the efforts to obtain an equal place for women
in society (Millett 1970). Krolokke and Sorensen (2006: 4) point out that both world
wars “meant a severe backlash for women’s rights, as the focus then became demands
of national unity and patriotism” while Lewis (2002: 190) notes that “this ‘decline’ of
feminism represents a certain slackening of focus, a sense in which the war [against
the oppression of women] had probably already been won”. Friedan (1965: 13) also
suggests that the “problem with no name” besetting American women in the 1950s
was due to the end of the Second World War (WW2):
The problem lay buried, unspoken, for many years in the minds of
American women. It was a strange stirring, a sense of dissatisfaction, a
yearning that women suffered in the middle of the 20th century in the
United States. Each suburban wife struggled with it alone. As she made
the beds, shopped for groceries … she was afraid to ask even of herself
the silent question — ‘Is this all?’
The cause of the problem, according to Friedan, was the return to the domestic role
that was expected of women after the end of the war. During the war, women had
been needed to do the jobs no longer performed by the men who had left to become
soldiers. During WW2, women in the UK were encouraged to “do their bit” through
government propaganda, religious material and popular media, with the result that
women were mobilised in a range of jobs, many of which had previously been open to
men only. In early 1941 registration at employment bureaus was made compulsory
for British women between 19 and 40 years old (Rowbotham 1999). However, in
neither country were women drafted into combat roles, as this was deemed
inappropriate, so their role was largely supportive in terms of nursing, manufacturing
and administrative work. These jobs suited the views in both the UK and the US
about women at the time: similar attitudes towards women’s roles in society, as
nurturers and homemakers, were found in the UK and the US. Whether or not they
expected to continue with paid employment after the war revealed class differences
16
amongst women in the UK: typically, professional women did, while most unskilled
workers saw it as a short term response to a national need (ibid.). As Rowbotham
(1999: 229) notes with reference to awards for bravery for women, “[t]he exceptional
nature of wartime meant that women’s extraordinary actions were part of the
suspension of normal life; they did not necessarily affect how women were regarded
in the long term”.
When the men returned, there was a need to persuade women to relinquish the roles
they had taken on in the public sphere, and return to the home, so as to free up jobs
for the returning soldiers (Friedan 1965). There was also a need to stimulate the
economies of the affected countries, especially as the war-related industries were
scaled down. In Friedan’s view, the resulting emphasis on the role of homemaker for
women, together with the marketing of domestic labour-saving devices, removed
women from the public workplace and isolated them in their homes, without financial
independence or active engagement in the world.
It seems that Friedan was
responding to a return to something very similar to the ‘cult of domesticity’ discussed
above. Aware that they had every material comfort they could desire, and few
worries, these women experienced a dissatisfaction, according to Friedan, that they
could not name nor justify.
The new freedoms experienced by British women at work during the war had not
translated into liberty at home: “[w]hile the government was appealing to women to
help the war effort it displayed a curious insouciance about how houses were to be
cleaned and children cared for” (Rowbotham 1999: 234). From the lack of nurseries
to evacuation and the real fear of death by bombing or while overseas, family life was
severely disrupted.
Thus an apparent liberation in the working life of women
conceals multiple levels on which the traditional power relations between men and
women were retained. The loss of ground that Millett (1970) identifies in the post
war years must surely be related to this regression towards traditional gender roles in
the later years of the first wave. It was in this context of a nostalgia for the past and a
partial return to and reinforcement of traditional gender roles that Lewis began writing
the Chronicles.
17
The second wave is typically dated from the mid to late 1960s and is often linked to
the “women’s liberation movement” (Lewis 2002: 186). At this time women were
still excluded from equal participation in public spheres by social proscription and
even legislation, and the various forms of feminism formed an opposition to that
exclusion. At the same time, other marginalised groups were also being recognised,
such as gay people and Black people (Krolokke and Sorensen 2006), and became
involved in a general project of emancipation in the context of the rise of the New
Left in these Western welfare societies (ibid.).
In the popular view this period is often associated with the sexual freedom afforded
many women by the contraceptive pill. Millett’s 1970 Sexual Politics is one central
text of the time which focuses on sex, and critiques what she sees as the patriarchal
and sexist representation of sex by several male writers of the contemporary canon:
her critiques of patriarchy charge it with viewing women as “either an inferior species
or really not human at all”, likening its representations to war propaganda (1970: 46).
While apparently structuralist and Marxist, Millett’s “politics functions very much
through the levels of personal relationships” (Lewis 2002: 193), making the point that
the relationship between men and women is political, in the sense that one group has
power over the other.
Theoretically, the second wave was largely neo-Marxist, with considerable influence
too from psychoanalysis. Issues such as gendered divisions in the workplace and
education, women’s double work load, domestically and in paid employment, as well
as equality in remuneration were central to the socialist/Marxist-women’s liberation
alliance, while radical feminists were dubious about the increase in women’s
involvement in these “patriarchal” social institutions (ibid.). For example, Mary
Daly’s 1978 Gyn/Ecology:The MetaEthics of Radical Feminism portrays patriarchy as
a religion, while Dale Spender, in Man Made Language (1980), emphasises the role
of language in the oppression of women, particularly the exclusion of women from
the public sphere and public expression, as well as the importance of not giving
substance to the symbolic patriarchal order, i.e. man-made language. Language and
gender research at the time was characterised by a dominance explanation of any
revealed differences. In other words, women’s language was taken to reflect their
social and political subordination to men, and any differences in language use were
18
related to differences in power in society (Bergvall 1999). This is clearly linked to the
neo-Marxist brand of feminism prevalent at the time.
In terms of the study of language and gender, an approach that came to be known as
the cultural difference approach arose towards the end of the 1970s and in the 1980s.
In this view the differences between women’s use of language and men’s are seen as
separate but equal, as being caused by childhood single-sex socialisations and,
sometimes, as indications of female superiority (Bergvall 1999).
Crucially, the
difference approach ignores the role of power in male-female differences and can be
seen to create a political space in which the celebratory third wave could arise, with
its attendant assumption that equality has, to some extent at least, been achieved.
Third wave feminism in the US arose as a response to “the limitations of essentialist
understandings of women that narrowed the relevance of some features of secondwave activism” (Lotz 2003: 7). Its critique of society now, however, is not really a
criticism of second-wave feminism, but a “critique of societies that still need much
feminist intervention” (ibid.) and acknowledges the variety of issues faced by women
all over the world. But for some younger feminists, “older and more structuralist
versions of feminism constitute a form of authoritative discourse”, from which they
seek liberation (Lewis 2002: 185).
The rise of notions such as ‘grrrl power’ sound
alarm bells for some second wave feminists (and, it must be admitted, for some third
wave theorists too), suggesting a backlash against the gains of second wave feminism
(e.g. Jeffries 2007).
In the 21st century, Western women have equal rights legally but, in practical terms,
relations between the sexes are not equal: according to Walter, writing in 2005, in the
UK the female full-time salary was only 85% of the average male equivalent, 96% of
executive directors in listed companies were male and women did twice as much
unpaid work in the home as men. Politically, as Lewis notes (2002: 186), “the culture
and its ideologies remain fundamentally ‘patriarchal’, sexist and prejudiced against
women. Men and male interests still dominate the culture, and women have to
confront implied limits on their social and economic progress”. Third wave feminism
addresses these constraints, largely from a post-structuralist vantage point and taking
a celebratory stance (Krolokke and Sorensen 2006: 15):
19
Born with the privileges that first- and second-wave feminists fought
for, third-wave feminists generally see themselves as capable, strong,
and assertive social agents…. Young feminists now reclaim the term
“girl” in a bid to attract another generation, while engaging in a new,
more self-assertive – even aggressive – but also more playful and less
pompous kind of feminism.
Third wave feminism displays even greater theoretical fragmentation than the
previous incarnations (Krolokke and Sorensen 2006) and Lewis (2002) suggests that
the influence of post-structuralism and postmodernism is particularly responsible for
this. Indeed, a resistance to categories and a preference for ambiguity over certainty
contribute to third-wave feminism’s “diverse and chaotic” nature (Krolokke and
Sorensen 2006: 17). Butler’s work and her emphasis on the performative nature of
gender, discussed in Section 1.2 above, has been particularly influential, seeing
gender as a “discursive practice” and claiming that “possibilities for change are found
in the ‘fissures’ of deferral and displacement that destabilise claims not only of
identity but also of truth and ‘the real’” (Krolokke et al. 2006: 18). There has been
feminist concern about the postmodern tendency to focus on discourse, seeing it as
“wholly constitutive of the social”, and to ignore “experiential and material aspects of
identity and power relations” (Lazar 2007: 150/1).
In addition, such supposedly subversive behaviours as cross-dressing and crosstalking may in fact reinforce existing ideologies of inequality (ibid.), raising concerns
about the reinforcement of patriarchal ideologies via ostensibly powerful behaviours
amongst the young women of today (Jeffries 2007). In defence of Butler’s theory of
performativity, Lazar (2007: 151) says, however, that “Butler (1990) does
acknowledge the coerciveness of ‘rigid regulatory frames’ that police gender
performances in a way which makes the accomplishment of identities neither freely
chosen nor entirely determined”, thus re-establishing the notion that behaviours and
identities, far from being freely chosen, are constrained by dominant discourses.
Discourse and discourses have become a particularly crucial focus in the study of
gender as a result of the general shift toward the recognition of the importance of
language in social analysis in the last two decades.
20
Rowling wrote the Harry Potter series in the midst of the celebratory third wave,
although the books, simply on the level of plot and contextual elements, sometimes
seem anachronistic.
Quite apart from the magical dimension, they are set in a
boarding school which resembles a castle, decorated with gargoyles, and the teachers
and pupils wear robes, write with quills and use candles for illumination. There is no
mention of mobile phones, computers or the internet, even in the non-magical world,
and the most modern element is a microwave oven in a non-magical home, which a
witch uses as a mirror. Nonetheless, their context, and that of their readers, is a time
when many consider the battle against gender inequality to have been won. How this
relates to the representation of the physical existence of girls and boys, women and
men, is explored in Chapter Five.
1.5
OUTLINE OF THE THESIS
This chapter has set the scene for the investigation of how female physical identity is
constructed discoursally in particular, and particularly popular, children’s fiction. It
was important for me to provide the contexts – philosophical, social and personal which underlie this study in order to facilitate the discussion and interpretation in later
chapters. Thus I mentioned my own history with regard to elements of the topic and
the stance I take in research of this kind. I also introduced the series which constitute
the data for this study and placed them in their historical and social context in terms of
the views of women current at those times. Finally, in this section, I outline the
structure of the thesis as a whole, showing how the chapters together build a picture of
the research and its place in the challenge to patriarchy.
Key theoretical concepts in this study are addressed in Chapter Two. My focus on the
discoursal construction of the gendered body means that my particular interest lies in
the concepts of ideology, gender and the body and the relationships among them.
After considering how language is involved in the reproduction of discourses, thus
supporting existing dominant ideologies, I discuss how ideas about gender are
transmitted through language, in particular through the language choices made by the
authors of children’s literature, and to what extent they support the pervasive and
patriarchal ideologies about women and girls current in Western culture. As my
21
particular focus here is the gendered representation of physical identity, I present
Western conceptions of the body, with a view to providing a context within which to
explain the views of physical identity found in the data. More concretely, the final
section in this chapter deals with previous research into children’s literature, showing
the significance of the genre for children and how my study continues an established
trajectory of analysing children’s literature with a view to revealing gendered patterns
in representation. However, my specific focus on body parts as a critical means to
analyse representations of physical identity in children’s literature, in conjunction
with Corpus Linguistics, has not been used before.
In Chapter Three I explore the two methods used in this study, Corpus Linguistics and
Critical Discourse Analysis, and describe how the research was carried out.
In
particular, I demonstrate the integration of the two methods and argue the benefits of
such a marriage for my project specifically. The use of Critical Discourse Analysis
(CDA) was planned from the start of the research because of its linguistically detailed
way of accessing ideological material in texts. It is also particularly appropriate
because it has an explicitly political agenda and unashamedly aims to effect social
change, in this case to ameliorate conditions of gender inequality. In the course of
this research I encountered and have been invigorated by the possibilities of the
relatively recent application of Corpus Linguistics methods to critical language study.
Despite the fact that adding corpus processes to this study meant entirely reworking
the data, I believe that this change has enriched my study immeasurably and has filled
me with enthusiasm for unearthing the complexities of this data set and others in the
future.
Not only are the two methods demonstrably applicable to this study
individually, but, together, they enhance each other and lessen each other’s
limitations.
In Chapter Four I present prominent patterns of representation and contrasting
gendered themes, in other words the results of the application of Corpus Linguistics
processes. The data are grouped in terms of their discourse prosodies into four
themes, namely identity, the display of emotion, responses to danger and, lastly,
agency, all of which show clearly gendered trends in the selected texts. I group these
focuses in terms of their literal and metaphorical relationship to the physical products
blood, sweat and tears, to show how the relationships between the body and emotion
22
and between the body and agency are revealed to be highly significant in terms of
gender differences, as is the behaviour of the body in dangerous situations.
Considering the processes of encoding and decoding which are implied in the text,
through traces of the author’s discourses and cues to how it should be interpreted,
enables one to reconstruct the ideal reader, together with the knowledge and ideas
about the world that he or she is presumed to have. This understanding of what
authors assume about the world they represent is the key to the final stage of the
analysis, the explanation. In Section 5.1, I relate the findings from Chapter Four to
the broader social context in which the series were written, thus revealing the
underlying ideologies which, through reiteration by the writing and the reading of the
texts, are perpetuated and strengthened. Thus I show the relationships between the
views of women and the body which have predominated in Western culture in the last
60 years and the representations of female physical identity found in the texts. Also
in this chapter I offer my evaluation of the blended research method employed in this
study, together with my plans for the practical application of my findings and
suggestions for future research inspired by the current project.
23
CHAPTER TWO: THEORETICAL OVERVIEW
2.0
INTRODUCTION
In this study I explore how physical identity is represented in selected children’s
books. I aim to find out whether these representations relate to dominant discourses
concerning gender and, if so, how. Thus multiple areas and concepts have a bearing
on the project at hand. The data come from children’s literature, particular books
within particular series, all situated within a particular social and historical context.
My aim with the study, to find out how girls’, and to a lesser extent boys’, bodies are
represented within those situated texts, necessitates the introduction of the concepts
gender and the body and their areas of theory and research. In addition, and probably
more importantly, the emancipatory goal of this thesis, to link these discoursal
representations to their ideological significance by working out whether they contest
or support existing ideologies, means that I must consider ideology itself, the various
approaches to the concept and how it relates to gender and the body.
The
implementation of an ideological analysis is dealt with in Chapter Three, but now, in
contextualising the analysis and providing the conceptual background, I begin by
exploring the key concepts involved in the study, viz. ideology, gender and the body,
in terms of how they have been used generally and historically, as well as the
relationships among these areas and between each of them and language. Each
concept has, over time and to varying degrees, been elaborated on in a range of subdisciplines and moulded to their needs which necessitated, for me, a broad voyage of
discovery and thereafter a narrowing of focus according to what is most applicable to
this study.
It is that pared down and selective discussion which I offer here.
Thereafter I explore the rationale for studying children’s literature and previous
research that has been conducted into the representation of gender and the body.
24
2.1
IDEOLOGY, GENDER, LANGUAGE & THE BODY
In children’s literature, possibly more than in other kinds of literature, most characters
have physical existences in the plots, bodies through which they act out their role,
experience the storyline and have an impact on each other and the fictional world.
Their body parts, their arms and legs and faces and eyes, are the central focus of this
study, in particular how the discoursal representations of these fictional physical
bodies relate to gender. Thus it is important to try and gain clarity on how the body
has been viewed through time in the Western culture in which the stories are written
and set, as well as on the place of women and girls in this society and how they are
represented generally in literature, and particularly in that written for children.
Language is of course central to this endeavour, as it is through specific linguistic
choices that these representations are made and it is in language that they are read and
experienced by their young readers. These depictions of gendered bodies are not
simply transparent representations of reality, but reflect how the writers see the world,
their ideologies, which themselves have been formed bathed in the dominant
discourses of their own society and experiences, real and fictional. I begin this
discussion with the concept of ideology, because an understanding of this notion helps
to emphasise the importance of contextually situated conceptions of gender and the
body, and their representation in language.
2.1.1 IDEOLOGY
2.1.1.1 THE ORIGIN AND HISTORY OF THE TERM
Originally coined by De Tracy over two centuries ago to refer to “the science of
ideas” (Van Dijk 1998), the word ideology has been harnessed by several different
approaches and gone through subtle but important shifts in its meaning since then.
Two of the most important changes involve the evaluative value associated with the
concept, and its relation to power. Originally, the term was regarded as neutral, but
acquired negative connotations in the early 19th century due to its use by Napoleon to
refer to his opponents. Classical Marxist views also originally saw it negatively, and
as referring to uncontestable false or misguided beliefs, “false consciousness”,
25
(Chandler 2007) which keep the powerless in subjection through consent, rather than
coercion. More recently, Althusserian neo-Marxism generalised the term to refer
somewhat more neutrally to any system of beliefs or ideas which represent reality,
“the medium through which we see the world” (ibid.). Hall (1980), building on
Gramsci’s notion of hegemony which admits the possibility of ideological
contestation, focuses on media texts and sees them as the site of ideological struggle,
discerning different “readings” of the text depending on the social position of the
reader: dominant (or preferred, i.e. in line with the dominant ideology), negotiated (an
“inflected” version of the dominant ideology) and oppositional (which contests the
dominant view). Crucially in terms of the critical approach which I am adopting,
ideology is seen as a set of representations which typically, but not necessarily, serve
to reproduce the status quo in terms of unequal power relations. It is this critical
definition which is used in my study and explored in more detail in 2.1.1.2. In
particular, I focus on ideologies in the data which perpetuate the system of patriarchy
and I resist constructions which position the reader as male: I read ‘as a woman’. For
this reason my analysis is not only critical, but explicitly feminist, as I describe in
Section 3.3.5.
2.1.1.2 IDEOLOGY: A DEFINITION
As I mentioned in 2.1.1.1, as a starting point, I take the term ideology to refer to
representations of reality which function to maintain (and sometimes contest) the
status quo in terms of power relations in a society. Fairclough (2001: 10) emphasises
the notion of ideology as “a mechanism of power in modern society” and this is a
central point for my research, as it is the representation of females and males in the
context of unequal power relations in the last half century that concerns me. Another
crucial feature is that of its systematicity; as Hodge and Kress call it: “a systematically
organised presentation of reality” (1993: 15). For me this relates to the paradigmatic
nature of representation and links to the powerful linguistic notion of choice in
language use. The concept of choice is particularly relevant in critical language
studies because it is through the authors’ linguistic choices that they reveal their
hidden assumptions and ideas: their ideology, and the ideologically significant
choices made by the authors of my data is what I report on in Section 4.2. Hodge and
26
Kress’s definition quoted above also includes an element common in neo-Marxist
attempts to define the concept, in that they see it as ‘a’ representation of reality,
implying that it is not the only way in which reality might be represented. Tying this
to the role of ideology in the expression of power is the notion that the representations
flow from particular ideological positions (Lazar 2007) and create or reinforce certain
subject positions; in other words, the choice of how to represent the world is
instrumental in maintaining or contesting the status quo, particularly in terms of
power relations. These representations of the world not only affect the worldviews of
others but also the practices they engage in and these too have a role in maintaining
inequalities (Wooffitt 2005). In the case of the children’s books which form the data
for my study and which have enjoyed substantial commercial success (see 1.3), the
potential influence of their representations of females and males is tremendous. Thus,
the impact of the reiteration and transmission of ideology is not merely abstract but
has practical social and political implications as well. How ideology relates to and is
perpetuated by language is the subject of the following section.
2.1.1.3 IDEOLOGY AND LANGUAGE
Underlying Fairclough’s claim (2001) that we can extract cues to ideology/ies from
text is the awareness that in using language, speakers and writers make choices on
multiple levels, some conscious, like the avoidance of politically incorrect terms, for
instance, some less so. I would argue that it is, in fact, in these unthinking choices
that we most truthfully reveal our view of the world, in that we are operating from a
position of what we consider to be ‘common sense’, thus it more accurately reflects
our inner beliefs.
While most authors certainly think carefully about the overt
features of their books in terms of plot and characterisation, the elements of the stories
that come straight from common sense, that get filled in as the ‘obvious’ details
between the exciting and interesting parts, are potentially the most revealing in terms
of that which is assumed and not contested – the ideologies of the authors. The
importance of ideology in terms of this study is that it is the crucial link between
language and power, in that power is expressed through ideology and ideology is
made manifest through language: “people acquire, express and reproduce their
ideologies largely by text or talk” (Van Dijk 2004: 1). Power, which underlies
27
inequalities in society, is, of course, more than just language, but language is very
important, according to Fairclough (2001). Every act of language is also a social one,
in that the relationship between language and society is not an external one, between
two separate entities, but an internal one, where language is part of society (ibid.).
This reinforces the social significance of linguistic behaviour, or linguistic choices,
and thus the meaningful link between ideology and language. Ideologies are not
resident in language, however, but are invoked through language use, through
discourse(s). In this study I show how language use in children’s fiction invokes
ideologies concerning gender relations, thereby supporting them.
2.1.1.4 IDEOLOGY AND DISCOURSE
The term discourse is used in multiple senses in linguistics generally and in critical
analysis more particularly. Even just one author, Fairclough (2001), uses the term in
several ways: with reference to the text itself; to designate text types and in referring
to discourse as a practice (drawing on Foucault and Bakhtin amongst others) as well
as at the level of social practice, (where he draws on Marx, Gramsci, Althusser and
Foucault) (O’Regan 2006).
Indeed, Van Dijk (2009) questions the wisdom of
attempting to define such basic concepts which, in his view, need entire theories or
disciplines to be properly understood, but for the sake of clarity I believe it is
important to try. From those enumerated above, the sense of ‘discourse’ most salient
to this project is that of language as a process (Fairclough 2001), with discourse being
involved in both the process of production and, importantly for this research, the
process of interpretation, the mediator between the text and the broader social context
in which ideology resides. The view of discourse as mediator rests on Fairclough’s
point made earlier, that ideologies do not reside in texts themselves but that the
process of interpretation invokes Members’ Resources (MR), background
assumptions, which reveal discourses, and these in turn can be examined to uncover
the ideologies they support.
Related to the concept of discourse is that of orders of discourse, a term which
Fairclough uses as the discoursal parallel to ‘social orders’. He points out that “[h]ow
discourses are structured in a given order of discourse, and how structurings change
28
over time, are determined by changing relationships of power at the level of the social
institution or of the society. Power at these levels includes the capacity to control
orders of discourse; one aspect of such control is ideological – ensuring that orders of
discourse are ideologically harmonised internally or (at the societal level) with each
other” (Fairclough 2001: 25). Examining the discourses involved in the production
and interpretation of a text reveals how the more powerful text producers have
positioned themselves and the other participants in terms of the order of discourse,
and also the ways in which those discourses are structured more broadly in the context
of power relations at a societal level. Thus gender relations, being relations of power,
are also revealed in an analysis of the positioning evident in the interpretation of texts
such as the children’s fiction in this study.
The kinds of social problems often addressed by social research, as Fairclough,
Graham, Lemke and Wodak (2004: 2) explain, are frequently “problems of discourse”
in that people act on their environment and represent their action in particular ways
and these particular ways are discourses, which can also be used to act through:
“discourses simultaneously sustain, legitimize, and change [ways of acting]”.
Fairclough et al. (op cit.) call our discourse-saturated world a “thoroughly mediated
global environment”, noting that as reflexivity increases, so too does the power of
discourse. As the social environment itself becomes increasingly immersed to an ever
greater degree in discourse, to the extent that it cannot function without it, so the
transmission of these meanings, including their role in society, becomes more and
more important as a means for change and a site for analysis. Thus social change
becomes increasingly about changing discourses, a rejection of the materialist view
which sees social conditions as deterministic (Chandler 2007). This view constructs
language use as a potentially powerful and subversive activity and imbues the critique
of discourse with the potential to assist in the emancipatory project. Fairclough et al.
(2004) identify three kinds of critique in the analysis of discourse: ideological,
rhetorical and strategic. The last of these is relevant to social agents’ attempts to
change society via discourse while rhetorical critique focuses on manipulation and
persuasion in particular texts. Ideological critique “focuses on the effects of discourse
on social structures of power” (2004: 5) and clearly reflects the purpose of the current
study: to analyse discourse with a view to exposing its effects on power relations via
ideologies.
29
One of the most important functions of ideology is in terms of its role in “the exercise
of power by consent as opposed to coercion”, which is increasingly common in
modern society (Fairclough 2001: 30). Domination by force, such as was evident in
South Africa during the Apartheid era, for instance, would certainly be noticed by the
members of a society, and might be resisted, but the operation of ideology to
manufacture consent to the continuation of the existing social structure, which
functions to disempower most citizens, is successful to the extent that the ideologies
are seen as common-sense, as non-controversial, and thus much less likely to be
contested. “Ideologies thus serve to protect the interests of powerful groups. They
perform this function in subtle ways because they inform how we come to interpret
the world around [us]: ideologies ensure that certain events, ways of acting and
relationships come to be regarded as legitimate or appropriate” (Wooffitt 2005: 140).
Thus an analysis of the discourses found in texts can reveal the ideologies that are
referenced, invoked, reinforced, and set up as the ‘norm’, just the way things are,
“common sense”, and thus more likely to be reproduced in the reader of the text.
The importance of discourse is as the link between ideologies and the reflection and
exercise of power. As Wooffitt (2005: 140) argues: “[d]iscourse and its texts are
viewed as embodying ideological assumptions…. Thus the ways in which we talk and
write about the world reflect wider ideological pressures and, ultimately, particular
constellations of power relations. Discourse, then, is the site of power”. This alludes
to a final crucial point: discourse, and the analysis and critique of discourse, is not
simply about analysing how the world is represented, but it offers an opportunity for
change. Despite the dominant ideology often being the preferred reading of a text,
ideological critique, as mentioned above, allows for contestation and emancipation.
Thus this study is not merely an exercise in showing the gendered ways in which boys
and girls and men and women are represented in the fictional texts I have selected,
although this is in itself fascinating, it also presents a real opportunity for critiquing
the discourses so revealed, thereby causing fractures on the ideological level which
currently upholds gender inequality. This underlines the view of the critical analysis
of discourse as an emancipatory project, one which can have real-world
consequences.
30
2.1.1.5 CRITICAL APPROACHES TO DISCOURSE ANALYSIS
The critical analysis of discourse in the mode of Wodak, Kress, Van Dijk, van
Leeuwen and particularly Fairclough, in other words CDA4, is now commonly seen as
the central and preeminent critical approach to the study of language, especially of
language as a crucial element of social analysis, but as Rogers, Malancharuvil-Berkes,
Mosley, Hui, and O'Garro Joseph (2005) point out, the history of the critical study of
discourse goes back far further than Fairclough’s 1989 book Language and Power,
from which the term CDA is said to originate, further even than the 1980 publications
of Language and Control, by Fowler, Hodge, Kress and Trew, and Language As
Ideology, by Hodge and Kress. The discussion of the development of the concept of
ideology in the preceding sections is also evidence for a much earlier origin for the
critical analysis of language. In addition, the methods by which critical analysis is
effected are not formulaic or rigid as the label might suggest, despite the useful
detailed suggestions provided by Fairclough (2001), but rather respond to the question
and text at hand, which makes it difficult to use the term since it seems to refer to a
single approach. In this discussion, I use the term to refer to a (more or less) unified
body of theory and research, often clustered around the work of Fairclough and, more
recently, Wodak, which has at its root the aim of addressing inequalities in society
through the critical study of discourse5. In using the word ‘critical’ I follow Reisigl
and Wodak (2009: 87) who understand a critical stance in research to mean “gaining
distance from the data…, embedding the data in the social context, clarifying the
political positioning of discourse participants, and having a focus on continuous selfreflection while undertaking research”. Thus, acknowledging the socially embedded
nature of linguistic data entails giving an explanation of the discourses found in the
texts in terms of their social context, as well as the power structures implied which
means seeking out the ideological links and how participants are related to each other
in terms of power through the text. The notion of a critical approach to discourse
analysis, therefore, speaks directly to the concepts of discourse and ideology,
described in Sections 2.1.1.2, 2.1.1.3 and 2.1.1.4 above, and to the relationships
4
Critical Discourse Analysis, although Van Dijk (2009) prefers the term Critical Discourse Studies as
he says it reflects the combination of theory, analysis and applications.
5
Wodak’s own variety of CDA, the Discourse-Historical approach, is, as the name suggests, concerned
with the explanation of texts in their historical context, as well as placing more emphasis on
argumentation theory.
31
between them and language use, as well as between each other, and insists that the
researcher seek out these links and relationships, both in terms of discourse
production and interpretation. These links lead from text to interpretation, which
involves discourse as the mediator, to ideology: from specific uses of body parts in
this study, to what this means about the authors’ background knowledge and
assumptions regarding the interpretation by readers, linked finally to broad social
meanings about gender and the body, in other words, ideologies about females and
males.
Historically, the realisation in (Western) linguistics in the 1970s that the social
context was an important part of linguistic analysis, and the subsequent development
of critical discourse studies of various flavours, coincided with critical approaches to
society in general, as well as upheaval and dissent, in the Western world at least
(Rogers et al. 2005). There was a general movement in the social sciences towards
language and less individualistic methodologies (Rogers et al. 2005) and by
combining very detailed linguistic analysis with a broader social explanation, CDA
filled a gap in the linguistic analysis of society/social analysis of language field,
because of two tendencies: cultural theorists do not usually include micro-analyses of
text in their work; and conversation analysts of the purist persuasion reject the
inclusion of broad social contextual information in their analyses, unless it is raised by
the participants themselves. CDA, with its left wing agenda, was, to an extent, also a
reaction against the “hands-off objectivity” of other earlier kinds of linguistics
(Jeffries 2007: 195). CDA brought a “wide range of tools and strategies for detailed
analyses of contextualised uses of language in texts and talk”, and has shown itself to
be suitable for the explicit analysis of “various forms of systemic inequality”,
including gender, according to Lazar (2007: 144).
Thus, through the micro-analysis of features of the text6, via a consideration of the
processes of production and interpretation, to connecting the discourses thus invoked
to the broader social context, the researcher is able to reveal the ideologies underlying
the text and the ways in which they relate to the dominant groups of that society.
These ideologies relate also to the status quo in terms of power relations, either
6
The details of the principles and operation of CDA are discussed in more detail in 3.3.
32
supporting or contesting it, often, in CDA, in relation to class, but also including other
social categories, like gender, in feminist CDA (Lazar 2005, 2005a, 2007). Given the
way in which ideology is assumed to impact on the text consumers’ interpretation of
the world around them, CDA has an important goal, not only to “educate the masses
about one of the causes of their own oppression” (Jeffries 2007: 195) but to
undermine the strength of the dominant ideologies and be used as a tool of subversion
in the interests of social equality. CDA, then, can be used to ignite the ideological
struggle that is necessary to effect social change.
2.1.2 GENDER
The area of society in which this study aims to make an impact is that of gender
relations and inequality between the sexes.
The analysis of the representation of
female and male physical identity and how this contributes to dominant discourses
concerning men and women and girls and boys assists in the contestation of
ideologies which perpetuate stereotypical ideas about females and males and thus
unequal power relations between the sexes. Gender is therefore naturally the main
focus of this study, although it is not necessarily a straightforward concept to define,
as I explore below, and this study is broadly speaking a feminist study in that it aims
to promote the cause of women and girls, in an effort to work against inequality. In
the sections which follow, I sketch the ways in which the concept of gender has
shifted, as its definition is revealing of academic and lay approaches to sexual
variation and the social roles typically associated with it. I also show how gender
relates to language/discourse and ideology, and, later, to the body, so as to link
together the main concepts of the study theoretically.
2.1.2.1 INTRODUCTION TO GENDER
Gender is an all-pervasive and extremely influential construct in the lives of
individuals. As Taylor (2003: 308) suggests, gender is
perhaps the basic dimension through which individuals perceive the
social world and their place in it. Gender shapes social organization
and influences how we interact with each other and even how we
33
evaluate ourselves. Additionally, gender shapes our feelings, thoughts,
and behaviors from birth to death.
In children’s literature we find a reflection of the attitudes towards gender prevalent in
society at a particular time: “children’s books have, for a very long time, defined
society’s prevailing standards of masculine and feminine role development” (Peterson
and Lach 1990 n.p.).
As attitudes towards females and males shift over time, so too does the concept of
gender and its use in the social sciences. In this section I review the major uses of this
term with reference to language: as the social component in the pair of terms, sex and
gender, and as it is used in postmodern applications, to refer to an aspect of identity
which is accomplished through multiple performances. In the process I point out
aspects which are pertinent to this study and indicate how they have been formative in
my approach to and analysis of the data.
2.1.2.2 SEX AND GENDER
The term ‘gender’ is most often used in opposition to ‘sex’, with the latter being seen
as referring to biological and innate traits, and the former referring to more social,
learned aspects (Cameron 2006).
In terms of sex, one can be male or female
(usually), or a man or a woman, while in terms of gender, one may be masculine or
feminine, to greater or lesser degrees. This distinction is important for feminists
because
it challenges the belief that everything about women, men, and the
relationship between them is a matter of biology. Being cultural,
gender can take varying forms in different societies and historical
periods: what is considered ‘masculine’ in one time or place may be
understood as ‘feminine’ in another, and have no special gendered
significance in a third.
(Cameron 2006: 724)
Two crucial points should be highlighted here.
Firstly, gender does not flow
inevitably from an individual’s possession of certain sexual characteristics or DNA.
Although some physical characteristics associated with a given sex are seen as innate
34
(though the extent to which even this is true has been disputed), these cannot be
extrapolated to psychological or social traits as there is no essential link between a
person’s physical sex and their social gender, although the association between them
may be perceived to be very strong within a given society. The ideas about what
constitutes feminine or masculine behaviour come from that society, and are socially
transmitted to members, chiefly through language.
This is why language is so
important in contesting dominant ideologies about gender roles. Secondly, gender is
seen as existing on a continuum, rather than being seen as binary, like sex (although
this is an oversimplification too, as one should take into account intersex and
transsexual people). This means that in terms of gender one can behave in ways
which are more or less feminine, or more or less masculine, which mean different
things in different times and places. As constructs, masculinity and femininity are
relational and what counts as masculine is necessarily not feminine. While change is
possible, “different discourses of masculinities and femininities cannot simply be
created from nothing, but must at least to an extent be chosen or modified from
discourses which are socially available” (Wharton 2005: 249). This emphasises the
social nature of gender and highlights the role of language in effecting social change.
In my data, there is a certain collapsing of gender onto sex. The characters are named
by the authors, and referred to using pronouns, both of which indicate the sex of the
child or adult by convention. In my analysis of the body parts of these characters, I
assume that the behaviour of a male adult, for instance, is seen as masculine to a
greater or lesser extent and is thus representative of what the author views as more or
less appropriate physical identity for that gender/sex. However, this restriction to
binary divisions in terms of sex and gender, and the ‘inevitable’ extension of an
individual’s physical sex to their social gender, is imposed by the representations
themselves, reflecting the underlying ideologies of the authors. Only in very few
cases is this view of reality contested in the texts themselves, when there is a
perceived mismatch between sex and gender. These are discussed in detail in Chapter
Four.
In the literature of the 1990s a change is evident which reflects the influence of poststructuralism on the notions of sex and gender as described above. No longer are
either sex or gender seen as binary terms (male/female and masculine/feminine),
35
neither is sex viewed as innate or rooted in the physical; rather it is seen as socially
constructed in much the same way as gender alone has been.
Cameron (2005)
provides an exhaustive comparison of the elements in the shift from what she calls the
concept of “binary gender difference” to “the diversity of gendered and sexual
identities and practices” (2005: 482, emphasis in original), which refer broadly to
second wave and third wave feminist approaches respectively. Although the ‘earlier’
approach saw gender as socially constructed, there was often an implicit assumption
that this was grounded in the biological notion of sex. In the ‘later’ approach, sex is
also recognised as being socially constructed in that ideas about sex are not natural
but always “filtered through social preconceptions about gender” (2005: 484). As a
logical conclusion, Butler (1990) suggests that as both notions are constructed, there
may in fact be no distinction between the two after all. Krolokke and Sorensen (2006:
18) comment that “the [diversity] approach further destabilises the distinction
between the social and the material, discourse and body, and, not least, sex and
gender.
These conceptual pairs are now seen as inextricably linked discursive
practices”.
The shift to seeing both sex and gender as socially constructed is
important in its implications for the study of identity and language: as “language plays
a large part in the construction of identities” (Baker 2008: 14), seeing both sex and
gender as socially constructed implies that discourse may be analysed for its
construction of not only gender, but also sex, if it is even taken to exist. This renders
the collapsing of sex and gender in my data less problematic, as their simultaneous
construction in the texts is revealed in the same process of analysis.
Another contrast drawn by Cameron (2005) between the difference and the diversity
approaches is the conception of gender as something one ‘has’ in the difference view,
as opposed to something one ‘does’, or ‘performs’ in the diversity approach. This
aspect is most commonly associated with the work of Butler (1990, 1993), mentioned
in Section 1.2, whose work is central to the post-structuralist view that gender is
performative; in other words, it is accomplished by the individual rather than being a
trait that one has or an element in an individual’s identity, although the term itself
originates with Austin’s theory of performatives. Over the course of a lifetime,
according to the postmodern view, one enacts and re-enacts gendered behaviours and
thus performs one’s gender identity. This can clearly be extended to the analysis of
language use, where the repeated enactment of (stereotypical) features of the speech
36
of men or women can be seen to be performing gender (Cameron 1997).
Its
application to the representation of gender in texts, however, is less clear. Cameron
(2005: 485) notes that while some gender linguists use Butler’s ideas in their work,
“few language and gender researchers are deeply indebted to the ideas of canonical
‘postmodern’ theorists like Baudrillard and Derrida” suggesting a selective approach
to postmodernism theory by these writers.
This point reflects that while some
elements of the postmodern shift are particularly useful to the study of language and
gender (such as the emphasis on language, the applicability of Butler’s concept of
performance to the study of ‘genderlects’ and an increased focus on the constructed
nature of identity), other aspects are more problematic and may cause researchers to
avoid adopting the approach in its entirety. This certainly applies to my perspective
on language and gender. The price is too high, for me, in terms of what I see as the
loss of the potential of research for emancipation: if meaning is too unstable for
communication, too vulnerable to loss, as post-structuralist approaches suggest, then
there can be no truth, and thus little point in trying to uncover it. In other words, the
pursuit of knowledge in research is futile: all knowledge is relative and thus research
cannot be used to challenge inequality because no single idea has any greater claim to
represent reality than any other.
Therefore, while rejecting the ideas of the
‘canonical’ post-structuralist thinkers, as Cameron calls them, I find, however, no
theoretical incompatibility between the critical approach I have adopted in terms of
the functioning of ideology and a constructivist view of identity, commonly
associated with post-structuralism, although it predates it.
Despite post-structuralist calls to feminist researchers to avoid ‘grand narrative’
generalising statements and to focus research on small-scale community-level
language use, the local analysis of language use has to be situated in the larger social
context (Bergvall 1999). As was mentioned earlier, this is also recognised in the
critical analysis of discourse. Without recourse to that broader view on the level of
ideology, an analysis lacks a consideration of power and ignores an important level at
which gender operates. The lack of this link would remove the explanatory utility of
research and diminish its role in the contestation of dominant ideologies. My research
addresses what Bergvall calls (1999: 274) the “ascribed” facet of gender in that I am
engaged in “assessing the role of ideology and hegemonic belief systems which
underlie social roles, and which thrust on speakers certain assumptions of gender roles
37
and behaviour”, while a post-structuralist approach would be classified as an
“achieved” aspect in that it refers to the construction by speakers of their own gender.
Set out like this, it becomes apparent why scholars wishing to focus on how
assumptions and expectations about gendered behaviour are thrust upon language
users, on how ideology operates to give hegemonic status to gendered social roles,
can safely choose those aspects of the “postmodern turn” which suit their purpose and
leave the more problematic ones behind. For them, as for me in this study, the
emphasis is on the ascribed, the views of the world that inform social roles and affect
the behaviour of those who have internalised them. As Cameron (2006a: 3) points
out, “looking locally at the relationship between language and gender in specific cases
needs to be combined with ‘thinking globally’ about the workings of gender as an
overarching system of social organisation”.
The definitions of gender and sex discussed above, in particular in relation to the use
of these terms in the study of language, reflect shifts in the humanities more generally
– an increased emphasis on language in the movement from the neo-Marxist
structuralist view of society to the more recent postmodern/post-structuralist view.
These broader shifts are also reflected in theorising about the position of women in
the Western world, in other words in movements in feminism, especially in terms of
its conceptualisations of women, which I discussed in Chapter One.
While
acknowledging the usefulness of the view of gender (and sex) as socially constructed,
as I have indicated I do not feel the need to tie myself theoretically and
philosophically to the postmodern approach in its entirety. In this study, then, I take
the neo-Marxist view that gender, in particular, is socially constructed, without the
theoretical ‘baggage’ of post-structuralism. Following Cameron (2006a: 2), therefore,
I believe that taking a ‘diversity’ view of gender is not “the most important task for
feminist scholarship” and that critically exploring the “prevailing social arrangements
between men and women” should be the overarching aim. Thus what is important for
the legitimacy of all research into language and gender, in my opinion, this study
included, is that the operation, through language, of ideology and power relations in
society be investigated, with an emancipatory goal. This approach is particularly
appropriate in the context of this study which investigates how females and males are
positioned in texts, rather than their performance of gender (or sex) in texts of their
own production. In the following section I consider the relationships between gender,
38
ideology and language and how language analysis illuminates gender ideologies in
texts.
2.1.3 GENDER, DISCOURSE AND IDEOLOGY
In the past 20 years, language has become increasingly salient in the “politics of
everyday life” (Cameron 2006a: 5) – a shift often referred to as the ‘linguistic turn’.
What this means for the study of gender and language is that language has assumed “a
peculiar and special status as a symbol of gender difference and gender conflict” (ibid,
emphasis in original).
Indeed, in most cultures, “men’s and women’s ways of
speaking tend to be represented as expressions of their underlying natures” (ibid.),
thus opening the door for a return to a biological discourse around gender
differences7.
While this is problematic in that it privileges differences over
similarities, thereby supporting inequality based on gender, it does emphasise the
relationship between language and gender.
In language use, specific mechanisms are used to reference gender. Motschenbacher
(2009: 3) usefully distinguishes among the following with reference to personal
nouns, of which body part terms are one kind:
•
lexical gender: where a personal noun is marked semantically as [male] or
[female], such as kinship terms, or, with reference to body parts, penis or
vagina,
•
social gender: which refers to “entrenched social stereotypes that tie certain
role scripts to women and men” (op cit.: 4), such as eyelash or muscle, which,
despite not being physically restricted to one sex or the other, in practice tend
to be associated with either the female or the male body, and
•
referential gender: which is determined by the sex of the person who is being
referred to. So one could refer to a beard or muscles that belong to a woman,
just as one could refer to these physical features on a man’s body; equally this
kind of gender could be used subversively to counter the expected references,
such as the use of sister amongst gay men (Motschenbacher 2009).
7
For a detailed discussion of this trend, see Walter 2005 and Cameron 2009.
39
In this categorisation there is again a certain conflation of sex and gender in that body
parts associated with specific sexes are seen as tokens of lexical gender, but there is
also the possibility for contestation of dominant discourses, particularly through social
and referential gender. In terms of the analysis of gender representations, this model
shows how language indexes gender in particular ways and on different levels. The
lexical aspect implies semantic taxonomies which are not innate or culturally neutral
but reveal the way a speech community divides up the world, while the social
category is based on convention and thus ideology, and the referential component
reflects the ascribed nature of the gender of the nouns. Each of these underlines the
importance of the role of society in the linguistic representation of gender, which
makes the model especially useful to my study.
With reference to the representation in language of gender, to the representations of
socially constructed differences between women and men, and in the context of the
increasing dependence of Western society on information and the importance attached
to it in the ‘information age’, the relationship between language and gender is clearly
mutual. Not only do ideologically dominant ideas about masculinity and femininity
affect the production of gendered linguistic behaviour, but language use is strongly
implicated in the perpetuation of various discourses around gender. As Holmes notes
(2007: 53) “language … plays an important part in constructing what Eckert and
McConnell-Ginet (2003: 32) call ‘the gender order’, the repressive ideology which
ensures that deviation from gender norms (by women or men) entails penalties”. The
linguistic choices that text producers make, to use Fairclough’s terms (2001), offer us
not only traces of their own assumptions, but also cues to the ideological resources
which readers need to interpret the texts, thereby replicating them, constituting rich
pickings for the analyst who wishes to link these processes to the broader social
context and systems of social organisation, of which gender is a particularly important
and pervasive part. The authors of the children’s series analysed in this research
unwittingly encode in their writing their own conceptions of gender relations and the
ways in which they think males and females ought to use their bodies, as well as
perpetuating these views normatively through their work. My task is to reveal the
trends in these representations and contextualise them in terms of dominant ideologies
about gender.
40
2.1.4 THE BODY
A study of physical identity necessarily focuses on the body as an entity made up of
specific parts, but also on the body as a concept. As the concrete expression of our
existence, the body may be easily overlooked; it may be seen simply as the instrument
through which we live in and act on our surroundings. However, the body as a
concept has long been a focus in philosophical debate and more recently in gender
studies. But “[l]inguistic discussions of the body and its relation to gender, by
contrast, are relatively rare” (Motschenbacher 2009: 1), which adds further impetus to
my study. In the following section I review the ways in which the body has been
conceptualised, so as to be able to locate the representations found in my data in terms
of their philosophical genesis.
2.1.4.1 APPROACHES TO THE STUDY OF THE BODY
From Plato’s view of the body as something which required control by the mind to
more recent theorising around cyborg physicality (Wolmark 1995), the body, as well
as the relationship between the mind and the body, has been of great interest to
Western thought. The series I am studying were written in the context of Western
culture and so a sketch of the development of ideas about the body in this social and
philosophical context forms useful background to the analysis of the books and their
representation of the body. It enables me, in Chapter Five, to place the authors’
conceptions of the body in a philosophical frame, to identify the authors’ ideological
assumptions regarding the body, as a context for any gendered views the data may
reveal. Lewis (2002: 294) provides a giddyingly swift overview of the prominent
ideas in this area:
the body has been theorized in various ways throughout the period of
modernity: Enlightenment philosophical dualism, for example,
privileges the mind over the body; Marx theorizes the body as an
economic condition; humanism presents the body in terms of happiness
and economic utility; science conceives of the body as a biological
system; social science conceives of the body as a social unit in a social
system; Michel Foucault presents the body in terms of ‘discourse’ – as a
set of inscribed and negotiable meanings.
41
Despite the association of the mind/body split with Descartes and the Enlightenment,
it has much earlier origins, with Plato believing that the harmony of the state as well
as personal harmony were only possible if “the physical and potentially chaotic urges
of the body are governed by reason” (Lewis 2002: 296), suggesting an assumed
dichotomy between the two. Aristotle also held that rational authority, in other words,
the mind, was the more important element for moral order and this view was reflected
in the Apollo/Dionysius opposition in Greek mythology.
Descartes’ later dualism again sees the body as a lower order organism, subject to
base urges, while the mind is linked to reason, the soul and even the deity. Rousseau
believes that the “passions” need to be controlled in order for the individual to be a
good citizen, while Hobbes, writing about the state and translating the notion of
dualism into political terms, sees the “elevation of the human mind” as parallel to the
“elevation of human morality and the collective ordering of rational government and
the rational state” (Lewis 2002: 298).
Kant, writing towards the end of the
Enlightenment, sees reason as the essence of human nature and connects it with
freedom, and free will. Action, in this view, is the execution of free will and is based
on rationality, not emotions. From this perspective, action based on emotions can not
really be seen as action in his sense of the word, because it is not an act of free will, it
is not rational and thus it is not exclusively human, in the sense that animals do it too.
Clearly reason is more highly valued and behaviour based on the emotions is regarded
as almost sub-human. Similarly the Romantics also see reason as having a role in
controlling the potentially baser body.
The binaries prevalent in so much of
Enlightenment thinking (mind/body; reason/emotion; man/woman) have been
criticised as being problematic not only in that they are held to be opposites but also
that one member of the pair is typically accorded a higher status than the other (Lloyd
1999).
Lewis (2002: 301) outlines four approaches to the body: the economic body, the
humanist body, the biological body and the sociological body, of which the first three
are relevant here. The last refers to the conceptualisation of the body specifically in
sociology and is not useful in the context of this study. I add a fourth approach, the
discursive body, by which I mean the socially constructed body.
42
•
The economic body
In modern times, the body assumes great importance for Marxist views of the world,
in that the proletariat sell the labour of their bodies in the capitalist market, and the
mind, for the working class at least, is of lesser direct importance. The body is
viewed as a machine, or as part of a machine of labour, and is evaluated in terms of its
capacity to contribute to production. The coercion of the mind necessary to persuade
people to contribute their bodies willingly to the labour market is the work of
ideological hegemony, the processes of making into unchallenged common sense that
view of the world which best suits capitalist interests. Discourse, and precluding
access to discourse via restricted disciplines, is an important component in the
production of “docile bodies” (McKenna 2004: 14). Similarly, coercion is required to
persuade members of less powerful groups other than class, such as women, to fulfil
the roles that best suit the more powerful groups, like men. Discourse is key in
ensuring that women view as natural the behaviours expected of their bodies to
maintain the status quo socially, politically, economically and in the home. Much
children’s literature from the first half of the 20th century, for instance, assisted in this
coercion by representing women largely in domestic roles (see 2.2.1.1), naturalising
the view of men as the ‘head of the household’ through their economic contribution
and devaluing the work usually done by women in their own homes due to the fact
that it is often unpaid.
•
The humanist body
The humanist view focuses on the interests of humans, with an emphasis on freedom
and reason, and has elements in common with both utilitarianism and liberal
democracy. The goal of this secular approach is the well-being of all people, with a
concern for other sentient beings as well.
In Section 2.1.2.3, I mentioned that
utilitarianism advocated the vote for women so that they could better fulfil their role
in society; the payoff is that the reverse was presumed to be true too, in that “being
useful to a society would necessarily implicate personal pleasure” (Lewis 2002: 301).
In this approach the mind and body are not opposing or competing entities but
“operate harmoniously, as the mind came to accomplish the self-interests of the body”
(ibid.).
Educationally, humanism leads to a focus on the faculties which are
specifically human, such as language, mathematics and reason, which seems to
43
contradict the supposed equality and symbiosis between the mind and the body,
however consciousness and personality are seen to flow from the biological system
which underlies them, invoking a close link between the physical and the mental.
Thus a humanist view, in its pursuit of betterment via reason and empirical science,
privileges the mind, but sees the body as logically prior. Therefore, to relate these
ideas to this study, humanists perceive a close connection between sex and gender,
and see gendered traits as flowing from sexual characteristics. Physical differences
between the sexes result in differences in the social expression of gender in terms of
temperament and mental faculties. Differences in the portrayals of femininity and
masculinity in children’s literature would be seen as the natural expression of physical
differences between females and males.
This is an approach which has some
similarities with the Darwinian, or biological, view below.
•
The biological body
The biological view of the body is one that has held sway for a considerable length of
time. It makes a number of assumptions, according to Lloyd (1999: 114), which
coalesce into the idea that ‘biology is destiny’, in other words, we do what our bodies
allow us to do. First amongst them is the idea that the body should be seen in
physical terms, in other words in terms of its genetic, anatomical or physiological
nature and, secondly, that it is logically prior to society and independent of it. This
means that because the human body existed before society, the body is defined by its
functions rather than by the meanings ascribed to it by culture. This leads to the third
assumption that, as the meanings of the body flow from its functions, so differences
between men and women are innate and the fourth, that the organisation of society is
affected by these supposedly ‘natural’ differences: “[i]t is the way that humans eat,
sleep and reproduce that determines the evolution of society and not society that
determines the ways our bodies behave” (ibid.).
Thus the biological view is
deterministic in that our physical bodies are seen to constrain how we can use them
and any inequalities are simply seen as extensions of the ‘natural’ physical
differences. If, for example, males are represented as more physically agentive or
capable in the series I am studying, adherents to the biological view could interpret
this behaviour as a neutral reflection of the supposedly innate characteristics of males
to be more muscular and more competitive, and of females to be more nurturing and
44
collaborative.
The way these social roles reflect social power and limit the
contributions of both females and males would not be seen as relevant.
According to Lewis (2002: 301), Remarque and Darwin extended Descartes’ and
Newton’s ways of “studying the laws of the physical universe” to “the fields of
biology and evolution”. Evolution, in this view, is rational and functional and may
also be applied to life on the level of society, such that the ‘superior’ groups would or
should ‘naturally’, morally, rule the ‘inferior’ groups, thereby justifying imperialism
and competitive capitalism. “[B]iology presents itself as the objective and scientific
validation of bodily imperatives. In fact, the discourse of biology and evolution
functions as part of the ideology and self-legitimation of capitalism and capitalist
economics” (ibid.). This view suggests that those groups and individuals who
dominate others do so because they are somehow better fit to do it and introduces the
possibility of a hierarchical arrangement of people and groups with those who are
‘most evolved’ at the apex. While this is typically understood to underlie much racist
thought, it can equally be applied to hierarchies in terms of gender, justifying
patriarchal social arrangements, patronising relationships of control between men and
women and the economic and political disempowerment of women in most societies.
In addition, the rationality often stereotypically associated with males is more highly
valued than the emotionality ascribed to women. Children’s literature which reflects
this view presents the existing relationship of dominance between the sexes as
unproblematic, indeed as the way things ought to be. Of particular relevance to this
study, physical dominance by males is represented as natural and its expression in
social leadership is assumed. Harry’s role as the leader of his friendship group in the
HP series is not questioned, for instance, neither is the assumption of the title High
King by Peter, one of four siblings, in the Narnia books. In a Darwinian view
behaviours and traits associated with one sex or the other tend to be polarised, with
those linked to males being more highly valued and those attributed to females often
being taken as evidence of their naturally inferior status. In particular, the elements
deemed necessary for leadership coalesce in masculinity, in that the hero role requires
bravery, physical strength, moral certitude and reason.
Interestingly, the idea that the sexes have identifiable ‘essences’ or innate natures is
also used by some feminists (Lloyd 1999), notably third wave feminists but also
45
others, to justify the claimed superiority of women or their unique viewpoint, as well
as various views on the ‘essential’ nature of men, such as the radical feminist
assertion that all men are rapists.
A number of critiques of the biological body have been raised. The approach is seen
as basically reductionist: all social differences are reduced to biological difference and
other factors are not considered, while what counts as ‘natural’, and who determines
that, is not examined. The assumption of social ‘evolution’ and a ‘natural’ hierarchy
of individuals and groups is also clearly problematic for its judgemental approach.
The focus of analysis is to a large extent on sex and the body, disregarding other uses
of the body, which is not helpful therefore to this study. Finally, surgical intervention
and similar developments mean that it is difficult to know if we can still talk about the
natural body at all (Lloyd 1999).
•
The discursive body
By far the biggest criticism of the biological approach comes from constructivist
quarters, notably post-structuralists, who reject “the assumption that the body
produces meaning. In its place, they argue that the body is the effect of meanings that
are ascribed to it. It is moulded, even constituted, by societal factors. Phenomena
such as sex and race are revealed as social constructs” (Lloyd 1999: 116). Bordo
(2003: 142) emphasises that “[o]ur bodies, no less than anything else that is human,
are constituted by culture”.
In the discursive view, the body is not only read,
symbolically, in texts such as print and broadcast media, but can itself be the text,
revealing not reality, but what is important and meaningful for the culture within
which it is located (Lewis 2002).
Probably the most influential thinker in this area is the post-structuralist Butler, whose
approach was introduced in 2.1.2.2. Following criticism of her earlier work which
seemed to neglect the existence of the body, Butler (1993) emphasises that she does
not deny the fact that the body exists, but believes that the body itself cannot be
accessed directly, only through the idea of the body, via discourse. What people think
of as ‘the body’ “is very largely dictated by norms and conventions that belong not to
the nature of the body … itself, but to the context in which [it is found]” (Jeffries
2007: xii). Revealing a significant departure from the earlier Cartesian view of the
46
mind and body as separate, with the mind privileged, post-structural theory claims to
allow for multiple and varied relationships between the two parts of the mind-body
whole in different contexts. However, one must question whether post-structuralism
can claim this flexibility as its sole preserve, particularly in the context of Cameron’s
comment (see Section 1.2) which reminds us that constructivism has been a useful
and viable approach to the analysis of discourse for far longer than post-structuralism
has been in vogue. In particular, constructivist approaches to the relationships among
gender, the body and language have, for decades before the ascendancy of poststructuralism, recognised the social construction of gender and the body and the
centrality of language or discourse in that construction. Butler distinguishes between
constructivist and radical constructivist positions (1993), positioning herself as
radical.
In the interests of minimising subjectivity, I reiterate my viewpoint as
constructivist, but with a degree of scepticism towards post-structuralism. Thus,
following Jeffries (2007: 17) but perhaps with not quite as strong a post-structural
view as hers, I take the stance in this study that “[t]he material world is assumed to be
at least partially experienced through the way it is described and thus ‘constructed’ for
us”.
2.1.4.2 THE BODY AND GENDER
In the context of early views about the body, which viewed it as inferior to the mind,
it is not surprising that early feminism was concerned with addressing a prevalent
deficit view of women. As Price and Shildrick (1999: 2) point out, women’s unique
bodily functions were associated with “gross, unthinking physicality” and this
reinforced the association between the second parts in each pair in the valued-laden
binaries of man/woman, reason/emotion and mind/body. Because of their supposedly
intrinsically close ties to the physical world of the body, women were regarded as
lesser than men. The heightened importance of the body as a project for women in
the contemporary world continues this trend, as Jeffries (2007: 19) warns:
[the ideology of the apparently unstable female material body] is also
one of the great challenges presented to women in the twenty-first
century, presented as they are, with ever more technological ways of
making their bodies ‘perfect’, so that there is less excuse for
47
imperfection, and thus more potential ‘blame’ attached to the imperfect
female.
Writing about the impact of the women’s movement, in the second wave of feminism,
Lloyd (1999: 113) says: “[t]he impact of feminism, however, lay in raising awareness
of the ways in which the body is directly implicated in relations of power and
domination…. The body came to be viewed as the locus of complex social and
political interaction”.
She relates this to the Marxist concept of the workers’
ownership of their bodies and the labour of these bodies, showing how feminism
adapted the idea to women’s rights to abortion, their right to refuse sex and so on.
However, Jeffries (2007: 194) points out that the second wave was not as successful
in transforming dominant ideologies about the body as one might have thought, given
the centrality of the body to its political agenda, and she has some reservations about
the third wave, saying that it appears to her to be “part of a frightening backlash”, a
“skewing of the feminist ideology of equality by re-constructing femininity as an
attainable ideal body”. Given that CN was written before the women’s movement and
HP in the period dominated by the third wave of feminism, this contextual
information about the views of the body prevalent in scholarship at the time is
enormously useful in placing the relationships between gender and the body
constructed in the discourses found in the texts. In the case of CN, the deficit view of
women and their association with negatively valued and apparently uncontrollable
emotions, as well as the biological view of the body, both prevalent at the time the
series was written, would naturalise physical differences between women and men
and extend these to social differences and hierarchies of power, justifying women’s
relative powerlessness by citing their ‘natural’ inability to lead. The social context in
post-war UK at the time was also complicit in the ‘benevolent’ sexism (Diekman and
Murnen 2004) that glorified the domestic role of women (see Section 1.4 ), rendering
any aspirations of a public life ‘unnatural’ for those with female bodies. The HP
series might be expected to show a vastly different view of the role of women in
society, given that it was written at the end of the 20th century and into the next. Thus
the impact of ‘women’s liberation’ in the 1960s and 1970s, and the celebratory third
wave of feminism after that, should be seen in the representation of female bodies and
behaviour in the books. One could also expect the author to be aware of, and perhaps
to respond to, popular concerns about the portrayal of women in language.
48
In
answering my research questions, specifically those relating to the trends in the
representation of female physical identity in the two series, my analysis needs to be
especially sensitive to elements which reflect one or more of the various approaches
to female bodies and the physical role of women in order to make links between these
portrayals and their social context in the final chapter of this thesis.
2.1.5 IDEOLOGY, GENDER, THE BODY AND LANGUAGE
The bulk of the research into the relationships amongst gender, the body and language
surveyed for this thesis is centred on the Western concern with appearance and, often,
sexuality, as well as the implications of one for the other. The consequent focus on
weight (see Bordo 2003), beauty (Wolf 1991, Frith, Shaw and Cheng 2005) and
related topics in more general analyses (see Jeffries 2007, Legge 2006) has been
essential in revealing the ideological emphasis, in the mass media and in magazines in
particular, on women’s physical representation. Despite the celebratory third wave
view of ‘girl power’ as a positive development, this emphasis on the ‘perfect’ body is
implicated in a dominant ideology of physical perfection with women “apparently
choosing freely to starve themselves, go under the knife, squeeze into uncomfortable
clothes and generally spend ever more time and money in the pursuit of perfection”
(Jeffries 2007: 195).
The importance of the body’s appearance, the implied necessity of romantic
relationships for women and, in addition, the connection between the two have been
amply demonstrated as being constructed as significant concerns for women in the
magazines produced with women as the intended audience, as well as the linguistic
features of texts which support these discourses. However the details of these studies
are not relevant here, in view of the fact that my focus is primarily on the
representations of the bodies of characters in books aimed at children, particularly
those of the target age group for the series, i.e. 8 years old and up. Jeffries (2007)
points out that magazines focus on the lives of young women mostly, to the exclusion
of older women and girls. The lives of the latter, she says, are represented in books,
rather than in magazines. In Section 2.2 below, the features and themes in terms of
the gendered representation of physical identity in books aimed at children are
49
explored in some detail. Given their young age, the girls and boys in the books are
generally more concerned with adventure than sexuality and appearance, and
consequently my focus is on the representation of the body on a more fundamental
level: how it is used by the characters both interpersonally and in acting on the world,
and what potential realities are thereby constructed for the young readers who are in
the process of building their identities. However, in the final book of HP there are
some aspects of the characters’ physical behaviour which indicate a growing
awareness of their bodies as sexual and their relationships as potentially romantic, and
the uses of their body parts reflect this. It is also necessary therefore to consider
literature concerned with trends in the physical representation of young adults,
specifically young women, in fiction.
2.2
CHILDREN’S LITERATURE
Children’s literature, as mentioned in Section 1.3, is a relatively new genre in the
Western world, although the origins of literature for children are difficult to establish
(Hunt 2001). Chaucer apparently wrote for his son in 1391 but, in general, fiction
was not specifically written for children until the 1700’s and even thereafter children
typically continued to read the same texts as adults (Hunt 1990). A definition of
children’s literature is also difficult to arrive at, with texts often being classified as
such simply due to having child characters, despite being inappropriate for young
readers (Hunt 2001). In this study, all the texts not only feature children as characters,
but also were explicitly written for children as intended audiences and are specifically
marketed as children’s fiction, although they have many adult readers.
In the remainder of this section I consider the role of children’s literature in the
construction of readers’ identities, especially in terms of the ways in which the
representations conveyed by children’s fiction relate to gendered ideologies in
society. I review previous research on female characters in children’s fiction as well
as that on the physical appearance of female characters in popular fiction in terms of
what they show about the similarities or differences between the representations
found in literature and dominant (male) ideologies concerning the ‘ideal’ female form.
50
2.2.1 THE ROLE OF CHILDREN’S LITERATURE
While books written for children are just one of many sources of cultural and
ideological information “about socially sanctioned relationship patterns and about
social constructs” for children (Wharton 2005: 239), their importance is evident in
several ways. On a non-academic level, the amount of public debate on the suitability
or otherwise of particular children’s books is indicative of the importance accorded
them by the watchdog parenting public. The heated discussions worldwide around
whether or not the Harry Potter series of books is anti-Christian are a prime example.
Clearly, parents believe that the books their children read have the potential to
influence the way they think and view the world, including their ideas about moral
and religious issues. Of course, these discussions typically focus on overt elements
such as plot and context, while the ‘common sense’ aspects, such as what the
characters do with their bodies, which I would argue go much further in affecting
children ideologically (Fairclough 2001), are not even perceived.
In terms of academic interest, there is a plethora of research into the multiple effects
of children’s books on their young readers. The role of language more broadly in
perpetuating cultural norms is well established, as Cameron (1990: 12) explains: “The
names we give our world are not mere reflections of reality… rather they are a
culture’s way of fixing what will actually count as reality”, and thus what children’s
books say about social constructs, including gender, is of concern because they are
instrumental in constructing reality for the children who read them (Wharton 2005).
Researchers in this area agree on the importance of children’s literature as an agent of
socialisation. Jackson (2001: 306), discussing fairy tales, comments that fantasy
provides readers with “‘texts of meanings’ of femininity and heterosexuality that they
may draw on to understand and interpret their place in the social world”. Thus, even
if readers are consciously aware of the fictional nature of the written material they
consume, they are nonetheless affected by it in important ways.
Major social
constructs of gender identity and central values are provided and may well be
internalised, and, through the continuing consumption of similar works, constantly
fed. Thompson and Sealey (2007: 3) cite numerous research projects conducted over
the past two decades and conclude that “[r]esearchers into fiction written for children
have noted the role it plays in their socialisation, and how these texts are inevitably
51
suffused with ideology”. Diekman and Murnen argue that “[t]he books that a culture
offers children both reflect and perpetuate existing social conditions” (2004: 382)
while Petersen and Lach (1990) and Wharton (2005: 239) agree that “reading is a
particularly influential activity in terms of children’s learning of societal
expectations”. These authors demonstrate that not only does children’s literature
provide cultural and ideological material for young readers, but that exposure to it has
socialising effects. Indeed, Kellner (1995: 1) says that the media, including fiction,
“provide the materials out of which people forge their very identities”.
Other authors such as Radway (1984) argue against a deterministic view of the role of
literature (and particularly popular literature) in the formation of ideology in
individuals. She argues that the ideological domination and control implied in some
critiques of romance fiction, for example, suggest a hopeless scenario, in which the
reader is powerless to resist the worldview presented in reading material.
She
counters that, in fact, readers are able to reject the ideologies presented in fiction.
While this may be true with regard to adult readers, I would argue that most children
do not possess the critical skills required to resist the ideology and positioning offered
by the texts they encounter, particularly if those texts are not mediated by adults, as
may be the case with readers between the ages of 8 to 11. As Diekman and Murnen
(2004: 373) explain:
Narratives have been found to produce changes in adults’ beliefs and
attitudes, even when passages are clearly based in fiction …. These
persuasive effects are mediated by the degree of transportation or
immersion that the reader experiences (Green & Brock, 2000), and such
immersion is likely to be more pronounced for children than for adults.
Children have relatively less knowledge of real-world limitations, less
ability to counterargue information effectively, and less differentiation
between fiction and reality.
The impressionable, less sophisticated, nature of children is evident too in the
frequently didactic nature of literature written for them (Hunt 2001: 5):
There is also a long – and far from dead – tradition of didacticism,
which holds that children’s books must be moral and educational; this is
perhaps an inevitable consequence of adult dominance, when both the
child characters and the child readers are subservient to the adult voice
in the book.
52
Whether the content supports or contests dominant ways of constructing reality,
children’s literature often attempts to affect the ways the readers see the world
(Stephens 1992: 3):
since a culture’s future is, to put it crudely, invested in its children,
children’s writers often take upon themselves the task of trying to
mould audience attitudes into ‘desirable’ forms, which can mean either
an attempt to perpetuate certain values or to resist socially dominant
values which particular writers oppose.
This also underlines the importance of studying the ideology/ies about a society’s
ideals found in children’s literature. As Hunt (1990: 2) argues persuasively, novels
for children are “culturally formative, and of massive importance educationally,
intellectually, and socially. Perhaps more than any other texts, they reflect society as
it wishes to be, as it wishes to be seen, and as it unconsciously reveals itself to be”.
While fiction in general is less literal, with convention contributing relatively less to
the meaning of the text than it would in, say, news reports or air traffic control
instructions, and inference rather more, the increased opportunities for the expression
of a “complex propositional attitude to the meanings encoded in the text” may be
diminished when it comes to children’s literature, as well as the child reader’s
“capacity [to detect] irony and parody” (Goatly 2004: 152). Thus trends which are
invisible to the authors themselves cannot be consciously manipulated to carry their
propositional attitude (ibid.). This means that as these “ideological representations
latent even to the author” will be below the level of consciousness and the values in
terms of attitude “may have a significant effect on the construction and reproduction
of ideology in young minds” (ibid.). Thus my decision to focus on the use of body
parts by female and male characters means that the data reveal trends which are below
the level of consciousness for both author and reader, but which nonetheless have an
impact on how gender is constructed, and what meanings are internalised. As I
discuss in 2.2.1.1, the social construction of gender in particular, via texts such as
these, is a much studied and much debated aspect of the broader ideological function
served by books written for children.
53
2.2.1.1 GENDER, CHILDREN’S LITERATURE AND IDEOLOGY
While the reflection of society found in children’s literature is worthy of study in
itself, its potential effects are even more important. The centrality of children’s
literature to the construction of their identities discussed above extends, of course, to
gender. As Diekman and Murnen (2004: 373) point out, “literary adventures educate
children about what is expected and valued in the real world”, including gender roles.
Wharton (2005) takes this further, saying that children’s literature not only has an
effect on relationships in broader society, but constructs gender identities to which
children may aspire: “texts may construct and offer powerful social identities which
enter into the discourse ‘mix’ to which children are exposed and with which they must
interact as their own social identities develop.” (Wharton 2005: 238).
It is the
‘undesirable’ aspects which naturally draw the most attention from researchers.
Peterson and Lach (1990), in reviewing early research into children’s literature,
comment that an underlying assumption exists that sexist and limiting images, if
children are repeatedly exposed to them, have negative effects on, particularly, the
self-esteem of girl readers: “The language and illustrations of all children’s books,
good, bad, or indifferent, shape their lives” (Peterson and Lach, 1990: n.p.). Gooden
and Gooden (2001: 97) point out that both boys and girls suffer as a result of sexism
in the literature they read and that “[g]ender bias prevents individuals from exploring
the activities and interests that are best suited to their personality and abilities”.
Diekman and Murnen (2004: 373) note that “many classic experimental studies have
established [that] these stories change children’s ideas about the world. Exposure to
stories that portrayed stereotypic characters or roles increased the traditionalism of
children’s gender-related beliefs”.
Davies (1993, cited in Wharton 2005) raises the relationship between broad social
discourses of sex stereotypes and those found in children’s literature and argues that
the former strengthen the influence of the latter. Wharton (2005: 239/240) explains
that “dominant social discourses influence the readings that children (and indeed
adults) may get from any given text …. So gender portrayal in children’s school
books is important not so much because it has the power to alter cognition, as because
of its role in the confirmation of dominant social discourses”.
54
Literature which presents currently more socially acceptable ideologies has also been
shown to affect children’s views.
After reviewing several studies where children
were exposed to non-stereotyped stories, Peterson and Lach (1990: n.p.) conclude that
“these studies clearly show that sustained use of non-sexist materials produce
significant changes in children’s thinking. They develop more egalitarian attitudes
about what females and males can do, and they show decreased sex-role stereotyping
in general.” Diekman and Murnen (2004: 373), also cite numerous studies that show
that “exposure to narratives that portrayed egalitarian characters or roles decreased
children’s stereotypes”.
Accepting then that the ideologies regarding gender and gender relations invoked by
the literature children read can have important effects in the development of the
children’s own ideologies and identities, it is appropriate at this point to consider what
previous research has revealed. In line with the focus of my research, I limit my
discussion to “Western” fiction, written in English in the last 50 years.
Research into contemporary children’s literature reveals a fairly consistent trend
towards sexism in both overt and more subtle forms: female characters may be
excluded or male characters may be more numerous; female and male characters may
be portrayed in stereotyped ways; or books may present “a masculine perspective on
experience as the social norm” (Wharton 2005: 238).
The degree to which female characters are included in a book illustrates the
importance which is attached to females more broadly, as Diekman and Murnen
(2004) point out. In their classic study in the early 1970s, Weitzman, Eifler, Hokada
and Ross (1972) surveyed winners of the (US) Caldecott Medal for the best illustrated
books for children, focussing on the years 1967 – 1971. The choice of award winning
books as research material is well considered. Their impact is massive: they are
commonly found in libraries, especially in the US, and are aggressively marketed to
parents and schools, with the attendant ‘mark of approval’ of having won an award.
Simply, they are particularly influential books, and thus the findings of studies such as
this are especially important. Weitzman et al.’s study showed that female characters,
both children and adults, were significantly underrepresented. A fairly dramatic
finding was that, in nearly one third of the books reviewed, there were no female
55
characters at all. Gooden and Gooden (2001: 92) point out that “overall males
appeared 11 times more often than females in the central role, as the main character or
even in the title”. As Clark, Lennon and Morris (1993: 227) comment, female
characters were “literally invisible”. Diekman and Murnen underline the importance
of such findings: “[s]uch objective features are easily identified and relatively easily
changed, but they exert a powerful force: Exclusion or trivialization of girls and
women in the media has been shown to increase sexist beliefs and behaviour” (2004:
375/6).
Weitzman et al.’s (1972) study raised awareness of gender representation in
children’s literature amongst publishers, writers and researchers and, perhaps not
surprisingly, follow up studies indicate some progress towards equality on this
quantitative level. For instance, Williams, Vernon, Williams and Malecha (1987)
show that overall female representation in the Caldecott books in terms of illustrations
of humans rose from 19.1% in Weitzman et al.’s survey of books from 1967 to 1971
to 42.2% in their study of books from 1980 to 1985. Illustrations of female characters
portrayed alone rose even more, from 11.7% to 37.1%, while the percentage of books
having no female characters at all had decreased to 12.5%, from 33% in the Weitzman
et al. study.
With the increase in the proportion of female characters, how these characters are
portrayed becomes even more important. Weitzman et al. (1972) comment that the
female characters in the Caldecott Medal award-winning picture books they reviewed
were a “dull and stereotyped lot” (1972: 1146), with girls getting “attention and praise
for their attractiveness” and boys “for their achievements and cleverness” (ibid.). The
1987 replication of the review by Williams et al. showed that although there had been
some improvement in terms of female roles, the “majority of the female characters
shared no particular behavior, girls in the books failed to express any career goals,
female role models were lacking, and male characters were still portrayed as more
independent” (Taylor 2003: 302). Research conducted in the 1990s is more mixed,
suggesting that some change has been effected in this area. Supporting the claim of
little improvement, a study on the winners of the Caldecott Medal spanning 53 years
by Crabb and Bielawski (1994) found no change over time in the depiction of the use
of household artefacts as being primarily by female characters. The use of production
56
artefacts was found to be the almost exclusive preserve of male characters, and this
too showed no change over time. In particular, the authors were surprised that female
characters showed no increase in this area, given changes in the employment patterns
amongst women, and suggest that this may be due to “cultural lag” in the books
produced for children (1994: 76). On the other hand, Clark, Lennon and Morris
(1993), reviewing the winners of both the Caldecott prize and the Coretta Scott King
prize for Black American authors and illustrators, describe uneven gains for female
characters, with visibility rising from the late 1960s and peaking in the early 1980s
but falling again on some counts thereafter. They found that the recent winners of the
King award were more likely to depict females who were very active, as well as the
relationships between women, than were the Caldecott books of the same vintage.
Several studies show that while there has been some change with regard to the roles
assigned to female characters, there has been less of a shift for male characters. In
other words, while female characters take on a wider range of occupations and traits,
including those considered traditionally masculine, male characters have not shown a
similar broadening into traditionally feminine roles and jobs (Diekman and Murnen
2004). Kortenhaus and Demarest (1993: 219) reviewed picture books from the 1940s
to the 1980s and concluded
while the frequency of males and females depicted in the stories had
indeed become more evenly distributed over the past 50 years, the roles
played by males and females have changed in a more subtle way. Girls
are now being pictured in more instrumental activities, but are as
passive dependent as 50 years ago. Boys are occasionally shown as
passive dependent today, but are no less instrumental than 50 years ago.
Gooden and Gooden’s (2001) study reveals similar findings: although males had a
wider range of roles than females in the recent picture books they studied, they were
seldom depicted in roles traditionally associated with females. Reviewing this and
other studies, Diekman and Murnen (2004: 375) comment that “[e]xaminations of
role-related activities show evidence of asymmetrical change”.
Non-pictorial
representations of activities, such as the discoursal representations of body parts
investigated here, are substantially more subtle and are not as easily consciously
manipulated by authors and publishers. Part of the analysis of the data in my study
also involves the drawing of links between the representations of gendered body parts
57
in the data and the social conditions at the time they were written, with a change in
gender roles to be expected over the 50 year span of the two series.
Similar results in terms of characters’ personality traits and behaviour were described
in a review of elementary school textbooks by Evans and Davies (2000: 255) in which
they found that the boys were still “overwhelmingly shown to be aggressive,
argumentative, and competitive”, while traits that were seen as feminine, such as
avoiding “tough aggressive play” and displaying “‘weakness’ through affection or
tenderness”, (2000: 267) were devalued as “sissy” behaviour. These findings are
important because the behaviour of ‘real males’ is essentially defined as that which is
‘not feminine’. Evans and Davies explain that “[t]he open display of traits from the
opposite end of the gender dichotomy raises questions concerning male sexuality.
There is a collapse of sexuality onto gender behaviors, especially for boys,
manifesting into the overall avoidance of the incorporation or obvious portrayal of
feminine traits among males” (2000: 267).
This devaluing of female traits and behaviour relates to a point made by Diekman and
Murnen (2004: 375) who say that “[t]he association of men with greater status can
perpetuate gender inequality. For example, the observation that men typically occupy
positions of greater status leads perceivers to infer than men will have greater
competence in new settings”. Clearly, while a shift to the more socially valued
“masculine” roles, traits and behaviours has not been particularly difficult for the
female characters in children’s literature, a parallel movement for male characters
towards the socially devalued “feminine” aspects is much more problematic,
associated as it is with an attendant loss of social power and status. Thus there has
been no real shift towards equality as anything associated with females still has less
status and value, even if individual female characters can assume behaviours and
traits which are more highly valued due to being typically associated with males.
Related to the greater status accorded to traditional masculine behaviour is the
idealization of traditional feminine roles, such as the nurturing and caregiving roles
associated with wives and mothers as well as the portrayal of women as romantic
fragile girls in need of protection. Diekman and Murnen (2004) call this benevolent
sexism and say it is particularly common in stories for children, which often require
58
marriage for a ‘happy ending’.
While this romantic view is often positive towards
women in traditional roles and those requiring protection, it can be harshly negative
with regard to women who do not fulfil the expected roles, and implicitly endorses
less occupationally oriented life choices for girls and women. As a prime example of
this emphasis on traditional feminine roles, Diekman and Murnen discuss the book
“Little Women”, in which the characters display numerous ‘modern’ values and
behaviours, such as independence and expressing strongly felt opinions, as well as
traditional caretaking roles, but their ultimate happiness and success comes from a
well-made marriage. This sort of mixture of traditional and modern is also evident in
my data, with a more modern plot being undermined by fairly conservative ideologies
in the area of physical identity.
The quantitative approach towards the gender roles in children’s literature reviewed
above is undoubtedly valuable and provides a useful yardstick as to fairly overt
measures of sexism in the books covered. However, research of a more detailed
linguistic nature is not only of direct relevance to this study, but is more revealing of
covert ideological processes. Linguistic research with specific insights relevant to my
study in terms of findings or method is discussed in Section 2.2.1.2 below.
2.2.1.2 GENDER AND THE LINGUISTIC REPRESENTATION OF PHYSICAL IDENTITY
There is, to my knowledge, no existing research into the gendered representation of
physical identity in children’s literature using corpus methods and Critical Discourse
Analysis. Helping to address this gap is part of the impetus for my study. As
Knowles and Malmkjaer (1996: ix) say, there is a “curious discrepancy between the
ubiquity and perceived importance of children’s literature, and scholarly research in
the field”. This underlines the timely value of this work. There are, however, studies
which share some of my concerns, or use similar research methods, which offer useful
insights for my study. There has been research into the physical representation of
young women in romance fiction, for instance, which supplies a similar focus for
comparison (e.g. Nash 1990 and Talbot 1995). In addition, corpus methods were used
in investigations into children’s literature, but without the focus on the physical
representation (Knowles and Malmkjaer 1996, Thompson and Sealey 2007, Wharton
59
2005) and there has been corpus research into body parts as they are used in men’s
and women’s magazines (Motschenbacher 2009). In this section, I briefly review
these studies insofar as they offer useful pointers for this research.
In romance fiction, the features ascribed to male and female characters, and thus the
attributes suggested as representing ‘ideal’ femininity or masculinity, generally focus
on the face, body and clothing, rather than the personality, and it is typical for main
characters to be described as soon as they appear, “even to the extent of allowing a
heroine/narrator to describe herself, if there happens to be a mirror handy” (Nash
1990: 110/1). Talbot (1995: 85) concurs, saying “We are always given detailed
descriptions of a character’s appearance, if the character is of any significance at all.
Hair and eye colour seem to be particularly important, but figure and clothing are also
given considerable attention”. These descriptions enable the reader to imagine the
character and, in the case of the heroine, identify with her in her frequent role as the
focaliser of the story. Taken together with strong positive or negative values attached
to particular physical features, these descriptions are prime material for the readers’
construction of the ideal female or male body, and the features listed below are useful
for comparison with the increasingly sexually and romantically aware characters in
HP. Nash (1990: 111/112) supplies a list of highly valued physical features, “a
semiotic system with which all readers are familiar” for female characters in this
genre:
most important are the eyes, which may represent … tender submission
in women if they are ‘soft brown’; spiritedness if they are ‘sparkling
emerald’, poetic depth if they are ‘misty hazel’. Mouths in women are
commonly ‘full’ and even ‘sensuous’; in men, mouths are generally for
speaking with, and character is shown by a jawline which is ‘firm’ and
‘clean’. Some women show their breeding with high cheek-bones;
others demonstrate their playful charm with noses that may be
retroussé, but never bent or broken. …. Hair is a high sign for both
sexes: for her, lustrous, opulent, sleek, soft; for him vigorous, thick,
groomed; in either case a token and proclamation of sexual vigour and
awareness. Mean little women with lifeless locks or slatterns with their
hair put up in papers have no place in romance, or are allowed only
walk-on parts. …. Teeth are sometimes mentioned, as being ‘pearly’
…. Some dental irregularity may be allowed to a woman, as a
touching, gamine feature, and ears may be described as small, pink, and
delicately whorled.
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In terms of heroines’ bodies, Nash (1990: 113) observes that
Heroines, of course, are never fat; they are ‘slim’, ‘slender’, and
‘graceful’. The standard average height is up to a tall man’s chin,
which is about five feet four inches. She may be smaller, in which case
she is described as petite; there is no corresponding category of grande
for women taller than five feet six inches. The heroine has ‘a perfect
complexion’, her skin being either ‘softly pink and white’ or sporting a
‘glorious golden tan’. Her movements may be quick and decisive or
measured and graceful. Her physical properties are either disguised or
accentuated by her clothes; very rarely is clothing merely incidental to
the way she is presented.
What is striking about these characterisations is the lack of emphasis which Nash
gives to the use of the female characters’ bodies, as opposed to their mere description,
and also the degree of sexualisation, which is clearly of extreme salience in this genre.
This relates to the concept of the ‘ubiquitous male gaze’ (Mulvey 1975, cited in Lewis
2002: 194) which refers both to “the ubiquity and centralization of the male gaze upon
the female form”, and to women’s awareness thereof. In terms of this view of female
physicality, women are not only watched by men, but watch themselves being
watched by men, leading to a literal self-consciousness and focus on physical
appearance. While the sexual aspect is not likely to be a major focus in my data, at
the start of my study I did expect to find some sort of parallel emphasis on description
in my data. Although it is undoubtedly present, it is rather thin, with the use of body
parts being of much more significance ideologically, as is described in Chapter Four.
Another dominant feature of the heroines of these books is their lack of control,
specifically emotional control, and, through the agentive use of nouns referring to
various emotions, states and faculties, the impression is created that it is they that are
in control, rather than the woman herself (Talbot 1995). Although certainly not
usually regarded as belonging in the literary canon, these books are read by millions
of women worldwide, and their impact in terms of the reiteration of the values they
represent must necessarily be great: however, “these usually cheap books have
expensive consequences as they offer oppressive forms of masculinity as objects of
desire” (Gil 1999: 278).
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In ‘chick lit’, a related genre, women are presented as more financially independent
and sexually assertive, which may suggest a less stereotypical view of the body, but
they still “require rescuing at regular intervals”, often from problems of their own
creation (Gill and Herdieckerhoff 2006: 498). Gill et al. (ibid.) express particular
concern about the prospects for gender equality in the light of the view of the body
found in these books:
Perhaps most striking is the obsessional preoccupation with the female
body that emerges from even the most cursory reading of contemporary
chick lit. In a shift from earlier decades it appears that femininity is
defined as a bodily property, rather than a social structural or
psychological one (Gill 2006). Instead of caring or nurturing or
motherhood being regarded as central to femininity (all, of course,
highly problematic) it is the possession of a “sexy body” that is
presented as women’s key (if not sole) source of identity. But the body
in chick lit novels is constructed in a highly specific way: it is a body
that is always already unruly and which requires constant monitoring,
surveillance, discipline, and remodelling in order to conform to
judgments of normative femininity. … Far from offering a more
hopeful version of femininity this emphasis relocates women in their
bodies, indeed as bodies, and makes them morally responsible for
disciplining the body/self as post-feminist, neo-liberal subjects.
They further describe the relationship between a woman and her body as a kind of
metonymic causality where the weakness of the body is both responsible for and
reflective of uncontrollable inner forces, particularly emotional urges. They conclude
that while chick lit may have moved away from sexual objectification, it has
embraced instead a sexual subjectification, in which women are constructed as being
sexually free, including being free to work hard to create a body with all the highly
valued features with which to attract a good man. They suggest that this may be read
as the seductive repackaging of pre-feminist ideals (such as traditional femininity and
domesticity) as post-feminist freedoms (Gill et al. 2006). It is clear that the body in
this approach is in service of a social goal and is only really physical to the extent that
it must be controlled, which reflects a view of the body as socially and discursively
constructed (see 2.1.4.1).
The chaotic emotional impulses of more traditional
romance fiction, however, reflecting Cartesian duality in terms of the view of the
body, are still a dominant feature, and thus the negative association between women
and base physicality is preserved.
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In her analysis of women’s professional identities in the television series Ally
McBeal, Hammers (2005: 172) makes the point that the female body and “its
associations with certain behaviors, abilities and attitudes” is important in the
“construction and evaluation of female … identity” and says that the focus on
women’s bodies “largely constructs them in terms of excessive emotion and
disruptive sexuality”, showing similarities with the study by Gill et al. (2006)
discussed above. In both, it is evident that not only is emotional leakage constructed
as feminine behaviour, but it is also negatively evaluated. Thus women are judged if
they do not perform their gender in normatively accepted ways, but equally,
behaviour which conforms to stereotypes about femininity is also open to
disapprobation.
Turning to fiction for children, Wharton (2005) looked at two levels of representation
in stories in a UK reading scheme published in 1989. At the level of plot, she
investigated the roles of male and female characters in story development. Of interest
is her finding that the female characters are presented as capable, while the male
characters are frequently portrayed as ‘buffoons’, which she sees as a backlash against
the sexism (against women) of literature for children published in earlier decades.
She also looked at the transitivity choices in the stories using systemic functional
grammar: at the actions performed and who performed them; in SFG terminology, at
the processes (verbs) and participants (nouns). Contrary to her expectations, given the
fairly recent date of publication, and because the main characters were roughly evenly
divided between males and females, she found that, in “a total of 340 participant roles
for people and animals, 177 are realised by human males and 69 by human females;
64 are realised by mixed-gender groups, 22 by ungendered animals, and 8 by male
animals” (Wharton 2005: 243). She concludes that despite the apparent equality in
terms of the number of female and male main characters and in story titles, the
majority of the stories are actually “‘about’ males” (ibid.). This illustrates the value
of more detailed investigation, such as is found in my study, in revealing covert
ideological material, in addition to that evident in simple counts of illustrations or
characters. While simple counts of my data show interesting trends in the gendered
use of specific body parts (see 4.1), more detailed grouping methods using
calculations of collocation strength, amongst other strategies in analysis, also prove
63
far richer in terms of revealing gendered patterns in the representation of the
characters’ physical behaviour (see 4.2).
In terms of particular participant roles in the reading scheme, males are dominant in
all three of the roles of actor, sayer and carrier (of attributed features), the only roles
evident in the stories, as might be expected given their overall dominance in the
stories (ibid.). However, with reference to material processes (verbs of doing or
happening, typically pattern with an actor), the proportion of males as actors is lower
than in the cumulative count and for the other two processes. Despite the apparent
gains for female characters in the actor role, it should be borne in mind that there is
still considerable asymmetry between males and females in that female human
characters represented less than a third of all humans.
Wharton (2005: 244)
comments as follows: “Consciousness raising in the 1970s and 1980s arguably led to
an increased portrayal of females as active participants in events, but had less effect
on the portrayal of processes of communication and being. In these texts at least, it is
males who are most described by the 'narrator' or by a character, and they whose
voices are most frequently heard in the text”. As I mentioned in 2.2.1.1, the alteration
of children’s literature to conform to more modern conceptions of gender relations is
likely to overlook the facets that are below the level of consciousness, for precisely
that reason, despite the fact that these subliminal aspects have important ideological
effects on the reader. This emphasises the importance of critical, as well as objective,
research into influential texts, such as my study.
Thompson and Sealey (2007) use corpus methods to investigate the lexical features of
children’s literature aimed at 8 to 10 year olds, compared to those of adult fiction and
newspaper writing, and conclude that a ‘core’ vocabulary for fiction was evident. The
list of nouns found most frequently in the children’s literature sub-corpus include
three body parts, head, eyes and face, in the top ten. Astoundingly, no analysis of
these three lemmas is supplied, due to their high frequency in the data, but Thompson
et al. (2007) conclude that neck is often used in the context of having something
round it and, about 15% of the time, figuratively. With regard to finger, they note that
it is used less figuratively in the children’s corpus, as opposed to the adult one (13%
versus 19%), and collocates with the verbs jab, prod, lay, run and put, concluding that
fingers in children’s fiction are used for “drawing, indicating the need for silence and
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pulling triggers” (Thompson and Sealey 2007: 17/18). Their use of collocations to
ascertain the frequent uses of body parts provides support for my method, if not a
useful comparison with my findings due to the lack of a detailed analysis of the more
frequent body parts in their article.
In her critical analysis of women’s magazines, Jeffries (2007: 71) finds that people are
quite often identified by a particular body part e.g. “whether you’re big, small, pointy,
saggy or pert”, where the features of a reader’s bosom are used to refer to the person.
She points out that this metonymy is only used with reference to the sexual or
reproductive parts of the body and contrasts it with absences e.g. “you are greasy”
(hair) or “you are sevens” (feet). This suggests that these body parts are being
positioned as much more central to women’s identity and evaluation of self. Jeffries
(2007: 71) says that female readers “will have the primary functions of sex and
reproduction repeatedly conjured as the equivalent of their ‘self’, which may over
time influence the woman’s self perception to concur with the centrality of such social
functions”.
Similarly, the repeated associations of certain body parts, and certain
uses of those body parts, such as female eyes for the expression of emotion or male
hands for brandishing weapons in my data, expose the readers to equally effective
naturalising forces.
While they are unlikely to apply in children’s literature, Jeffries’ (2007) findings of
correspondences between the use of a determiner and the kind of body part
demonstrate the usefulness of the micro analysis of subliminal details. She shows that
the more taboo, sexual and internal the body part, the more likely is it that the will be
used as the determiner, while more ‘everyday’ and external terms are patterned with
your. She also notes a tendency for the to co-occur with things which are negatively
valued, like excess weight, and for your to pattern with those that are presented
positively, such as exercise routines. In my data, the majority of the body parts are
explicitly referenced as belonging to a character, so this specific trend is unlikely to
occur, however it does alert one to the value of aggregation in data analysis, as well as
the usefulness of the KWIC sort capabilities of concordancers (see Section 3.2.4.3).
In her comparative study of female and male body parts in Cosmo and Men’s Health
magazines respectively, Motschenbacher (2009) categorises the body parts found in
65
the advertisements into lexical fields, such as limbs and head, and calculates the
statistical significance of the association of particular body parts with one gender or
the other. Based on these classifications, she draws branching tree diagrams showing
hyponymic and meronymic relations between the body parts, which show trends in
terms of frequency quite clearly. Female body parts in her data tend to occur on the
outside of the body and to have aesthetic value (e.g. hair and skin), while the male
body parts are inside the body and have some sort of practical value (e.g. muscles and
parts of the legs and feet), such as being used for sport or for physical training. This
means that women are objectified while their bodies are also often seen as
problematic, and needing solutions, such as seeing cellulite as a problem requiring
intervention. Motschenbacher (2009: 18) concludes therefore that “[a]s far as social
gender is concerned, it seems that those body terms that mainly contribute to the
construction of the female body in Cosmo are more strongly socially gendered than
the ones used in MH for the construction of the male body (except for muscle)”. As I
show in Chapter Four, the body parts in my data typically show a one-to-one
correspondence between lexical and social gender on one hand with referential gender
on the other. In other words, body parts semantically or conventionally associated
with one gender are almost always portrayed as belonging to individuals of the same
group. The exceptions, such as Aunt Marge’s beard, are negatively valued and are
used in fact to imbue the character with a negative evaluation in general.
2.3
CONCLUSION
This chapter sets the scene for the remainder of the thesis in terms of the key concepts
which underpin the analysis. The enterprise rests on an understanding of language as
central to the operation of ideology in that it is through language that discourses are
instantiated, thereby supporting or contesting particular ways of seeing the world.
Gender, an especially salient aspect of identity in the Western world, is constructed
textually by the processes of encoding and decoding within the social context. The
concept of the body takes various forms at different points in history, and is often seen
in terms of its relationship to, on one hand, the mind, which is seen to be based on
reason, and the emotions, on the other, which are usually conceived of as base and an
aspect to be controlled. Taken together, these notions provide a framework for the
66
discussion and analysis of the textual representation of the body as it relates to gender,
within the specific context of children’s literature.
Research into children’s literature in English over several decades indicates the
significant amount of ideological material present in these texts, the bulk of it
rendering female characters virtually invisible or trivialised in terms of their
occupations, roles and traits. It also shows the considerable socialising effects of this
information about gender roles on the children who are exposed to it. Research into
the representation of the body demonstrates the salience of gender in physical identity
and the tendency for female and male bodies to be associated with different uses and
to be evaluated on different criteria. While taking literature as a reflection of society
suggests the need for action to correct the representation of women as second class
citizens, it is the role of literature in perpetuating ideological constructs that is of most
concern.
As Wharton (2005) points out, the prior existence of dominant
ideologies/discourses around gender strengthens the efficacy of those expressed in
books for children. The reverse, that the reiteration of particular representations
supports existing ideologies, is also true, and this explains the importance of this
research.
67
CHAPTER THREE: METHODS &
METHODOLOGICAL ISSUES
3.0
INTRODUCTION
The method chapter is concerned with a detailed description of the procedures
followed in terms of data collection and analysis in this study. I describe how, with
insights from previous research, the analysis and interpretation of the vast body of
data was undertaken. Despite the fact that my data are literary texts, this is not a
literary analysis methodologically, but a linguistic analysis. The methodologies I
have used in this study, namely Corpus Linguistics and Critical Discourse Analysis
(as well as a development of CDA, Feminist CDA), imply no aesthetic evaluation of
the texts, but rather an analysis of how texts may have social effects, as is detailed in
the explanation which follows. Finally, the combination of the two approaches is
considered in terms of the benefits it offers in answering my research questions.
3.1
METHOD
As was mentioned in Section 1.1, Corpus Linguistics and Critical Discourse Analysis
are used together in this study, with Corpus Linguistics acting predominantly as a
means of collecting and sorting data, as the first step in analysis, and CDA providing
the more qualitative component focussing on the ideological, although the division is
not as clear cut as it may appear. CDA does rely on quantitative elements when
examining frequently occurring patterns, overwording and the like, while Corpus
Linguistics has aspects which are undoubtedly qualitative, such as decisions about
how to sort the key words and their concordance lines. The relationship between the
two methods is complementary, even synergistic, and is explored in more detail as it
becomes relevant in the discussion that follows. In the following section, I outline
what is meant by Corpus Linguistics and the central considerations involved as it is
particularly relevant to the initial stages of the research, especially the data collection.
68
3.2
CORPUS LINGUISTICS
A corpus, at least in the modern sense, is defined as “a collection of sampled texts,
written or spoken, in machine-readable form which may be annotated with various
forms of linguistic information” (McEnery, Xiao and Tono 2006: 4). What is not
apparent in this definition, and what McEnery, Xiao and Tono are at pains to
emphasise in their discussion of the area, is that the collection of the data found in
corpora is principled; in other words, the assembly is not haphazard or random, but
has been put together using guiding criteria which are usually external to the texts
themselves. This aspect is foregrounded in Evans’ (2009, n.p.) definition: “[a]
corpus is defined here as a principled collection of naturally occurring texts which are
stored on a computer to permit investigation using special software”. Here Evans also
stresses that all the texts within corpora are naturally-occurring, as opposed to the
invented examples and intuitive judgements found in some other approaches in
linguistics.
A further point to be emphasised from both definitions is that the texts must be in a
form that enables machines to read them. This ranges from plain documents in .txt
format to marked up texts with various information encoded in them, such as the sex
of a speaker of a particular utterance or the part of speech of individual words (POS
tagging). The data in my corpus are unannotated in terms of POS, but are marked in
terms of the sex of the owner of the body part, so as to enable the calculation of
collocation measures in terms of males’ and females’ use of their bodies. The data are
saved in a .txt format, so as to allow for processing using the AntConc concordance
software by Laurence Anthony8 (see Section 3.2.4). POS tagging may have been
useful in disambiguating the meanings of those body part words which can be both a
noun and a verb, for example head or face, as I am only interested in using the nouns
as search terms, but it was more efficient simply to discard these examples as they
came up, rather than tagging the entire corpus. Because only those words marked as
either female or male body parts were used in collocation and cluster searches, these
other, non-body part, instances did not skew these calculations in any way.
8
AntConc is a freeware concordance program written by Laurence Anthony and is available for
download at http://www.antlab.sci.waseda.ac.jp/software.html
69
The use of bodies of data as a research methodology goes back to what McEnery,
Xiao and Tono (2006: 3) call “shoebox corpora”, which were rather small collections
(by today’s standards) of pieces of paper kept in suitable receptacles. In contrast to
this kind of work by field linguists like Boas, as well as Sapir and Jespersen, modern
corpora are, of course, generally much larger but nonetheless have the same basic
methodology underlying them, i.e. the use of collections of real data to investigate
features of language.
Corpus Linguistics as it is today can be traced back to
researchers such as Randolph Quirk, Nelson Francis, John Sinclair and J.R. Firth in
the late 1950s and early 1960s as far as English is concerned (Teubert (2007).
However, modern corpora still range from the relatively small (around 4000 words;
Mautner 2009a) to those of considerable size, for example, the Bank of English,
which in March 2010 stood at 524 million words (HarperCollins Publishers and the
University of Birmingham 2010).
As to the optimal size of corpora, Baker,
Gabrielatos, Khosravinik, Krzyzanowski, McEnery and Wodak (2008: 275) quote Ooi
(2001: 179) who says that “the optimal size [of a corpus] can be reached only when
the collection of more texts does not shed any more light on its lexicogrammatical or
discourse patterning”.
The corpus assembled for this research is quite small,
consisting of 424 287 words. This is perfectly adequate for my purposes however, as
it consists of six texts from only one genre and does not claim to be representative of
language use generally.
In sketching the history of this approach, McEnery, Xiao and Tono (2006) note that
the use of collections of naturally occurring data fell out of favour in the late 1950s
due to criticism by Chomsky, amongst others, that corpora were skewed, unavoidably
due to their small size and their collection by hand by humans. Modern technology,
they argue, has meant that the method has enjoyed a resurgence in popularity as the
corpora can now be much larger and may be collected in a more representative
fashion. The rapid increases in computing power mean that massive amounts of data
may be stored and processed relatively quickly and at relatively low cost. Even
studies using corpora of fairly modest size (as low as 4000 words), which could
realistically be processed by hand, benefit enormously from the capacity of
concordancing software to search data quickly and in complex ways (Mautner 2009a).
Once read, the texts are sorted in various ways in an attempt to answer the questions
posed. Typically, corpus data are sorted using three primary methods: word lists,
70
concordances and phraseology (Evans 2009, n.p.). The corpus processes applied to
my data are described in Section 3.2.4: the generation of wordlists and frequency
tables, the calculation of keywords and collocations, as well as the use of concordance
sorting to analyse the data.
3.2.1 TYPES OF CORPORA
Research using corpora may be divided into two types in terms of the relationship
between the two: corpus-based and corpus-driven (Tognini-Bonelli 2001; Baker et al.
2008; McEnery, Xiao and Tono 2006). The former refers to studies in which corpora
are used to provide examples for independently developed theories and has been
criticised for the way in which annotation is seen to impose the pre-existing theory of
the researcher on the data, thus ensuring that the theory is confirmed (McEnery and
Gabrielatos 2006). This study is corpus-driven: an investigation of patterns and
tendencies found in a specific body of text. However the blurred boundary between
the two types is revealed in that the pre-set focus of this study means that it could be
equally classified as corpus-based. The corpus constructed for this research is also an
example of a specialised corpus, consisting as it does of texts from one genre (Evans
2009), specifically chosen to answer particular questions (Teubert et al. 2007), rather
than any attempt to be representative of the range of genres and texts in existence as
would a general or reference corpus such as the British National Corpus (Evans
2009).
I chose to construct a specialised corpus, comprising two exemplars from one genre,
because my research questions necessitate the inclusion of only one type of text,
literature for children, and I have chosen to analyse two particularly widely read series
from that genre, as I have explained in 1.3. Specialised corpora are proving to be
particularly useful in discourse studies (Bayley 2007). I could have included all seven
books from each series, instead of just three, but given the more fine-grained analysis
applied to the data in terms of discourse prosody, this would not have been
practicable. I also believe, following Ooi (2001) cited above, that this would not have
added much in terms of new trends or counterexamples. Thus my corpus would be
classified as small and specialised, with annotation in the form of the marking of body
71
parts as female or male. I have applied to it various processes available in AntConc,
as is described in more detail below.
3.2.2 OBJECTIVES AND ORIENTATION OF CORPUS
LINGUISTICS
Corpus Linguistics involves the use of corpora to answer linguistic questions. In
particular, Corpus Linguistics enables the processing of vast quantities of naturally
occurring language fairly quickly, certainly more quickly than manual processing, and
is far less vulnerable than many other data collection methods to charges of
subjectivity and “cherry picking”, i.e. the selection of data so as to support the
researcher’s own assumptions (Mautner 2009a).
Corpus linguists may be
characterised as “descriptive empiricists who value complexity and variation in
language [and] observe patterns so as to put forth tentative hypotheses based on the
principle that linguistic theory and description are best built on real and natural data”
(Kung 2009, n.p.). Using empirical data thus enables the objective determination of
“what is central and typical in language” (ibid.). Stubbs (1996: 28) reiterates this
emphasis on the principle that, in Corpus Linguistics, “[l]anguage should be studied in
actual attested, authentic instances of use, not as intuitive, invented, isolated
sentences”.
McEnery, Xiao and Tono (2006) debate the two approaches to language study
contrasted by Stubbs: the corpus approach, which is based on empirical data, versus
the intuition-based approach, which typically uses invented examples.
This is
something of a false dichotomy and relates to the point made earlier about the division
between the more quantitative Corpus Linguistics and the particularly qualitative
CDA not being entirely binary. This is because Corpus Linguistics, while offering
powerful descriptive tools, is not exclusively quantitative.
Corpus Linguistics
methods often justifiably claim reliability and freedom from researcher subjectivity as
two of their main advantages, but the researcher’s subjective decisions do influence
the processing of the data at each stage of the analysis (Baker et al. 2008), giving “the
best of both worlds” (Mautner 2009: 125).
Corpus software searches the data
according to the search criteria provided by the researcher and reorders it, providing
72
statistical information in the process, so that the researcher can analyse it, thus
combining objective and subjective approaches, and nullifying the drawbacks of both.
In particular, “Corpus Linguistics software offers both quantitative and qualitative
perspectives on textual data, computing frequencies and measures for statistical
significance, as well as presenting data extracts in such a way that the researcher can
assess individual occurrences of search words, qualitatively examine their
collocational environments, describe salient semantic patterns and identify discourse
functions” (Mautner 2009: 123). McEnery, Xiao and Tono (2006) conclude that
neither the empirical nor the intuitive approach is necessarily sufficient on its own,
while acknowledging that the corpus approach is better than an exclusively intuitionbased approach: notably in that it improves reliability in its use of empirical data and
does not completely exclude the use of intuition in the search for patterns in that data.
In this study, the computing power of Corpus Linguistics as a descriptive tool was
extremely useful. However, in addition, and rather more intuitively, I determined the
composition of the corpus, which of the processes to use, as well as what levels of
statistical significance are deemed adequate.
My subjective judgement was also
involved in the analysis of the data in terms of the collocations and the trends in the
concordance format, specifically the patterns of discourse prosody, all terms which I
explain in 3.2.4. Thus the supposedly easily drawn dividing lines between empirical
versus intuitive, and even objective versus subjective, prove to be not quite so clear,
nor so easy to draw, and Corpus Linguistics is not exclusively the former in each case.
Fortunately, this is not a disadvantage, as the use of intuition in an otherwise fairly
mechanical process can be a valuable tool, and Corpus Linguistics and the more
qualitative critical analysis of discourse can complement each other in extremely
productive ways, as is discussed in more detail in Section 3.2.3.
3.2.3 PREVIOUS RESEARCH USING CORPUS LINGUISTICS
Corpus Linguistics has “revolutionized nearly all branches of linguistics” (McEnery,
Xiao and Tono 2006: 4) and the range of the impact of corpus work can only increase
as new applications become apparent. The harnessing of the power of computerbased concordancing has enhanced the production of dictionaries, notably the Collins
73
Cobuild learner dictionary, which provides the reader with genuine instances of the
word’s use to aid understanding.
Translation studies benefits theoretically and
practically from the use of parallel and comparable corpora and both stylistics and
stylometrics can make great use of the ability of the software to process vast amounts
of data (Evans 2009). Despite the wide scope of use, in 2005, in a discussion on
research in language and gender, Cameron notes that Corpus Linguistics is one of
several areas of linguistics in which the concept of gender is usually used in the sense
of the ways in which males and females use language. For instance, Rey’s (2001)
study of Star Trek dialogue shows decreasing differences between male and female
characters’ use of language from the 1960s to the 1990s, while Schmid (2003) finds
some suggestive differences between women’s and men’s use of English in BNC,
particularly in terms of semantic domains. While the use of corpora to investigate
how women and men are represented in texts had not yet become a common use for
the method in 2005, Romaine (2001) investigates the representation of gender in
British and American English, and Sigley and Holmes (2002) point out the usefulness
of corpus methods for a social constructionist approach to language and gender
research in their study of New Zealand English. More recently, Baker’s (2008) book
Sexed Texts is exclusively focused on corpus studies of gender representation. Part of
my aim with this study is therefore to further demonstrate the utility of Corpus
Linguistics as a method for illuminating the representation of women and girls, and
men and boys, in texts.
Of particular interest in the context of this study is the use of corpora to “investigate
the ideological stance of writers and speakers in texts. Frequently occurring patterns
allow the observer to make deductions about what a group or society sees as valuable
or important” (Evans 2009, n.p.). Despite this, the application of corpus methods to
CDA has been relatively slow and even modern, state-of-the-cda-art type
compilations have not paid much attention to the combination (Mautner 2009a),
although there have been some individual studies particularly in the last five years.
My study aims to add to this growing body of research and, in the process,
demonstrate the usefulness of corpus linguistic methods in the critical study of
discourse. How the corpus was created is now addressed.
74
3.2.4 CORPUS LINGUISTICS PROCESSES
The same procedure was followed to collect data from each of the series CN and HP.
The three books selected for analysis were scanned electronically and put through an
optical character recognition program, and then edited, to provide a digital copy of
each page. The clean-up process, removing artefacts from the scanning process,
while time-consuming, is essential so as to be able to search the corpus reliably,
without missing tokens due to text recognition problems. Permission was sought
from each of the copyright holders to use the books for research. So as not to breach
copyright, the data files cannot be supplied with this thesis, as is sometimes done, and
all extracts containing material from the series are clearly marked as such. The
digitised files form two sub-corpora, CN (100 000 words) and HP (324 287 words),
which together comprise a corpus of 424 287 words. The individual books contribute
to the corpus in the following proportions:
Text
Philosopher’s Stone (PS)
Prisoner of Azkaban (PA)
Deathly Hallows (DH)
Harry Potter Total
Words
65208
90337
168742
324287
% for series
20%
28%
52%
The Lion, the Witch and the Wardrobe (LWW)
Prince Caspian (PC)
The Last Battle (LB)
Chronicles of Narnia Total
29392 29%
36287 36%
34321 34%
100000
% overall
15
21
40
7
9
8
These corpus files were then imported into NVivo, software for predominantly
qualitative analysis, maintaining a separate project for each of the series. The data in
each project were then searched for over 60 body parts and each term found was
annotated according to whether it referred to a male or a female body or bodies in that
specific instance9 and saved in its enclosing paragraph. Thereafter I constructed and
checked a word list for each series using AntConc to ensure that I had not omitted any
human examples10. A table of all the human body parts found in the series, as well as
9
My annotation method is simple yet effective. I marked each human body part with either an F or an
M at the beginning of the word, making it easy to search for tokens I may have missed and also to
compute collocations which distinguish female and male body parts as collocates. Where this would
cause ambiguity with non-body words, such as fear, I added two of the same letter.
10
Body parts which belong to human groups mixed in gender were omitted.
75
the frequency of each body part for females and for males in each series, is to be
found in Appendix 1. I chose to search for limbs and other parts of the body so as to
see what characters were doing with their physical selves in the books. Homographs
such as “the head of the table” which are clearly not intended to refer to part of a
living being were discarded. Some instances, however, were not so clear-cut. In HP,
for instance, I had to consider the relative human status of ghosts, portraits and
statues, and therefore whether or not to include their body parts in my analysis. I
decided to count portraits and statues as human (if they were of humans) because they
frequently behave like living humans in their use of body parts, but not ghosts,
because their physical nature is often different to that of humans who are alive: for
instance, they can walk through solid material, so their portrayal is not representative
of humans or normal human behaviour. Portraits and statues, on the other hand, tend
to behave, in the books at least, as the humans they represent would. Another
representative decision I had to make concerned compounds combining the relevant
body part with another word. While some clearly do not refer directly to the body
part in question e.g. footprint, and were thus excluded from the analysis, others
suggest a more physical representation e.g. facedown, and were therefore included.
Where compounds were sufficiently numerous, they were counted as a separate type
themselves. Plurals were grouped together with the singular form of each type and
considered together in terms of their discourse prosody, although collocations11 were
calculated for the singular and plural forms separately (see Appendix 2).
The resulting tokens, together with their surrounding paragraphs, as I mentioned
above, were sorted into categories depending on the “owner” of the body part, i.e.
female, male, non-human and a category for those that referred to a mixed gender
human group or a person of unspecified gender, and each was marked as such. Like
Goatly (2004), I found trends in the representation of the non-human characters, with
particularly interesting contrasts across the series, however the focus of this study is
on the gendered trends in the portrayal of characters with whom the child audience are
likely to identify and thus emulate, and so I report here only on the relevant categories
of male and female humans, with the emphasis on the females, as is appropriate to the
focus of this thesis. I then processed the data using various corpus processes (Baker
11
Both the concepts of ‘collocation’ and ‘discourse prosody’ will be discussed in 3.2.4.4.
76
2006) and the AntConc concordancer. These processes include quantitative measures,
such as the computation of wordlists (or frequency lists), keywords, concordances and
collocations, each of which is explained below12.
More qualitative evidence is
garnered from sorting the concordance lines, which allows the researcher to identify
semantic preference and prosody, as well as discourse prosody (Mautner 2009a).
3.2.4.1 WORDLISTS AND FREQUENCY
A good starting point, and one that is very easy to achieve with concordance software,
is with a list of all the words in that corpus, counted and arranged from most frequent
to least (Mautner 2009a). Generating word lists is one of the most basic things that
corpus software can do, in other words, create a list of the word forms in a given
corpus, ordered alphabetically or by frequency. Baker (2006) recommends “cleaning”
the data at this point, in other words removing those frequently found words which
add little to the analysis. Typically, function words are most frequent but any content
words found fairly high up in a frequency list are likely to be helpful in suggesting
prominent topics in the corpus concerned (Evans 2009). This is certainly the case
with this data, with the top five words in each series being identical function words
and in the same order (see Table 1 below).
In CN, the first content word to appear, other than said, is ranked 43rd, with 443
tokens: Aslan, followed by Lucy (47th with 408), Peter (51st with 391) and Edmund
(61st with 354). This is a remarkably clear indication of what the series is about. In
HP too, the appearance of a proper name in the top ten, as well as the male pronouns
he and his, reflect the dominant focus on Harry Potter himself, the hero of the series.
The next high ranked content words also refer to humans, as they do in CN, namely
Harry’s friends Ron (22nd with 2357) and Hermione (25th with 2125). Dumbledore
follows at quite some distance at 54th position (901 tokens), possibly because this
character is sometimes referred to by his position as the headmaster. In both CN and
12
Other basic functions offered by concordancers include simple statistical data such as number of
types, tokens, type/token ratio, distribution (or dispersion) plots (graphic representations of where the
particular lemmas are clustered in the text), average word length, sentence length and the numbers of
words of various lengths.
77
HP, the high ranks of said (7th with 1752 in CN and 13th with 4197 in HP) show the
importance of dialogue in each series.
Chronicles of Narnia
Harry Potter
Rank
Tokens
Type
Rank
Tokens
Type
1
6330
the
1
17445
the
2
4498
and
2
9408
and
3
2771
to
3
9295
to
4
2719
of
4
7405
of
5
2628
a
5
7006
a
6
1765
was
6
6452
Harry
7
1752
said
7
5691
he
8
1627
it
8
5555
was
9
1553
I
9
4804
his
10
1534
in
10
4630
I
Table 1: Wordlists for CN and HP: Top ten words
Mautner (2009a) suggests beginning the exploration of new data by examining a
wordlist sorted by frequency and then analysing the most frequently used words in
more depth. While open-class words are clearly useful, other parts of speech like
modals can also be most illuminating when searching for ideological traces in texts as
they link to aspects of CDA like expressive and relational modality. In this study,
however, I am investigating how the characters’ bodies are used by them and thus the
most important words are those referring to parts of the body. What is of most
interest in terms of bald frequency and rank, therefore, is how often each body part is
referred to, relative to others. Cleaning the data for me therefore largely meant
stripping away terms other than body parts to create tables showing the frequencies
for each body part for females and for males in each series. These are included in
Appendix 1.
So as to be able to compare the frequency of specific terms across corpora, these data
were also normalised. To illustrate the value of this process, I consider just one body
78
part from the study. It appears from the raw data that face, as referring to female
humans, is used very frequently in HP (98 times) and substantially fewer times in CN
(29 times). However when the data are normalised13, taking into account the relative
lengths of the sub-corpora (CN 100 000 words and HP 324 287 words), it is revealed
that the word is found almost exactly as frequently in both series (CN: 29; HP: 30).
The normalised data for all the body parts can be found in Appendix 3.
3.2.4.2 KEYWORDS
Wordlists can be compared with each other, usually involving one that is generated
from a corpus which is smaller and constrained in some respect, such as by time or
genre, being compared with a larger, more general, corpus.
This enables the
researcher to ascertain whether the trends they find in their specialised corpus are
particular to that body of text or if they reflect patterns found in more general
language use. By comparing the two wordlists, lists of “keywords” are generated
which list words in order of “keyness”, and are typically used to point a researcher in
a fruitful direction by identifying which words are of a markedly higher or lower
frequency in the corpus under investigation, as opposed to the (usually) larger or more
diverse reference corpus, such as the British National Corpus (Mautner 2009a). The
keyword list should show “the most significant lexical differences between [the two
corpora], in terms of aboutness and style” (Baker 2004: 347) and “can be useful in
helping to spot traces of discourse within language” (ibid.).
Words in the corpus being studied are deemed to be ‘key’ if, when compared with the
reference corpus, they meet the statistical significance level specified by the
researcher using one of the several significance scores which most concordancing
software can compute: log-likelihood, chi-squared and similar tests. The first two
tests, for instance, are offered as options in WordSmith, one of the most commonly
used commercial concordancing packages, as well as in the program I used, AntConc,
which is freeware. Typically, the researcher also sets a minimum frequency, below
which words are not considered. If words are found to be not as frequent in the
studied corpus as would be expected from their prominence in the reference corpus,
13
The data have been normalised to represent the number of tokens per 100 000 words of text.
79
these are indicated as having negative keyness, with a negative score. Citing Scott,
the originator of Wordsmith, Baker (2004: 347) notes that usually three kinds of
words are found to dominate the keyword lists: proper nouns, other words which are
“indicators of aboutness” of the text in question and high-frequency words which
offer stylistic information, rather than suggesting the topic of the text, such as
‘because’, ‘shall’ or ‘already’. Ascertaining the “aboutness” of a text, in other words
“its topic and the central elements of its content”, is the aim of determining the key
words in a corpus, according to Baker et al. (2008: 278). This process, they suggest,
should not be limited to word forms alone, but should also include clusters, “lemmas,
word families and … semantically/functionally related words” (ibid.).
In my study, the subject matter determines which words are of interest, i.e. body parts,
and the creation of a list of keywords, words of potential interest due to their
prominence in the data, may seem unnecessary. But a comparison of the wordlists
from the two sub-corpora with each other proves useful in revealing which of the
body part words are particularly prominent in which series. Following Baker (2004)
and Mautner (2009a), therefore, I have generated a separate word list for each series,
enabling me to compare the sub-corpora with each other (again, following Baker
2004), and calculate a list of keywords for each set of books in terms of how they vary
from each other. I decided not to calculate keywords in comparison to a general
corpus, as is often done, because this would not contribute to answering the research
questions guiding this study.
The focus of this study is not on how particular
exemplars of children’s literature differ from a range of ‘normal’ texts, but on how
female physical identity is represented in the corpus, and to this end it is only relevant
to compare the series one against the other to find which, if any, body parts are more
key in one series than another. Keywords are “an extremely rapid and useful way of
directing researchers to elements in texts that are unusually frequent (or infrequent),
helping to remove researcher bias and paving the way for more complex analysis of
linguistic phenomena” (Baker 2004: 348) but lists of keywords and the patterns they
reveal must still be interpreted in terms of the research question and do not constitute
an end in themselves (ibid.). The use of CDA with Corpus Linguistics effectively
guards against the danger of resting on one’s quantitative laurels as it entails the
interpretation and explanation of the trends found in the description of the data.
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AntConc offers a choice of two tests of statistical significance for use in the
calculation of the keywords and I use the log likelihood test, as opposed to the chisquare. Rayson (n.d.) recommends this method and specifies the significance of the
log-likelihood scores as follows:
•
•
•
•
95th percentile; 5% level; p < 0.05; critical value = 3.84
99th percentile; 1% level; p < 0.01; critical value = 6.63
99.9th percentile; 0.1% level; p < 0.001; critical value = 10.83
99.99th percentile; 0.01% level; p < 0.0001; critical value = 15.13
As with ‘p’ values generally, these refer to the likelihood of the results being due to
chance – with a log-likelihood value of 3.84 there is a 5% chance of this, while it is
much less likely (0.01% or one in 10 000) with a critical value of 15.13. Specifying
the cut off level is used more to prevent an excessively long list of keywords to work
with, rather than to increase the level of significance, which means that the software
only delivers keywords with a certain statistical significance,. Baker (2004: 352) cites
Scott’s (1999) suggestion to set the threshold fairly low (i.e. with a high loglikelihood value, of the order of 15 or so) to keep the numbers of keywords down but
says that specifying one level for every research context is probably not desirable as
each will be using different types of corpora to answer different questions. Scott, the
author of Wordsmith (2010), considers a score on the log-likelihood test of 3.84 to be
acceptable. In my research, this has generated lists of hundreds of keywords in both
cases. However, in this case, I am more interested in the placement of the body terms
in the keyword lists relative to those from the other series, rather than in terms of their
significance in relation to other (non-body part) words from the same series, so there
is little point in restricting the number of keywords to be generated. The complete
keyword lists, showing the keywords for each series compared with the other series
are included in Appendix 4, where I list the top ten keywords for each series, together
with any body parts which proved to be key for that series in order of keyness. There
was no need to specify a lower cut off level as the lowest scoring key body part term
was HP female mouth, with 3.956, just above Scott’s lower limit of 3.84. That the
majority of body parts were key for HP, and not for CN, reflects a much greater
preoccupation with the human body in HP than in CN and is discussed further in
Section 4.1.
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A potential danger with corpora comprising a number of texts is that a particular
keyword is not found in a healthy proportion of the texts, but only in a small,
unrepresentative number (Baker 2004), suggesting idiosyncratic usage. This is not
relevant to this study, however, because there are only three texts in each sub-corpus
and all the texts in each are from the same series, so if a particular keyword is
concentrated in one book (perhaps because of the plot), that fact is irrelevant to the
aims of the project as a whole. I did however check for unusual clusters, using the
“file view” option in AntConc, which shows the distribution of the chosen word in a
graphic form across the range of texts in the corpus. I should add, though, that in the
course of sorting the instances of use of each body part, it was immediately apparent
to me if an idiosyncratic use occurred in one book only. The few unusual clusterings
of body parts are easily attributed to plot and are mentioned where appropriate in the
discussion of the results.
3.2.4.3 CONCORDANCES
Viewing the data in a concordance is often the step which follows the compilation of
a frequency list (Mautner 2009a) and it is no coincidence that the software used to
process corpora is known as a concordancer, as this is one of the most useful
functions of the synergy of large volumes of data and computer processing. Here the
researcher enters search terms in which he or she is interested and the program
outputs every example found in the corpus in a format known as KWIC, or key word
in context, in which the lemma14 is placed in the middle of the line of text with
surrounding characters on either side. Each instance is presented on a separate line,
initially in “text order” (Evans 2009, n.p.), in other words in the order in which it is
found in the corpus. The presentation of these data can also be sorted by the words
appearing on either side, so that the researcher can specify that the data should be
14
The word ‘lemma’ is used to refer to the base form of a word; for example, the lemma ear represents
the singular and plural forms ear and ears. It is usually equivalent to the citation form in lexicography.
Concordancers also distinguish between specific instances of the use of a word (‘tokens’) and the
abstract concept or label for the category (the ‘type’). So one could count the number of tokens for the
type ear. The plural, ears, could be utilised as a different type, as could the stem with a wildcard *
(ear*), which would select all instances of ear, both singular and plural. In practice, the reference of
the terms lemma and type often overlap. Italics are used to denote types (or lemmas) in this study,
while bolding is used to highlight tokens in particular examples from the text. The term ‘node’ is also
often used in Corpus Linguistics to mean the search term, whether it be a word or phrase.
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sorted by the first word to the right and then by the third word to the left, for example,
which results in an alphabetical arrangement according to the criteria selected. This is
particularly useful when looking for trends in the phrases that the node appears in.
Most concordancers also allow for the search term to be a phrase, as opposed to only
single words, and for it to include wildcard characters. For instance, searching for
face* would generate instances of the forms face, faces, faced and so on. Wildcards
are not used in this study precisely because the verbal forms must be excluded.
Instead, I conducted four searches for each body part in each series: two for the
singular form, one for body parts marked as female and one for those marked as male,
and two for the plural form in the same fashion. This enables me to analyse the
KWIC sorts for female uses and male uses separately, and to compare them to each
other, for each of the singular and the plural forms of each body part.
The
concordance lines are supplied in Appendix 5.
In order to investigate the broader context of the word or cluster under investigation,
the researcher can increase the co-text even to the extent of viewing the entire text
(Baker et al. 2008), although in my case I limited it to the surrounding paragraph
through the initial use of NVivo to extract these for sorting by the sex of the referent.
Because the sorts applied to the data varied from one body part to the other, as
different patterns became evident, I cannot efficiently list the procedure for each one
here, nor would it be productive. I would like to comment, however, that together
with calculating the strength of collocations (see 3.2.4.4), the use of the KWIC view
of body part terms in context has proved to be particularly useful in this study, in that
it assisted substantially in determining patterns in the semantic and discourse
prosodies in the sub-corpora (see 3.2.4.4). These, in turn, are often indicative of
pervasive discourses occurring in the data.
3.2.4.4 COLLOCATION
Firth’s notion of “meaning by collocation” and its use in the analysis of lexical
meaning “has had a profound influence… on the compilation of corpora and the use
of corpus-based methodologies” (McEnery and Gabrielatos 2006: 41). Collocations,
“the partnerships that words form” (Evans 2009, n. p.) or “actual words in habitual
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company” (Firth 1957: 14, cited in Baker, Hardie and McEnery 2006: 36) are useful
for identifying trends in terms of the frequent uses of particular words, by looking at
the words they regularly appear near to. Teubert et al. (2007: 139) define collocation
as the “habitual meaningful co-occurrence of two or more words”, in which the word
‘meaningful’ is particularly important: in other words, the likelihood that a particular
noun would co-occur very often with the is trivial and probably would not be
considered a useful collocation, while a tendency for two content words to co-occur
would be rather more likely to be interesting ideologically, such as female eye and
tear in HP. Baker et al. (2008: 278), emphasising the more statistically oriented,
objective possibilities of the corpus approach, define collocation as “the above-chance
frequent co-occurrence of two words within a pre-determined span” and Teubert et al.
(2007: 140) say it is “the degree to which the probability of a word y occurring in text
is increased by the presence of another word x”. In terms of this study, the calculation
of collocations is useful in that it suggests aspects or attributes of the body parts
which are not only numerous but which are also closely connected with that body part
in particular due to their frequent co-occurrence. This is helpful in lending statistical
support to the grouping of body parts into uses as I explain below.
Collocations may become evident when inspecting the KWIC sorts, but when one is
dealing with dozens, sometimes hundreds, of tokens for a particular type, as I have
here with HP eye, hand, face, head, hair and arm (all over 200 tokens), the use of a
concordancer to calculate the strength of the relationship between words, and to show
up prominent correlations, is much more efficient and objective. Most concordancers
compute collocations with a choice of methods that measure the closeness of the
association between the words in slightly different ways: the MI (mutual information)
score and the T-Score. I use the MI score, as recommended by Mautner (2009)
because the T-Score tends to yield more function words than content words (ibid.),
and this would be of less interest to my study. The frequencies of three elements are
used to calculate the MI strength of a collocation: the node, the collocates and the
collocation (Baker et al. 2008) and MI scores under 3.0 are deemed to be insignificant
(Kung 2009). Sinclair, Jones and Daley (2004) suggest using a span of 5 words to the
left and 4 words to the right of the search term in the calculation of collocation
strength while Baker et al. (2006) suggest 5 words on either side of the node. The
assumption is that further away than this the surrounding words cease to be affected
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by the node, and vice versa15. Sinclair (1991, cited by McEnery and Gabrielatos
2006), recommends examining orthographic word forms, rather than lemmas, as the
different forms of a particular type can behave in different ways. With separate
calculations for each gender in each series, I used a span of 5 on either side when
calculating the MI strength of the collocations for each body part, and did so
separately for its singular and its plural forms. I discarded collocates with MI scores
below 3 (Kung 2009). Although Stubbs (1995: 14) points out that collocates which
are not statistically significant can still “help to build up more complete semantic sets,
on the basis of core collocates for which we have good quantitative evidence”, for
many body parts the evidence for the existence of semantic sets is more than
adequately made without taking weaker collocates into account. These results proved
useful in supporting the identification of classification schemes and discourse
prosody, as I outline below. The collocations for the body parts for both series are
tabulated in Appendix 2.
The notion of collocation is useful because of the need to go beyond single words in
the search for meaning: “[i]ndividual words can never be more than a starting point,
since it is often collocations which create connotations” (Stubbs 2003: 13).
Connotations range on a cline from barely evaluative to strongly expressive: Morley
and Partington (2009) use the analogy of prototype theory, saying that words like
callow and venerable have strong negative and positive evaluations respectively as an
intrinsic part of their meaning, while other words have a lesser evaluative component.
If a given word has several collocations all with similar expressive value, this
contributes to its meaning in context. Expressive connotations, or the evaluative
meanings associated with a word, far from being peripheral, are as central to meaning
as denotation (Partington 2004) and are “an obligatory component of a lexical item”
(Sinclair 2000: 200, cited in Partington 2004: 154).
The key to the value of collocations in critical language analysis is their tendency to
be below the level of consciousness. They not only “provide ‘a semantic analysis of a
word’ (Sinclair, 1991), but can also ‘convey messages implicitly’ (Hunston, 2002)”
(Baker et al. 2008: 278), often via a kind of collocation called “semantic prosody”
15
Although my data suggest otherwise, a point I discuss in Chapter Four.
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(Stubbs 1996) which is explained below. These messages, if repeated often enough,
are “more likely to become fixed in the minds of speakers and therefore, more
difficult to challenge” (Stubbs 1996: 195).
An example of this is the work by
Mautner (2009) on the representation of unemployment in the media. She found that
the word unemployed, followed by and and an adjective collocated with words like
desperate, disadvantaged, divorced and homeless, all carrying a “negative semantic
load” (2009: 127).
This shows quite clearly the ways in which collocation,
particularly regular relationships of collocation with the same terms across many
texts, can contribute to the creation of clusters of meaning which coalesce into
discourses and habitual ways of thinking and writing about areas of life. In HP, for
example, the word feet, as applied to male characters, collocates strongly with ten
active verbs of movement like scrambling, leaping and sprang, all of which indicate
agility and vigour.
The literature in this area has attempted to create a taxonomy of the various types of
collocation found in texts, ranging from fairly concrete and neutral to more abstract
and evaluative and I present a summary of this below. Typically, even the evaluative
aspect of collocation has been restricted to the meanings of individual words in the
company of other individual words. In considering Hoey’s notion of lexical priming
and more recent conceptions of collocation based on this theory, all the elements are
in place to take the notion of collocation one step further towards making the
theoretical link between collocation and the support of dominant ideologies. In the
discussion which follows, I show how the existing theory can be developed into one
which makes this crucial link, transforming linguistic analysis into social analysis, in
concert with CDA.
Hoey’s (2005) concept of lexical priming represents a marked departure from
traditional views which see language use as proceeding from the constraints of
grammar with appropriate vocabulary items filling the ‘slots’ that are available
syntactically. Hoey argues that language users in fact begin with words and that these
words are ‘primed’ in users’ minds to be used in certain ways, thus constraining the
formation of the rest of the utterance or written text. Beginning with the notion of
collocation, this view sees words as primed to occur in certain contexts and genres
and with certain other words, and has users accessing a mental concordance with rich
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annotations in a mental dictionary built up over the lifetime of an individual and
constantly open to adjustment. The annotations thus acquired affect the interpretation
of any future encounters with language (Williams 2006: 327):
The theory of lexical priming claims that we hold in our minds
elaborate networks of possible co-occurrence patterns that are linked to
domain and genre. Following the theory, calling up the words stored in
our mental lexicon sparks off a series of expectancies that we use to
build up discourse. This puts the lexis at the centre of our language
capacity in that grammatical and lexical choices will be governed by
these primings. Central to this approach is the notion of collocation.
The expectations we have regarding the evaluative collocational behaviour of words
explains what Morley and Partington (2009: 146, emphasis in original) call “the effect
of prosodic clash where these expectations are overturned or exploited in some way”,
which, they say, may result in irony. They cite as an example an outbreak of sanity
which confounds the expectation of something negative set up by outbreak. They
assert that the ‘suggestions’ for interpretation are accumulated in the mind of
language users, so that “the more often … we hear an item employed in a negative
environment the more likely we are to associate it with negative evaluation. There
may well, of course, be a time-weighting to these encounters, the early ones being the
most important in laying the foundations” (op cit. 148). While primings are specific
to the individual as a result of their unique linguistic experiences, they must be shared
amongst speakers to some considerable extent in order for communication to take
place (ibid.).
The value of this approach for my study is the way it dovetails with explanations at
the level of society for the naturalisation of ideology in the individual in that it
provides a linguistic explanation of what might be called ideological priming, through
language (see Section 3.3). Through repeated exposure to collocational patterns
which support dominant ideologies, readers (in particular children, as Morley and
Partington (2009) note above) lay down expectations and assumptions about the
tendency for certain words to co-occur with others and, more importantly, for certain
ideas expressed through those words to co-occur with other ideas. The more children
read that certain body parts have certain uses, and that these depend on the sex of the
person concerned, the more likely it is that these expectations will enter into their
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mental concordance of social expectations or, to use Fairclough’s term, their
Members’ Resources (see Section 3.4.1), and will affect not only the way they
interpret behaviour encountered in the future, but the ideological constructs of
femininity and masculinity.
Although the explicit combination of CDA and Corpus Linguistics is relatively new,
the search for meaning in texts using concordancers has been the primary focus of
researchers like Sinclair (e.g. 2003) and Stubbs (e.g. 2001, 2007, 2008) and their work
on semantic prosody, in particular (see also Louw 1993), is very useful as a
springboard for this study and especially to my theoretical development in this area.
In the section which follows I contextualise the notion of semantic prosody in terms
of other kinds of collocation. These terms require clarification as they are sometimes
used inconsistently or interchangeably, and, as I mentioned above, there is a need for
an additional category to do full justice to the applicability of the concept of
collocation to critical language study.
The related terms are arranged here in
increasing levels of abstraction (the first four are listed in this order in Stubbs 2007):
•
collocation
•
colligation
•
semantic preference
•
semantic prosody and
•
discourse prosody.
The first term, collocation, is used as the collective term for all five of the
relationships listed above and refers to “the relation between the node word and
individual word-forms which co-occur frequently with it” (Stubbs 2007: n.p.) and is
therefore directly observable, while the second, colligation, is “the relation between
the node word and grammatical categories which co-occur frequently with it” (ibid.),
which means that the patterns created by the node word and co-occurring words with
such abstract grammatical features as past participle or adjective are not necessarily
directly observable. Both are fairly easily and routinely extracted by concordancers.
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The concept of semantic preference refers to the fact that “[s]ometimes in the
structure of a phrase there is a clear preference for words of a particular meaning. The
word class is not important, and any word with the appropriate meaning will do
(though there are often collocational patterns within semantic preference)” (Sinclair
2003: 178). Quoting Stubbs (2001: 65), Baker et al. (2006: 114) define semantic
preference as “the relation, not between individual words, but between a lemma or
word-form and a set of semantically related words”, giving the example of the
frequent co-occurrence of the phrase “glass of” with a word referring to some sort of
liquid.
In my study I use semantic preference to refer to, for example, the tendency for
possessive pronouns to collocate with body parts (as in his arm, her face). While the
semantic preferences for the various body parts are not always ideologically
interesting (the fact, for instance, that body parts often pattern with possessive
pronouns is not very surprising), there are some interesting trends within these
patterns of a more prosodic nature, for example, the tendency for male pronouns to
co-occur with certain body parts and female pronouns with others (see Appendix 6).
Jeffries (2007), in investigating the representation of women in magazines (see
Section 2.2.1.2), looks at the naming and describing of the women’s body parts by
investigating the determiners and adjectives that patterned regularly with those
elements of the body. Those nouns preceded by determiners such as the or a were
more distancing than those with pronouns (your). In my study there is an almost total
absence of inclusive your (referring to the reader), as would be expected, and only a
few used in direct speech. However, the prevalence of his/her (as opposed to the
neutral the or a) signals a strong connection between specific characters in a ‘real’
adventure and their bodies; in other words, these are not hypothetical arms and legs,
but particular ones. This is supported by the fairly strong collocational relationships
between the majority of the most common body parts and her or his in both series (see
Appendix 6). Several also collocate with characters’ names, again strengthening the
tendency for body parts to belong to specific people. This strong link between
characters and their body parts may function to draw the readers in, in that they
identify with particular characters; it certainly emphasises the ‘ownership’ of the
various physical parts and underlines their gendered behaviour. Thus a feature which
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appears superficially to reveal patterns in terms of semantic preference turns out to
have significance of a semantic prosodic nature as well.
The main difference between semantic preference and semantic prosody is that the
latter has an evaluative component while the former does not.
While semantic
preference is “the relation between the node word and semantically related words in a
lexical field”, which is related to the topic of the text (Stubbs 2007: n.p.), semantic
prosody is related to “the discourse function of the unit: it describes the speaker's
evaluative attitude” (ibid.). Stubbs (1995: 3) discusses Sinclair’s example of the
lemma HAPPEN which, he says, is associated in the corpus data with “unpleasant
things - accidents and the like", illustrating the tendency to see the evaluation
component in semantic prosody as binary – good/bad or desirable/undesirable
(Morley and Partington 2009: 141).
Because of this attitudinal aspect, the
collocational pattern found in the behaviour of HAPPEN would be referred to as
semantic prosody. Another point of difference is that the list of items involved in
semantic preference, such as those things that might collocate with “glass of”, is
potentially finite, containing “frequent and typical members” (Baker 2006: 144),
while the list of ‘unpleasant things’ is more open-ended (Baker 2006, Stubbs 2001).
Although Partington (2004) suggests that semantic prosody could be seen as a subcategory of semantic preference, most authors in the field seem to treat them as two
separate concepts and I maintain that distinction here. Stubbs (2007: n.p.) points out
how each of these concepts refers to a different level of linguistic analysis:
This model integrates lexis fully within the traditional concerns of
linguistic theory. A lexical unit consists of lexical, syntactic, semantic
and pragmatic components. …. Syntax deals with how linguistic signs
relate to one another (here collocation and colligation), semantics deals
with how linguistic signs relate to the external world (here lexical sets
and the phenomena they denote), and pragmatics deals with how
linguistic signs relate to their users (here expression of speaker
attitude).
Sinclair and Stubbs are, as I mentioned above, both prominent researchers in this area
and both emphasise the importance of the concept of semantic prosody. Stubbs
(2007: n.p.) considers semantic prosodies “the motivation for speaking, and therefore
related to concepts of speech act and illocutionary force”, while Sinclair (2003: 178)
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says that “[t]he recognition that semantic prosody is a constant feature of text is one
of the most important contributions of corpus work so far”. Morley and Partington
(2009: 139) build their understanding of the concept on Hoey’s (2005) lexical
priming, discussed above, and explain how “evaluative harmony” adds cohesion to a
text through the tendency of “elements of meaning [to] ‘hunt in packs’” (op cit. 140).
Because an instance of semantic prosody spans several words it contributes “textual
cohesion” due to the expectations it sets up (Stubbs 1995: 21). Sinclair (2004, cited in
Morley and Partington 2009) says that language users choose the words they do
because they fit with the semantic prosody being set up in the text. Individual words
are therefore chosen from a set of possible words because they share the same
evaluative aspect as the others. Semantic prosody is therefore defined in my study as
a more evaluative concept than semantic preference: a mechanism through which the
writer can send meanings of assessment and preference, expressive value,
classification schemes and so on, and I use it to refer to patterns found in the use of
body parts, such as the above-mentioned tendencies for certain body parts to belong to
a particular gender and to be explicitly marked as such. Morley and Partington (2009)
link the paradigmatic choice evident in semantic prosody to what it tells us about the
views of the speaker or writer of the text, which demonstrates the potential value of
this concept in ideological analysis. However, semantic prosody relates only to
individual word choice, rather than meanings built up through larger units. For this
meaning, I propose the term discourse prosody, which I have added to Stubbs’ (2007)
model above to occupy a fifth, yet more abstract and more social level, which is
concerned with the critical analysis of language in its social context.
Morley and Partington (2009: 145) tentatively suggest that the evaluative weight of
lexical items resides in the words themselves, in the form of primings, or “suggestions
on how to use them, on how they normally interact with other items”, unless other
elements explicitly counter them. Semantic prosody is a useful form of analysis but it
ignores meanings on the level of discourse which are built up in the text, such as the
groupings of uses of body parts that the data themselves suggested in my study.
There is no intrinsic meaning in the lexical items leg or arm, for example, that says
they must be used with reference to males or females, although there are social
expectations with some body parts (see Motschenbacher’s social gender in 2.1.3), and
yet readers are primed in much the same way to associate certain uses of particular
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body parts with females or males. Although there is not always an evaluative aspect
built in to the meanings of the individual lexical items that go into making the larger
meaning unit, that discoursal unit may carry a sense of approval or not depending on
the attitudes of the writer, and society more broadly, towards that use of that body part
by people of that sex. Because this discoursally created meaning is over and above
that referred to by the term semantic prosody, I suggest (and use in this study) the
term discourse prosody to refer to these meanings which are constructed at a level
higher than the individual word, higher even than semantic prosody, but which
nonetheless represent recognisable units of meaning. For example, the word lip may
be used in a variety of constructions which create the meaning of emotional
expression, and this meaning unit may have some collocates which frequently go into
making it up, such as tear, for instance, or tremble, but it may well contain other
terms instead to create the same kind of meaning. There may also be an evaluative
component to the meaning unit as a whole, or not; there may be evaluative
associations or assessments about which kinds of people should or should not express
emotion, what kind of emotion they should express and what it means if they do, or
do not. Clearly this is information that does not reside in individual words, though it
may be invoked by their use. This knowledge, which, like lexical priming, is built up
over many instances of repeated exposure, links to what Fairclough (2001) would call
Members’ Resources (MR), which link yet again to higher order social structures,
ideologies. This is the level of meaning therefore which interests me in this study,
which makes the crucial link between collocation and ideology, and for which I need
a term.
Given that the term discourse prosody has sometimes been used interchangeably with
semantic prosody (Mautner 2009) and because its component parts suit very well the
meaning I am trying to convey, I use it to express the kind of collocational meaning I
have described here. This use of the term draws on two specific elements that emerge
from the existing literature. Firstly, I like the way it references the dual meanings of
discourse – one as the expression of ideology in language and the other as referring to
stretches of language in context, as opposed to shorter, more individual pieces of
language, like words or individual sentences. It is important for me to signal that this
unit of meaning, or prosody, is broader than semantics, that it spans stretches of
discourse, rather than coalescing in certain words, hence my preference for the term
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discourse. Secondly, I see no conflict in using the term prosody, usually used with
reference to a speaker’s attitudinal meaning, to refer to meaning which exists not only
in individuals, but also, perhaps more so even, in some sort of collective abstract
sense, like MR.
As Partington (2004: 152, emphasis in original) argues with
reference to semantic prosody:
prosodies are independent of individual speakers. Because their
experience of a language is similar, competent speakers of a language
will hold the vast majority of lexical primings in common – though
there will be small individual variation – otherwise communication
would be impossible.
It is by alluding to this shared meaning, these discourse primings, that writers
perpetuate shared views of the world. Just as writers would usually, and probably
unconsciously, complete glass of with items from a particular lexical set, and use
HAPPEN so that it co-occurs with a set of expressions referring to unpleasant things,
so, I argue, writers tend to create certain collocational meanings discoursally, in this
case around body parts and what they are used for, but conceivably with regard to
other areas of life, thereby supporting shared ideas about how that aspect of the world
works. Precisely because these collocations are usually used unintentionally and not
perceived consciously by the reader (Partington 2004), they are important to study for
the insight they give into the common sense assumptions that language users make
about the world, common sense assumptions that reveal ideological standpoints.
With reference to semantic prosody, Morley and Partington (2009) argue that through
a detailed examination of the concordance lines for a given word or phrase one can
identify the lexical items it typically co-occurs with, as well as which of the
evaluative poles it more frequently represents, thus establishing the default prosody
for that word, against which any counter examples may be analysed. Similarly in my
study I identify the default discourse prosodies for body parts in these examples of
children’s literature and find them to be different for females and males. Their default
nature is what is important in that this implicitly ascribes a negative evaluation to
different ways of being, and effectively limits the choices readers can make without
facing some degree of social sanction for not behaving ‘like a lady’ or ‘like a real
man’.
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Semantic prosody and discourse prosody, both being more oriented to the evaluative
and connotational aspects of meaning, tend to overlap to some extent, which is not
problematic for the distinction as a whole. Rather, it is useful to have the distinction
available when it is applicable. In the write-up of the results from the application of
corpus methods, for instance, I have chosen to discuss the semantic preference and
prosody aspects first in Section 4.1, as they set the scene quantitatively in terms of
which body parts are likely to be significant ideologically in terms of their gendered
nature, and thus facilitate deeper investigation into their discourse prosody, utilising
collocation tables and KWIC results, in Section 4.2. As I discuss in more detail in
Section 3.4.1, collocation and its related concepts provide a particularly synergistic
link from corpus processes to the micro-level examination of the text as required in
the description stage of CDA. In addition, as is demonstrated in the discussion of the
results, discourse prosody is a particularly useful concept in that it helps to reveal
frequently employed discourses which support the ideologies underlying the texts.
Indeed, discourse prosody has proven to be the most fruitful type of collocation
investigated in this study. To reveal this aspect of relationships between words, the
data were sorted manually into trends or patterns, mostly of meaning but sometimes
also of structure16, grouping them together “according to the purposes that they serve
in contributing to particular discourses” (Baker 2004: 352). Thus, the tokens for each
body part were reviewed in their surrounding paragraphs and analysed for trends in
meaning and grouped accordingly, often requiring sub-categorisation as well. In the
case of the most numerous body part in this study, male eyes in HP, this meant 526
paragraphs were coded and sorted, and the most common “meanings” or uses
characterised, such as the use of the eyes to see, the use of the eyes to show emotion,
eyes as a site of injury and so on. These trends in discourse prosody were used in the
critical analysis process to identify the gender identities constructed within the texts.
Baker (2004: 353) justifies the somewhat subjective nature of this process of
grouping, saying “[c]arrying out concordance-based analyses of individual keywords
should ensure that the researcher first has an understanding of what such words are
used to achieve in a text, before erroneously combining words that may appear similar
16
Strictly speaking, this is colligation but in my data the two are sometimes related.
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at face value. Like many other forms of linguistic analysis, researchers are required to
develop skills of interpretation, which suggests that corpus-based research is not a
merely quantitative form of analysis”. In his study of gay and lesbian stories, Baker
found that while some of the keywords in each sub-corpus had apparent semantic
links between them (e.g. army and military), it was only by looking at their use in
context so as to discern their functions that the connections between them could be
made.
This illustrates why it is important to use sufficient linguistic context
surrounding each token (in my study the entire paragraph) in the search for trends in
the uses of the body parts, as opposed to simply looking for frequencies alone. It also
suggests why low frequency words can be interesting and useful, depending on what
one is looking for, because the ideological meanings constructed by a given patterning
can be significant, particularly if they support other ideological scripts, despite a
relatively small number of tokens (ibid.).
Goatly (2004: 142) calls this an inductive method, saying that it involves “keeping ‘an
open mind’ [while looking] carefully at concordance and word frequency data to
attempt to find hidden ideologies” and “important categories of ontological and
ideological representation which might escape an ordinary reading of the book”
(2004: 117). These two perspectives again underline the blending of the qualitative
and the quantitative approaches in corpus methods.
3.2.4.5 N-GRAMS OR CLUSTERS
Finally, the corpus data were analysed for significant clusters, or n-grams, around the
keywords, which means that the software generates lists of clusters of words, the
length of which is specified by the researcher: two words each or more, in order of
frequency. Baker (2009: 298) points out that these clusters may not necessarily form
“a grammatical or meaningful unit” and adds that a keyword analysis could also be
used with clusters. This could be useful as a less labour-intensive alternative to the
grouping strategy described in 3.2.4.4 above, but ultimately the method I have chosen
to focus on is the more revealing for my purposes, as the clusters typically reveal
structural patterns more akin to semantic preference, such as the tendency for body
parts to appear in prepositional phrases. Nevertheless, those patterns revealed by
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cluster analysis which were seen to contribute to the discourses of gender in the texts,
or to contradict them, are discussed where appropriate in the results chapter.
Following the application of the corpus processes to the data, my analysis moved
towards the Critical Discourse Analysis part of the study, drawing particularly on the
aspects of discourse prosody found in the data and drawing links between the
language used and the discourses it reveals: as Baker (2004: 347) says, “spot[ting]
traces of discourse within language”. I should point out that in actual practice the two
methods were not applied as separately as may be implied by this linear explication.
During the entire process of applying the useful mechanisms from Corpus Linguistics,
I was mindful of their possibilities for revealing traces of ideological material and, in
particular, when sorting concordance lines and pursuing collocational avenues of
interest, it was not purely frequency that drove my investigations, but also
semantically interesting patterns which held the possibility of insights of a more social
or discoursal type. The next section of this chapter is focussed on the central concepts
of CDA and how, as a more-or-less unified research paradigm, it has been adapted for
this study and applied to the data. Thereafter I show how the two methods or
approaches ‘talk’ to each other in terms of analysis, and how, in this study, their
combination has enriched the research process beyond that which could have been
accomplished with either singly.
3.3
CRITICAL DISCOURSE ANALYSIS (CDA)
As was mentioned in Chapter Two, the concept of ideology and its relationship to
language is central to this study. In that discussion, I expressed the view that the
analysis of linguistic texts is key to revealing and subverting ideologies, including
those regarding women and girls and their place in society, which are of special
interest to my research. This relates to the linguistic turn, also discussed in 2.1.2.2,
which refers to the fact that there has been a relatively recent recognition of the
importance of language in the perpetuation, and contestation, of ideologies. Or as
Thompson (1990: 2) puts it:
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Ideas do not drift through the social world like clouds in a summer sky,
occasionally divulging their contents with a clap of thunder and a flash
of light; ideas circulate in the social world as utterances, as expressions,
as words which are spoken or inscribed.
In providing a linguistically detailed and theoretically grounded way to access the
discourses encoded in language, and thus the ideologies underlying them, Critical
Discourse Analysis (CDA) is a particularly apt choice as method and informing
theoretical backdrop for this thesis.
3.3.1 INTRODUCTION
In this study I use the term CDA to encompass all critical language study (see Section
2.1.1.5), regardless of its adherence or not to a particular method, although much of
what I have done has been informed by the more European methods and approach,
incorporating the particularly influential work of Fairclough (Stubbs 1997), as well as
that of Wodak, Kress, Van Dijk and Van Leeuwen, amongst others. I acknowledge
Van Dijk’s (2009) point that the term suggests a method as opposed to an approach
which includes a theoretical orientation, however, following Baker et al. (2008), as
well as Wodak and Meyer (2009), I retain the term used by the majority of authors in
this area, i.e. CDA, and use it to mean “an academic movement, a way of doing
discourse analysis from a critical perspective, which often focuses on theoretical
concepts such as power, ideology and domination …. [and which] adopts any method
that is adequate to realize the aims of specific CDA-inspired research” (Baker et al.
2008: 274). I would like to emphasise this sensitivity to the data being analysed,
rather than an assumption that ‘one size fits all’ or that the method set out by any one
researcher in the area, including Fairclough, needs to be slavishly applied. Indeed, it
could be argued that a truly critical approach must necessarily create method afresh
for each application if it is to be really responsive to the data at hand.
In the remainder of Section 3.3, I will sketch the central features of CDA in their
historical context, together with critiques of the approach, so as to provide a context
for the discussion of the combination of CDA and Corpus Linguistics in Section 3.4.
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3.3.2 THE ORIGINS OF CDA
The origins of CDA, as a broad area of study, according to Rogers et al. (2005), are
found in several domains which have much in common, namely critical linguistics,
discourse studies and feminist post-structuralism. These intellectual traditions not
only overlap to some extent but also illustrate the recent movement in the social
sciences towards seeing language as central to social analysis, as Rogers et al. note
(2005). McKenna adds the following areas as sources: anthropological linguistics,
literacy studies, gender studies and “the work of Foucault” (2004: 10). To this list,
Wodak and Meyer (2009) add rhetoric, text linguistics, philosophy, socio-philosophy,
cognitive science, literary studies and various sub-disciplines of linguistics. From its
neo-Marxist origins, CDA has also embraced elements of a post-structuralist view of
the operation of discourse in society. What is one to make of this smorgasbord of
influences, except to marvel that a coherent programme emerged at all? What can
perhaps be discerned in most of these disciplines and sub-disciplines is a common
interest in naturally occurring (linguistic) data and its relationship to some element of
social organisation.
There is, for example, no claim of parenthood made for
Chomskyan syntax or the biological sciences.
It is important to consider the
emergence of CDA in its historical context in order to appreciate its theoretical and
political influences: that it arose in the context of the development of other new fields
in linguistics in the 1960s and 1970s, which despite their differing backgrounds and
eventual formats, have a number of features in common, notably a focus on units of
language which are longer than individual words and sentences and the linking of
language use to social action and interaction, as well as a movement towards the
inclusion of contextual information in the analysis of language. In the context of this
broad movement, and the general period of growth, expansion and proliferation of
sub-disciplines, it is not surprising that many academic disciplines began pursuing the
critical study of language as a development of their own research programme, thus
flowing together eventually to form what we now know as CDA. It is useful to think
and write of CDA as a school or a paradigm, two terms suggested by Wodak and
Meyer, rather than as a single approach, due to the fact, mentioned above, that there
are a myriad different influences on the area, as well as many varieties of method used
under this label, and all of this variety is seen as unproblematic, indeed an advantage,
for the programme (Wodak et al. 2009).
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In addition, CDA arose during a time of increased social awareness and activism,
particularly in the west, not only in terms of gender, but also other social
classifications used to marginalise groups of people, such as class and race, (see
Section 1.4) and this is reflected in its explicitly political stance. Although CDA is
sometimes criticised for this emphasis on social action through linguistic research (see
Section 3.3.4), it is, in my opinion, one of its strengths in that it allows the researcher
to make a contribution to society through their work.
3.3.3 DEFINING CDA
As a first step towards a definition of CDA, it is important to differentiate Critical
Discourse Analysis from Discourse Analysis as a general field, one which has many
flavours and sub-disciplines itself, but which is fundamentally different from the
current approach in that it is not concerned with issues of power or social inequality.
Fairclough and Wodak (1997: 258) outline eight principles operating in CDA which
are useful in delineating the field:
1. CDA addresses social problems.
2. Power relations are discursive.
3. Discourse constitutes society and culture.
4. Discourse does ideological work.
5. Discourse is historical.
6. The link between text and society is mediated.
7. Discourse analysis is interpretative and explanatory.
8. Discourse is a form of social action.
What is noteworthy about this list is the prevalence of the terms discourse and society
(or social), which highlights their salience in this field of study, as well as the
agentive role given to discourse, and the emphasis generally on social action, both in
terms of how analysis is active in that it reinterprets the representation of the world
and how discourses act in the world. Indeed, CDA can be seen as the combination of
Discourse Analysis and social theory in order “to describe, interpret, and explain the
ways in which discourse constructs, becomes constructed by, represents, and becomes
represented by the social world” (Rogers et al. 2005: 366). Thus CDA goes beyond
the mere analysis of the text, even beyond the analysis of the text in its immediate
linguistic context, and interprets it as social action in the broader social context, based
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on the idea that linguistic action is social action (Fairclough 2001): “CDA is ... not
interested in investigating a linguistic unit per se but in studying social phenomena”
(Wodak et al. 2009: 2). CDA’s particular focus on how “language as a cultural tool
mediates relationships of power and privilege in social interactions, institutions, and
bodies of knowledge” (Rogers et al. 2005: 367), means that these relationships
between language and society do not only illuminate the workings of power and
discourse, but also how they relate to dominance and inequality (McKenna 2004).
The focus of CDA, therefore, is on mutual effects between language, as well as its
related concept of discourse, and social structure, including power and inequality, and
what unifies an otherwise somewhat eclectic field is the joint goal of “de-mystifying
ideologies and power through the systematic and retroductable investigation of
semiotic data (written, spoken or visual)” (Wodak et al. 2009: 3, emphasis in
original), thereby weakening their effect. Thus CDA is oriented around problems,
typically social problems which it aims to ameliorate. The focus on inequality in this
kind of study is highlighted by Fairclough, Graham, Lemke and Wodak (2004: 1):
Critical social research draws upon the resources of social science to
address the most pressing social problems of the day: those aspects of
the structure, organization and functioning of human societies that
cause suffering, injustice, danger, inequality, insecurity, and self-doubt.
Included in that social science repertoire is, of course, the study of the role of
language in the perpetuation, but also the alleviation, of injustice. CDA has “the
explicitly political aim of analysing power and inequality, not just to interpret the
world but to change the world” (Stubbs 1997: 2). To my mind, this possibility for
change, for emancipation, the essential hopefulness of the approach, is what elevates
CDA from a mere theory or method to a meaningful way of making a social impact
through research. Laying bare the gendered dominant discourses encoded in the
linguistic data in this study allows me to expose and contest the ideologies they
support with the hope of reducing the inequality experienced by many women and
girls. Thus “the critical objective is not only to identify and analyze the roots of
social problems, but also to discern feasible ways of alleviating or resolving them”
(Fairclough et al. 2004: 1).
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Underpinning the discussion above is Fairclough’s (2001) assumption that linguistic
behaviour constitutes social action which is explained below in a quotation which
Wodak et al. note has become “very popular” (2009: 5). Here Fairclough and Wodak
(1997: 258) explain the role of language as social practice, which justifies discoursebased studies:
CDA sees discourse – language use in speech and writing – as a form of
‘social practice’. Describing discourse as social practice implies a
dialectical relationship between a particular discursive event and the
situation(s), institution(s) and social structure(s), which frame it: The
discursive event is shaped by them, but it also shapes them. That is,
discourse is socially constitutive as well as socially conditioned – it
constitutes situations, objects of knowledge, and the social identities of
and relationships between people and groups of people. It is
constitutive both in the sense that it helps to sustain and reproduce the
social status quo, and in the sense that it contributes to transforming it.
Since discourse is so socially consequential, it gives rise to important
issues of power. Discursive practices may have major ideological
effects – that is, they can help produce and reproduce unequal power
relations between (for instance) social classes, women and men, and
ethnic/cultural majorities and minorities through the ways in which they
represent things and position people.
In CDA, the view of discourse as having a dual role in society – as something which
both reflects and perpetuates inequalities – is key to its importance as an object of
study in CDA. Not only can research into discourse reveal the ideologies underlying
language use, but it can suggest ways to subvert the reproduction of injustice. The
choice of which texts to analyse in order to deal with social injustice must surely be
guided by the comment from Baker et al. (2008: 280) below:
Because prejudices are not innate, but socially acquired, and because
such acquisition is predominantly discursive, the public discourses of
the symbolic elites are the primary source of shared ethnic prejudices
and ideologies.
This too refers to the fact that the relationship between language and power and their
role in social relations is two directional. Not only are the assumptions and ideologies
of a writer and his or her milieu revealed through an analysis of their language use,
but the texts produced by influential members of a society have a significant impact
on the discourses and ideologies (and thus the members) of that society in that they
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either support or contest them. The value of analysing the texts produced by the
“symbolic elites”, the teachers, journalists, politicians and all those with unusual
access to the means to distribute their texts widely, is the increased influence these
text producers can have on the discourses of their society, and on the individuals who
make up that society. This is part of the reason why I have chosen to analyse
particularly successful series from the broad field of children’s literature.
The
socially constitutive nature of discourse means that the ways in which writers use
language can create and sustain ideologies which subjugate others, and the discourse
of the ‘symbolic elites’ that Baker et al. are referring to is that much more powerful
than most texts in accomplishing this, whether it is intended or not. Therefore I have
chosen to analyse the texts of those members of the symbolic elite who have had
above average access to distributing their discourses to children and thus greater
chance of influencing readers and their discursive acquisition of ideologies. These
discourses are not limited to those of ethnicity, of course, as in the quotation above,
but also extend to other aspects of social identity such as class or gender.
In fact, although in early CDA writing the emphasis was on issues of class (Lazar
2005), as one would expect given its neo-Marxist origins, more recently the range of
social ills and iniquities which are considered within the purview of CDA has
broadened to include issues of gender, even according to the core theorists
(Fairclough et al. 2004, McKenna 2004). Lazar (2005: 1) points out areas of overlap
between CDA and much feminist work in linguistics when she says “[a] critical
perspective on unequal social arrangements sustained through language use, with the
goals of social transformation and emancipation, constitutes the cornerstone of critical
discourse analysis (CDA) and many feminist language studies”. Indeed she cites Van
Dijk (1991) who acknowledges the role feminist studies played in the development of
CDA in the 1980s and she concludes that this explains why much critical feminist
work has been done using CDA methods without being explicitly flagged as feminist.
She argues, however, that the time has come for feminist CDA to be acknowledged as
a specific area within CDA.
This explicitly feminist standpoint is particularly
applicable to this study of gender representation and so I elaborate on her explanation
in more detail in Section 3.3.5.
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3.3.4 CRITIQUES OF CDA
Fundamental to the critical study of discourse, is the notion of discourse itself, and its
multiple definitions, from Habermas to Foucault, from a variety of domains within
linguistics and the social sciences more broadly, as well as from various national
academic traditions, have given substance to charges by some social scientists of
discourse analysis being vague and ill-defined as an area of study (Fairclough et al.
2004).
However the polysemic nature of the word is not really problematic in
practice, as the individual meanings of discourse are easily disambiguated in context,
and can sometimes add useful echoes to each other in their use. As I mentioned in
Chapter Two, in this study I most frequently use the term to refer to that which
mediates between the text and the broader social context of ideology. In this view,
language is a process and discourse is involved in the processes of production and
interpretation (Fairclough 2001). Thus text analysis reveals discourses, which in turn
link to ideologies.
In terms of text selection, CDA researchers are often criticised for choosing those
which prove their point or ignoring those which contradict it (Baker et al. 2008). For
example, a researcher interested in gender inequality in the media might choose texts
which are clearly sexist, and ignore others, and then claim on the basis of their
analysis that the media are generally sexist. Even from within CDA, there is an
awareness that this is problematic and that the use of quantitative methods in
conjunction with CDA could assist in this regard in that they increase objectivity in
data selection (Wodak and Meyer 2009). This problem of “cherry-picking” (see
Section 3.3.2) is also substantially reduced by the use of Corpus Linguistics as a
method of data collection and initial analysis, due to the objective searching17 which
is possible with such a method, making it more difficult for the researcher to overlook
trends which do not suit their argument.
Another, related, issue raised is the tendency to analyse small amounts of text (Stubbs
1997, Baker et al. 2008): “[a] small-scale analysis may not be able to identify which
17
While this occurs within the parameters of subjective decisions on the part of the researcher, such as
which words to pursue as key words and so on, the process of searching using a computer is objective
in that it will find every example of the search term and is therefore not subject to human error in this
respect.
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linguistic patterns are cumulatively frequent (and therefore likely to represent
powerful discourses) and those which are less frequent (and therefore may constitute
minority or resistant discourses)” (Baker et al. 2008: 283). Again, this is not an issue
with even relatively small corpora as they are substantially larger than the small
samples criticised above, the corpus constructed for this study included.
In addition, the question of the level of detail that is appropriate in the analysis of
language and discourse is fraught with disagreements in that some analysts accuse
others of neglecting to report what features support their identification of a particular
discourse, for instance, while yet others bemoan what they see as too much emphasis
on the text to the detriment of the consideration of the material world and social
structures (Stubbs 1997). Fairclough et al. (2004: 4) counter that in critical discourse
studies “the analysis of text and talk are never an end in themselves” and maintain
that the majority of CDA studies use an integrative approach, balancing
considerations of both text and its social context, as indeed is the case in Fairclough’s
own exposition of method (2001). Indeed, Wodak et al. (2009) make it plain that at
the heart of CDA lies the combination of these two elements, the text and its social
context. This is supported by Baker et al. (2008: 274) when they detail the various
levels of context involved in CDA analysis: “many CDA practitioners have tended to
use qualitative techniques, as well as taking into account analysis of the social,
political, historical and intertextual contexts, which go beyond analysis of the
language within texts”. I would argue that the balance between the level of detail in
the textual analysis and the linkage of that analysis to the social context would, to
some extent, be governed by the particular research questions, but that, in the main, it
would be necessary to ensure that neither aspect overwhelmed the other, for social
analysis is not justified if it lacks the support of textual evidence and textual evidence
without social explanation lacks that element crucial to CDA, the goal of the
amelioration of society. In my study I supply contextual information in three main
areas: each of the series is briefly situated in Section 1.3.1, the social context of
Western women in the twentieth century is discussed in Section 1.4 and I outline
various approaches to the body in Western societies in Section 2.1.4. These, together
with an exploration of the ways in which sex and gender have been conceptualised in
the west in the last century (Section 2.1.2.2), are drawn together in Chapter Five to
underpin the explanation stage of the analysis. Here the data are reviewed in their
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social context with the aim of drawing links between the trends evident in the
language use and relevant social aspects, so as to be able to identify the ideologies
supported by the series as well as how this is accomplished.
Stubbs (1997: 2/3) reports a number of criticisms of CDA, for instance “that the
textual interpretations of critical linguists are politically rather than linguistically
motivated, and that analysts find what they expect to find, whether absences or
presences”. Both these concerns have to do with the danger of subjectivity. As far as
the former is concerned, I would stand with researchers such as Fairclough who are
unashamed about their political agenda in analysis: my goal in this work is to attempt
to contribute in some way to the emancipation of women. Problematic subjectivity in
analysis can arguably be countered by ensuring that whatever ideological conclusions
are drawn have adequate linguistic evidence. I believe the use of Corpus Linguistics
should go some way to achieving this, supplying as it does a considerable statistical
weight of evidence, as well as the second concern, that of the researcher ignoring that
which does not fit their expectations and focussing on what they expect to find.
Corpus Linguistics as a data collection method and first step in analysis should also
counter another criticism mentioned by Stubbs, i.e. the charge that the methods of
collecting data and analysing it are inexplicit.
The final problems he mentions are more abstract in nature (1997: 3): “it is
conceptually circular, in so far as its own interpretations of texts are as historically
bound as anyone else's, and … it is a disguised form of political correctness”. This
implies a need to acknowledge that one’s own ideology is not neutral, but just another
ideology, and related to this is Jeffries’ view that “it does seem vital that we start to
acknowledge that the Left is not the only group with ‘truth’ in its sights” (2007: 8).
One strategy which researchers in the area have taken to alleviate these issues is to
state openly and explore their subjectivity in the process of the research, as I have
done in Chapter One. While this does not of course guarantee objectivity, it is more
likely to result in an awareness of and sensitivity to the possibilities of subjectivity,
and is certainly more honest than assuming that one’s research method guarantees
objectivity, as some researchers in other areas may do.
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In his 1998 review, Widdowson voices a number of concerns, including his
opposition to the suggestion to use selected aspects of SFG which prove to be
particularly fruitful in CDA instead of using the whole method. In my opinion,
however, it must be acknowledged that if a particular part of a theory tends to produce
useful material in analysis then to proceed slavishly through all the remaining aspects,
noting each time that little was revealed, would suggest a rather mechanical, uncritical
and unintelligent application of that method. Certainly in this study I report only on
those aspects of both the CL and the CDA methods which yielded ideologically
interesting findings, and disregarded certain of Fairclough’s basic questions almost
immediately due to their inapplicability to either my data or my research questions
(see Section 3.4.1).
More serious, if it is true, is Widdowson’s claim that CDA does not rest on a unifying
theoretical base. It seems, on close reading, that his objection is not so much that
there is no coherent theory underlying CDA, but that he does not like the theory there
is. In particular, Widdowson objects to the idea that the representations contained in
language can contribute to the ways that the people reading or hearing them think
about the world. In other words, he disputes the capacity of discourse to perpetuate or
counteract ideology or dominant discourses. Moreover, he wants to know how this
change is wrought. Jeffries (2007: 5) defends CDA on this point, saying: “there are
enormous difficulties in such a demonstration; … CDA, like any scientific practice,
will need to take some theoretical premises for granted”. Fairclough (2001) argues
that discourse, such as the written language of the books I have analysed, contains not
only traces of the authors’ own worldviews, but also cues for the reader on how to
interpret them, and that through the accessing of the ideologies inscribed therein, they
are perpetuated. To my mind, this argument explains the potential for social action,
and thus ideological and social change, through discourse.
In response to his criticism that CDA lacks objectivity, Lazar (2005: 6) says “the
feminist position has been to raise as problematic the notion of scientific neutrality
itself, because it fails to recognize that all knowledge is socially and historically
constructed and valuationally based”. On the same point, Widdowson (1998) himself
suggests that computers might be used to search a range of texts so as to supply
evidence for textual analysis, implying that he would find CDA less problematic if it
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could rely on the systematicity and objectivity and factual nature of computer-selected
data, as is the case in my study with its combined method of CDA and Corpus
Linguistics.
A final critique of CDA has been its Marxist focus on class, to the possible exclusion
of other variables which have been used to stratify society, such as race and gender.
The latter is focussed on in particular in a relatively new branch of CDA, known as
Feminist CDA. It is to this that I now turn.
3.3.5 FEMINIST CDA
Although feminist linguists have been engaged in discourse analysis for decades,
Feminist CDA is particularly associated with Lazar (2005, 2007), who argues that the
combination of a feminist agenda with the theory and method of CDA is
advantageous for feminist studies of language: “CDA offers a sophisticated
theorization of the relationship between social practices and discourse structures…,
and a wide range of tools and strategies for close analysis of actual, contextualized
uses of language” (Lazar 2005: 4). She contends that while feminists have applied
themselves to the representation of gender in texts in the past, the explicit use of CDA
to explore gender ideologies perpetuated via the discourses found in texts is especially
appropriate because of the overt political stance regarding social change found in
CDA which is congruent with the aim of feminism to work against social inequality
with regard to women. “The marriage of feminism with CDA, in sum, can produce a
rich and powerful political critique for action” (Lazar 2005: 5). Given my stated
interest in working towards equality between the sexes, this approach provides an
explicit focus on gender which suits my research aims very well and which is lacking
in CDA in general.
While other areas of linguistics have also, fairly recently, acquired sub-disciplines
with a feminist orientation, such as feminist conversation analysis (see Kitzinger
2000) and feminist stylistics (Mills 1995), the “supposedly neutral and objective
inquiry” of the areas they engage in has been challenged by feminist researchers, such
as Cameron (1992), who detect a bias towards methods and assumptions which
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perpetuate male ideological dominance (Lazar 2005: 2). Despite the fact that CDA
owes much to feminist researchers especially in its early stages, it has been critiqued
for not always acknowledging this debt or the feminist orientation of many authors
(ibid.).
Lazar believes it is necessary to specify one’s feminist perspective by
labelling Feminist CDA as a particular sub-discipline of CDA because of “the need to
theorize and analyse the particularly insidious and oppressive nature of gender as an
omni-relevant category in most social practices” and advocates the term so as to allow
researchers in the area to coalesce into a community with a shared agenda, rather than
working in isolation as diverse and geographically dispersed individuals (2005: 3).
She characterises the relationship between CDA and Feminist CDA as follows (op cit
5):
CDA is part of an emancipatory critical social science which … is
openly committed to the achievement of a just social order through a
critique of discourse. As feminist critical discourse analysts, our central
concern is with critiquing discourses which sustain a patriarchal social
order: that is, relations of power that systematically privilege men as a
social group and disadvantage, exclude and disempower women as a
social group. One of the aims is to show that social practices on the
whole, far from being neutral, are in fact gendered in this way.
What is particularly appealing for my study in this statement, and indeed in this
approach, is its unashamed feminism and the explicit translation of CDA’s
liberationist aim into the fight against gender discrimination. In this study my aim is
indeed emancipatory: to reveal and critique gendered discourses which perpetuate
inequality and which function to limit the potential of the child readers. This work is
thus firmly located within Feminist CDA.
3.4 THE COMBINATION OF CRITICAL DISCOURSE
ANALYSIS & CORPUS LINGUISTICS
It is only relatively recently that corpora have started to “play an important role in
discourse analysis” in general, according to Baker (2004: 346) who cites work from
1996 to 2000. He emphasises the objectivity in data selection available to researchers
as a result of the use of corpora, noting that both “widespread patterns” and
interesting “rare instances” may be revealed by this method, both of which could go
undetected in smaller, and more subjective, studies.
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McEnery, Xiao and Tono (2006: 111) point out the differences between Discourse
Analysis (again, in general) and Corpus Linguistics, despite the similarity of the two
approaches in focussing on “real language”:
while DA emphasizes the integrity of text, Corpus Linguistics tends to
use representative samples; while DA is primarily qualitative, Corpus
Linguistics is essentially quantitative; while DA focuses on the contents
expressed by language, Corpus Linguistics is interested in language per
se; while the collector, transcriber and analyst are often the same person
in DA, this is rarely the case in Corpus Linguistics; while the data used
in DA are rarely widely available, corpora are typically made widely
available.
A number of points in this quotation may be challenged. Of relevance to this study
are the following: the statement that Corpus Linguistics is “essentially quantitative” is
a somewhat superficial simplification, as is evidenced by the discussion in Section
3.2.2; also, the claim that “Corpus Linguistics is interested in language per se”,
suggesting that it is not interested in broader social meaning of language, is belied by
the application of Corpus Linguistics to Critical Discourse Analysis, and while it may
be argued that that is a relatively recent combination, Baker (2004) cites papers which
use the combination from ten years before the time at which McEnery, Xiao and Tono
wrote.
McEnery et al. do note, however, that the “cultural divide” (2006: 111) between
Corpus Linguistics and DA is no longer as wide as it once was and mention
interactions such as the use of computers in analysis and the use of reference corpora
for comparison in DA. Baker et al. (2008) argue that the traditional view which
polarises qualitative and quantitative research, as McEnery et al. (2006) do above,
should rather see the two as “notional methodological extremes” (2008: 276), in other
words as points on a continuum which can be potentially complementary, rather than
mutually exclusive. While some scholars argue that the use of corpora in DA may
cause “the analyst to lose contact with the text” (McEnery et al. 2006: 111), others,
Stubbs (2001) among them, argue that DA can make good use of corpora.
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Indeed, the fairly recent combination of Critical Discourse Analysis (as a subdiscipline of DA) and Corpus Linguistics, by researchers such as Baker and Mautner,
illustrates very strongly how productive the synergy can be (Mautner 2009a). It also
demonstrates that Corpus Linguistics can be interested in more than just language per
se, as McEnery et al. (2006) suggest above. Corpus Linguistics in its modern form,
like CDA, is a relatively young field (Baker et al. 2008) and the combination of the
two is even more recent. Teubert (2007: 54) explains that, for a variety of reasons,
“the quest for meaning all but disappeared from the agenda” of Corpus Linguistics
from the 1970s until well into the 1990s, and Corpus Linguistics focussed on more
technical issues and quantitative pursuits. In 2008, Baker and his colleagues say that
papers using the combination of CDA and Corpus Linguistics are very few, in
comparison to the number in either area alone, but that the combination is becoming
“increasingly popular” and cite the collection of CDA research edited by Fairclough
and published in 2007 in which nearly one fifth of the papers use corpus methods
(Baker et al. 2008: 275), although the degree to which Corpus Linguistics is applied
varies from paper to paper even within the designated section. In addition, much of
the research underlying Sexed Texts (Baker 2008) is a combination of Corpus
Linguistics and CDA, used to draw out the discourses from a variety of texts.
For CDA, one of the most significant benefits of utilising corpus methods is to
enhance the credibility of its social analysis, by providing the textual back up from
vast multimillion word corpora (Mautner 2009a: 32): “[t]his serves to counteract the
charge, frequently levelled at critical discourse analysis (CDA), that individual texts
are cherry-picked to suit the researcher’s own political agenda”. This was indeed one
of Widdowson’s (2004) critiques of CDA discussed in Section 3.3.4. For corpus
linguists, bringing in CDA enables the long held corpus interest in how language
works from a social point of view (Baker 2006) to be brought more to the fore,
especially given CDA’s generally emancipatory aims.
Mautner (2009a) gives a number of reasons why the two approaches haven’t been
extensively combined prior to this point, despite their being largely compatible. The
in-depth investigation of texts in their linguistic, social and political contexts as
preferred by proponents of CDA is not feasible when one is dealing with millions of
words and thousands of texts. Not only would it take a significant amount of time,
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but the contextual information of the texts used to assemble the corpus is often not
available, or is very basic. Some corpora do have a greater range of contextual
information than others: for instance the BNC has data such as speaker age, social
class and gender.
Most, however, do not and while this does not make these
“semiotically impoverished” texts useless for CDA (Mautner 2009a: 34), it does
explain why corpora have not been used by CD analysts quite as much as they could
have been to date. However there are significant benefits of gathering data for critical
analysis from corpora (ibid.):
the aggregation involved in corpus building, and the
decontextualization that goes with it, can also be seen as a help and not
merely a hindrance. Generalization undoubtedly rests on a firmer
footing if you work with more data, and not having to grapple with all
the contextual baggage can, at least for certain stages in the analysis, be
helpful in focusing the research.
Baker et al. (2008: 279) argue against Mautner’s assertion that CL pays relatively
little attention to context, saying that her criticisms that large volumes of data do not
work well for making connections between context and specific linguistic items are a
result of a limited view of CL “and would apply more accurately to CL studies that
limit themselves to the automatic analysis of corpora, and are of a descriptive rather
than an interpretative nature”. They not only explain that the linguistic context can be
retrieved if necessary for interpretation, but also point out that, in accordance with the
principle of local interpretation (Brown and Yule 1982), addressees only need
sufficient context to interpret the message, not the entire context.
As mentioned in Section 3.3.4, one of the main criticisms of CDA has been that
unrepresentative data may be selected to support the researchers’ assumptions and the
ideological point they wish to make (e.g. Widdowson 1998). Clearly, a bank of data
of the size usually found in a corpus and subjected to the objective extraction of
examples by computer offers reliability in terms of replicability, and thus enhances
the credibility of the conclusions drawn from its analysis.
In terms of my study, I
could have chosen to analyse portions of text from the series for their representation
of gendered physicality, but I would have had to have been very careful about
justifying the selections I made and would have been in something of a double bind in
that I would want to use sections which supported my feminist standpoint, but would
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have worried that I was skewing the data. Knowing that the software objectively
selects every token, despite all the data cleaning that that necessitates, I am reassured
that my own preconceptions have not affected the broad trends visible in the data.
This underlines the vital contribution of both research methods in this study: neither
represents the ‘main’ approach, assisted by the other, but together they form a
formidable combination of objective quantifiable reliability and socially grounded
linguistic analysis (Baker et al. 2008: 274):
.
Because both CL and CDA are informed by distinct theoretical
frameworks, their respective approaches to analysis are influenced by
their informing theoretical concepts…. In examining the combination of
methods normally used by CDA and CL, we undertake to show that
neither CDA nor CL need be subservient to the other (as the word
‘assisted’ in CADS [corpus-assisted discourse studies – my addition]
implies), but that each contributes equally and distinctly to a
methodological synergy.
3.4.1 ANALYSIS
A Critical Discourse Analysis has three essential and distinct stages (Fairclough
2001), although two or more of these may usefully be merged in the research report:
•
description,
•
interpretation and
•
explanation.
The stages are based on what Fairclough (2001: 91) sees as the aspects of a discourse:
“text, interaction and social context”.
The description involves the fine-grained
analysis of the language used in the text or texts, which reveals how the writers, in
this case, have encoded their experience of the world, while the interpretation focuses
on the relationship between the writers and the readers in terms of the processes of
encoding and decoding in the immediate context of the interaction. Traces of the
discourses employed by the writers are found in the language, which act as cues for
the readers in their meaning-making. “Comprehension is the outcome of interactions
between the utterance being interpreted, and MR” or “Members’ Resources”, mental
representations, both linguistic and social, which are acquired socially (Fairclough
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2001: 9). How discourses, and the process of accessing them in order to make sense
of the text, link to dominant ideologies, perpetuating or contesting them, is the focus
of the explanation phase, in which the text is located in the broad social context.
Fairclough (2001) distinguishes between three kinds of value that may be found in the
formal features of a text:
•
experiential,
•
relational and
•
expressive.
The first, experiential, is of the utmost importance to this study as it relates to the
representation of the author’s experience of the world: it “is to do with contents and
knowledge and beliefs” (Fairclough 2001: 93). How the authors represent human
physical existence in terms of gender is embedded in the experiential values encoded
in the choices they make in the writing of the text. This is strongly linked therefore to
the vocabulary used in the text, especially that which is found frequently, as this
suggests importance in terms of topic, and that which clusters together in lexical sets
or classification schemes, which shows how the topic is organised, as well as the
meaning relations found amongst the lexical items, which indicate how the author
sees the world fitting together.
Relational values are of obvious importance in the analysis of spoken interaction in
that they enact social relationships via the text. Simple examples would include the
use of pronouns of respect or modals which encode high levels of obligation. The
relationship between the writers and readers in my data is one-directional – there is no
opportunity for feedback – and there is typically little or no explicit recognition of the
existence of the reader. In CN, C.S. Lewis does occasionally address the readers
directly, but this is usually to explain some element of life in Narnia that is different
to the counterpoint, England, and indicates his awareness of the readers’ lack of
knowledge about Narnia, rather than initiating true interaction between writer and
readers. Of course, the writer’s acting in this way on his awareness of MR, and what
is missing from it, implies that in the rest of the text, he presumes sufficient
correspondence between Narnia and ‘the real world’ as he perceives no need to add to
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the receivers’ MR. J.K. Rowling, in contrast, does not address the readers explicitly
in the HP books, but finds other means, such as dialogue and quotation from books, to
fill any gaps in the readers’ understanding of the magical world. The relationship
between the writers and their readers is also implicitly authoritarian, and the power
relations are set up clearly in favour of the writer, in that the stories are not presented
tentatively; there is no means by which the author says “this may have happened, but I
am not sure”. Fact, within the fictional world, is fact, and it comes from the author.
The certainty with which information is presented is also related to the expressive
value in the texts. This implied certainty links to the representation of the characters
and supports the gendered discourses found in the books: girls are like this, boys like
that. Of course, some readers are able to resist the ideologies supported by the texts,
but the language choices in the texts themselves do not encourage this option, and, as
I argued in Chapter Two, most children are less likely to possess the critical skills and
intellectual distance necessary to do this, and are more likely to access the ideologies
needed to make sense of the discourses found in the texts unthinkingly, thereby
strengthening them. The expressive values in texts are also extremely important for
the analysis of my data because they include the positive or negative associations
attached to elements of the language used to represent the writer’s experience of the
world. This subjective aspect is a central element in the naturalization of the authors’
worldview.
The expressive values attached to particular uses of body parts,
particularly those associated with one gender more than, or in different ways to, the
other, offer insight into the gender ideologies underlying the books and help to
perpetuate them.
Given the vast amount of textual data in this project, in excess of four hundred
thousand words, a classic CDA analysis in the mode of Fairclough (2001) would be
unwieldy and impractical. In line with leading researchers who combine Corpus
Linguistics with CDA (notably Baker and Mautner), I view the application of the
corpus techniques as being an efficient and less subjective form of the description
phase.
While the corpus processes outlined in Section 3.2.4, such as keyword
generation and KWIC, arguably draw out only certain of the features Fairclough
suggests as useful elements of the description, they do address those most useful for
my purposes.
In addition, the grouping process based on discourse prosody I
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described in Section 3.2.4.4 allows for a more detailed consideration of the data in
ways not suggested by Fairclough. In this case it is made even more relevant by the
fact that the search terms were specifically chosen because they are directly related to
the physical embodiment of the characters in the books. Certainly, many of the
features Fairclough describes would be taken into account in characterising the nature
of the patterns found in the data. It is important to note, however, that these features
have only been investigated insofar as they are relevant to the body part in question,
and this, I acknowledge, is a determination which is decidedly subjective.
With a view to providing a clear and full means of describing the features of a given
text, Fairclough (2001) lists 10 questions, with numerous sub-questions, which are
very useful in ensuring that the analyst has considered a great many of the linguistic
features which may reveal ideologically interesting trends and patterns (see Appendix
7). Not all are relevant here, however, and I review only those that are of particular
use to my study and, at the same time, demonstrate how the processes of Corpus
Linguistics may be useful in extracting the necessary data, and patterns in the data, in
order to answer these questions. I also briefly relate them to my research questions.
They are divided into three categories:
•
vocabulary
•
grammar and
•
textual structures (op cit.: 92/3).
My emphasis here is on the first of these, vocabulary, as this relates most strongly to
the experiential and expressive values encoded within texts, which in turn reveal the
authors’ views of the world most clearly, and also their beliefs regarding the elements
of the world that they mention and their evaluations thereof. Thus these values and
the ways in which they are encoded in the vocabulary of the data provide the strongest
evidence for the gendered discourses encoded in the texts. In particular, my focus on
the physicality of the human characters as expressed in their body parts means that
nouns are of special interest to me and so the patterns in terms of the uses to which
these are put by the writers are most salient in answering my research questions.
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The third element, the textual structures, are not directly useful to this study, in that
my research focuses on one genre, and thus the same macro-structures apply to all the
data. The relationship between writers and readers, also deemed part of textual
structures because of its relationship to features of interaction, has been dealt with in
the discussion of relational value above.
The grammatical elements, second in the list above, are not completely excluded, but
they proved less useful than vocabulary in revealing ideologically significant trends in
this data. In particular, at the outset of this project I anticipated analysing the data in
terms of processes and participants from Halliday’s systemic functional grammar
(SFG, see Bloor and Bloor 1995, Thompson 2004), which is often used as a
component of a CDA description (Fairclough 2001), because I thought that studying
the trends in participant roles of each body part would illuminate the use of that body
part in the particular series. However, after applying it to one of the sub-corpora18, I
decided against continuing with its use as it yielded little beyond relatively trivial
generalisations. For example, I found that heads are seldom touched by others which
translates into no examples classified as goals and few as beneficiaries. Similarly, in
the top three body parts in this series, heads, hands and eyes, there are many ranges
(for example, Jessica closed her eyes), and many behavers in eyes in particular (for
example, Elizabeth’s eyes widened in surprise). This I attributed to the role of the
body parts as indexes of emotion. The pattern of there being more ranges in hands
and heads than in eyes may be attributed to the fact that eyes are arguably more
intrinsic to the person’s expression of emotion and are seen, in Western culture in
which this series is located, as ‘windows to the soul’. Apart from these comments, it
was difficult to find frequent and meaningful patterns using this categorisation, even
with the group of eyes, the most frequent body part. Far more productive with regard
to my research questions is the sorting and analysis of the data in terms of semantic
and discourse prosody, as outlined in Section 3.2.4.4, and thus I pursue this line of
inquiry instead and exclude the SFG part of the analysis.
Therefore I turn at this point to the features relating to vocabulary, and particularly
those which relate to the experiential and the expressive values, and show how Corpus
18
This sub-corpus comprised selected texts from the Sweet Valley series, which has since been
excluded in its entirety from this project.
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Linguistics processes and focus questions from CDA have been integrated to provide
a micro-level description of the text which provides ample textual evidence for the
remaining two phases of the analysis, the interpretation and the explanation.
As I explained above, the experiential value of a word has to do with the version of
the world that it represents to the reader, or as Fairclough puts it (2001: 94): “how
ideological differences between texts in their representations of the world are coded in
their vocabulary”. An analysis of the experiential values encoded in this way thus
includes facets such as overwording, collocations, classification schemes and
ideologically significant meaning relations (Fairclough 2001). Corpus processes are
of particular help in addressing these aspects. Overwording, the tendency for a writer
to repeat those words of central relevance to the topic of the text, is a prime example.
As indicated in the discussion of word frequency in Section 3.2.4.1, the word lists
from the sub-corpora give a good indication of what each of the series is about. The
calculation of key words by comparing the word list from one series with that of the
other puts any differences between them into sharp relief. In terms of body parts, the
word lists again show which body parts are more salient than others and speak
directly to overwording.
As one of the trump cards of Corpus Linguistics, the statistical measurement of
collocational strength offers an improved mechanism to the subjective and
impressionistic investigation of collocational behaviour possible in CDA on its own.
It is also much more efficient when dealing with large collections of texts than any
manual method. Collocation lists are also useful in showing up semantic relations of
ideological significance, such as hyponymy or synonymy, which in turn may suggest
classification schemes present in the data. For example, the collocation tables for
female hair in HP include the following in the top twenty: black, silvery, grey, blonde,
red, short, long, length, bushy, pulled and tight, of which five are hyponyms of colour
and the remaining six together form a lexical set of terms relating to hair style and
quality. When each of these is investigated in its context, it becomes apparent that
negative expressive values are attached to certain of these colours, styles and
qualities, and positive values to others, to the extent that it is often possible to
determine whether a character is seen as good or bad simply from the description of
their hair.
Various other physical features share this tendency.
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This sets up a
classification scheme which associates aspects of appearance with personality and the
nature of the character, an ideological representation which the child reader may
apply in their interaction with people in the real world.
Assisted by these classification schemes and various KWIC sorts, I am able to draw
out meaning groups which I then relate to discourse prosody and, linking that to the
social context of the books, to ideology.
The KWIC sorts made possible by the concordancing software also mean that it is
possible to determine colligations (the association of grammatical structures with
search terms) by means of sorting the data in terms of syntactic structure by choosing
which words in the line to sort by. For instance, the KWIC sort for female heads in
HP shows that head occurs 26.41% of the time in a prepositional phrase, of which all
but one begin with over, on or upon, revealing an unusual tendency for female heads
to be the places where inanimate objects reside. In this way, the KWIC sort reveals
the colligation which made it possible to discern a meaning group.
Fairclough (2001) considers the use of metaphors in the text to be a useful aspect of
the analysis of the vocabulary and while I did not find them frequently in my data,
their occasional use was often illustrative of the function of the body part in the data
more broadly. For instance, the use of the female hand in CN was seldom agentive
except when referring to one character, the evil White Witch. Even in metaphorical
usage, her hands are portrayed as extensions of her will: And who will take him out of
my hand then?
When separating the references to body parts into those belonging to males and those
to females, I had to make certain assumptions about the use of pronouns, sexexclusive nouns (like woman or witch) and, occasionally, first names in the texts to
invoke lexical gender19 (see Section 2.1.3 for an explanation of lexical, social and
referential gender). In other words, I assumed that when the authors used she to refer
to a character that they were inscribing that character with a female sexual identity.
Further, I assumed that the behaviour accorded to that character was deemed by the
19
There are no sex-specific body parts in the data e.g. penis or vagina, although these would have also
constituted lexical gender (Motschenbacher 2009).
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authors to be feminine in the sense of it being plausible gendered behaviour by a
female. In short, I assumed that the authors see gender as an unproblematic social
extension of sex, which may be read off the sex of an individual and indicated via
pronouns, sex-specific nouns and given names. Thus the character descriptions may
be seen to label individuals as male or female and to represent behaviours which the
authors think are plausible as masculine or feminine behaviours. The representations
therefore span both sex and gender, in that female or male identity is ascribed by
virtue of physical sexual characteristics (i.e. sex) and readers are cued to the
membership of the sexes by the use of pronouns and so on, while this identity is reenacted or performed through what the authors think these mean for appropriate
behaviour for each group (i.e. gender). These are then represented linguistically so
that children can read these gendered behaviours off the characters and apply them to
their own lives as role models, sets of possible ways of being, but limited in terms of
one’s ascribed ‘membership’ of one sex or another. Thus gender is “an interpretive
category that enables participants in a community to make sense of and structure their
particular social practices” (Lazar 2005: 5). Not only would the child readers use
these representations to make sense of the behaviour of others, both fictional and
living, but through accessing these commonsense categorizations of people and
behaviours to do so, they would perpetuate them. Thus the representations enable the
readers to build gendered ways of seeing the world which they then reiterate and reperform in their own lives.
At this point I return to the research questions, first presented in 1.1, in order to show
how they are answered by the methods described above:
(i)
How is female physical identity encoded in selected texts from the series The
Chronicles of Narnia and from the Harry Potter series?
(ii)
What differences and similarities are evident in the data from (i) in
comparison to the data for male characters?
(iii)
What possible explanations are there for the findings in (i) and (ii) and what
are the ideological implications of these findings?
(iv)
What are the benefits and/or disadvantages of using both the multiple data
sources listed above, from different eras, and multiple methodological modes
in the collection, analysis and interpretation of the data?
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The first two questions relate to the description phase of the CDA component, in
particular to the experiential dimension, and are chiefly answered through the data
realised through the corpus methods of frequency and collocation analysis. The
concept discourse prosody, elaborated for the purposes of this study, provides the link
between the raw data processing and the interpretation and explanation components of
CDA. These data are presented in Chapter 4. The third of my research questions is
considered in Chapter 5, based on the evidence from the previous chapter, particularly
that relating to discourse prosody.
Lastly, a somewhat detached perspective is
required to answer the final question which evaluates the methodological choices
made in this study.
3.4.2 CHALLENGES & OPPORTUNITIES
The earliest researchers to combine the two methods of Corpus Linguistics and CDA
tended to come from the corpus approach (Mautner 2009a), which has the potential to
lead to a focus on the quantitative aspects to the detriment of the qualitative. Indeed,
Goatly (2004: 117) cautions that Corpus Linguistics can overwhelm CDA when the
two are combined, due to its powerful techniques, leading to a bias in terms of the
analysis in favour of the semantic encoding in texts, to the detriment of the more
pragmatic aspects of ideology in the data. He adds that this is especially problematic
in the analysis of literature, where “propositional attitude” frequently intervenes in the
relatively simple movement from form to meaning, as seen from the semantic
perspective. Certainly, this argument could apply to a general analysis of a literary
text, where one wouldn’t want to privilege the lexical aspects. However, in my study,
the ease with which Corpus Linguistics allows one to mine the experiential
representations of body parts is a great advantage, facilitating the intentional focus on
particular lemmas. The discoursal meanings of particular types are then also easily
identified and grouped thematically in their linguistic contexts, through the use of the
KWIC sort, ensuring that the pragmatically generated meanings are not neglected.
Because this kind of meaning, what I call discourse prosody, is generated over longer
stretches of text and is not located in individual words, it is crucial that the researcher
does not rely too heavily on collocation calculations alone but supports them with
data from the KWIC sort.
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As I mentioned in Section 3.4, perhaps the greatest advantage of the combination of
Corpus Linguistics and CDA is the quantitative rigour that the more objective nature
of Corpus Linguistics contributes. While CDA is detailed and careful in its close
analysis of texts, it is open to the criticism that researchers could choose texts which
suit their politics, and within individual texts, highlight those elements which support
the argument they are trying to make.
Through the aggregating power of a
concordancer, a vast array of texts can be searched mechanically and incontrovertible
evidence obtained, together with useful statistics such as the Mutual Information score
to show the strength of collocations. CDA also offers to Corpus Linguistics an
established programme of social action through linguistic analysis, which allows the
quantitative output of the use of corpus processes to have a broader, social
application. Especially in a study such as mine, where I explicitly require a focus on
particular words, the merging of these two methods and approaches has been a
mutually enriching combination.
3.5
CONCLUSION
In this chapter I have provided a description of the methods and approaches used to
answer the research questions I posed in Chapter One. By sketching the background
and foundations of each approach, I have shown how they may be usefully merged in
practice to generate data that is both quantitatively reliable and qualitatively rich.
Both Corpus Linguistics and Critical Discourse Analysis are relatively modern
approaches to the study of language and their methods combine in a way that utilises
the strengths of each and minimises their weaknesses. While there is a tendency to
polarise the two as quantitative and qualitative respectively, I have shown in this
chapter that the relationship is more subtle than that. I have also demonstrated how,
with particular reference to my study, the techniques and concepts from each
approach may be melded to answer particular questions about texts, and the meanings
they reflect and perpetuate. My concern is with the discoursal representation of
gendered physical identity in the two series and how collocation, in general, and
discourse prosody, in particular, may be used as concepts to investigate and illuminate
the ways in which discourse supports the patriarchal status quo. The results generated
121
through the corpus method are presented and discussed in Chapter Four, and
considered in terms of their social context and effect in Chapter Five.
122
CHAPTER FOUR: RESULTS
4.0
INTRODUCTION
In this chapter I present the results of my investigation into the representation of
female and male physical identity in Harry Potter (HP) and The Chronicles of Narnia
(CN), produced by the application of processes from Corpus Linguistics. A great deal
of the data is quantitative in nature and constitutes part of the Description, in CDA
terms: much of this is in the Appendices and is referred to as the analysis progresses.
Due to the integration of corpus methods of data collection and analysis, the
description is somewhat different to that which is normally found in an analysis based
on Fairclough’s CDA in that I do not proceed one by one through his ten questions.
As I explained in Section 3.2.3.2, my analysis involves the application of corpus
processes, notably collocation and concordancing, to terms referring to body parts and
I present the description according to patterns evident in these. An outline of the
quantitative trends is therefore presented and discussed in Section 4.1. The main
section of this chapter follows in 4.2 in which the “grouping” analysis of the data,
based largely on the concept of discourse prosody, is presented. Themes revealed by
considering the data in terms of discourse prosody form the richest seam for analysis
into gendered uses of the body parts of the characters.
The interpretation and
explanation of the major themes in terms of their ideological and social significance
follows in Chapter Five, which represents the bulk of the Critical Discourse Analysis
contribution to the analysis. The division in Fairclough's CDA (2001) between the
Interpretation and Explanation stages is somewhat artificial in practice and I do not
preserve this distinction in this report, neither do I attempt to reserve all commentary
for Chapter Five. This means that there is a certain amount of discussion of the
processes of encoding and decoding in this chapter as it is arises naturally during the
exploration of the thematic analysis.
123
4.1 DESCRIPTION: TABLES, NUMBERS &
SIGNIFICANT NUMERICAL PATTERNS
In this section I consider the raw data, particularly in terms of numerical trends both
across the series and in terms of gender. This, as I explained in Chapter Three, is akin
to “semantic preference”, the collocational tendencies evident in a corpus, although it
may not be immediately obvious. Bearing in mind that semantic preference refers to
simple patterns in the appearance of tokens, rather than the evaluative “auras” found
in semantic and discourse prosody, what I review here are numerical patterns and
trends in terms of the various body parts: which body parts occur most commonly,
both in total and in the female and male sub-corpora; what tendencies are apparent in
terms of gender-related trends within each of the series and, often of particular
interest, the counter-examples, in other words, those cases where particular body parts
run contrary to the general trend.
I would like to mention the relationship between the trends described in this section
and the CDA approach.
While the description phase in CDA as outlined by
Fairclough (2001) comprises fairly specific questions about such features as
expressive and relational modality, overwording and logical connectors, as I
explained in Section 3.2.3.2, many of these are not appropriate to this study or to a
method incorporating Corpus Linguistics, while others, such as expressive values and
classification schemes, which undoubtedly are of considerable relevance and
importance, are more properly discussed in Section 4.2.
In this section, I take
numerical dominance to be a reflection of overwording, albeit within a specific
semantic field or lexical set. Thus, the fact that the same five body parts appear in the
top five positions for both series, although in a different order, suggests to me that
within the domain of physical elements of the body, there is a clear focus on these
five types, i.e. an instance of overwording, although I may not always to refer to it as
such.
124
4.1.1 DESCRIPTION: QUANTITATIVE ASPECTS
The top five body parts are face, hand, head, eye and arm20, which can be seen with
their normalised scores below. The full table is in Appendix 3.
Body
NCN
NHP
Part
Total
Total
face
90
163
hand
69
170
eye
42
208
arm
33
7121
head
46
111
Table 1: The top five body parts across both series with normalised scores
Despite normalisation, it is obvious from the table that NHP body parts are far more
numerous in every instance, always in the region of double the number of NCN body
parts, and, in the case of eye, up to about five times as many. In addition, the
calculation of keywords by comparing one sub-corpus with the other indicates that
only female legs is key to CN with a log-likelihood score of 11.128, giving it a pvalue of <0.001 (see 3.2.4.2 for an explanation of this statistic and Appendix 4 for the
keyness tables). Every other body part is key for HP with the top 15 being male, all
with p = <0.001. The most extreme is male eyes with a log-likelihood score of 102.8,
meaning that it is extremely strongly associated with HP rather than CN. This would
seem to suggest that the HP characters are presented in a more physical, corporeal
way than those in CN and the descriptions are focussed on the male hero, Harry.
Another explanation is that this may reflect the fact that there are far fewer human
characters in CN than there are in HP, thus there are fewer opportunities for their
bodies to be mentioned in the same amount of text, given that the scores in Table 1
have been normalised. The greater prevalence of body parts in HP as compared to
CN has implications for the discussion of discourse prosody in 4.2 below as well, as
20
Italics is used for types, tokens or keywords and for short quotations from the data mentioned in the
discussion.
21
Hair was also in the top five for NHP, with normalised score of 71, the same as arm. The high
frequency of hair in HP is discussed in Section 4.2.
125
the lower number of examples means fewer legitimate trends may be identified and
fewer useful collocations are generated from the reduced data set.
In terms of the ordering of the body parts, hand and arm retain the same positions in
each series, with only minor movement amongst the types relating to the head. The
fact that the top five list contains the same types for both series is probably the most
significant aspect evident in the table, indicating a focus on the head, and its features,
and the arm and hand of human characters in the data. The nature of this focus, and
its significance ideologically, is explored in Sections 4.2 and 4.3.
Turning to the full list of types in Appendix 1, the patterns evident in the distribution
of body parts amongst the male and female characters are particularly interesting.
The trend of NHP values being much higher than NCN is revealed to be largely
caused by many of the male scores in NHP being much greater than their counterparts
in NCN, reflected in the keyness scores mentioned above, while the differences
between the females’ scores from each series are not nearly so pronounced. In terms
of the normalised scores, 27 of the NHP male scores are substantially larger than the
NCN males, while only 6 of the NHP female scores are considerably greater than the
NCN females and ten of the NCN female scores are greater than or similar to those
from NHP (ignoring scores less than two): face, hand, arm, head, feet, shoulder,
heart, cheek, ear and foot. This is presumably due to the fact that, in addition to
having more human characters, HP also has a male hero, with one male friend and
one female friend as major, but subsidiary, characters, while in CN the main human
characters are equal numbers of male and female children, with more or less equal
focus, as well as the White Witch, although two adult males, Caspian and Tirian, are
also involved in places.
Of most interest, however, are those body part scores which show gendered
tendencies. In NHP, all body parts are more numerous for males than they are for
females. Table 2 (please see the fold out page on page 129 below) shows each of the
female scores as a percentage of the total human score for that body part in that
126
series22 and every body part is used more by males in HP than it is by females,
making this a very strong trend indeed. In CN there are only two body parts which
feature more prominently amongst female characters than amongst males, namely leg
(57%) and hair (80%)23. The prominence of hair amongst female characters in CN
relates to the tendency in both series to describe humans in terms of their hair colour
and style, which is found amongst both males and females in HP, but chiefly amongst
females in CN (see 4.2) Two of the 8 tokens for female leg in CN (versus 6 for
males) are accounted for by the following example:
Feeling terribly alone, Jill ran out about twenty feet,
put her right leg back and her left leg forward, and set
an arrow to her string.
Presumably due to the focus on Harry Potter as hero in HP resulting in a higher
percentage for most male body parts, the majority of types are proportionally more
common amongst CN females than they are in HP. In other words, female body parts
are even more under-represented in HP than they are in CN. Relatively high scoring
female body parts in CN include foot (50% of total), cheek (50%), eye (43%), lip
(43%), hand (42%) and arm (39%). Several of these body parts, cheek, eye and lip,
show a degree of social gender in the data, being closely related to emotional display,
as I discuss in 4.2. The female type foot is mentioned frequently with regard to
danger, which is also explored in more depth in 4.2. Those which enjoy a larger share
for HP female characters than they do for the same group in CN and thus run contrary
to the general trend include back (15%), mouth (24%) and finger (19%). These three
feature amongst the most polarised types, in other words the most strongly gendered
body parts in CN, with female tokens comprising less than a quarter of all tokens in
the series. However, these body parts are also all under 25% representation for
females in HP, which makes their greater use in HP hardly significant. Mouth in HP
is also revealed in 4.2 to be related to the typically female expression of emotion.
Ankle, which at 27% is the HP female part showing the greatest dominance over its
CN counterpart, is skewed due to the criticism of Hermione’s skinny ankles, a
relatively rare overt evaluation of a physical feature without reference to its use.
22
The body parts have been ordered from most frequent to least, not in terms of the percentage
referring to female tokens, so as not to focus on less significant types.
23
Heel and thumb are also found amongst female characters in CN with 1 token each and none
amongst males, therefore the female percentage is 100%, but as the scores are so small it would be
misleading to count this as a trend.
127
Seven body parts in CN show a particularly unbalanced distribution between females
and males with female scores being lower than 25% in each case: head, shoulder,
neck, ear, mouth, heart and back, with a further 14 not appearing amongst female
characters at all. Seven are relatively rare in male usage as well, with only one or two
tokens each: wrist, finger, ankle, stomach, hip, elbow and shin. The three remaining
which are quite common for males are distinctive in that they are not used for
expressing emotion (the normalised male score follows each in brackets): knee (13),
chest (8), teeth (6).
In HP, 33 female body parts score lower than 25%, highlighting the almost inviolate
rule in HP for male scores to outweigh female ones. The most extreme include the
following 15 female scores which scored from 5 to 15% of the total number for the
series: neck, forehead, stomach, ear, heel, chest, heart, leg, palm, knee, teeth, head,
nose, back and jaw. As is evident in Section 4.2, that these body parts are not used for
the display of emotion may explain their relative scarcity amongst female characters
in HP. On the other hand, leaving out normalised scores less than two, there are five
body parts which are noticeably more common than others, as a percentage of the
total, amongst females in HP, and these include lip (41%), cheek (38%), hair (30%),
ankle (27%) and waist (29%), of which several prove to be ideologically interesting
in terms of the gendered uses they are put to by the characters in HP.
The relative importance of a body part is also revealed by its ranking within the
particular series. In CN, most striking is the position of hair at 7th for females and
25th for males, while eye is ranked slightly higher for females (3rd, as opposed to 4th
for males). Heart is considerably lower for females than for males (11th for females
and 5th for males). Head is ranked 5th for females but 3rd for males, and shoulder,
back, mouth and ear are also ranked considerably higher for males than for females.
The typically masculine uses of these last six body parts and, by contrast, the
hegemonically feminine uses of hair and eye become clear in 4.2 and explain these
tendencies. In HP, there is again a difference between female and male hair (4th
versus 6th in rank), although it is not as extreme as in CN, while ear and heart are
once more higher for males than females (ear: 9th male and 16th female; heart: 11th
male and 15th female). Head, shoulder, back and mouth follow the same trend evident
in CN. Female lip is also ranked much higher than the male counterpart (female 12th;
128
Body
part
face
hand
eye
arm
head
feet
leg
hair
shoulder
heart
cheek
lip
back
mouth
ear
forehead
foot
neck
toe
waist
nose
breast
heel
thumb
knee
chest
teeth
finger
wrist
ankle
stomach
hip
elbow
shin
jaw
knuckle
nostril
palm
NCN
Female
as % of
total
32
42
43
39
24
33
57
80
23
17
50
43
11
14
14
33
50
17
25
25
33
33
100
100
0
0
0
0
0
0
0
0
0
0
0
0
0
0
NHP
Female
as % of
total
19
19
22
24
15
20
9
30
21
9
38
41
15
24
7
7
19
5
20
29
15
0
0
0
13
9
14
19
14
27
7
0
0
0
15
17
18
13
Table 2: Normalised female scores as percentage of the total, per series
129
male 22nd). These trends support the interpretation above that the patterns reflect
dominant views of gender represented in the body parts in both series.
4.1.2 DESCRIPTION: THE USES OF BODY PARTS –
QUANTITATIVE DATA
The analysis of body parts in terms of their uses can be seen as an investigation of
classification schemes in the data. Effectively what this entails is the grouping and
organising of the many instances of the use of each body part in terms of the purpose
for which the character uses it. This reflects the existence in the data of an implied
list of uses of the body which are, as the data shows, noticeably gendered. So for
arm, for instance, there is a classification scheme which sets out the potential uses of
arms for males as presented in the books and another for female arms. In order to
explore what similarities and differences there are between female uses and male, I
present the top two uses of the five most frequent types in Table 3, which is an extract
from Appendix 8 (please see the fold out page on page 133 below). This shows how,
when I studied the KWIC lines for each type, trends became apparent across body
parts. In the remainder of this section I review the most significant patterns evident in
the table. In general, it is apparent that some uses, including the display of emotion
and physical contact, apply to more than one body part. In addition, several of these
trends are clearly gendered: while the tokens for both sexes reveal the use of body
parts to show emotion, the female characters tend to use them for this purpose more
often. Similarly, male body parts seem to be more vulnerable to injury. While both
males and females in HP use eyes to see, this use is much more prevalent amongst
males (50% versus 32%), while females use their eyes emotionally more often than
their male counterparts (29% versus 21%). A very similar pattern is found in CN.
In HP, both male and female hands have the same two main uses, but they are ordered
the other way around: for females, the most frequent use of hands is to make physical
contact with another human being, for a variety of usually positive reasons which are
explored in 4.2, while the second most numerous use of female hands is to hold
something. In contrast, this is the most frequent use of hands for male characters; and
while the use of male hands to touch others is found, it is far less common than for
130
females, and they are predominantly instances of shaking hands, a formalised type of
physical contact in marked contrast to the more emotional type of contact typical of
female hands.
In CN, the most common use for the female hand, despite representing only roughly
one sixth of all uses, is to hold things. However, the agency of this physical use of the
hand is limited entirely to the evil White Witch. The second most common context is
shared by three uses: to hide the face, to hold the hands of others and to express
emotion.
Although two female hands are used for shaking hands, this kind of
physical contact, together with the kissing of the king’s hand, forms the second most
frequent use of male hands. In contrast to the largely emotional and interpersonal role
of female hands, more than a quarter of male hands (the largest contingent) are
connected to war and fighting in that they are used to brandish swords or are tied up
to prevent the use of force.
The face in HP has the same main uses for both females and males: as a place of
emotion and as a description, however the emotional use is less common amongst
males. In CN, the female face appears overwhelmingly in connection with emotion.
Male faces, on the other hand, are much more involved in the story as physical
entities, although some male faces do show emotion, particularly less positive ones as
is discussed in Section 4.2 below.
The most frequent use of head for female characters in HP is for objects or other body
parts to be on or over it. This use is typically revealed in a preposition phrase
structure, such as bow on top of ‘er head, with her arms over her head and cloak over
her head. For males, the most frequent thematically coherent pattern revolves around
injury, both potential and actual. In CN, female heads also occur far less often than
male heads (11 versus 35). In terms of patterns of usage, female heads in this series
are fairly similar to those in HP, being commonly used as physical places (6/11), such
as the location of something else, for example hair. The balance of the female uses of
head has to do with the head as the place where thoughts and knowledge reside (5/11).
Males’ heads also display a split between their physical existence (27/35) and the
place where the mind exists (8/35), although in their case the physical use is
numerically far more dominant. While the majority of the uses of the male head in
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CN involve such innocuous actions as nodding and scratching of the head, of the 27
examples of the physical use of head, 8 involve actual or potential injury to the head
as a result of fighting and four link head injury to death.
In HP, there are two particularly common uses of arms for females: carrying or
holding things and putting the arms around another character, while for males, human
touching predominates (53/173), mostly in order to restrain others or be restrained and
generally involving other male characters. Male arms are also particularly vulnerable
to injury, while females often grasp male arms for physical help or emotional support
(15/56). A similar pattern is found in CN in which the most frequent female use of
arms is to hold another creature, both to give comfort and to express affection, which
males tend to do less frequently than females and mostly with animals (3/4). Male
arms are again likely to be injured. One apparently anomalous use is the agentive use
for female arms, made all the more significant by the fact that all four examples refer
to the powerful White Witch.
4.1.3 CONCLUSION
A purely quantitative examination of the data is suggestive of some interesting
patterns. For instance, a far greater concentration of body parts is observable in HP,
as opposed to CN, presumably due to the smaller role that humans play in the latter
series. There are sharp divisions between the genders with regard to the frequency of
certain body parts, and there is a tendency for those body parts which are used to
show emotion to be used more than other parts of the body by female characters.
Male body parts, on the other hand, are used less emotionally than females’ and tend
to be used for activities related to fighting or war. This points forward to a trend of
gendered uses which emerges very strongly in the following section: the more
emotional use of the body by female characters and the vulnerability of the male body
to injury.
132
Body
part
EYE
Series Score
and
F:M 24
Rank
HP 1 150:526
CN 4
HP 2
CN 2
HAND
HP 3
FACE
HEAD
ARM
CN 1
Female Use
(Score: As % of all
female)
organ of sight (48: 32%)
display emotion
(43: 28.67%)
18:24
organ of sight
(11: 61.1%)
display
emotion
or
personality (7: 38.8%)
104:446 physical contact
(32: 30.77%)
hold something
(23: 22.12%)
29:40
hold something
(5: 17.24%)
display emotion
(3: 10.34%)
hide face (3: 10.34%)
physical contact
(3: 10.34%)
97:432 display emotion
(45: 46.39%)
description (26: 26.8%)
29:61
display emotion
(21: 34.43%)
no clear second use
HP 4
53:307
CN 3
11:35
HP 5
56:173
CN 5
13:20
Male Use
(Score: As % of all male)
organ of sight (267: 49.8%)
display emotion
(108: 20.5%)
organ of sight (20: 83.3%)
no clear second use
hold something
(144: 32.29%)
physical contact
(81: 18.16%)
fighting related (12: 30%)
physical contact (9: 22.5%)
display
emotion
(181:
41.89%)
description (109: 25.23%)
physical entities
(31: 50.82%)
display emotion
(15: 24.59%)
physical place
place of mind (39: 12.7%)
(14: 26.41%)
injury, real or potential
shaking (8: 15.09%)
(37: 12.05%)
shaking (37: 12.05%)
physical place
physical place (19: 54.29%)
(6: 54.54%)
place of mind (8: 22.86%)
place of mind
injury, real or potential
(5: 45.45%)
(8: 22.86%)
carrying or holding
restrain or be restrained
(11: 19.64%)
(22: 12.72%)
putting round another injury (22: 12.72%)
(11: 19.64%)
holding another
fighting related or injury
(6: 46.15%)
(11: 55%)
instrumental (3: 23.08%) holding another (4: 20%)
Table 3: The top two uses of the five most frequent types in both series
24
All scores in this table are raw i.e. they have not been normalised.
133
4.2
DISCOURSE PROSODY
The general quantitative discussion in Section 4.1 raises some avenues of interest for
closer examination. An analysis of the collocations and the concordance lines of the
data presented in the appendices (see Appendices 2 and 5) reveals various trends and
patterns, not just in terms of the particular body parts, but in terms of their meanings,
their gendered uses, their discourse prosodies, and these are presented here. The term
discourse prosody is used to refer to the aura of evaluation and connotation which
surrounds a word as a result of its collocational behaviour (see Section 3.2.4.4).
Specifically in this study I use it to refer to the trends evident in longer stretches of
text around specific body parts, which I have grouped into themes according to the
patterns found for that body part: the different meanings and uses it is put to, such as
the use of heads to show emotion, as parts of the body that are vulnerable to injury
and so on.
Although the actual analysis proceeded through the body parts in sequence from most
common to least, I have ordered this discussion in terms of the thematic trends found
in the uses of the body parts, from the most individual through to the most
interactional, using a grouping structure suggested by the data itself. I begin with the
trends in terms of how individuals are described, physically, and how this is used to
distinguish one person from the other. Continuing the movement towards a greater
interpersonal dimension, I look at the ways in which characters use their bodies to
convey emotion, first unintentionally and then consciously, which leads to a
consideration of physical interaction between people.
Finally, I explore the
interaction of individuals with the world more broadly: their response to danger (often
an extreme form of physical interaction between people) and their agency, their
ability to act on the world and the nature of what they achieve. Of course, my
emphasis all the way through this progression is on gender: how the female
characters, in particular, are represented in terms of their physical selves; what
ideologically significant similarities and differences there are between the
representations of males and females, and, very importantly, how these portrayals
contribute to discourse prosodies: the positive or negative associations with particular
uses by characters of their bodies, as well as, finally in Section 4.3, how these
134
representations of gendered physical identity enable ideologies to be represented and
perpetuated.
4.2.1 THE DESCRIPTION OF APPEARANCE & IDENTIFICATION
The first trend to be explored is that of identity and its connection with appearance:
the use of physical features as a means of identifying individuals and the normative
power of tendencies within these descriptions to include readers who share physical
traits with characters in the series, and to exclude those who do not. In addition to
describing what exists in the constructed universe of “normal” physical identity, the
patterns found in this section also set up oppositions between physical features which
connote “goodness” and those which suggest “badness” or even “evil” in the series,
providing strong guidance to the young reader in terms of how to identify and assess
characters and form impressions about the “meanings” of various physical features.
4.2.1.1 HAIR AS AN IDENTIFYING FEATURE
Identification of human characters in both series is very frequently accomplished by
means of a description of their hair. In fact, this represents by far the most common
pattern found with female hair in HP, nearly two thirds of the total, (38/63, 60.31%)
and a similar tendency is found amongst the male characters with 76 out of 141
tokens, just over half (53.9%), being descriptions of hair being used to identify a
character. Hair is clearly an important means of distinguishing one character from
another, and is a dominant part of any description of a character, even when their
names are known, as the following extract illustrates:
Harry led them all back into the kitchen where, laughing
and chattering, they settled on chairs, sat themselves
upon Aunt Petunia’s gleaming work surfaces, or leaned up
against her spotless appliances; Ron, long and lanky;
Hermione, her bushy hair tied back in a long plait; Fred
and George, grinning identically; Bill, badly scarred and
long-haired;
Mr.
Weasley,
kind-faced,
balding,
his
spectacles a little awry; Mad-Eye, battle-worn, onelegged, his bright blue magical eye whizzing in its
socket; Tonks, whose short hair was her favourite shade
of bright pink; Lupin, greyer, more lined; Fleur, slender
and beautiful, with her long silvery blonde hair;
135
Kingsley, bald and broad-shouldered; Hagrid, with his
wild hair and beard, standing hunchbacked to avoid
hitting his head on the ceiling; and Mundungus Fletcher,
small, dirty, and hangdog, with his droopy beady hound’s
eyes and matted hair. Harry’s heart seemed to expand and
glow at the sight: He felt incredibly fond of all of
them, even Mundungus, whom he had tried to strangle the
last time they had met.
In CN, hair is much less prominent, as can be seen from the normalised data in Table
4 below25:
Body part NCN female NCN male NHP female NHP male
hair
8
2
22
50
Table 4: Frequency of hair in both series
In the context of hair being so commonly used to differentiate between people in HP,
this difference between the series is not surprising given that there are relatively few
human characters in CN, who thus need little differentiation from each other after
having been identified by name. It is also noticeable that male hair is much more
common in HP than it is in CN, not only in terms of a direct comparison, but also in
terms of its relationship with female hair, which is clearly much more frequent than
male hair in CN while it is the other way around in HP. There are three likely reasons
for this. It could be ascribed to the clear dominance in representation in HP of Harry
Potter himself, with one of his distinguishing features being his untidy black hair
which he inherited from his father. Altogether, untidy Potter hair accounts for 17
tokens (male hair: untidy MI 11.01; rank 4 26), some of which are simple descriptions
and others are comments by other characters on his hair. Secondly, there is another
aspect unique to Harry’s hair, namely the experience of gusts of air or rapid
movement lifting the hair off his forehead, again representing instances of the first
person perspective in the series which is discussed below.
25
As explained in Chapter Three, when direct comparisons between the series are mentioned, I use the
normalised data as listed in Appendix 3 i.e. as a score per 100 000 words, rounded off to the nearest
integer, so as to provide meaningful comparisons. Elsewhere, unless explicitly signalled otherwise, I
refer to raw data i.e. the actual number of tokens for a particular type, as in Appendix 1.
26
When the strength of the collocation between two words is discussed, the key word and the collocate
are given in that order, if necessary for disambiguation, followed by the score, indicated by the letters
MI, for Mutual Information. Any score over 3 is deemed sufficiently significant statistically. The rank
of the collocation is shown at the end, if necessary.
136
A third factor contributing to the numerical dominance of male tokens for hair in HP
is a general tendency for there to be more peripheral male characters in HP than
female. A sample from the concordance for hair illustrates the use of hair description
to introduce these people into the story:
clump of bushes. His black
Hermione's jinx. His black
of Magic. His long black
Goyle had short, bristly
hair
hair
hair
hair
was overlong and his clothes
reached his shoulders and
and beard were streaked with
and long, gorilla-ish arms.
Most of the female examples for hair as a description in HP occur in DH (56/63),
perhaps because it is in this book that the central characters are fugitives in the adult
wizarding world and so their contact with others is superficial and transitory, for
example:
an elderly witch whose blonde hair was teased so high it
resembled an anthill.
The lift doors opened; the old witch with the anthill
hair left, and Ron darted past her out of sight.
This part of the plot is in contrast with the previous scenarios of the wizarding
boarding school, where characters could be developed and then referred to by name.
Supporting this interpretation is the fact that the descriptions of hair in this book often
refer to a particular individual only once or twice and then they are no longer involved
in the plot, as in the example above.
More interesting, however, are the patterns which emerge in the various kinds of hair
found on the heads of the established characters. The Black sisters in HP, who range
from evil to good, are differentiated by their hair:
Bellatrix (one of Voldemort’s closest followers):
her dark hair and heavily lidded eyes
Narcissa (Death Eater, but saves Harry’s life in DH, also married
Lucius Malfoy whose family are all blonde):
her long blonde hair hanging down
Andromeda (rejected the Dark Lord and is mother of Tonks, a
thoroughly good character):
Her hair was a light soft brown.
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Other female characters are also distinguished by their hair. The collocation tables for
female hair in HP reveal that the colour and quality or style of the hair are frequently
important, with blonde, bun, bushy, grey, silvery, brown, short, long, tight and red
dominating the top 20 collocates (from MI 11.88 to MI 7.96). In terms of colour,
female hair is quite varied, ranging from black to grey to white, light soft brown,
blonde and silver, red and auburn, and hair that is simply dark, as well as the everchanging colour of Tonks’ hair, which changes from bright pink to turquoise and
various other colours at a rapid rate. Most characters appear to have straight hair,
with only one overtly modified as curly, apart from Hermione’s bushy hair. Most also
have long hair, perhaps so as to conform more to the generally accepted look of a
witch.
Hermione’s hair is only described 5 times in terms of its natural state; the remaining 3
instances refer to her altered appearance due to magical disguises. However, its
natural state is frequently altered by circumstances: its usual bushiness (2) is
counteracted by being wet once, and thus plastered to her face, singed once and styled
once for a wedding to be sleek and shiny. We are not told what colour it is. Harry’s
mother, on the other hand, is differentiated by her dark red hair, which is long once
she is an adult. Harry’s attention is often focussed on the colour of his mother’s hair
(4/5), and he subsequently marries Ginny, the only girl with red hair he ever meets.
For Harry, dark red hair is very positively connotated.
Professor McGonagall wears her black hair in a tight bun, which is modified as such
on every mention (making bun the third strongest collocate of hair at MI 11.56),
perhaps underlining her strict nature. Combined here with sharp eyes and a stern
appearance, her square spectacles and tight bun add to an impression of severity and
self control, with moderately negative expressive value:
She was a stern looking witch who wore her hair in a
tight bun; her sharp eyes were framed with square
spectacles
When the school is under threat and she is trying to protect the building and students,
her degree of distraction is suggested by the fact that her hair is not as controlled as
usual:
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a herd of galloping desks thundered past, shepherded by a
sprinting Professor McGonagall. She appeared not to
notice them. Her hair had come down and there was a gash
on her cheek
The same pattern is found with regard to male hair in HP with the majority of the
tokens being descriptions of the person in terms of their hair so as to identify the
individual (53.9%). Hair is described most frequently in terms of colour, then by
length and degree of tidiness. This is reflected in its collocations with the following
terms (from MI 11.59 to MI 7.55): candyfloss, greasy, untidy, unkempt, tuft, matted,
mane, greying, redder, plastered, ruffled, tangled, bushy, curly, blond, filthy,
streaked, whipped, jet, grey, thick and wild. As can be seen, there is an emphasis on
hair that is not well groomed, either in terms of its not having been combed, or in
terms of its lack of cleanliness. Several collocations in the same range suggest that
some characters do attempt to control their hair or are aware of its “need” for
grooming: smoothing, flatten, flat, pushing and cut.
The collocates listed above also indicate a strong tendency to reference colour. Of the
main characters, Harry (5), his father (2), Snape (4) and Hagrid (1) have black hair,
Draco Malfoy (2) has white blond hair like the rest of his family, while Vernon (1)
and Dudley (2), father and son, have blond hair, Ron (5), Fred and George Weasley
have red hair, Dumbledore has silver hair (5) while his brother has grey (1), two
elderly wizards, Xenophilius and Doge have white hair (1 each) and Lupin’s hair is
light brown but greying (6). Due to magic spells there are also three examples of
Harry with hair of colours different to his natural shade, and one of Ron. Hair colour
amongst males thus seems to be polarised, in that very few characters have brown
hair, with the majority either very dark (black) or very pale (blond, white, silver or
grey). The Weasley family are distinguished by their red hair.
Unnamed male characters follow the general trend in terms of colour, having hair of
black, grey and white, and one streaked with silver. Several older wizards have long
hair, including Dumbledore and his brother, Snape and several unidentified wizards.
The majority have straight hair, with a few, such as Hagrid, having bushy or wild hair,
in his case emphasising his role as a “wild” man. An interesting exception to most of
the trends is the ‘laughing boy”, Gellert Grindelwald, Dumbledore’s close friend as a
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teenager, who alone has golden hair falling in curls to his shoulders. This gives him
no family ties in the way that other characters such as the Weasleys, Dursleys and the
Malfoys have with their identifying hair colour. The sensual description of his hair
and face is unusual too, and emphasises his physical attractiveness in a way that is
applied to no other character. That he, through his charm and easy manner, almost
persuaded Dumbledore to take part in his evil plan to dominate all Muggles, perhaps
warns readers not to be seduced by superficial beauty.
Sirius Black’s hair is described not in terms of colour, although his brother is said to
have the “same dark hair” as him, but only with reference its unkempt state, i.e.
matted (3) and filthy (2).
Mundungus Fletcher also has matted hair (2) of an
undetermined colour. As both these characters are social outcasts of varying degrees,
their ungroomed hair seems to reflect their status as not subscribing to societal norms
in general. Tidy hair is presented as something towards which male characters should
aspire, especially given Harry’s preoccupation with smoothing his famously untidy
hair. Interestingly, Voldemort, the most evil character in the series and Harry’s
nemesis, is described as hairless, thus unspecifiable in terms of colour or state,
perhaps suggesting his other-worldliness, his almost inhuman nature, and the ultimate
rejection of the norms of appearance and identity.
Various norms are therefore clearly established with regard to the appearance of hair
in HP: long hair is preferable to short, hair colour is generally polarised amongst
males and can indicate family membership and age, but also group allegiance, and
there is a strong preference for straight hair, with tangled or bushy hair being seen as a
reflection of some internal disorder, in particular a tendency to ignore social protocol
and in extreme cases, to be somewhat delinquent.
In CN, hair is much more commonly attributed to females than to males (8 versus 2).
Female hair, as in HP, is frequently used to describe the character in question while
this is only used once with a male character:
One was a youth, dressed only in a fawn-skin, with vineleaves wreathed in his curly hair. His face would have
been almost too pretty for a boy’s, if it had not looked
so extremely wild.
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This character’s marginal status as a male, with his face being “too pretty for a
boy’s”, and his curly hair, are both reminiscent of Grindelwald, Dumbledore’s friend
discussed above, and the youth’s role as a symbol of debauchery also shows
similarities with Grindelwald’s reckless and selfish desire for power.
Of the female examples, most are used to describe the characters in terms of their
physical appearance:
PRINCE CASPIAN lived in a great castle in the centre of
Narnia with his uncle, Miraz, the King of Narnia, and his
aunt, who had red hair and was called Queen Prunaprismia.
Note that we are not told the colour of King Miraz’s hair or even Caspian’s, which is
arguably more important as he is one of the main characters in the book. In the
following example, the girls’ hair is one element of a description which reveals the
constrained nature of the girls’ lives and education:
Everyone in the streets fled before their faces. The
first house they came to was a school: a girls’ school,
where a lot of Narnian girls, with their hair done very
tight and ugly tight collars round their necks and thick
tickly stockings on their legs, were having a history
lesson.
In describing the two central female characters, hair seems to be an important part of
the descriptions which emphasise the physical identity of the girls. This differs from
the broader descriptions given for the main male characters:
And Peter became a tall and deep-chested man and a great
warrior, and he was called King Peter the Magnificent.
And Susan grew into a tall and gracious woman with black
hair that fell almost to her feet and the kings of the
countries beyond the sea began to send ambassadors asking
for her hand in marriage. And she was called Susan - the
Gentle.
In the example above, Peter is described physically to some extent, with entirely
positive connotations, but his practical achievements balance this description; in the
case of Susan, both her physical appearance and her demeanour are described, as well
as the effect of these characteristics on her suitors. Her own accomplishments are not
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mentioned. For the sake of completeness, it is worth quoting the descriptions of the
other two siblings, Edmund and Lucy:
Edmund was a graver and quieter man than Peter, and great
in council and judgement. He was called King Edmund the
Just. But as for Lucy, she was always gay and goldenhaired, and all princes in those parts desired her to be
their Queen, and her own people called her Queen Lucy the
Valiant.
Again, Lucy’s appearance and demeanour are focussed on, while Edmund’s mental
abilities and strength of character are emphasised to the exclusion of any physical
description. Both the women’s marriage prospects are noted (Susan attracting kings
and Lucy only princes), but not the men’s. For all four, though, there is a clear gender
distinction in terms of the focus on the appearance of the females versus the abilities
of the males. These emphases render these aspects salient for the specific gender in
question, and are therefore set up as means to identify and evaluate individuals. They
are particularly significant as hair, relatively infrequent as it is, is the only physical
feature in CN to be used as part of the description and identification aspect of the
body.
4.2.1.2 FACE AS AN IDENTIFYING FEATURE
Another frequent way of describing and identifying a character in HP is in terms of
the face, in fact this is the second most frequent use of this body part in HP for both
females (26, 26.8%) and males (109, 25.23%). The contrasts between the “good”
female characters and the “bad” in this series are shown quite clearly in the
descriptions of their faces, with beautiful a strong collocate with female face (MI
9.25, rank 4) and the only two instances of pretty faces (MI 8.38, rank 10) being
attributed to good characters, such as Harry’s mother, while her own sister, Harry’s
Aunt Petunia, is described as
bony and horse-faced
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which is clearly intended to represent unattractive features in a woman’s face. Aunt
Marge, another non-magical character who torments Harry, is described in even more
unflattering terms: she is
large, beefy, and purple faced
she even had a moustache
27
her great ruddy face [was] dripping
and
[h]er huge face was very red.
Lastly,
[h]er great red face started to expand, her tiny eyes
bulged, and her mouth stretched too tightly for speech
That these are not positive attributes for females is clear from the reference to her
moustache. The use of the word even here suggests that the other features of size and
colour put her face clearly towards the masculine end of the gender scale, and that the
moustache accentuates this. To be a masculine woman, with large features, high
colour and facial hair, is clearly imbued with negative expressive value. Interestingly,
her face reflects her personality in that she is loud and overbearing.
In terms of male characters’ faces, there is much less positive description: handsome
is the only positive term in the top fifty collocates28, ranked 47th with MI 7.34. There
is again a clear division between bad or evil characters and good ones, particularly
with regard to the colour of their faces. Uncle Vernon, Harry’s nasty uncle and
Marge’s brother, has similar facial features and colouring to his sister. The matches
between external and internal features, as well as between the two siblings, set up a
discourse of the physical being an expression of the personality, a tendency which is
explored in more detail below. In addition, the regular combination of these features
in descriptions of Marge and Vernon creates a strong negative discourse prosody
around their collocation.
27
This line comes from a separate search for the term moustache, but is reported here due to its
relevance to the description of Aunt Marge’s face.
28
The collocate grin, at rank 13, appears to be a counter example. However, as I discuss in Section
4.2.2.1, the act of grinning is not always positive in HP male faces, being often malevolent in nature.
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Those characters who are evil, as opposed to merely nasty, get the most negative
descriptions of all. The more evil the character, the more likely are their faces to be
pale, and a range of synonyms is used to represent pallor, of which pale is the most
frequent (11; MI 7.37), and is also the term used most often with reference to the most
evil characters. Voldemort himself has a white face, which is often described as
reptilian, perhaps as an indication of his cold-blooded nature:
He watched Voldemort’s white, snakelike face vanishing
into darkness, those red eyes fixed pitilessly on the
thrashing elf
Voldemort stood up. Harry could see him now, see the red
eyes, the flattened, serpentine face, the pallor of him
gleaming slightly in the semidarkness.
His hands match his face in that they are often described as white and long-fingered
and this is used as a device so as to establish whose body Harry’s consciousness is
inhabiting: his own or Voldemort’s.
The great importance of the face for evil
characters, however, is underlined by the fact that when Voldemort first returns, all he
has sufficient energy for is to exist as a white face at the back of Professor Quirrell’s
head, where he is called the face:
Where there should have been a back to Quirrell's head,
there was a face, the most terrible face Harry had ever
seen. It was chalk white with glaring red eyes and slits
for nostrils, like a snake.
"Don't be a fool," snarled the face. "Better save your
own life and join me... or you'll meet the same end as
your parents.... They died begging me for mercy..."
Quirrell was walking backward at him, so that Voldemort
could still see him. The evil face was now smiling.
Draco and his father, Lucius, the male Malfoys, an ancient wizarding family loyal to
Voldemort, both have very pale faces:
In the back of the shop, a boy with a pale, pointed face
was standing on a footstool
Harry did not dare look directly at Draco, but saw him
obliquely; a figure slightly taller than he was, rising
from an armchair, his face a pale and pointed blur
beneath white-blond hair.
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“Of course not, of course not!” said Lucius impatiently.
He approached Harry himself, came so close that Harry
could see the usually languid, pale face in sharp detail
even through his swollen eyes.
The face of Snape, the most hated teacher at the school and erroneously widely
assumed to be Voldemort’s servant, is described six times out of seven in terms of its
pallor. The following examples show why white (MI 6.10), for instance, does not
show up as a particularly strong collocation with face: the use of synonyms reduces
the frequency of these tokens, and the tendency for the modifying term to appear
relatively far away from the keyword means that they are not considered collocations,
despite clearly contributing to its discourse prosody.
This has methodological
implications which I address in Section 5.0.
Snape’s face was like a death mask. It was marble white
and so still that when he spoke, it was a shock to see
that anyone lived behind the blank eyes.
Harry saw Snape’s face losing the little colour it had
left; it whitened as his black eyes widened
Pettigrew, who is revealed as Voldemort’s servant, is described as pasty. Even the
Carrows, a brother and sister pair of teachers at Hogwarts who support Voldemort,
while lacking the narrow or thin faces of the more loyal and aristocratic Death Eaters,
have pallid, doughy faces. The only times when good male characters have pale faces
are when they are ill or have been struck down by some magical intervention from a
bad or evil source. No good male characters have pale faces, other than six references
to Ron when he is seriously unwell, although he is grey-faced, rather than white:
"What are you doing?" moaned Ron, grey-faced.
blood drenched the whole of Ron’s left side and his face
stood out, greyish-white
Before Hermione could answer, Ron groaned and opened his
eyes. He was still grey and his face glistened with
sweat.
Professor Lupin is the only good character to have a white face, once after travelling
magically, but more frequently, in three of the seven mentions of his face, he is
described as having greying hair and prematurely lined facial skin, presumably due to
his werewolf condition:
145
A ray of wintery sunlight fell across the classroom,
illuminating Lupin's grey hairs and the lines on his
young face.
When Voldemort’s snake possesses an old woman in order to kill Harry, she is
described as follows:
Her eyes were thick with cataracts and sunken into folds
of transparent skin, and her whole face was dotted with
broken veins and liver spots
The extended description of various facial features commonly associated with old age
provides a clear picture of the face of the old woman. Whether the reader is supposed
to attribute this apparent ugliness to her age or to her possession (and thus evil status)
is unclear. It could also be suggested that her unseeing eyes rendered her unable to
perceive and thus protect herself from possession by Voldemort’s snake. They may
also make it impossible for Harry to see her true possessed nature and thus trustingly
enter her house. What emerges as an important discourse, that of the “eyes as
windows to the soul”, is discussed in more detail in below.
One of the most interesting characters in terms of the relationship of the face to the
evaluation of the person is Sirius Black in PA, whom the children believe to have
betrayed Harry’s parents leading to their death, despite having been the best man at
their wedding. He has escaped from Azkaban, the wizard prison, and although he
sounds very unwell and unkempt, he only has a pale face in one of the seven negative
descriptions of him, which should perhaps have cued Harry to the possibility that he
was innocent, and a “goodie” after all:
Compared to the man on the television, however, whose
gaunt face was surrounded by a matted, elbow-length
tangle, Harry felt very well groomed indeed.
Harry looked into the shadowed eyes of Sirius Black, the
only part of the sunken face that seemed alive. Harry had
never met a vampire, but he had seen pictures of them in
his Defence Against the Dark Arts classes, and Black,
with his waxy white skin, looked just like one.
A mass of filthy, matted hair hung to his elbows. If eyes
hadn't been shining out of the deep, dark sockets, he
might have been a corpse. The waxy skin was stretched so
tightly over the bones of his face, it looked like a
146
skull. His yellow teeth were bared in a grin. It was
Sirius Black.
Interestingly, from the point at which Sirius is revealed to be a good character,
wrongly accused, the negative physical appearance of his face is not mentioned again,
although presumably he didn’t undergo an appearance makeover immediately. The
cumulative weight of these examples lends credence to the notion, discussed above,
that a strong link is being established, in HP in particular, between the outward
appearance of a person and their inner selves. As was the case with hair, the faces of
bad or evil characters often reveal their nature in immediately observable and
enduring features, as opposed to transient expressions, and could contribute to the
formation of assumptions about the types of characters who have certain physical
features. Snape, the much maligned teacher who is eventually revealed to be good
and even assumes a Judas type role for the sake of good, is a case in point. The
children always assume that he is a follower of Voldemort, and have trouble
relinquishing this idea when the truth is revealed, due in no small measure to his
appearance: greasy dark hair hanging limply over a pallid face, and of course his habit
of actually punishing them for misdemeanours.
Another transformation occurs with Neville Longbottom in terms of his face: but this
time not a change from bad to good, but from non-manly to manly. The first three
times Neville’s face is mentioned it is simply described as round and his general
physicality is portrayed as plump, uncoordinated and lacking in confidence. In the
final book, DH, however, where his behaviour moves much closer to the stereotypical
male norm, this is underlined by changes to his face:
But there was somebody else with her now, someone taller
than she was, who was limping along, looking excited. His
hair was longer than Harry had ever seen it. He appeared
to have suffered several gashes to his face and his
clothes were ripped and torn. Larger and larger the two
figures grew, until only their heads and shoulders filled
the portrait. Then the whole thing swung forward on the
wall like a little door, and the entrance to a real
tunnel was revealed. And out of it, his hair overgrown,
his face cut, his robes ripped, clambered the real
Neville Longbottom, who gave a roar of delight, leapt
down from the mantelpiece and yelled, “I knew you’d come!
I knew it, Harry!”
147
Here three elements of his appearance are emphasised in that they are pointed out
twice each in quick succession: long hair and torn clothing (as if to emphasise a
manly untidiness) and the numerous wounds he has acquired in his new role as leader
of the “resistance” in Hogwarts School. A further two references to his facial wounds
are made in subsequent examples. These are all a marked departure from the shy,
clumsy and forgetful boy who was dominated by his grandmother throughout the
series, and who would never have had the confidence to greet his friends with a
“roar”.
The old Neville, who put his hand up in class and other “feminine”
behaviours (see Section 4.2.6), has been replaced, through adversity, by a much more
rugged and manly Neville, both in actions and in appearance. In fact, one of the other
pupils has the following to say, soon after:
“It’s all down to Neville. He really gets this room.
You’ve got to ask for exactly what you need - like, ‘I
don’t want any Carrow supporters to be able to get in’ and it’ll do it for you! You’ve just got to make sure you
close the loopholes. Neville’s the man!”
Again, the external appearance mirrors the internal, both before and after the change:
the old Neville would no more have roared and leapt from the mantelpiece than he
would have led a resistance movement. His inner transformation is signalled through
outer features which show that he no longer submits to external, and particularly his
grandmother’s, expectations – especially in terms of looking after his hair and clothes.
In this way, he has become independent, “a man”, and thus conforms more closely to
hegemonic masculinity.
Hagrid, the somewhat frightening-looking but benign half-giant, is usually described
in terms of the size and hairiness of his face, which is appropriate to his role not as a
wizard but as the school grounds man who looks after large dangerous magical
animals.
Hagrid's big, hairy face
pulled the door open.
appeared
in the
crack
as
he
Hagrid, sticking his huge hairy face out from behind the
tree
All those visits to Hagrid, … and his great bearded face,
and
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A shadow fell across them and they looked up to see a
very bleary-eyed Hagrid, mopping his sweaty face with
one of his tablecloth-sized handkerchiefs and beaming
down at them.
His good-natured and soppy nature is frequently emphasised by the descriptions of his
face, as may be seen in the examples above. His status as a “wild” man who lives in
the woods is emphasised by the fact that he is the only man to have a “hairy” face,
though others have beards, which are presumably better groomed.
In CN, descriptions are also used to portray longer lasting features of the character’s
personality (7/61). Here a description of his face and eyes combine to suggest his
nature and his bearing is taken as an indication of his being a good and worthy person:
Then, just as Ginger had done, Emeth came walking forward
into the open strip of grass between the bonfire and the
Stable. His eyes were shining, his face very solemn, his
hand was on his sword-hilt, and he carried his head high.
Similarly King Tirian is portrayed as having facial features which are indexes of
positively regarded personality traits, namely honesty and bravery, while in the
second example Lord Diggory’s face shows wisdom:
His name was King Tirian, and he was between twenty and
twenty-five years old; his shoulders were already broad
and strong and his limbs full of hard muscle, but his
beard was still scanty. He had blue eyes and a fearless,
honest face.
He brought him next to a man whose golden beard flowed
over his breast and whose face was full of wisdom. ‘And
this,’ he said, ‘is the Lord Diggory who was with her on
that day. And this is my brother, King Edmund
In both of these cases, faces are described together to give an indication of the
character of a man. Bad male faces are also commonly used as descriptions to
identify individuals, as in the following:
He had never seen anything (though he had seen both a
dragon and a sea-serpent) that made his blood run so cold
as that line of dark-faced bright-eyed men.
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Then the dark men came round them in a thick crowd,
smelling of garlic and onions, their white eyes flashing
dreadfully in their brown faces.
This is never done with female faces. Lewis was criticised for his apparently racist
descriptions of other nations in Narnia29 and indeed the examples quoted above show
a tendency for the enemy characters in general to look rather different to the central
characters, who are stereotypically Anglo-Saxon in appearance.
The White Witch’s face generally reveals her cruel, evil nature through her harsh
emotions:
A slow cruel smile came over the Witch’s face.
‘Take it away,’ said Edmund sulkily. ‘I don’t want dry
bread.’ But the Witch suddenly turned on him with such a
terrible expression on her face that he apologised and
began to nibble at the bread, though it was so stale he
could hardly get it down.
Even when describing her as beautiful, the text emphasises that that beauty is infused
with negative attributes:
But behind him on a much higher seat in the middle of the
sledge sat a very different person — a great lady, taller
than any woman that Edmund had ever seen. She also was
covered in white fur up to her throat and held a long
straight golden wand in her right hand and wore a golden
crown on her head. Her face was white - not merely pale,
but white like snow or paper or icing-sugar, except for
her very red mouth. It was a beautiful face in other
respects, but proud and cold and stern
Joy, usually a positive emotion, is negative when it is found on the Witch’s face:
The Witch was just turning away with a look of fierce joy
on her face when she stopped
She is frequently contrasted with Aslan, and in the examples that follow, their faces,
the emblems of evil and good, are placed side by side and contrasted in their physical
portrayal:
29
Pullman, author of His Dark Materials, has been a particularly vocal critic, calling CN “a peevish
blend of racist, misogynistic and reactionary prejudice” (BBC News 2005: n.p.).
150
At last she drew near. She stood by Aslan’s head. Her
face was working and twitching with passion, but his
looked up at the sky, still quiet, neither angry nor
afraid, but a little sad.
The only two people present who seemed to be quite at
their ease were Aslan and the Witch herself. It was the
oddest thing to see those two faces - the golden face and
the dead-white face — so close together.
Not that the
Witch looked Aslan exactly in his eyes; Mrs Beaver
particularly noticed this.
In HP, Harry’s face differs from all the others in one significant feature: we are told
about it not only in terms of how it looks to other characters, but also from a first
person perspective. In other words, when Harry experiences pain, heat or any other
sensation in his face, the reader is informed, whereas with other characters it has to be
inferred from visible or audible symptoms, or by the character verbalising it
explicitly. This is a notable feature of Harry’s body parts in general, and something
which only occurs with him, and only in HP30, underlining his role as the central
character and hero, and also showing how very dominant his perspective and world
view are in the books. Six of the ten instances where Harry’s face is mentioned
involve incidents when his face has been magically altered so as to conceal his
identity, indicating once again the importance of faces to the characters’ identity. He
seems to be particularly aware of these faces as foreign to him:
He could feel his face swelling rapidly under his hands
as heavy footfalls surrounded him.
Harry clutched at his excruciatingly painful face, which
felt unrecognizable beneath his fingers, tight, swollen,
and puffy as though he had suffered some violent allergic
reaction.
Other feelings which Harry experiences in his face are heat, sweatiness, stiff muscles
and four more mentions of the unusual swollen nature of his face for the purposes of
disguise.
His face is only mentioned once in terms of its appearance to other
characters: it is thin, like his father’s. Given the nature of the story, it is predictable
that there is also a great number of first person experiences involving the head which
30
There are two instances where the physical sensations of other characters are reported in the
narrative, which do detract briefly from the strong perspective set up in the series, although I suspect
that these are in fact unintentional slips on the part of the author, as they occur early in the first book,
and never reoccur.
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we are party to through Harry’s consciousness (39). His thoughts, memories and
other people’s voices are conveyed to us from his perspective.
4.2.1.3 EYES AS AN IDENTIFYING FEATURE
In HP, about a third of the female eyes (46: 30%) are used as identifying features and
are also, like complexion and hair colour, suggestive of the nature of the character.
The much disliked and eventually magically punished Aunt Marge, for instance, is
described as having tiny bloodshot eyes, tiny eyes [which] bulged and piggy eyes (as
do her brother and nephew), while Professor McGonagall, who is liked but respected
for her strictness is described as having sharp eyes and beady eyes (female eyes:
beady MI 10.47). Professor Trelawney’s speciality with Divination using the Inner
Eye is emphasised by the description of her eyes as magnified to several times their
natural size by her glasses, appropriate and amusing given her difficulty with giving
accurate predictions. Two of the three Black sisters, mentioned above in terms of
their hair in 4.2.1.1, are contrasted by the appearance of their eyes: Bellatrix, the most
evil of the three, has dark heavily lidded eyes (3) while the nicest of the three,
Andromeda, is described as having eyes that were wider and kinder, which underlines
the negative evaluation of small eyes. Harry’s mother is described frequently and in
every book with reference to her green eyes, the only physical trait that her son has
inherited from her. Ginny Weasley, the girl Harry marries eventually, has eyes like
her mother’s too, a fact which Harry notices with some discomfort as Mrs Weasley is
chastising him. In terms of the male characters, Uncle Vernon and Harry’s cousin,
Dudley, both have small eyes and Dudley’s are also watery once. In addition, having
small, watery eyes which dart around (3) is presented negatively as a physical sign of
Pettigrew’s31 shiftiness and general mental weakness, adding further weight to the
link between crying and low masculinity:
his pointed nose and his very small, watery eyes. He looked around
Pettigrew, more than a head shorter, plump and watery-eyed, flushed
Wormtail’s mouth. He saw the ratlike man’s small watery eyes widen
31
Pettigrew is also known as Wormtail for his ability to change into a rat at will. This is translated into
a pointy nose in his human form, and is possibly an indication of his character as well.
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Thus large eyes are associated with good qualities, while small ones are clearly an
undesirable trait for males as well as females. Watery eyes for males, possibly due to
their similarity in appearance to eyes which are crying, have a strong negative
expressive value and are in opposition to masculinity.
In CN, the eyes of the Calormenes suggest violence and untrustworthiness, as is
evident in the examples quoted in 4.2.1.2: bright-eyed men and white eyes flashing
dreadfully. Apart from good King Tirian who has blue eyes, these are the only
mentions of eye-colour in the series, in marked contrast with HP where hair and eye
colour are central to characterisation. Both good and bad male characters tend to have
their eyes described at the same time as their faces, as in the examples in 4.2.1.2.
Female eyes are not used for descriptions, but more for emotional display, which is
discussed in 4.2.2.2.
4.2.1.4 OTHER BODY PARTS AS DESCRIPTORS
Simple descriptions of characters through their body parts show gendered trends as
well, notably head, hair and shoulders. Male heads in HP are used as units of
measurement in ways that the female ones are not, in phrases such as a head shorter
than. Taken together with instances where male characters are said to have to bend to
avoid hitting their heads on ceilings and doorways, these make height a salient feature
amongst males, in a way that it does not appear to be amongst females.
The KWIC sort for female heads in HP reveals an interesting tendency. As reported in
Section 4.1, the most frequent use of head for female characters involves structure,
more than meaning. Out of a total of 53 female tokens, head occurs in a prepositional
phrase occurs 14 times (26.41%). The prepositions associated with female heads are
all over, on or upon, with the exception of one, in which the meaning of the slightly
bizarre phrase contrasts with the others in that it indicates the head as a beneficiary,
rather than a circumstance, to use SFG terminology, which is true of almost all of the
others:
“He were a head case, that Aberforth,” said Enid Smeek,
whose family lived on the outskirts of Godric’s Hollow at
that time. “Ran wild. ’Course, with his mum and dad gone
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you’d have felt sorry for him, only he kept chucking goat
dung at my head. I don’t think Albus was fussed about
him. I never saw them together, anyway.”
As I discuss in Section 4.2.5, the vulnerability to danger is a major thread involving
body parts, particularly male ones, while the only ‘dangerous’ thing to approach a
female head is goat dung, as in this example. Four other prepositional uses of head
involve body parts over the head. As two of them also relate, directly and indirectly,
to danger, they are also discussed in 4.2.5.
The remaining female heads in
prepositional phrases indicate the presence of various objects on or above the
character’s head, including a tiara (2), a bow, the Sorting Hat (2), the Invisibility
Cloak, a normal cloak and a leather strap, the first two being commonly regarded as
typically feminine attire. Female hair contains various objects in four examples. The
things found in it include tears (when the character is tortured hanging upside down),
a sunflower, plumes and bits of a broken glass ashtray. There are only two similar
tokens amongst male characters: Percy, the pompous Weasley brother, has a fez on
his head and Snape has blood on his hair. While these make a fairly bizarre collection
of items, there are some clearly gendered trends, flowers and feathers being more
feminine, as well as tears, which is discussed in 4.2.2, compared with the more
masculine fez, unlikely to be worn by a woman, in real life or in fiction, and blood,
which relates to the theme of danger for male bodies, which is also explored in detail
in 4.2.5.
Other examples involving description demonstrate how much more physical male
bodies typically are in HP, than female ones. Male shoulders, for example, are
described differently to female shoulders: Kingsley is described as broad-shouldered,
two other characters are described as having hunching shoulders, while the only
female character whose shoulders are described at all is the sloping-shouldered figure
of Alecto Carrow. The contrast between the muscular power implied in the male
tokens and the ineffectual, drooping shape of the female one is clear.
4.2.1.5 CONCLUSION
The face and hair are commonly used for descriptive purposes in HP, where they
show not only familial relationships but also allegiance to the polarised forces of good
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and evil.
Thus readers are cued to the importance of physical appearance in
characters and may even be able to ‘read off’ aspects of characters’ natures from the
way they look. The data also displays gendering in the use of the face, head and hair
for identification in terms of the objects which are found on the head or hair and the
descriptions of the face in terms of attractiveness, with more frequent mention made
of pretty or beautiful female characters than handsome male ones, despite there being
more male characters and more references to their faces in the data. Female hair is
most frequently described in terms of its colour and style, which presumes some level
of grooming, while male hair is very commonly associated with a lack of grooming.
Extreme cases are linked to ‘wild’ men and social outcasts, suggesting social
compliance in characters with hair that is styled and cared for, chiefly females. In CP,
due to the relatively few human characters in the story, identification is not a major
use of the body, although hair tends to be specified more with adult female characters
than males, making physical appearance more salient for women.
The face, in
particular, is instead used to display emotion, which is the subject of the next section.
The eyes and the colour of the skin seem to be particularly revealing of the
personality of the characters in both series. Small eyes, and watery eyes for males,
are negatively valued in HP. In CN, even while recognising the White Witch’s
beauty, the elements of her face which display the extremes of colour - skin which is
so white it is likened to inanimate things and a very red mouth – accrue a negative
value because they are seen as signs of negative personality traits, like pride and
coldness. Most evil characters in HP also have particularly white faces. Snape, who is
always described in terms of his pale face and black hair, extremes in terms of colour
once again, has similar personality traits.
There are no characters with African skin
or other ethnic features mentioned in the books and in CN the Mediterranean looks of
the Calormenes inspire fear. This suggests that in both series ‘normal’ people have
Caucasian skin, but it should not be so pale as to form a harsh contrast with the colour
of the hair or mouth, or it could suggest various negative personality traits.
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4.2.2 UNCONSCIOUS DISPLAYS OF EMOTION
Up to this point I have focussed on the body as a means of identifying people.
However the concordance lines reveal that for the majority of body parts, this is not
their dominant use; in fact, many body parts show more interesting trends and a more
common tendency in terms of revealing the feelings and personality of the user. In
this section I review the gendered trends in terms of both of these aspects, which are
themselves gendered in that, not only do the ranges of emotions expressed by males
and females vary considerably, but the unconscious display of emotion is revealed to
be a particularly feminine aspect of physicality.
4.2.2.1 FACES DISPLAYING EMOTION
The face is one of the two most frequent body parts amongst female characters in
Narnia. The major meaning of this body part, together with two minor uses, suggests
an emphasis on the face as the means of showing emotion. By far the main use of the
face for females (16/29: 55.17%) is to provide a description of the expression on it,
and this is predominantly used to reveal emotions, as well as deeper elements of the
personality, in particular those of Lucy and the White Witch.
Similarly, in HP the face is the third most frequent body part for both females (97)
and males (432). In terms of the female face, 45 out of 97 (46.39%) are related to the
expression of emotion: either showing it, or hiding it. Indeed the five examples in
which female characters hide their faces in order to hide their emotions indicate just
how important the face is for showing emotion. In a further instance, it is hard for the
children to tell the emotions of an adult female as her face is in shadow. Thus the
face is an important source of information about the emotional state of the female
character, and the other characters cue the reader to this by commenting when they
are unable to use this resource.
In terms of the emerging classification scheme of emotions, the most frequent one
displayed on the female face in HP is sadness, as indexed by tears and crying (13:
29%) followed by worry (6, one of which turns to relief), fear (4), happiness (3) and
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anger (3). Other emotions found amongst female characters in terms of their facial
expressions include being upset (2) and embarrassed (2), and one case each of
appearing determined, pitying, serious, disappointed and eager. There is also one case
each of a small smile and a look of fond regret. While these are mostly unhappy
emotions, they are noticeably largely peaceful, with only the three of anger really
going against the trend (6.67%).
It is of methodological interest that few of these emotions are revealed by the
collocation measure, which identifies only tears (MI 8.18, rank 11) and smile (MI
7.29, rank 17) as collocations over the lower cut off level of MI 3. However, they are
clearly evident when examining the KWIC sort. What this suggests is that in this data
set examining the collocation tables alone may be seriously misleading due to the use
of synonyms and circumlocutions for reasons of style. The reasons for this are not
certain but I suspect that it may be related to the literary nature of the data, where, in
contrast to news reporting, for instance, the author may expend more effort on the
literary quality of his or her writing, rather than focussing on simply getting
information across, and thus utilise a less condensed style of writing, and more
synonymy and circumlocution. However, it does emphasise how essential it is to
study the concordance lines, when attempting to mine the data for discourse prosody.
The meaning of the writing does not reside in the individual words alone, but also in
the discoursal aspects of the text, the combinations of words to refer to concepts.
To illustrate this, I examine the case of the female face in HP. A sample from the
section sorted on on her face shows a range of emotions, seldom explicitly labelled:
with an odd expression on her face. Was it pity?
sombre expression on her face Harry thought someone must have died.
stone, gazing down at it, a little frown on her face.
an expression of the utmost fury on her face, was Professor McGonagall.
quizzical half smile on her face, beautiful yet slightly
and there was a sad little smile on her face.
Sadness, for female faces in HP, is usually indexed by means of reference to tears,
her face streaked with tears
her face glazed with tears.
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In this set of examples of the form her face X with tears, tears would be identified as
a collocation of face, being situated within 5 words of the search term. However, in
the following randomly selected examples, and others, tears often occurs relatively
far away from the keyword:
Hermione's face was wet with tears, and Ron was almost
Silent tears were now streaming down Hermione's face, but she hid them
tears were pouring down Hermione's face, and the
In the first instance here, the concordancer would recognise tears as a collocation, but
in the last two it would not, as it is more than five words from the search term, despite
clearly contributing to the “meaning aura” of the female face. Fear, too, is suggested
in various ways:
The little colour she had regained since their arrival
had drained from her face
Her face fell as she looked into Harry's face: humour
gone, terror replacing it...
In both cases, the calculation of collocations would tell us little about the emotion
conveyed via the face, again underlining the importance of looking at the lemma in its
context.
In CN, female faces also show emotion often (41%) and Lucy’s face, in particular,
reveals a range of emotions, from happiness
‘The Lion,’ said Lucy. ‘Aslan himself. Didn’t you see?’
Her face had changed completely and her eyes shone.
to fear:
The Naiads and Dryads were scattering in every direction.
Lucy was running towards him as fast as her short legs
would carry her and her face was as white as paper.
to frustration and upset at not being believed:
Lucy grew very red in the face and tried to say
something, though she hardly knew what she was trying to
say, and burst into tears.
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Again, the meaning is created via discoursal, inferential means.
In HP, males’ faces are used less often than females’ for emotional expression
(181/432 or 41.89%) and those emotions that are expressed are overwhelmingly
negative, with elements of aggression in many of them: anger is the most frequent
with 28 examples (including one instance which is also sad), crying (16), fear (15)
and malice (13) follow, with only happiness (18) indexing a more positive emotion.
Even some of these though are tainted: one happy face becomes angry, another
changes to show fear.
There are 11 examples of shock (including one that is also
anger), 9 of sadness, 7 in which the character is upset, and 6 in which he is
embarrassed. Guilt accounts for two, with a further two being combinations of guilt
and fear, and guilt and anger. In all three books there are only two laughing male
faces, outweighed by three that have expressions of hatred, and the laughing or
“merry faced boy”, represented in five examples, is revealed to be a cruel and
arrogant megalomaniac, laughing in derision not innocent pleasure.
A cluster found in the female concordance, on (det) face32, is also found amongst the
male examples (23), together with the related in (det) face (32), comprising 12.73% of
all male faces. These two clusters are the most common clusters in the male
concordance, more so than in the female set (8 or 8.24% of all female faces), and
possibly contribute to the fact that there are more emotionally related collocations for
male faces than there are for female ones in HP, despite the display of emotion being
more common proportionally for females. While in the female concordance the
emotions are not specifically identified, as may be seen in the examples above, in the
male data set, both constructions usually explicitly signal the emotion reflected in or
on the character’s face:
with a terrible fury in his face
there was a cold hatred in his face
a look of awe on his face
an expression of ecstasy on his face
a broad smile of encouragement on his face
a grin on his face
a nasty grin on his face
32
I use (det) to indicate a determiner in this position in the preposition phrase, in these examples it is
typically one of her, the or his.
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This results in several emotion-related words being relatively close to the search term
and thus being available for inclusion in the MI calculations: contorted (MI 9.68, rank
4), impassive (MI 9.00, rank 8), grin (MI 8.49), gleeful (MI 8.42), hatred (MI 8.00),
terror (MI 7.57), alarmed (MI 7.54), twisted (MI 7.52), purple (with anger, MI 7.5),
fury (MI 6.63) anger (MI 6.42), horror (MI 6.19), smiling (MI 6.03), stunned (MI
6.00), laughing (MI 5.61), smiled (MI 5.45) and terrified (MI 5.38). The semantic
aura created by this set of emotionally charged words is clearly negative. Even the
reference to glee refers to a malevolent emotion and two of the five smiles are
malicious, while one is negated:
the words wiped the smile from Dumbledore’s face.
Three of the seven grins are also negative:
His pale face split in a malevolent grin
he said, a terrible grin twisting his face
facing the platforms with a nasty grin on his face
Similarly, in CN, some male faces do show emotion (15/61: 25%) but this is far fewer
than for females (41%), and the emotions themselves are overwhelmingly negative,
such as sternness, solemnity and seriousness, and never joy or happiness or mirth.
4.2.2.2 EYES DISPLAYING EMOTION
Emotions amongst males in CN can also be reflected in their eyes (3/24: 12.5% of
male eyes), which do include one positive feeling:
Then, just as Ginger had done, Emeth came walking forward
into the open strip of grass between the bonfire and the
Stable. His eyes were shining, his face very solemn, his
hand was on his sword-hilt, and he carried his head high.
In contrast, there are many more instances of emotion being conveyed by the eyes
amongst female characters in CN (7/18: 39% of female eyes); those involving the
White Witch being negative and powerful:
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As she spoke these words she rose from her seat and
looked Edmund full in the face, her eyes flaming; at the
same moment she raised her wand. Edmund felt sure that
she was going to do something dreadful but he seemed
unable to move.
but the eyes of other female characters, particularly Lucy, reflecting gentler emotions,
including compassion and happiness (female eyes: dancing MI 9.31, rank 3):
‘But I know he was,’ said Lucy, her eyes filling with
tears.
‘What is it, Aslan?’ said Lucy, her eyes dancing and her
feet wanting to dance.
Emotional female eyes are also very common in HP (43/150: 28.67% of female eyes)
and the most frequent emotion is to cry (27/43: 18% of female eyes; 62.79% of
female emotional eyes), sometimes indicated through the wiping of the eyes
(mopping: MI 10.47 and wiping: MI 9.26), or with eyes as the place where tears are
located (tears: MI 9.54). Over half of all tears (56%) are attributed to females, which
is more significant when considering that all the actual body parts of female
characters are far less frequent that males’.
In particular, in DH, there are 20
examples of eyes being related to tears, the majority of which involve Hermione (12).
Other strong collocations also support this tendency: swam (with tears MI 9.98) and
filled (with tears MI 7.06), as well as bloodshot (MI 9.79).
This trend is also
underlined by the female use of the verbal process cry which is again particularly
often attributed to Hermione (cried: Hermione MI 5.68, rank 1). The following
example suggests an involuntary aspect to crying:
“You’re still really angry at me, aren’t you?” said
Hermione; he looked up to see fresh tears leaking out of
her eyes, and knew that his anger must have shown in his
face.
Crying often debilitates the female crier in some way, frequently in terms of having
difficulty speaking, as in the first two examples below, and also, in the case of Harry’s
mother, in not being able to hear:
Hermione made a small,
extremely bloodshot.
squeaky
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noise.
Her
eyes
were
“He… he knew I liked books,” said Hermione in a thick
voice, mopping her eyes with her sleeve.
“She’s only a -” He caught himself quickly; Lily, too
busy trying to wipe her eyes without being noticed, did
not hear him.
The last two examples also show one of the most common ways in which female
crying involving the eyes is phrased, i.e. with reference to the need for clearing up this
“leakage”, unobtrusively if possible. Even more frequently though, crying is indexed
through the mention of tears in the eyes, appearing as a collocate 15 times (MI 9.54),
as in the following:
“Harry, please,” said Hermione, her eyes now shining with
tears,
“I can’t go home!” Ginny shouted, angry tears sparkling
in her eyes.
This is evident in both sad crying, as seen above, as well as tears of happiness:
“Yes, my Lord,” whispered Bellatrix, and her eyes swam
with tears of gratitude again. “At the first chance!”
Crying for female characters has a variety of causes: emotional pain e.g. the death of a
loved one (11), sadness e.g. the breaking of Harry’s wand (4), fear (4), happiness and
delight (3), embarrassment e.g. being ridiculed in front of the whole class (1),
gratitude (1), sympathy (1) and nostalgia (1). Clearly the most frequent are those
falling into the semantic area of emotional pain and sadness, although the extended
range of situations and feelings for which crying is regarded as appropriate for girls is
noteworthy. Fear as a cause of crying is fairly common as well. What is telling here
is that while two of the four instances involve fear for one’s own safety (both were
adult women being tortured), the other two are Ginny and Hermione, both fearing, in
separate incidents, for the safety of others. Together with the example of crying out
of sympathy, these indicate a tendency amongst female characters to identify with and
show concern for the welfare of other characters.
In contrast, the use of male eyes to cry is much less prevalent at 22 instances (4.18%
versus 18%). This is less than a quarter of the female percentage, despite there being
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526 male eyes, in other words 78% of the total for humans. Of those who do cry,
Hagrid is the most frequent, with 8 uses of eye as the site of crying, which coincides
with his portrayal as a soft-hearted giant who is somewhat impulsive and therefore not
in control of his feelings. The child characters in the books befriend him in a way that
they never do with any other staff member at Hogwarts – they call him by his first
name and visit him at his home without invitation, as well as taking on his personal
issues as causes. Hagrid is not the average male, being more emotional and more
nurturing, nor is he the average adult in this series. Many of the teachers regard him
as having less status than other adults, and almost despise him, being a failed student
of wizardry and the least magical character in the Hogwarts world, which perhaps
makes him more accessible to the children and again may allow him some leeway in
his behaviour, although it could be argued that his tendency towards emotional
outbursts contributes to his lesser status in the first place.
The other frequent male crier, interestingly, is one of the most respected, the
headmaster, Dumbledore, with five examples involving eyes. One of these occurs
close to the end of his life and three after he has died, as though he is able at this point
to acknowledge he is a flawed human being (something that emerges in the plot as
well) and to step back from his otherwise competent role as benevolent, all-knowing
headmaster. His reasons for crying are also more complex than is usual in the series:
he cries out of despair and regret that he has made mistakes in his life; out of
compassion for Snape’s life-long and unrequited love for Lily Potter and at the
pleasure of hearing the school song sung. None of these is strictly with regard to his
own interests or pain, which makes him an altruistic character in this respect,
something which correlates with other behaviour of his and separates him from other
male characters. His sexuality, although not overtly stated in the books, may also
allow him some leeway for departure from hegemonic masculinity.
Harry’s attitude to crying is, of course, very important, as he is the main character,
and it is often through his attitudes that people and behaviours are given positive or
negative expressive value. It is clear that he tries very hard not to cry, he is startled
by Dumbledore’s crying in DH and he is ashamed of himself when he does cry about
his pet’s death:
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The realization crashed over him: He felt ashamed of
himself as the tears stung his eyes. The owl had been his
companion, his one great link with the magical world
whenever he had been forced to return to the Dursleys.
Similarly, he is impatient with his own crying when he reads a letter from his dead
mother:
The letter was an incredible treasure, proof that Lily
Potter had lived, really lived, that her warm hand had
once moved across this parchment, tracing ink into these
letters, these words, words about him, Harry, her son.
Impatiently brushing away the wetness in his eyes, he
reread the letter, this time concentrating on the
meaning. It was like listening to a half-remembered
voice.
Even when he faces what he thinks is certain death, there is a touch of pride in his
reflection that he is not about to cry, despite the other physical effects of this
awareness of mortality. The use of the word ‘but’ sets up an oppositional relationship
between what could have been, under the circumstances (wet eyes), and the actual,
which is, from Harry’s point of view, more desirable:
Why had he never appreciated what a miracle he was, brain
and nerve and bounding heart? It would all be gone… or at
least, he would be gone from it. His breath came slow and
deep, and his mouth and throat were completely dry, but
so were his eyes.
When Ron cries (which occurs once but is mentioned with reference to his eyes twice)
Harry pretends not to notice, implying that this is a potentially face-threatening (and
presumably unintentional) behaviour for his friend. Bearing in mind that girls’ eyes
are often presented as having perfectly obvious tears in them or coursing down from
them, it is interesting to see how crying is encoded in a much less obvious way in
these male examples: Harry’s tears sting his eyes and cause wetness in his eyes; Ron’s
eyes are also “wet” once.
Slowly, Harry walked back to him, hardly knowing what to
say or do. Ron was breathing heavily: His eyes were no
longer red at all, but their normal blue: they were also
wet.
The redness of Ron’s eyes has nothing to do with crying in this example, but refers to
the influence of an evil magical entity that was affecting him.
In the second
reference, Ron is described as eyes bloodshot, but otherwise composed as though the
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characters are relieved that the potential for embarrassing emotional leakage has
passed. Peter Pettigrew, who is revealed as the person who was too weak, morally
and in terms of personality (see 4.2.3), to keep the Potter’s hiding place secret, and so
was responsible for their murder by Voldemort, is described three times as having
watery eyes. Thus emotional display in the form of crying has strongly negative
expressive value for males. Female characters do not show the same reticence about
crying, although Harry does express a preference for girls who cry less, as is
discussed below.
Female eyes in HP which show emotions other than by crying number 16 and vary
mostly in terms of size. In other words, female eyes open wide or narrow to slits in
order to show how their owner is feeling, such as in the following examples.
Hermione's eyes were wide.
Aunt Marge narrowed her eyes.
“But” Hermione began. And then her eyes became very round. “OH!”
Lily’s bright green eyes were slits. Snape backtracked at once.
As is shown in these examples, the partial closing of eyes represents a negative
emotion such as criticism or disagreement, while the more open eyes represent
surprise or realisation. The closing of eyes when experiencing emotion is related to
the closing of eyes to hide one’s feelings, which is explored below; in the interim, I
have categorised as emotional those examples which not only prevent the character
from seeing, but which appear to be an emotional response to what is happening. The
following three examples illustrate this:
There was another tinkle of breaking china; Neville had
smashed his second cup. Professor Trelawney sank into a
vacant armchair, her glittering hand at her heart and her
eyes closed.
Refusing to believe his eyes, Harry snatched up the
blankets and shook them. A dead mouse fell out and rolled
dismally across the floor. Ron groaned as he threw
himself into a kitchen chair; Hermione closed her eyes.
“You’ve already told someone this story, haven’t you?
Another student?”
She closed her eyes and nodded.
“I had… no idea… He was flattering. He seemed to…
understand… to sympathize…”
Yes, Harry thought. Tom Riddle would certainly have
understood Helena Ravenclaw’s desire to possess fabulous
objects to which she had little right.
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Professor Trelawney’s action in the first example shows her emotional reaction to
having another of her tea cups broken. Being a somewhat overdramatic character, she
puts together three concurrent actions which indicate despair, over a tea cup. A
similar emotion is at play in the second example, where the three characters are upset
at the fact that a crucially important locket has disappeared. While Harry and Ron
show their frustration and despair in very active ways, Hermione’s action is very
small and effectively prevents her from seeing the truth, a rather passive response to
the reality of the situation. The final example occurs when Helena Ravenclaw realises
that she was tricked into revealing important information to Voldemort. Her closing
her eyes suggests shame and embarrassment, a desire to not “face” what she has done,
which is also reflected in her halting telling of what happened. Thus, the closing of
eyes in these examples not only indicates the emotional response of the character but
also suggests a removal of the self from the circumstances, an abdication almost,
which is particularly evident in the final example. The eyes of female characters in
HP are emerging as important ‘gateways’ to the thoughts and feelings of the person
concerned: ‘windows to the soul’ indeed, as becomes even more strongly evident
below.
Male characters’ eyes in HP, in contrast, are much more frequently simply means by
which to see. The emotional uses of eye for males constitute only 20.5%33, in
comparison with closer to a third for females. There is not, therefore, the same
emphasis for boys and men as there is for female characters on the use of eyes as a
reflection of the inner thoughts of the character or as an access point to the person,
although this use is present. In terms of the emotions displayed by the different
characters’ eyes, the notable difference between males and females is also clear when
considering crying, as discussed above, with this emotion being much more
frequently associated with female characters’ eyes. Indeed, male characters’ emotions
tend to be more active and more negative (anger, aggression, malevolence etc) and
this is reflected in the descriptions of the eyes as well, the collocations of which
frequently have negative expressive value. For example, Snape’s eyes are described
as glittering four times (male eyes: glittered MI 7.93) and most of the ‘bad’ male
33
There is a disproportionately greater use of male eyes with emotion in PA, and a disproportionately
lesser use in PS, the first book in the series. The more emotionally harrowing plot in PA may
contribute towards this imbalance.
166
characters (Snape, Draco Malfoy, the Minister for Magic and others) have glinting
eyes (male eyes: glinting MI 8.61) at some point.
There are six instances of
narrowing or narrowed male eyes (MI 9.93 and MI 9.12), all but one by these ‘bad’
characters and accompanying negative emotion.
In contrast, there are only two
instances of eye narrowing amongst the female characters: one by nasty Aunt Marge
and one by Hermione, who is concerned about the head pains that Harry experiences
(and conceals), and narrows her eyes when she sees him wince. Glittering and
glinting eyes are not found amongst the female characters at all, despite there being
several female negative characters in the three books. While female characters use
their eyes to express emotions proportionally more often than male characters, those
with a negative prosody tend to be related to sadness and concern, rather than anger
and malevolence, as is found with the male characters’ eyes34.
Just less than half of all looking tokens for eyes across the three books in HP (23/48)
represent a subtle kind of emotional communication, mostly involving an attempt at
making or avoiding personal contact by making or breaking eye contact. In four
cases, characters catch the eye of another character to make contact, in other words, to
communicate without words (female eye: caught MI 9.63, rank 2; male eye: caught
MI 8.73, rank 9). In all of these examples, the two characters know each other very
well, enabling this very high context communication: two mother and son tokens, plus
one involving Harry and Ginny, and another with Harry and Hermione. Two of these
instances of eye contact are halted abruptly because of the possibility of the revelation
of internal states, for example:
[“]Even You-Know-Who can’t split himself into seven.”
Harry caught Hermione’s eye and looked away at once.
34
In this discussion I do not supply exhaustive detail about male eyes and what they do because the
emphasis in this thesis is on the female body, here the female eyes, and how female behaviour is
represented, rather than a constant comparison. There are two reasons for this. Firstly, given the
greater number of male examples, the discussion would be lengthier than is warranted in the context of
the female focus of my research questions, and would dominate unrepresentatively. Secondly, this is a
crucial argument in feminist writing: that women and their behaviour should not always be seen and
studied in relation to what men are doing, as though males function as a yardstick against which
everything may be judged to be ‘normal’ or ‘deviant’, but should be analysed in their own right.
Therefore throughout this chapter I focus on female body parts, although I frequently mention the male
characters’ trends when they are similar or form ideologically significant counterpoints. Indeed, I
believe my method demonstrates that comparison is possible without the elevation of the male to the
status of norm.
167
Here they break eye contact, which, by implication, was initiated unconsciously,
because they know Moody’s emphatic statement to be (scarily) untrue, but they do not
want to reveal this knowledge to the other characters. The suggestion is that the eye
contact would indicate shared knowledge to the others, and its sequential position
after Moody’s statement would indicate that it was relevant to his utterance, in this
case a dispreferred second pair part, so they break it quickly. In another example,
Harry breaks his eye contact with Ginny because he promised her brother Ron that he
wouldn’t become friendlier with her.
An avoidance of eye contact is mentioned twice more in HP as a means of not making
oneself vulnerable through revealing one’s inner self, for example when Narcissa,
Draco Malfoy’s mother, avoids looking at Voldemort, in case accidental eye contact
results, which is presented as very threatening to her. Related to this is the example in
which Snape stares into Professor McGonagall’s eyes to ascertain if she is telling the
truth or not, invoking the Western idea that the eyes are the windows of the soul and
that deception is evident in the liar’s eyes:
“I wonder what could have brought you out of your bed at
this late hour?”
“I thought I heard a disturbance,” said Professor
McGonagall.
“Really? But all seems calm.”
Snape looked into her eyes.
“Have you seen Harry Potter, Minerva? Because if you
have, I must insist -”
All these examples reveal the underlying belief that eyes are access points to a
person’s true feelings and thus eye contact is personally threatening with adversaries
but an opportunity for and an indication of bonding with those close to each other, as
in this final example, in which Harry’s mother sees him for the first time since he was
a baby. The fact that she is dead is not relevant. Here the use of the eyes to look is
related to a physical hunger, as though the connection made between the characters is
as essential to her as food:
Lily’s smile was widest of all. She pushed her long hair
back as she drew closer to him, and her green eyes, so
like his, searched his face hungrily, as though she would
never be able to look at him enough.
168
The eyes are clearly very important as a point of access to the character’s internal
state and thus the chief means by which they express emotion and others gauge it.
4.2.2.3 LIPS AND MOUTHS DISPLAYING EMOTION
In HP, lips form another element of the face involved in crying. Lips, for females,
especially Hermione (10), are particularly frequently involved in the expression of
emotion, with 14 out of the total of 22 (63.6%) displaying feelings: trembling to
indicate imminent tears (3) or being bitten to suggest further upset (4), but, it is
important to note, no hostile emotions. This is particularly prevalent in the singular
form, supported by strong collocations for lip with biting and bit (MI 13.77 and MI
9.15 respectively). Six of the seven singular tokens relate to sadness or worry:
She was holding a letter in her hands and her lip was trembling.
Hermione bit her lip, looking extremely worried.
On the contrary, her face fell, and she bit her lip.
Hermione was biting her lip, deep in thought.
She was biting her lip, and tears swam in her eyes.
Hermione, gasping for breath, her lip bleeding, scrambled aside
Hermione's lip trembled, and she suddenly dashed at Harry
With the plural form, the dominant emotion displayed is that of disapproval (5/15),
typically by adult women of child behaviour, which is reflected in the strong
collocational relationship between lips and pursed (MI 14.58, rank 1).
Aunt Petunia. Her lips tightened as they always did if he dared
Hermione, who disapproved of copying, pursed her lips but didn't say
Madam Pomfrey pursed her lips and strode away into her office
A similar pattern is found with male lips with 16 emotional examples (50%). When
sadness is expressed, however, in contrast to Hermione’s lip trembling as a precursor
to crying, Harry controls his lip movement as if it prevents further emotional response
to seeing his parents’ grave:
And tears came before he could stop them, boiling hot
then instantly freezing on his face, and what was the
point in wiping them off or pretending? He let them fall,
his lips pressed hard together, looking down at the thick
snow hiding from his eyes the place where the last of
Lily and James lay
169
This extract also includes three references to the fact that crying should be or is
usually resisted: the tears are said to come before he could stop them and two options
are presented, other than crying, namely wiping the tears away and pretending not to
be crying. These options are discarded in view of their futility, given that he was
unable to stop the tears. It is clear, once again, that Harry would prefer not to reveal
his emotions, even only to Hermione. The word bit also collocates strongly with the
male lip (MI 9.73, rank 1), as it did for females, but here this gesture indicates
reluctance, rather than crying.
Harry bit his lip. He didn't know what had happened and
Ron bit his lip. "Oh, all right," he snapped.
Hagrid bit his lip. "I — I know I can't keep him forever,
In addition to being less prominent amongst males, the emotional use for males is
different in nature in that there are several tokens involving hostility (6/16):
Snape's lips curled into a sneer.
In HP, then, there is a clear preference for emotional expression amongst female lips.
This is present as a strong use amongst males, but it is negatively valued and therefore
resisted, and is also not as prevalent as it is amongst females. In addition, there is a
striking difference in terms of the emotions expressed: some form of hostility is fairly
frequently displayed by male lips (37.5%) while it is non-existent in the female data.
In CN, the use of lips is so minimal as to be unworthy of detailed discussion. There
are 3 for females and 4 for males and only one of these (Lucy biting her lip to prevent
speech) is in any sense emotional.
Mouths, for both male and female characters in HP, are left open as an emotional
response to an event or utterance, usually to express surprise or shock, as in the
following examples:
Harry glanced up at Hermione and saw that her mouth was
fully open now. She was gazing at him with a mixture of
alarm and pity.
She stared at him, open-mouthed
she was still flat against the wall, her mouth open with
terror.
170
He told them all about the goblet. Ron's mouth fell open.
In the male examples, there is an additional sense in which mouths seem to open or be
left open by accident (male mouth: open MI 8.12, male mouth: opened MI 8.04),
suggested by the use of the word fell above (male mouth: fell MI 7.42) (and a further 5
times) and hanging (3) (male mouth: hanging MI 7.97), and constructions such as:
Dudley did not answer but stood there with his mouth
slightly ajar, reminding Harry a little of the giant,
Grawp.
Harry realized his mouth was open and closed it quickly.
This final example shows that this is not desirable (male mouth: close MI 7.76 and
shut MI 7.38). It is initially surprising that another male use of mouth, the expression
of emotion, is not found more often amongst female characters (although this is more
prominently expressed in lips), however closer examination reveals that 8 out of the 9
male tokens display negative emotion and involve “evil” characters like Snape and
Voldemort:
Harry didn't say anything. Snape's thin mouth curled into
a horrible smile.
This is supported by strong collocations with curled (MI 8.87, rank 7) and twisted (MI
8.58, rank 8) which indicate the negative nature of the expression of emotion by the
male mouth. If this is the primary use of the emotional mouth, then it correlates with
the expression of emotion by faces and eyes discussed above, that the females tend to
express gentler emotions and avoid harshly negative ones.
4.2.2.4 OTHER BODY PARTS AND EMOTION
Other parts of the body are also used to show emotion: male shoulders, female arms
and both male and female hands. For instance, several male shoulders in HP are
involved in the expression of emotion, either as circumstances:
Then Wood was speeding toward him, half-blinded by tears;
he seized Harry around the neck and sobbed unrestrainedly
into his shoulder. Harry felt two large thumps as Fred
171
and George hit them; then Angelina's, Alicia's, and
Katie's voices, “We've won the Cup! We've won the Cup!”
Or as the actual means of expression: in the first two cases, determination, and in the
last, sadness:
Once again,
shoulders.
all
heads
turned.
Yaxley
squared
his
“Right,” said Ron, squaring his shoulders.
and looked at the little bundle; Hagrid's
shook, Professor McGonagall blinked furiously
shoulders
Female shoulders, in contrast, do not show emotion, which is unusual for HP body
parts. In Narnia, one male usage of shoulders is the representation of the set of the
shoulders as reflecting confidence or the lack thereof, which occurs twice; again
females do not do this at all:
‘You come of the Lord Adam and the Lady Eve,’ said Aslan.
‘And that is both honour enough to erect the head of the
poorest beggar, and shame enough to bow the shoulders of
the greatest emperor on earth.
‘Go through it, my son,’ said Aslan, bending towards him
and touching the man’s nose with his own. As soon as the
Lion’s breath came about him, a new look came into the
man’s eyes — startled, but not unhappy — as if he were
trying to remember something. Then he squared his
shoulders and walked into the Door.
The absence of female shoulders in emotional display across both series may be
explained by the dominant attribute concerned: determination or confidence.
In HP, an emotional use of arms is shown by Harry’s mother Lily who folds her arms
twice in expressions of petulance. This is not found amongst males, or in CN.
Both males and females in HP have literally shaky hands when they are in an
emotionally charged state, however the collocation tables suggest a much stronger
collocation between male hands and various word forms of the lemma shake as is
evident in Table 5.
172
HP
HP
HP
HP
female hand
female hands
male hand
male hands
shake
- 35
-
7.87
8.32
shaking
6.98
8.78
6.98
7.85
shook
-
-
7.29
7.57
shaken
-
-
7.61
-
Table 5: Collocates of hand in HP: shake
Shaking is shown to be the only form of the verb to be a significant collocate for
female hand(s), while the majority of the available forms are strongly related to both
the singular and the plural forms for males. However, the concordance lines reveal
that this is due to the many instances by males of shaking hands in greeting (see
Section 4.2.3.2), accounting for all 9 collocating tokens of shake, both of shaken and
9 out of 12 lines in which shook collocates with male hand(s). With respect to female
hands, however, Hermione’s hands shake uncontrollably four times, always due to
fear, rendering her incapable of doing magic and other physical tasks, something
which she points out twice:
“D-diffindo,” she said, pointing her wand at Ron, who
roared in pain as she slashed open the knee of his jeans,
leaving a deep cut. “Oh, I’m so sorry, Ron, my hand’s
shaking! Diffindo!”
“He’s fainted,” said Hermione, who was also rather pale;
she no longer looked like Mafalda, though her hair was
still grey in places. “Unstopper it for me, Harry, my
hands are shaking.”
Male characters’ hands in HP, despite being overwhelmingly more numerous than
females’ hands, only shake three times due to emotions and for a variety of reasons,
not only fear.
Lucius Malfoy is understandably fearful and shakes once when
Voldemort suspects him of disloyalty. Xenophilius, an elderly wizard, shakes when
he is carrying the tea tray; it later emerges that he had called Voldemort’s forces to
come and capture Harry, so his shaking may have been prompted by fear and guilt.
35
The symbol - indicates that there is no MI score over 3 for this item, meaning that there is no
measurable collocational relationship.
173
Lastly, Harry’s hands shake once while he is trying to control his anger. The trends
for shake are also reflected in the patterns for tremble, with a fairly strong MI score
for female hand: trembling at 9.7, rank 3, versus the weaker association for males:
male hand: trembled 7.5, rank 19. It is noteworthy that in none of the examples does
the shaking of the hands prevent the male character from accomplishing whatever
physical task is necessary, as it does the female characters.
A similar pattern is found in CN. While male characters’ hands never shake or
tremble, female characters’ hands show how girls and women are unable to control
their emotions, through shaking and trembling in fear, which again makes them less
capable of acting on the world physically:
Feeling terribly alone, Jill ran out about twenty feet,
put her right leg back and her left leg forward, and set
an arrow to her string. She wished her hands were not
shaking so.
And then, almost for the first time, Lucy remembered the
precious cordial that had been given her for a Christmas
present. Her hands trembled so much that she could hardly
undo the stopper, but she managed it in the end and
poured a few drops into her brother’s mouth.
In CN hand-holding is often indicative of happiness, suggesting an interpersonal
dimension to the expression of emotion:
A moment later Lucy and the little Faun were holding each
other by both hands and dancing round and round for joy.
‘Oh, may I? Thank you, thank you,’ said Gwendolen.
Instantly she joined hands with two of the Maenads, who
whirled her round in a merry dance
Related to this is an equally frequent use, applied only to Lucy: that of clapping one’s
hands with joy or excitement (3/29) which is in significant opposition to the White
Witch’s powerful use of hand clapping, to be discussed in Section 4.2.5.
‘Oh yes. Now?’ said Lucy, jumping up and clapping her
hands.
‘I do, I do!’ said Lucy, and clapped her hands.
174
Looking down, she could see a steep and narrow path going
slant-wise down into the gorge between rocks, and Aslan
descending it. He turned and looked at her with his happy
eyes. Lucy clapped her hands and began to scramble down
after him.
In HP, Hermione also claps her hands with delight and wrings them with anguish.
Although two male characters in HP do wring their hands, both are anti-heroes: the
man who was the rat Scabbers, wrings his hands reflecting his cringing and
obsequious ways, and Snape, the most hated teacher who the main child characters
believe is a follower of Voldemort. Thus wringing hands is not the behaviour of a
hero, in the masculine sense, but only of less powerful and less positive characters,
and thus is a use with a clear negative prosody. The appropriate concordance lines in
CN show that the only human uses of wringing in CN are two blankets being wrung
out, and one instance in which the four children’s hands are wrung in farewell, in
other words, they shake hands. The male characters in CN do not use their hands to
display emotion in any despairing way.
An important theme related to emotion is that of the suppression or hiding of emotion.
Girls in HP use their hands to touch several parts of their own bodies (10), for
example, mouth, forehead, face, heart and eyes, and all these indicate the expression
of some emotion, such as frustration, despair and so on. But the mouth is one of the
more frequent (female hands: female mouth MI 11.32, rank 1), perhaps because of its
communicative role discussed below, and also one of the most interesting, being used
to suggest realisation and the suppression of an emotional reaction to that realisation:
Harry's stomach lurched. That dog on the cover of Death
Omens in Flourish and Blotts - the dog in the shadows of
Magnolia Crescent... Lavender Brown clapped her hands to
her mouth too. Everyone was looking at Harry, everyone
except Hermione
Hermione stifled a little moan behind her hand.
But Kreacher shook his head and wept. Hermione’s hands
leapt to her mouth: she seemed to have understood
something.
This reveals the importance of the mouth as one means of emotional expression, but
also a value placed on not displaying emotion (female hands: clapped MI 10.8, rank
175
236). In HP, female characters are twice as likely in raw scores as males to cover their
mouths with their hands, despite using far fewer hands and mouths than males overall.
When experiencing a sudden realisation, male characters tend to touch their foreheads
instead, so this usage does not have the suppression of emotional display aspect to it
that the female action of covering the mouth does. With the females, this action
indicates surprise or shock in all but one of the tokens, and the suppression of emotion
in all of them, whereas amongst the males, one instance occurs when Harry catches
the Snitch in his mouth, which is quite a separate meaning and not emotional at all,
and another involves Dudley, Harry’s much maligned cousin and certainly not a
prototypical example of a male, when he realises there are witches and wizards in the
world other than Harry. The third is Harry’s own experience, which underlines the
importance, for him, of not displaying emotion:
He had to clap his hands to his mouth to stop himself
from screaming. He whirled around. His heart was pounding
far more furiously than when the book had screamed
Given the proportion of female to male mouths in the first place (27:86), the
significantly greater usage by females suggests a gendered behaviour of some
importance. Its importance is underlined by the fact that it links with the tendency of
the female characters, particularly Hermione, to express vulnerable feelings, as
opposed to the males’ more hostile emotions, as well as a dislike of the emotional
openness of females, particularly by Harry. The fact that females have to restrain
themselves by covering their mouths more frequently than males suggests that a
physical expression of emotion is a more feminine behaviour. That it is undesirable
and associated with females is ideologically significant.
A cluster of examples amongst HP males (12) involves the explicit referencing of the
face as a means of determining the emotions of the person, with tokens referring to,
for example, looking for emotion in someone’s face (2), a blank face not displaying
emotion (2), trying not to show emotion on one’s face (2), being unable to read the
emotion on a person’s face (3) and so on.
This grouping is not visible in the
collocation tables due to the multiple ways in which these related meanings can be
36
This collocation is not due to the clapping of the hands for happiness or other reasons: two out of
three female uses of clapped relate to covering the mouth with the hand.
176
expressed.
As was discussed above, these apparent counter-examples in fact
underline the importance of the face as a way of determining the feelings of a
character.
They also emphasise the importance of concealing emotion amongst
males.
4.2.2.5 CONCLUSION
In the two series, both males and females express their emotions most frequently
using their faces and in HP, their eyes. Males in CN do not use their eyes to convey
emotion very often, but females do. The display of emotions is the primary use of the
female face in both series, and of the male face in HP, while female characters in both
series generally show emotion more than the males. In CN, female eyes convey a
range of emotions, but the only extremely negative ones involve the White Witch. In
HP, the emotions experienced by the male characters, as evidenced in their faces, are
much harsher and frequently negative towards others, whereas although the most
common emotion on female faces is a negative one, namely sadness in the form of
crying, this is a gentler emotion than the anger displayed most frequently by the
males. Female emotion can, however, render female hands unable to function as
intended. What is noticeable, too, is that the emotion displayed by the females is not
usually negative towards others, but is sometimes negative on behalf of others, e.g.
when a character cries or is fearful on behalf of another. Malice, as an emotion which
is strongly negative towards others, is significantly displayed facially only by male
characters, who also show ill-will through their eyes. The importance of the face in
revealing emotion, and the preference for concealing especially vulnerable emotion,
particularly amongst males in HP, also emerges as a strong trend.
4.2.3 INTERPERSONAL CONTACT
Interpersonal contact is a very common use for many body parts in both series. A
variety of broad functions are covered here, moving from those which have the least
impact on other characters to those which involve extreme interpersonal contact, in
other words injury.
177
4.2.3.1 TOUCHING FOR MAGIC
Amongst the female characters in HP, the most frequent use of hands is to make
physical contact with another human being (32/104): sometimes initiated by the
owner of the hand, sometimes by the other person. Most often, this is in order to
facilitate various magical means of travel (7/32), as in the following examples:
“LET’S GO!” Harry yelled. He seized Hermione by the hand
and Ron by the arm and turned on the spot.
“Please, Ron! Harry, hold on tight to my hand, Ron grab
my shoulder.”
Harry held out his left hand. Ron vanished beneath the
Cloak.
This usage seems to be fairly egalitarian in terms of who takes the initiative in
ensuring the safety of others, although there are slightly more examples of Harry
doing so. There are no examples, however, in which boys’ hands are grasped for this
purpose; while the example above seems to indicate otherwise, Hermione tells Harry
to hold her hand, rather than taking his. There is one strange example in which Harry
reports that Hermione’s hand seemed to be sliding out of his grip… and then shortly
afterwards that Hermione’s hand was suddenly vicelike upon his, only to discover,
apparently, that the second instance was not Hermione’s hand at all, but a man’s,
which explains “her” unusual strength. This suggests that Hermione’s hand being
weak is unmarked, while the strength he felt later was marked for her but unmarked
for a man.
Similarly, in CN, contact between body parts is sometimes required for magical
travel. The most frequent use of female shoulders (2/6) is one that involves male
shoulders as well, when it is time to leave Narnia in Prince Caspian and they walk
through a magic door with their hands on the shoulders of the person in front of them:
And then, wonderfully and terribly, it was farewell to
Asian himself, and Peter took his place with Susan’s
hands on his shoulders and Edmund’s on hers and Lucy’s on
his and the first of the Telmarine’s on Lucy’s, and so in
a long line they moved forward to the Door.
178
This ordering of the children is the one usually used, and one which reflects age, and
possibly gender.
4.2.3.2 INTERPERSONAL CONTACT: GREETING
In both series, greeting is frequently accomplished through some sort of physical
contact between characters. Hand shaking, referred to using a variety of synonyms
such as shaking and seized, together with the kissing of the king’s hand, forms the
second most frequent use of male hands in CN (9/40) (male hand: kissed MI 9.58,
rank 7). While some of these uses are emotionally warm, they are more frequently
purely ceremonial or simply polite. This contrasts with the more spontaneous and
emotional female use of hands. Indeed, the two instances in which male and female
human hands touch are both highly charged emotionally. One occurs when Edmund
supports Lucy’s choice of direction of travel, reminding the others of their lack of
faith in her decisions before. Lucy is apparently so touched by this show of loyalty
from the one who undermined her the most in the earlier incident that she uses touch
to show her intensity of feeling:
‘Well, there’s just this,’ said Edmund, speaking quickly
and turning a little red. ‘When we first discovered
Narnia a year ago — or a thousand years ago, whichever it
is — it was Lucy who discovered it first and none of us
would believe her. I was the worst of the lot, I know.
Yet she was right after all. Wouldn’t it be fair to
believe her this time? I vote for going up.’
‘Oh, Ed!’ said Lucy and seized his hand.
The chronologically earlier instance happens, coincidentally, at the time when the
other children did not believe Lucy about Narnia but she is subsequently shown to be
correct. Peter apologises by shaking hands:
‘I apologize for not believing you,’ he said, ‘I’m sorry.
Will you shake hands?’
Lucy also makes emotionally warm physical contact with other characters by shaking
hands with them (2/29), as exemplified above. The contrast, though, between the
formal Peter-initiated contact with Lucy and the impulsive contact that Lucy makes
with Edmund clearly shows that spontaneous, irresistible emotion is what drives her,
179
whereas Peter, always in control of himself, (and, to some extent, the other children)
is guided by etiquette.
In HP, males also use their hands to touch others (81/446), again predominantly to
shake hands (39/81) (see Table 5 in 4.2.2.4 for collocation scores) and, less formally,
to clap each other on the back or shoulder (male hand: clapped MI 9.06524). The
following example perhaps shows why there are not more instances of female hands
being used for shaking in HP, where a more physically close and emotional form is
specified for men greeting women:
He fastened his cloak and made his farewells, hugging the
women and grasping hands with the men, then, still
beaming, returned into the wild night.
In contrast, male arms in CN are used to embrace but it is seldom other humans: three
out of the four are human males (always kings and usually Tirian) hugging talking
animals, two as greetings37:
They did not try to comfort one another with words. It
wasn’t very easy to think of anything to say that would
be comforting.
‘Your Majesty,’ said another voice at Peter’s elbow. He
turned and found himself face to face with the Badger.
Peter leaned forward, put his arms round the beast and
kissed the furry head: it wasn’t a girlish thing for him
to do, because he was the High King.
Again, in a way similar to the example from HP above, in this final example it is
made clear that hugging and kissing might be considered more appropriate behaviour
for a girl. In this case, however, High King Peter’s station is sufficient antidote
against this potential problem of gender inappropriate behaviour. The exception to
the norm of males hugging animals is when Tirian is embraced by his father:
Then Tirian saw King Peter and King Edmund and Queen Lucy
rush forward to kneel down and greet the Mouse and they
all cried out ‘Reepicheep!’ And Tirian breathed fast with
the sheer wonder of it, for now he knew that he was
looking at one of the great heroes of Narnia, Reepicheep
37
The remaining two are gestures of fondness and are discussed in 4.2.3.3.
180
the Mouse who had fought at the great Battle of Beruna
and afterwards sailed to the World’s end with King
Caspian the Seafarer. But before he had had much time to
think of this he felt two strong arms thrown about him
and felt a bearded kiss on his cheeks
This last example is one of two in CN in which male arms are modified as strong, an
epithet never applied to female arms. In HP the only modifiers for female arms are
shaking, outstretched and comforting, while male arms are variously enormous,
injured, outstretched (2), restraining and shrunken. The arms of both sexes are
sometimes referred to as left, right or wand arms.
A further example from CN shows how differently it is described when a male
touches a female character, although the numbers are so small and so varied in
expression that they do not show up in the collocation tables. Here the touch is more
surreptitious, as suggested by the verb slipped, and more personal in its placement:
But instead of answering him Tirian slipped his arm
behind Jill’s shoulders and said, ‘How is it with you,
Lady?’
Female arms are put around males in HP as a greeting between Hermione and Harry
(1) and romantically between Hermione and Ron (4).
In the majority of these
examples, Hermione flings her arms around the male’s neck (3). The increasingly
romantic relationship between Harry and Ginny in DH is reflected physically in the
use of his hands too:
As they walked down the back steps into the dark yard,
Ginny took his hand
“There’s the silver lining I’ve been looking for,” she
whispered, and then she was kissing him as she had never
kissed him before, and Harry was kissing her back, and it
was blissful oblivion better than firewhisky; she was the
only real thing in the world, Ginny, the feel of her, one
hand at her back and one in her long, sweet-smelling hair
The characters’ growing awareness of the use of hands for romantic touching is
underlined in the final book in HP, DH: when Ron has to ride pillion behind a young
woman he glances uncertainly at her husband, aware of the intimacy of putting his
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hands round her waist. It seems that it is only in their last year of school that the boys
are becoming aware of this kind of interpersonal touching.
The other example is in the description of a photograph of Dumbledore and the
golden haired boy, which, given Rowling’s comments about Dumbledore’s sexuality,
parallels the romantic gestures between Ron and Hermione above (BBC News 2007).
The strong, though apparently unrequited, feelings between the youthful Dumbledore
and Grindelwald are indicated by their linked arms:
And it came to Harry instantly where he had seen the boy
before: in The Life and Lies of Albus Dumbledore, arm in
arm with the teenage Dumbledore
A use of male arms in HP in which females are frequently involved is the action of a
male character putting his arm around another character, usually their shoulders, who,
9 out of 11 times, is female (male arm: female shoulders MI 10.98, rank 3), and 8 out
of 9 times the pair are Ron and Hermione, indicating their burgeoning romantic
relationship. There are also 3 tokens, all in DH, of female characters throwing or
flinging themselves into males’ arms. This gendered behaviour increases as the
characters get older and move into romantic relationships which possibly have clearer
gender roles associated with them than friendships between boys and girls. In CN,
two instances of the touching of female shoulders involve Tirian and Jill: once when
he remembers her with her dress slipping off her shoulder and once when he puts his
arm around her, which was discussed above. These last few examples show the
greater potential for paternalistic or sexual interpretations of the touching of females’
shoulders than there is for males’. The last form of physical greeting from HP is the
exclusive experience of male mouths and that is to be kissed. Ron is kissed by
Hermione, again indicative of their romantic relationship.
Two final examples involve psychological, rather than physical, contact: one is an
aggressive invasion of Professor McGonagall’s personal space:
Amycus moved forward until he was offensively close to
Professor McGonagall, his face within inches of hers.
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The other is when Harry looks at the ‘reflection’ of his parents in a magical mirror,
where the contact, while not physical, and not even real, is intense for Harry because
of his not having grown up with his parents. The intensity of this interpersonal
contact is reflected in the use of the word tore, as though the separation of his gaze
from her face were the cleaving of one physical thing from another:
He tore his eyes away from his mother’s face
This is mirrored in a similar example in DH when Harry is reunited with his dead
parents, amongst others: his mother’s eyes make a similarly intense contact with his
face which is described as a hunger (see 4.2.2.2).
4.2.3.3 INTERPERSONAL TOUCHING: CONVEYING EMOTION
As I discussed in Section 4.2.2, characters often use their hands to touch parts of their
bodies to signal emotion, such as the common behaviour of touching one’s face in
surprise. Another way to signal emotion is through interpersonal contact and several
of the examples of female characters touching others involve the expression of some
sort of emotion, such as compassion.
In CN, 10.34% of the female uses of hand are to display emotion, the same
percentage is used to hide the face and exactly the same number are used to hold the
hands of other characters as a form of comfort (3/29). For example, Lucy and Susan
hold each other’s hands in despair when they believe Aslan to be dead.
And down they both knelt in the wet grass and kissed his
cold face and stroked his beautiful fur — what was left
of it — and cried till they could cry no more. And then
they looked at each other and held each other’s hands for
mere loneliness 38
38
This example also reflects one of only two physical behaviours by female faces in CN which
involves Lucy rubbing her face in Aslan’s luxuriant mane when he is found alive and also on the coats
in the wardrobe in the eponymous book. This kind of sensual interaction with objects and another
character is paralleled in her sensing of the surfaces on which she walks, discussed below. No other
characters in CN have this kind of experience, with the closest similarity being perhaps Harry’s first
person sensations in HP.
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Similarly, the most frequent use of female arms is to hold another creature (6/13
46.15%), often used by Lucy, both to give comfort and to express affection:
and put her arms round him and lent him her handkerchief,
he did not stop.
He merely took the handkerchief and
kept on using it, wringing it out with both hands
whenever it got too wet to be any more use, so that
presently Lucy was standing in a damp patch.
And
and
and
his
the next thing she knew was that she was kissing him
putting her arms as far round his neck as she could
burying her face in the beautiful rich silkiness of
mane.
Female arms are described in the quotation below as providing safety and gentleness
as archetypal mother’s arms, even though they are in fact the front paws of a lion:
As he came down the huge velvety paws caught him as
gently as a mother’s arms and set him (right way up, too)
on the ground.
Arms can also be touched for reassurance when a character is fearful. In this case,
both characters are female:
‘What’s that?’ said Lucy, clutching Susan’s arm.
‘I — I feel afraid to turn round,’ said Susan; ‘something
awful is happening.’
Female arms in HP are also used regularly to be put around another character (11) but
not around boys’ shoulders in particular, although males put their arms around
females (see below). Females typically use their arms in a comforting fashion, for
example with other girls (3) and between Madam Hooch and the injured Neville (1).
In a similar protective action, Hermione is concerned for Harry’s welfare in PS when
he decides to continue the dangerous quest alone and she expresses this as follows.
"But Harry — what if You-Know-Who's with him?"
"Well — I was lucky once, wasn't I?" said Harry, pointing
at his scar. "I might get lucky again."
Hermione's lip trembled, and she suddenly dashed at Harry
and threw her arms around him.
"Hermione!"
"Harry — you're a great wizard, you know."
"I'm not as good as you," said Harry, very embarrassed,
as she let go of him.
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"Me!" said Hermione. "Books! And cleverness! There are
more important things — friendship and bravery and — oh
Harry — be careful!"
The manner in which she gushes over Harry’s talents and undermines the importance
of her role, which has been central to the success of the mission so far, is significant
in terms of her status as a female.
Harry is clearly not comfortable with her
expression of emotion and this is emphasised by his expressed relief later, after
having nearly died, that Hermione does not hug him as she appears to want to. Taken
together with his dislike of Hermione’s tendency to cry, this lends further support to
the trend of Harry avoiding displays of emotion, thus giving them a negative
expressive value.
This is problematic given the tendency for this to be a
predominantly female behaviour, thus building up a negative prosody.
Females in HP are also passively involved in a comforting gesture when they are
patted on the shoulder (3), which Hermione receives from Ron, Ollivander (the old
wand maker) and Dumbledore: all males. Female shoulders are similarly passive in
the action of someone else putting an arm around them (4): two of these are the
romantic examples discussed above involving Ron and Hermione, while the other two
are comforting, although it is not clear why Hermione should need comforting in the
following example when Harry has been to visit his parents’ grave for the first time.
It may be that he gives physical contact in order to receive it, as this is less facethreatening to someone who is scornful of emotional vulnerability as he is.
As soon as he stood up he wanted to leave: He did not
think he could stand another moment there. He put his arm
around Hermione’s shoulders, and she put hers around his
waist, and they turned in silence and walked away through
the snow
In HP there are only 2 instances of males with their arms around other males’
shoulders: when one of the Weasley brothers dies, two of his siblings stand each with
an arm around the other, clearly a comforting behaviour. The other is the romantic
Dumbledore example discussed in 4.2.3.2. This shows the placement of arms around
another’s shoulders to be largely gendered.
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Emotional support is offered once by Harry to Dumbledore, during Harry’s ‘near
death experience’ in DH. Dumbledore’s expression of emotion is seen as a loss of
control, which is remedied by Harry’s firm grasp of his arm, as though the strength of
his hold confers strength of purpose to Dumbledore:
Dumbledore gave a little gasp and began to cry in
earnest. Harry reached out and was glad to find that he
could touch him: He gripped his arm tightly and
Dumbledore gradually regained control.
In CN, male characters only show friendly affection through contact to animals, both
examples involving King Tirian and Jewel, the talking unicorn:
He put his left arm round the beast’s neck and bent and
kissed its nose and both had great joy.
Tirian and Jewel walked sadly together in the rear. The
King had his arm on the Unicorn’s shoulder and sometimes
the Unicorn nuzzled the King’s cheek with his soft nose.
4.2.3.4 INTERPERSONAL CONTACT: RESTRAINT AND PROTECTION
This category of interpersonal contact relates to the use of the body to affect the
physical state of another character. This is realised in several ways: characters may
assist each other, they may protect each other or they may restrain each other (from
hurting themselves, the whole group, or others).
In HP there are four uses in which a girl’s hand is held for her protection. In three of
the four, the protection is offered to, even imposed upon, Hermione by Harry, while
the final example is a mother and child. The exception in fact suggests something
about the relationship between the boy hero and his friend: that she is in need of his
protection like a child needs parental care, with additional corollaries of helplessness
and lack of physical capacity in the dangerous situations in which they both find
themselves, despite both being children. Note that in the second example, Ron does
need any such assistance or instruction.
And Hermione was struggling to her feet in the wreckage,
and three redheaded men were grouped on the ground where
the wall had blasted apart. Harry grabbed Hermione’s hand
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as they staggered and stumbled over stone and wood
“RUN!” Harry roared; the night was full of hideous yells
and blows as the giants wrestled, and he seized
Hermione’s hand and tore down the steps into the grounds,
Ron bringing up the rear.
It is clear from these examples that females need physical protection but most
prototypical males do not. There is one instance of a very elderly and ill male
needing physical help from another male, whose strength is indicated by the fact that
not only is he supporting an adult male, but he is also carrying a large piece of
luggage:
The wandmaker still looked exceptionally frail, and he
clung to Bill’s arm as the latter supported him, carrying
a large suitcase.
One of the most common ways in which male arms are touched in HP is
predominantly done by females, notably Hermione, who grasps (1), grips (1), clutches
(2), grabs (3) or seizes (3) Harry’s and other males’ arms 15 times (male arm: grasped
MI 9.66, rank 6; grabbed MI 9.02, rank 9; gripped MI 8.98, rank 10; seized MI 8.40
and clutched MI 8.23). Mostly, Hermione touches male arms for physical assistance
or emotional support, often seeking protection or comfort.
He stretched out an arm; Hermione hoisted herself up; Ron
climbed on behind them, and a second later the dragon
became aware that it was untethered.
At that moment, there was a creak overhead. Something had
moved upstairs.
Both of them looked up at the ceiling.
Hermione's grip on Harry's arm was so tight he was losing
feeling in his fingers.
Harry shook his head, pointing at Regulus’s sign. She
read it, then clutched Harry’s arm so tightly that he
winced.
Hermione jumped and clutched Harry’s arm.
In contrast, the most numerous subcategory for male arms in HP which are portrayed
as touching, or being touched by, others (53), is touching in order to restrain or be
restrained (22). This sort of contact is usually male to male, for example:
yelled Crabbe, throwing off Malfoy’s restraining arm.
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There are also three tokens reflecting the restraining use of hands, two of them
involving male characters preventing Hermione from unwittingly doing something
which will cause harm to them all. The final example occurs when Harry wants to
attack a character whom he believes is responsible for his parents’ deaths and Ron and
Hermione try, unsuccessfully, to stop him. This sort of restraining use of hands and
arms is also found in CN, where Peter prevents Lucy’s impetuous reaction by a touch:
Lucy turned crimson and I think she would have flown at
Trumpkin, if Peter had not laid his hand on her arm.
Arms in CN also have the function of restraining movement while simultaneously
catching the attention of the female character:
Very quietly the two girls groped their way among the
other sleepers and crept out of the tent. The moonlight
was bright and everything was quite still except for the
noise of the river chattering over the stones. Then Susan
suddenly caught Lucy’s arm and said, ‘Look!’
and there are instances in HP where Hermione tries to attract Harry’s attention by
pinching or grabbing his arm:
She tugged
attention.
at
his
arm,
but
Harry
was
not
paying
In contrast to Hermione’s pinching or pulling to get Harry’s attention, Harry hits
Ron’s arm to get his:
Harry hit Ron on the arm to stop him shouting
In two cases in HP, hands which restrain characters are shaken off in a rejection of
being controlled. For example, Lucius Malfoy shakes off a female hand which
attempted to restrain him. He is similarly rejected in the following example:
“Your authority!” she sneered, attempting to wrench her
hand from his grasp. “You lost your authority when you
lost your wand, Lucius! How dare you! Take your hands off
me!”
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When she is scared Hermione crouches with her arms over her head (see Section
4.2.4) and Ron shows that, like Harry, he is also fairly awkward with her displays of
emotion (see 4.2.2) in the following:
Hermione flung her arms around Ron's neck and broke down
completely.
Ron, looking quite terrified, patted her
very awkwardly on the top of the head. Finally, Hermione
drew away.
Hermione seeks protection again but while Ron doesn’t quite reject her, he is clearly
not comfortable with her physical display. This example suggests the importance of
protecting the head in times of danger: Hermione protects herself with her arms
(which is, as is discussed in 4.2.4.1, a fairly common use of arms for females) and
Ron attempts to comfort her by patting her head. This is paralleled by a similar action
when Ron pats Hermione on her shoulder in a comforting action (female shoulder:
patting MI 11.94, rank 1).
Both these actions are modified as in some way
problematic, first very awkwardly (above) and then clumsily (below), emphasising the
male characters’ discomfort at Hermione’s displays of emotion, and their difficulty in
knowing how to deal with them.
Harry looked around to see Hermione crouched on the floor
by the door with her arms over her head, and Ron, who was
shaking from head to foot, patting her clumsily on the
shoulder and saying, “It’s all rright… It’s g-gone…”
The difficulty with emotion seen here is linked to the rejection of comfort, a theme
which also relates to females in HP. Two types of contact by the female hand in HP,
equal in number, are the use of a hand in a consoling action and in a rejecting action.
In five of the six consoling actions, a female hand is used to touch another character
to express compassion and soothe their pain or fear. The specifics of who is receiving
the comfort are mixed: three female hands comfort male characters, two females
comfort females and one male is sarcastically (and cruelly) advised to hold his wife’s
hand to comfort her during interrogation and torture. The following examples reflect
the more common uses:
Ginny was kneeling beside the injured girl now, holding
her hand.
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“Harry -” said Hermione, stretching out a consoling hand,
but he shrugged it off and walked away, his eyes on the
fire Hermione had conjured.
This second example shows the combination of the consoling action by the female
hand and the rejection thereof by the beneficiary, in this case Harry. Twice the
rejection is by the female whose hand is mentioned; both times this is Petunia as a
jealous muggle child rejecting the comfort of her sister Lily. Once, Bellatrix’s help is
rejected by Voldemort, whom she idolises, and so she takes her hand back. This
pattern shows a connection between the use of the hand to comfort or help and the
rejection of the hand signifying the rejection of the offer, as though the hand is an
index of the person.
4.2.3.5 CONCLUSION
While touching for magical travel is not very common in either series, it is significant
that in both there seems to be some evidence of hierarchy influencing who touches
whom, and that in HP there is the beginning of a trend reported on in 4.2.3.4, namely
the protection of female characters.
The two main types of interpersonal touching for the purpose of greeting in both
series are formal contact, particularly the shaking of hands, and romantic contact. Of
the two, the formal shaking of hands is very common in HP between male characters.
In the final book from HP: DH, there is an element of romantic touching, reflective of
the maturation of the characters but also suggestive of more rigid gender roles in the
context of these relationships. In CN, this is evident to a lesser extent with two
characters. Males tend to use touch to greet in the form of shaking hands, as do the
HP males, or in the form of an embrace, mostly with animals. Lucy’s spontaneous,
even emotional, use of her hands to touch others contrasts with the males’ almost
exclusively formal behaviour. This relates to the following category of interpersonal
touching: that which conveys emotion.
The use of body parts to convey emotion through touching another character is
revealed to be a fairly common behaviour for females in both CN and HP, involving
the hands and arms actively, and the shoulders passively. The emotions expressed in
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the active uses are typically related to comfort and affection. The few male examples
usually concern a male touching a female in HP and a male touching an animal in CP.
In HP, Harry, in particular, dislikes emotional interpersonal touching, which links
with his general avoidance of the expression of emotion, a trend which is significant
given that much emotional display in the series is portrayed as a typically female
behaviour.
Arms and hands are the two most common body parts involved in the restraint and
protection of other characters. This is particularly common in HP, with male arms
and hands offering and being called upon, with a variety of grabbing verbs, to protect
usually female characters either physically or emotionally. Female hands in HP
instead offer consolation, rather than protection, although this is rejected in the same
way that male protection or restraint is resisted, by breaking the physical contact.
4.2.4 INTERACTION WITH THE WORLD: BATTLES & OTHER
DANGER
One of the most extreme ways in which the characters interact with the world
physically is in the context of warfare and danger. This is an opportunity for bodies
to behave as agents which act on the people and objects around them in a particularly
practical way, and to be revealed as vulnerable flesh and blood. This is also a theme
which is especially gendered.
In CN, male heads are frequently portrayed as physical objects. While the majority of
the uses of head involve such innocuous actions as nodding and scratching of the
head, of the 27 examples of the physical use of head, 8 involve actual or potential
injury to the head as a result of fighting; four link head injury to death.
But I had no time to marvel at this, for immediately I
was forced to fight for my head against one of our own
men.
He was on top of Peter already. Edmund bit his lips till
the blood came, as the sword flashed down on Peter. It
looked as if it would slash off his head. Thank heavens!
It had glanced down his right shoulder. The Dwarf-wrought
mail was sound and did not break.
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Peter swung to face Sapespian, slashed his legs from
under him and, with the back-cut of the same stroke,
walloped off his head. Edmund was now at his side crying,
‘Narnia, Narnia! The Lion!’ The whole Telmarine army was
rushing towards them.
Despite the variation in realisation, the collocation tables reveal the involvement of
male heads in warfare with the following battle-related terms in close proximity: male
head: hilt MI 9.77, rank 1; male head: sword, MI 6.56. The word off also features in a
relatively high position, due to its use in phrasal verbs like slash off and wallop off
(male head: off MI 6.83, rank 7).
Female heads in CN are also portrayed as physical objects, but are never presented as
vulnerable to injury. Instead one use for them is as the resting place of a crown, both
cases referring to the White Witch.
in her right hand and wore a golden crown on her head.
with her wand in her hand and a crown on her head.
and one female receives a healing lick from Aslan’s tongue:
Aslan stooped his golden head and licked her head.
Thus the theme of injury shows a strongly gendered difference between male and
female heads in Narnia in that males are vulnerable to having their heads injured or
removed but females are not.
Like heads, male faces in CN are very involved in the story as physical entities
(31/61; 5.82%) and are also vulnerable to injury:
‘As for you,’ said the Witch, giving Edmund a stunning
blow on the face as she re-mounted the sledge, ‘let that
teach you to ask favour for spies and traitors. Drive
on!’
The use of neck continues this pattern, as nearly all the male necks (4/5) are
mentioned in terms of their vulnerability in fighting, such as having daggers and
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knives pressed against them (male neck: dagger MI 12.98, rank 1), while the sole
female neck is only constrained by a tight collar.
More than a quarter of male hands (12/40, the largest contingent at 30%) are also
connected to war and fighting in that they are used to brandish swords or are tied up,
along with feet, to prevent the use of force (male hand: sword MI 7.91, rank 9; male
hand: bound MI 9.11, rank 8; male hands: swords MI 9.56, rank 1; male hand: tied
MI 9.27, rank 2; male foot: bound MI 11.49, rank 1):
the Kings wore fine mail as well and had their swords
drawn in their hands.
Several examples involve the hand being placed on the hilt of the sword (male hand:
hilt MI 10.7, rank 4). The following example makes clear the link between this action
and implied aggression:
‘A lie!’ said the King fiercely. ‘What creature in Narnia
or all the world would dare to lie on such a matter?’
And, without knowing it, he laid his hand on his sword
hilt.
Although female characters are involved in the battles in the books (Jill and Susan are
both archers, for instance), they are not described as physically handling their
weapons to the same extent as the male characters are with their swords, nor are the
same presumptions made with regard to their potential for violence in that they are not
tied hand and foot when captured. In contrast, female hands in Narnia have a largely
emotional and interpersonal role (31%).
Male arms are used much more frequently in fighting (11/20) in CN than they are in
interpersonal contexts: either to wield weapons, or as injured body parts (male arm:
shield MI 10.17, rank 1). In this respect, male arms are very much like male hands.
He fitted the shield on his arm and slung the sword by his side.
wearily fitting his arm into his shield strap and putting his helmet
‘The High King has pricked him in the arm pit,’ said Caspian, still
his shield properly. He must be hurt in the left arm.’
his chest heaving. ‘Is your left arm wounded?’ asked Edmund.
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As with hands, the use of arms to wield weapons is recognised when male characters’
arms are bound to prevent escape or attack:
THE King was so dizzy from being knocked down that he
hardly knew what was happening until the Calormenes
untied his wrists and put his arms straight down by his
sides and set him with his back against an ash tree. Then
they bound ropes round his ankles and his knees and his
waist and his chest and left him there.
The most frequent male use of the shoulder is as a resting place for weapons (3/20),
something which female characters don’t use their shoulders for at all. The only
comparable example is when Lucy hangs her little bottle of magical healing liquid
over her shoulder, which forms an interesting counterpoint to the males’ placement of
weapons in the same place. A male example similar to this is when the child Caspian
is given a satchel of food and other provisions when he has to leave his home but it is
significant that he is regarded as a child at this point, whereas Lucy is an adult when
she carries her bottle of healing liquid.
In HP, once again the most frequent thematically coherent pattern in the collection of
male heads revolves around injury, both potential and actual, with 37 examples out of
the total of 307 tokens (male head: smacked MI 10.44, rank 1). Male characters have
spells, curses and physical objects narrowly miss their heads, or often actually connect
with their heads, and their heads are objects which others attack: Ron guards his head
against even Hermione who is pummelling him in one case. In the course of their
injuries, male characters lose copious amounts of blood, George Weasley loses an ear,
and several males are hit on the head with a variety of objects including a saucepan, a
giant stone chess piece, some tubers and three Quidditch Bludgers, which are rather
like iron hockey balls. They also hit their own heads against walls, ceilings and
doorframes, and the disliked Professor Snape is magically transported unconscious
without much attention being paid to the fact that his head hits the ceiling repeatedly
in transit. However girls’ heads are never mentioned as being in danger in this way,
despite their being involved in the same battles and in the same dangerous places as
the boys and men who are vulnerable to such injuries. There is not a single bump,
scrape or narrowly missed spell mentioned with regard to female heads.
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The correlation of head and various prepositions is almost as numerous amongst HP
males (64 or 20.84%) as it is amongst females (see 4.2.2.1), but the uses are less
patterned, although some support the emerging theme of injury. Amongst the things
that make actual contact with the male head are items of apparel: the Invisibility
Cloak (4), sweaters (3), the Sorting Hat (3) and the golden chain (2). There are also
several instances where the contact is hostile, such as when mud is thrown at
Malfoy’s head, Harry’s knuckles are directed at Sirius’s head and a club is thrown at a
Quidditch player’s head. These are in addition to the injury examples above. A final
instance of contact is made by Crookshanks, a large ginger cat, who jumps onto Ron’s
head and this is mentioned twice.
In addition to this, there is a particular head pain experienced by Harry as a result of a
psychic connection between him and Voldemort (male head: pounding MI 6.85; male
head: pain MI 6.35). This accounts for a further 17 instances of head ailments, 11 of
which occur in DH in which the final showdown between the two occurs.
Physical contact with male faces is relatively common (63: 14.58%) involving
various surfaces, substances and objects and much of this contact is unpleasant and
causes pain (male face: bruised MI 10, rank 3; male face: pained MI 9.42, rank 5).
There are 12 instances of the face being in contact with the earth or a floor, when the
character finds himself face-down on a surface. A further four involve a wand being
pointed aggressively in the face of the character, while another 3 are spells. A
Quaffle, a large hard ball used in Quidditch, makes contact with a male face once, as
does a sword; there are 2 instances of a ring being thrust into someone’s face angrily
and one of Bellatrix using her hand to strike Ron’s face. Mud, blood and sweat are on
male faces once, twice and ten times respectively. Of all the tokens for contact with
the male face, only four refer to a soft or gentle touch, of which the following is the
most extreme example, with Hermione taking care of Harry:
There were purple shadows under her brown eyes and he
noticed a small sponge in her hand: She had been wiping
his face.
In HP the female face is also involved in physical contact. There are 8 examples of
this kind (8.24%), with the hardest item being a door, shut in the person’s face,
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presumably not actually making contact with the face itself. The other forceful
contact is in a torture scenario, where a slimy scabbed hand grasped her chin and
forced her face back. The remainder of the items range from an innocuous napkin,
patted on the face by its owner, to an instance where a bad character spits in a good
female character’s face. There are also two instances of hair being in a female
character’s face. Probably the most negative thing ever to approach a female’s face in
HP is goat dung; nonetheless there is a sharp contrast between the kinds of things that
make contact with female faces and those that touch the males’.
References to injured arms account for 22 of the male arms in HP (12.71%). These
are dominated by Malfoy, who plays up a small injury for all it is worth, and Ron,
who suffers a fairly severe injury to his arm when travelling by magic. Other male
characters experience injuries to their arms as well, but no females do.
Contact between males’ arms can also occasionally be aggressive:
Harry threw himself forward, took both hands
broom. He knocked Malfoy's arm out of the way
off
his
Male fingers are also slightly more likely to be injured or to be vulnerable to injury
than are female fingers. There are 20 references to male fingers which are hurt in
some way (18.51%), and only four to female digits (16%). Moreover, three of the
four of the female tokens refer to the same injury: Luna’s gnome bite, which she
sucks to heal. The other is Hermione’s blisters. Male fingers, however, suffer bites
or attempted bites by various livestock including rats, an owl and a dragon, cuts from
a mirror and a cup, burning, freezing, the loss of two fingernails, attempts to break the
fingers and amputation. Thus although the quantitative difference is not particularly
significant, the nature of the injuries is markedly more serious for males.
The examples in this section indicate that in both series male fingers, hands, arms and
shoulders are often instrumentally linked to battle and, together with the neck, head
and face, are related to danger in general and as such are particularly vulnerable to
dangerous contact, being linked, in some cases, to death.
While females do
experience some physical damage, it is less common and of a far lower order of
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magnitude. Their injuries are trivial in comparison with the males.
Sometimes they
are protected in that they are confined to a less dangerous context (in CN two of the
girls are archers, who are typically less involved in the heat of the battle than
swordsmen, for instance, and one is a healer) but even when they are involved in the
fighting, females do not experience much injury.
4.2.4.1 RESPONSES TO DANGER (AND BEHAVIOUR IN DANGEROUS SITUATIONS):
Both series involve a number of skirmishes with enemies throughout and have a
major battle in the final book, which ultimately results in the triumph of good over
evil. There are therefore quite a number of dangerous situations in both the series and
especially in CN: LB and HP: DH. As I have demonstrated in 4.2.4, male body parts
are particularly likely to be injured. Related to this is the characters’ responses to
danger: if they attempt to protect themselves and their bodies and, if so, how. Each
series has its own way of accomplishing this protection.
In CN, the female hand is used to hide the face, the second most common use of the
hand for females (female hand: female face MI 9.62, rank 3) (3/29). The example
below occurs when Lucy and Susan are scared of the White Witch:
While the two girls still crouched in the bushes with
their hands over their faces, they heard the voice of the
Witch calling out
The potential link between cowardliness and hiding one’s face is explicitly made in
the following example. Even though, on the surface of it, it appears to be denying the
link in this case, it nonetheless establishes that it is reasonable to conclude that this
gesture indicates fear:
And Jill (who was no coward, as you know) hid her face in
her hands to shut out the sight of it.
No male characters use their hands in this way and, not surprisingly, this is never
predicated of the White Witch who has been constructed as powerful and self-assured,
but only of the girls while in the less powerful stages of their lives in Narnia.
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A similar pattern is involved in HP, although instead of covering their faces with their
hands, characters cover their heads with their arms. For males, this occurs six times
(male head: male arms MI 7.16), and most times this is defensive (5).
bellowed, and he flung his arms over his head, hardly knowing whether
He had sunk to his knees, his head in his arms. He was shaking
unable to see as debris rained upon him, his arms over his head. He
Hermione is the only female to do this and in the following example her reaction to
the situation is more extreme than the other two (male) characters involved:
the figure exploded in a great cloud of dust: Coughing,
his eyes watering, Harry looked around to see Hermione
crouched on the floor by the door with her arms over her
head, and Ron, who was shaking from head to foot, patting
her clumsily on the shoulder and saying, “It’s all rright… It’s g-gone…”
Her response is reminiscent of the female closing of the eyes to remove the self from
difficult circumstances, discussed in Section 4.2.2.2, emphasising the eyes as the point
of access to the person. While all the characters were affected by the situation,
Hermione’s response then and now is to try and avoid perceiving it, which literally
immobilises her and renders her incapable of responding to it in any useful way. In
another example, Hermione is unable to move or to contribute to their rescue, again
because of her emotional response to danger:
"Come on, run, run!" Harry yelled at Hermione, trying to
pull her toward the door, but she couldn't move, she was
still flat against the wall, her mouth open with terror.
Another female response to situations of anger, fear or uncertainty in HP involves
Hermione (5) or Lily (2) wrapping their arms around themselves, of which there are
seven examples.
“A gang of what?” asked Harry, as Hermione threw herself
down into a chair with her arms and legs crossed so
tightly it seemed unlikely that she would unravel them
for several years.
As the extract above emphasises, this posture renders the females’ arms unavailable
for other uses. There are also two examples where female characters use their arms to
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shield others from danger. In contrast to these generally passive responses to danger,
male responses are often quite active, involving an individual in fact moving so as to
face the danger directly. In CN, male feet appear twice as often as female ones (20
versus 10), and more than a third are about getting to one’s feet, a use which is not
found in the examples of female characters’ feet. Being on your feet, being able to
stand on your feet, seems to be significant for males, a symbol of aggression,
autonomy, assertion, for example:
‘What, Lady? Felling Lantern Waste? Murdering the talking
trees?’ cried the King, leaping to his feet and drawing
his sword. ‘How dare they? And who dares it? Now by the
Mane of Aslan —’
Conversely, being forcibly knocked off one’s feet renders a character unable to fight:
But before
struck him
third, from
as he fell,
he could say another word two Calormenes
in the mouth with all their force, and a
behind, kicked his feet from under him. And
the Ape squealed in rage and terror:
‘Great Heaven!’ exclaimed Miraz, jumping to his feet.
‘Are you also bewitched today? Do you think I am looking
for grounds to refuse it? You might as well call me
coward to my face.’
Being on one’s feet enables one to fight, something which the female characters do
not do very often, but which is a major theme amongst male characters’ use of their
bodies. The war or fighting theme is further amplified with examples of men using
their feet in sword fighting, having their feet kicked out from under them, or being
considered good on their feet in sword fighting. Nothing comparable is evident in the
data for the female characters in CN, who, for the most part, use their feet to discern
the surface on which they are walking, notably grass or snow or floorboards.
Males in HP also regularly lose their footing by, for example, being blasted off their
feet, thrown off their feet, lifted off their feet (due to an explosion) or knocked clean
off their feet, whereas the only two times anything comparable happens to female feet
is in the following two rather different instances. In the first, Hermione is unsteady
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because of her own frailty, not because of an external force which is being exerted
upon her by a hostile other:
Hermione was wrapped in a borrowed dressing gown, pale
and unsteady on her feet; Ron put an arm around her when
she reached him.
Again, girls’ bodies are revealed as being less exposed to physical danger than boys’,
but also more vulnerable in their inability to serve their owners, like the shaking
hands in 4.2.2.4. In both these examples, girls’ ability to remain on their feet is linked
to strong emotion. In the first example it is the aftermath of fear, and grief, in the
second, it is love, literally, that causes Hermione’s feet to no longer have contact with
the ground:
Ron threw away the fangs and broomstick he was holding
and responded with such enthusiasm that he lifted
Hermione off her feet.
In CN, girls’ legs are not often mentioned with reference to danger but, in an example
involving Susan, her leg is connected with vulnerability and frailty: the wolf is an
external danger, but it is again her own flaw, the supposedly female propensity to
faint, which makes her, and her leg, vulnerable to that danger.
Then he realized that it was a wolf — a wolf standing on
its hind legs, with its front paws against the treetrunk, snapping and snarling. All the hair on its back
stood up on end. Susan had not been able to get higher
than the second big branch. One of her legs hung down so
that her foot was only an inch or two above the snapping
teeth. Peter wondered why she did not get higher or at
least take a better grip; then he realized that she was
just going to faint and that if she fainted she would
fall off.
In HP, feet also feature in a construction specifically referencing fear.
An adult
female who is being questioned is said to be trembling from head to foot. There are
also, perhaps surprisingly, two examples amongst the males. One is Ron, after they
have encountered a phantom Dumbledore. The other character, however, is Neville,
who responded in this way to the far less serious context of getting into trouble at
school. This was of course before his conversion to “a real man”, with his response to
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a threatening situation, his vocalisation and his footwear underlining his physical
similarity in the earlier books with the female characters.
There was utter silence, broken by the smallest of
terrified squeaks. Neville Longbottom, trembling from
head to fluffy slippered toes, raised his hand slowly
into the air.
Also in HP, male shoulders are often mentioned in dangerous situations, but not in the
sense of resting places for weapons as they are in CN. Unlike the females’ neutral
meanings in which the shoulder is merely a “geographical location”, rather than a
body part that is actively involved in the action, such as shouting over or looking over
one’s own shoulder (5) and looking over someone else’s shoulder (4), most of the
male uses are looking over one’s own shoulder (21 out of 25) and have a furtive or
apprehensive meaning to them, as in the following example:
Was the Grim going to haunt him until he actually died?
Was he going to spend the rest of his life looking over
his shoulder for the beast?
Given the experience of the other body parts discussed above, constant vigilance
through looking over one’s shoulder is perhaps advisable for male characters.
4.2.4.2 CONCLUSION
Both series display similar constructions reflecting defensive gestures in dangerous
contexts and the trends are clearly gendered. In CN, females use their hands to hide
their faces, as if to avoid seeing the danger, which parallels the closing of eyes in HP
(4.2.2.2). However in HP it is the males, chiefly, who cover their heads with their
arms to protect themselves from falling debris and other danger. They reveal their
awareness of danger by looking over their shoulders regularly. Females use their
arms more often to wrap around themselves (and others) in such a way as to be
practically ineffectual, mirroring the shaking hands discussed above.
Similarly,
emotionally stricken girls in HP need help walking or getting up, not due to an
external danger so much as their own weakness, a feature found amongst CN girls
too. However, the ability to leap to one’s feet and remain on them is given high
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priority by the males in both HP and CN and a popular offensive against one’s enemy
is to knock his feet from under him in one way or another, thus preventing him from
fighting. The pattern set up is striking: females, largely because of their emotional
disposition, are of no physical use in a crisis and must be rescued; they may even need
physical help to stand up and generally their response is passive and defensive, while
males strive to be lithe and agile and ready to fight, wielding weapons and attacking
the enemy.
4.2.5 INTERACTION WITH THE WORLD: AGENCY
The characters in the two series use their bodies to act on the world, both animate and
inanimate, in three main ways. Firstly, characters change the position of their bodies
relative to the context in a variety of ways: standing up, running, jumping and so on.
Secondly, body parts are used communicatively, both submissively, in order to make
requests of some kind, and from a position of power, to direct the behaviour of others.
The final category involves arms and hands, in particular, which are often used to
carry things, and other body parts in a variety of instrumental uses to accomplish the
characters’ goals in the plot.
4.2.5.1 ALTERING THE POSITION OF THE BODY
With both male and female characters in HP there is a strong tendency towards the
construction X got / struggled / was helped to his / her feet, in contrast to CN where
this only applies to male characters. The males in HP display this use 63 times, in
other words just under half of the examples, while the females use it even more,
proportionally, with 17 out of 31 tokens, i.e. nearly 55%. Female characters are four
times more likely to require assistance in standing up than male characters with four
instances for both males and females, representing only 6.35% of the male examples
as opposed to 23.53% of the female ones. In a parallel example, Hermione, despite
using her hands to climb onto the back of a large bird-like creature, needs further
assistance from Harry. What is significant is that at this stage both are still physically
children, and of roughly the same stature, but in this and similar examples, Hermione
needs help from one or more of the boys, but they are able to climb by themselves.
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Thus even when female body parts are being used for a physical task, they are
incapable of accomplishing it, and need male assistance.
Hermione put her hands on Buckbeak's back and Harry gave
her a leg up. Then he placed his foot on one of the lower
branches of the bush and climbed up in front of her. He
pulled Buckbeak's rope back over his neck and tied it to
the other side of his collar like reins.
One of the male examples which appears to be referring to assistance in standing up is
actually an instance of Harry, as a prisoner, being manhandled by his captor:
He stumbled and was dragged onto his feet by Greyback;
now he was staggering along sideways, tied back-to-back
to the four other prisoners.
The choice of the verb dragged in this example reveals the nature of the contact
between Greyback and his captive. In the other three, more helpful, instances, the
verbs used are pulled (2) and helped. In contrast, the female examples are all about
genuine help and in each case the helper is either Harry or Ron while three times out
of four the person getting up is Hermione. Here the verbs are identical: pulled (2),
help and drag:
“That… that was…” Hermione whimpered, as Ron helped her
to her feet.
Harry dragged her to her feet and they raced along the
corridor, trailing the Invisibility Cloak behind them,
into
the
deserted
classroom
where
Professors
McGonagall, Flitwick, and Sprout were standing at a
smashed window.
In terms of the verbs used to express this action when it is independent, there are few
differences between males and females. The most frequent is the bald got (or get) for
females (5) and for males (23). Beyond this, both groups use leapt (F:3; M:6);
jumped (F:2; M:8) and sprang (F:1; M:2), all movements typical of the light and lithe
bodies of children.
The more physical nature of the males, generally, are reflected in the collocations for
females’ and males’ feet, with many more high scoring verbs of movement evident for
the male characters:
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HP Female feet
HP Male feet
Rank
Word
MI
Rank
Word
MI
1
sprang
10.24033
1
scrambling
10.84987
2
leapt
9.60290
2
leaping
9.41691
3
staggered
8.92387
4
scrambled
8.92387
5
sprang
8.77948
6
clambered
8.77948
7
jumped
8.75395
10
lifted
8.21761
11
struggled
8.12741
12
leapt
7.97213
6
getting
7.86446
Table 6: Collocating verbs of motion with female and male feet in HP
In addition to not appearing amongst the high MI scores for female feet, scramble,
clamber and stagger were not predicated of the girls and women at all, even though
they are all fairly frequent amongst the males (6, 3 and 3 respectively). The first two
of these three suggest particularly physical, climbing movements, which may explain
why they are not attributed to female characters. Only staggered and struggled reflect
any difficulty in movement, while the rest of the collocates are vigorous in nature.
Similarly, while female legs show no collocating verbs of motion at all, male legs
collocate most strongly with sprang (MI 10.28, rank 1). The males’ verbs are also
occasionally modified (laboriously, heavily, suddenly and quickly, as well as slowly –
twice), while the females’ are not. The single verb attributed to a female but never to
a male is rose, which is said of Professor McGonagall and is particularly appropriate
to a character of her dignity.
In CN, there are too few tokens for female leg (10) to generate many useful
collocates, however the descriptions of the girls’ legs suggest a pattern:
scrambled after him and came out, rather shaky legged and breathless
patch of daylight as quickly as her legs would carry her. And
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was running towards him as fast as her short legs would carry her
big branch. One of her legs hung down so that her foot was only an
were mostly dumpy, prim little girls with fat legs. Gwendolen
In the first three lines, movement is hindered by the intrinsic features of the girls’
legs, expressed in the patronising phrase as fast/quickly as her (short) legs would
carry her. Similarly, Susan’s leg which she is unable to raise higher in the tree (see
4.2.4.1) is problematic.
In the last example, the girls’ legs are described as
unattractive according to the dominant ideology and in the context of the other
features attributed to them.
Thus girls’ legs are frequently described in terms of a
deficit – which standards they do not meet and what they cannot do – instead of as
useful body parts. The boys’ legs, in contrast, are described as being raised, as being
moved and as being used to hop, although they are also presented as vulnerable to
“capture” in that foes could render one helpless by constraining leg movement. This
implies that functioning legs would assist the male character in protecting himself and
accomplishing goals. In other words, boys’ legs are an asset which can be rendered
ineffectual by an external force, rather than being ineffectual by definition by
belonging to girls.
4.2.5.2 COMMUNICATION USING THE BODY
Communication using body parts typically involves the hands in both series. Putting
one’s hand up as a bid to answer a question in class is a frequent female use of hand
in HP with 12 uses in all. Most of these involve Hermione, and help to establish her
as clever and well-informed. However this is sometimes portrayed as a negative trait,
especially in PS, the first book, despite her knowledge being essential to the success
of the children’s missions in most cases. Her humiliation and disappointment, often
at the hands of Professor Snape, is evident when she puts her hand down again:
know-it-all.” Hermione went very red, put down her hand,
and stared at the floor with her eyes full of tears
said Professor Lupin, and Hermione put her hand down,
looking a little disappointed. “It's always
clearly isn't everything." He ignored Hermione's hand.
"Let's try again. Potter, where would you look
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Snape was still ignoring Hermione's quivering hand. "What
is the difference, Potter, between monkshood
The only male character to do this is Neville, who does it twice, and it is part of his
characterisation as an unusually unmasculine male. Not surprisingly, there are no
examples of Neville raising his hand to request permission to speak in the final book.
The raised hand as a turn-taking bid signifies a subordinate position in that the bidder
must request permission to speak from the superordinate, and thus it is a submissive
action, inappropriate for one who has found his more powerful masculine status.
Quite a different use, although a similar action, is the exclusively male behaviour in
HP of raising one or both hands for silence or attention (9). Typically powerful
characters do this most, like Dumbledore and Voldemort, but both Harry and Ron do
it too. None of the female characters do. The contrast in terms of speech act between
these two strongly gendered uses of hands is particularly significant. While female
hands are raised as a request, the action of a subordinate in the interaction, the male
hands are those of a person with power, and the gesture constitutes, instead, an order.
The female bid may be refused at the discretion of a more powerful person, and
frequently is in Hermione’s case, but the male signal for silence is never ignored or
disobeyed, even if it has to be underlined with words in the case of one use by Harry.
Male characters in HP also use their hands to get the attention of one or more people
by clapping:
“Well!” said Lupin, clapping his hands together and looking around
“Right then, Neville,” said Stan, clapping his hands, where abouts
Related to this is the powerful White Witch clapping her hands for obedience from
her minions in CN (2/29):
But the Queen, who was no longer attending to him,
clapped her hands. Instantly the same dwarf whom Edmund
had seen with her before appeared.
The female use in HP of clicking the fingers for attention (3) is similar: twice Aunt
Muriel is asking for champagne, once Hermione wants Harry to pass her a locket. A
further three times fingers are used to request silence: twice by Hermione placing her
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finger on her lips in times of danger, once by Narcissa Malfoy secretly squeezing her
husband’s wrist when she fears he may endanger them by speaking. The remaining
tokens involve Professor McGonagall shaking her finger at naughty pupils and Luna
asking her father to look at her cut finger. Together these constitute the main use of
female finger in HP, directing another character (8/25), and the majority of these is
symbolic in that the fingers themselves do not steer the behaviour of others, but
perform gestures which do (7/8).
The variety of ways in which the symbolic
communication is encoded means that none of the related terms show significant MI
scores.
In the following example from CN, the intention is admonishment but the function of
the gesture is nonetheless communicative.
‘Stop that noise,’ said his uncle, taking Caspian by the
shoulders and giving him a shake. ‘Stop it.
Male characters in HP, however, only use their fingers to direct others a total of four
times out of 108 tokens, and only two are symbolic uses, both of which involve
simple pointing accompanying speech.
Apart from directing the behaviour of others, female fingers in HP also frequently
accomplish things themselves (6/25, 24%), such as Death Eaters pressing their tattoolike marks to summon Voldemort (3), Luna closing the dead house-elf’s eyes and
Hermione removing Ron’s sleeve so as to see to his wound. The communicative
dimension evident in all of the directive examples discussed above and in the Death
Eater ones just mentioned, together with a further two instances of female characters
using their fingers to communicate combine to form a strong tendency towards the
involvement of female fingers in accomplishing communicative goals (13/24).
4.2.5.3 ACTING ON OBJECTS IN THE WORLD
Male fingers in HP are much more likely to be used to accomplish things than female
fingers (50/108, 46%), and in a much less communicative way, with seven examples
of doing magic using the fingers and five of turning objects over in the fingers so as to
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examine them, things female characters never do. There are also five instances of
Harry handling the dangerous Horcruxes, using his fingers. In addition, there are
isolated examples of male fingers being used to open boxes and envelopes, to hold
paper and remove clothing, to operate a motorbike, strangle another character and
staunch the flow of blood from a fatal wound.
In both series a common use of hands as well as arms is to hold or carry things and
this agentive behaviour reveals gendered trends, as well as differences between the
series. In CN, the most common use for the female hand, despite representing only
one sixth of all uses, is to hold things (5/29). However, the agency of this physical
use of the hand is limited entirely to the White Witch, in LWW, who holds a knife,
her wand and a captive.
For it was part of her magic that she could make things
look like what they aren’t, and she had the presence of
mind to do so at the very moment when the knife was
knocked out of her hand. She had kept hold of her wand,
so it had been kept safe, too.
“… And she can turn people into stone and do all kinds of
horrible things. And she has made a magic so that it is
always winter in Narnia — always winter, but it never
gets to Christmas. And she drives about on a sledge,
drawn by reindeer, with her wand in her hand and a crown
on her head.”
None of the other female characters in CN use their hands or arms to hold things and,
apart from weapons, male characters also hold very few inanimate objects: a lamp, a
stick and a chess piece.
In HP holding represents the second most numerous use of female hands (23/104).
Included in the list of things that females hold in their hands are two instances of
drinking glasses, a letter (2) and a broomstick (2), books (2), a wand (2), a milk jug,
the back of Harry’s robes (to hold on to so as not to fall off), Quidditch teams
(figuratively), a sponge, two cups of tea (while trembling), another cup of tea, a
sword, a flower, a bulldog, a suitcase, a book bag and a cat. Female hands are also
held out to take a piece of paper and a locket. Apart from the locket and the letters,
none of these is central to the plot. None is particularly heavy either, except for the
suitcase which is carried by the overbearing and unfeminine Aunt Marge:
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not as bushy as his. In one hand she held an enormous suitcase
Holding things is the most frequent use of hands for male characters in HP: 144 out of
446 uses involve holding things, i.e. 32.29% of all hand tokens versus 22.12% for
female characters. However the nature of the things that male characters have in their
hands is markedly different from that which female characters hold. While a female’s
hand is specifically mentioned as holding a wand only twice, the same is true for 41
examples of male characters’ hands (1.92% of the female total as opposed to nearly
9.19% of the male). Similarly, males’ hands hold items central to the plots of the
books, such as Horcruxes and Hallows (11 and 3 times) while females’ hands seldom
get entrusted with this sort of thing, apart from the locket mentioned above. Probably
because of Harry’s skill as a Quidditch player, brooms and other game paraphernalia
are mentioned as being in male hands a total of 13 times, in contrast with 2 for
females (including the female Quidditch coach). It should be noted that there are
other good players who happen to be female, but their hands are not described as
being involved. Other objects which are important in the story line, like Harry’s letter
from Hogwarts and another written by his mother, as well as pets, predominantly
Scabbers, Ron’s rat who turns out to be a human traitor in disguise, are often held by
the males who own them (8 letters and 12 pets). In contrast, female characters seem
to hold onto peripheral things, items which are incidental to the plot, like milk jugs
and a flower, whereas male characters literally carry the plot forward. In addition, the
things more commonly associated with males tend to not only be more important, but
also more dangerous, such as the Horcruxes (11), swords (4) and handfuls of fire (3).
Arms are also most commonly used to carry things for female characters in HP with
11 uses, and books are the most popular (4), usually carried (and dropped) by
Hermione, followed by a cat (2), two babies (separately) (female arm: baby MI 10.48,
rank 2), a tray of tea, a laundry basket and some basilisk fangs. Apart from the books,
which emphasise Hermione’s role as the most academically oriented of the three, and
the fangs, the items held by female characters’ arms could hardly be more
domestically oriented. This is very different to the use of male arms for carrying in
HP. Male arms are used 19 times to carry things, ranging from books (3) to the
Invisibility Cloak (2), a lamp and various magical items. There are several examples
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where Harry is carried by other characters: as a baby by Dumbledore (1), and by
Hagrid when Voldemort thinks he is dead (3). No other male character is carried, nor
is any female.
While there are two mentions of Hermione carrying a book bag on her shoulder,
males carry a greater number and a greater variety of things on their shoulders, from
living things (16) to inanimate objects (9). A goblin, a giant snake and a human
disguised as a rat, as well as another boy, appear on males’ shoulders, while the
inanimate objects include a rucksack, a broomstick (2), a quiver of arrows and the
Invisibility Cloak (3), not to mention the hopes of the Wizarding World and
responsibility! As was discussed with reference to the items carried by characters in
their arms and hands above, these items are weightier, both physically and in terms of
plot, than Hermione’s book bag. The strength of male shoulders is also emphasised in
two examples of the following construction, where they are used as a human
barricade, and elsewhere when Harry uses his shoulder to break open a door.
He skidded to a halt and turned around. Crabbe and Goyle
were standing behind him, shoulder to shoulder, wands
pointing right at Harry.
Female shoulders in HP are never used as physical body parts or in an agentive
fashion, like these male examples. In CN, the shoulders of males are most frequently
used to carry weapons, with only a bottle of healing cordial hanging on Lucy’s
shoulder (see 4.2.4).
The White Witch’s arms, in contrast to the largely interpersonal ones of other CN
females, especially Lucy, are mostly instrumental: she bares her arms in order to
sharpen her knife, for instance, and holds out her arm to drop a magic liquid onto the
snow to make Turkish Delight for Edmund.
The suggestion that her hands are
practical extensions of her will is particularly evident in this metaphorical usage:
‘And now, who has won? Fool, did you think that by all
this you would save the human traitor? Now I will kill
you instead of him as our pact was and so the Deep Magic
will be appeased. But when you are dead what will prevent
me from killing him as well? And who will take him out of
my hand then? Understand that you have given me Narnia
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forever, you have lost your own life and you have not
saved his. In that knowledge, despair and die.’
4.2.5.4 CONCLUSION
Movement in both series is particularly connected to the legs and feet. In CN and HP,
males are presented as showing a much greater ability to be active physically than
females. The collocates for male feet in HP show an array of 10 physically robust
movements and the female feet only three, including the generic getting. While
nearly a quarter of females need assistance to stand up, only 6% of males do. A
similar pattern is evident in CN, with girls’ legs presented as impediments to their
goals, while boys’ are physically vigorous and help them in their quests. Female
characters are therefore generally presented as physically deficient in comparison with
males and their inability to cope with physical situations is seen as a liability in terms
of plot.
Communicative gestures involving the hands show a contrast between powerful and
powerless characters in HP, which correlate with gender to a large degree. The
submissive permission-seeking turn taking bid made by raising the hand is typically
performed by Hermione, and only one male, the bumbling Neville, while the more
powerful gesture of raising the hand for silence or attention is restricted entirely to
males. Lesser directive gestures are used by both male and female adults. In CN, the
Witch is the only character to use hand gestures powerfully, emphasising the
dimension power in the communicative use of hands. In HP, female fingers are
proportionally much more frequently involved in communication than male fingers.
Carrying things is a major theme in both series, using both the arms and the hands.
Both CN and HP show differences in terms of gender in this use, however. Although
there are many more objects moved by human intervention without the explicit
mention of hand or arm which I do not address here, in HP there is a clear trend for
male characters to hold or carry much more dangerous and important things (in terms
of the plot) while the objects in females’ arms and hands are generally from the
domestic sphere. In CN, the Witch is the only female to display this agentive role and
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the objects that she holds reflect her power. The males chiefly carry weapons which
are symbols of power. Thus powerful characters are also more agentive in terms of
carrying in this series, which explains why the female characters, other than the
Witch, do not use their bodies in this way.
4.2.6 CONCLUSION: BLOOD, SWEAT AND TEARS
In this section I review the main themes emerging from the analysis of the gendered
discourse prosodies evident in the data, in other words the uses of the body with
respect to its component parts. I present this summary organised not in terms of the
individual body parts, which would add no thematic structure to the discussion, but
structured according to the products of being a physical entity in a concrete world,
namely blood, sweat and tears.
These three elements, subsumed under the
overarching notion of identity, pervade the data and reflect most aptly the gendered
nature of the representation of the characters’ physicality in the two series studied. As
is evident in Table 7, blood and sweat are strongly gendered in both sets of books in
that they apply almost exclusively to males, while the word tears shows a strong
connection to female behaviour39.
CN female
CN male
HP female
HP male
Blood
1
9
1
32
Sweat
0
3
0
19
Tear(s)
7
3
40
31
Table 7: Blood, sweat and tears in both series: raw scores
I see these three bodily fluids, these essences, as representing the core uses of the
body found in the series and reflecting, in a particularly meaningful way, the
associations between males and violence and injury and physical capacity on one
39
I consider only the human examples for these three bodily products, in line with the other search
terms in this study. In addition, more abstract uses of the words, such as bloodline or Mudblood (used
to refer to non-magical people) have been excluded. Clearly physical tokens such as his own blood
pulsing through his veins are retained. The KWIC lines for these lemmas appear in Appendix 5.
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hand, and females and emotion on the other. The terms are especially appropriate in
that they link to a metaphorical use as well as the physical fluids that they represent in
the stories. In the rest of this section, I discuss the patterns evident in the data
presented in this chapter in terms of these three elements. I also show how they
cluster to portray gender identity in specific, and limiting, ways. In Chapter Five I
link these patterns in terms of discourse prosodies to social structures and meanings
and show how they operate ideologically with reference to the dominant system of
patriarchy.
4.2.6.1 BLOOD
Given the plots of the two series, both involving a protracted conflict between the
forces of good and evil and culminating in a final battle to decide the outcome, it is
not surprising that the main characters are frequently in contexts of danger,
particularly from members of the opposing side, and often need to defend themselves
as well as behaving proactively in furthering the cause of their side. While females
request and are given more assistance and protection in these contexts, males are
shown to be much more actively involved in warfare and battles and therefore more
likely to be injured or killed, hence the greater association of blood with boys and
men. As Table 7 reveals, all but one of the examples of human blood in each of HP
and CN are from male bodies, showing an extreme polarisation in the use of blood,
two thirds of them as a result of violence or injury in CN (6/9)40:
She has renounced the claim on your brother’s blood.’ And all over
him and he couldn’t wipe the little trickle of blood away although
from the fighting line. He was covered with blood, his mouth was
bole of the hauberk let the point through. First blood.’
and three quarters in HP (24/32).
who lay curled in the grass, blood blossoming over his robes. “I'm
to the floor, a trickle of blood oozing from under his hair. He had
was unconscious and whose face was covered in blood. Harry ran
fled Harry’s mind, for blood drenched the whole of Ron’s left side
40
I have included examples relating to the White Witch’s claim on Edmund’s blood, such as the first
example from the KWIC sort, because although it sounds somewhat metaphorical, her intention was
clearly to cause him to bleed.
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Female blood, on the other hand, is either self-induced or shed as a threat, rather than
an actual injury (CN, then HP):
saw the Witch bite her lips so that a drop of blood appeared on her
blade into Hermione’s throat: Harry saw beads of blood appear there.
Most prominent in the active involvement in fighting are the upper limbs and their
component parts: the shoulders, hands and fingers. In each case male characters are
more closely connected to these body parts, contributing significantly more than 50%
of the tokens in each case, and to these uses in particular, wielding more weapons and
suffering more injuries than their female companions. The only exception is the
White Witch in Narnia, whose role as the leader of the evil forces lends her unusual
agency and capacity for violence. Even so, the most violent uses of body parts in CN
do not involve her but male characters, including those from the ‘good’ side for whom
the carrying and holding of weapons is an especially frequent use of the body. The
following extract shows how very physically involved in battle the male children are
in CN:
he had just time to duck down and plunge his sword, as
hard as he could, between the brute’s forelegs into its
heart. Then came a horrible, confused moment like
something in a nightmare. He was tugging and pulling and
the Wolf seemed neither alive nor dead, and its bared
teeth knocked against his forehead, and everything was
blood and heat and hair.
Particularly vulnerable to the physical effects of that violence are the male characters
again: their arms and the face, neck and head, the last of which is overtly linked to the
potential for death. The typical response to danger by males is to get to one’s feet,
preferably with a weapon in one’s hand, an action which is described using a variety
of athletic verbs, and staying on one’s feet is positively valued. Females have more
trouble getting up and walking, more often requiring assistance, despite the fact that
female injuries occur seldom and are generally far less serious. In HP more often it is
emotional weakness which renders the characters incapable, while female legs in CN
are mostly portrayed as being deficient physically. The reasons for the decreased
vulnerability of females are not entirely clear, but may be as a result of the protection
they receive, as well as the fact that they are not usually presented as proactively
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involved in hand to hand combat, although there are exceptions.
These trends
combine to present females as unsuited to danger in general and battle in particular.
4.2.6.2 SWEAT
In order to further the plot, the characters must of necessity act on their surroundings.
Much of this is implicit, but where the body parts involved in that agency are
mentioned one can trace the physical contributions of the characters and their ability
to act on their world. I group these together under the notion of sweat, because of its
reference to physical exertion and agency and also because it reflects in its
distribution in Table 7 the way, once again, male characters are portrayed as central to
the stories and females rather more peripheral. Male sweat in HP (there is no female
sweat) is generated for a variety of reasons, including, predictably, effort and high
ambient temperatures, but it is also represented as resulting from physical ordeals and
fear. In CN all the uses are male once again, and all relate to fighting. This extract
follows on immediately from the one quoted above:
A moment later he found that the monster lay dead and he
had drawn his sword out of it and was straightening his
back and rubbing the sweat off his face and out of his
eyes. He felt tired all over.
The main way in which the characters use their bodies to act on the inanimate world,
apart from the male fondness for brandishing weapons, is to carry or hold objects in
their arms or hands and in this regard there is a clear trend, in HP in particular, for
males to be connected very often with things that are important and central to the plot,
sometimes even dangerous, while females tend to have objects typically associated
with feminine domesticity, although the brainy Hermione does carry several
collections of books. As she herself points out, books and cleverness, though, are
nothing to bravery. A character’s agency may be measured by that which they are
able to act upon in this way: by being allowed to carry only predominantly domestic
objects, the female characters are denied an active role in the plot, are in fact unable to
use the tools which make heroes of ordinary people, and are relegated to looking after
infants, cats, their families’ dirty laundry and cups of tea. In CN, the main characters
to hold things in their hands are the Witch, with her wand and knife, and males, who
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mostly carry weapons, indicating how this use of the body can relate to power and
control.
A character’s capacity to act on the world is also linked to the ability to move.
Running and walking, even standing up, are associated more with male characters and
are described as particularly vigorous actions for them, while, as I mentioned above,
female characters sometimes need assistance or are unable to perform physical tasks
apparently due to their inherent physical deficiency and emotional nature, both of
which make them a liability in terms of plot.
Directing the behaviour of others is a final way in which characters affect the fictional
world and in both series there is a link between this kind of communicative gesture
and power.
The least powerful examples most frequently involve Hermione
requesting permission to speak and, when she is ignored, it shows that her attempt to
act on the world, by directing the behaviour of the prospective giver of permission,
has failed. The exclusively male gesture of raising the hand for attention or silence is
never ignored, even when issued by children. An intermediate ability to act on the
world through gesture is found amongst more powerful female characters, typically
the Witch as well as some adult females, and less frequently by male characters, who
clap their hands or use their fingers to direct others to do their bidding. The hierarchy
in communicative action suggests that gender counts more than age in granting the
character the power to control the behaviour of others. Communication using the
fingers is also, in terms of sheer frequency, presented as a more female activity.
4.2.6.3 TEARS
Emotional expression is a common use for the body, especially the face, in both series
and is most strongly associated with female characters, as are tears themselves.
While male characters typically display hostile emotions more often than females who
are usually associated with happier and gentler emotions, boys and men tend to try to
control and conceal their own expression of emotion, especially sadness and fear, in
contrast to females whose emotions are generally displayed openly. In HP, Harry, in
particular, evaluates crying very negatively, both his own and others’, which carries
216
some evaluative weight given his central role in the series. However crying is a very
frequent activity for females in HP, particularly Hermione, who responds with tears to
fear, pain, sadness, concern and a range of other emotions. Two males in the series
who express vulnerable emotion more freely stand outside the usual confines of
hegemonic masculinity to some extent: Hagrid, the non-wizard who is presented as
somewhat simple in his soppiness, and Dumbledore, at the end a ‘Christ’ figure, who
sheds altruistic tears. In CN, the only female to show hostile emotions is the Witch,
while other females use their eyes to express their gentler feelings, unlike males who
seldom do. As well as being negatively evaluated in HP, emotions in females in both
series are shown to affect their ability to act on the world, adding to their lack of
physical capacity discussed in 4.2.6.2. While some males in HP also experience
shaking hands as a result of emotion, for instance, this never affects their physical
performance.
Another aspect to arise from the expression of emotion is the Western view of the
eyes as providing access to the inner thoughts of the person, as the ‘windows to the
soul’. In HP, particularly, characters refer to seeing the faces, and especially the eyes,
of other characters as a means of telling what they are feeling and in both series
female faces are often hidden in contexts of emotional distress, sometimes apparently
to prevent the vocalisation of emotion via the mouth, but also sometimes to prevent
reality from entering the mind via the eyes. Susan and Lucy tend to put their hands
over their faces, while HP characters prefer to cover their head with their arms,
although the former construction does occur as well. This emphasises the difference
in response to danger between males and females yet again, in that while males tend
to respond with action, as was discussed above, females are presented as responding
largely emotionally and, sometimes, attempting to withdraw from the situation
altogether by being unable to see it.
4.2.6.4 IDENTITY
Strong tendencies are revealed in section 4.2.1 for certain physical features to be
associated with less physical aspects of characters, especially in HP. The details of
hair, face and eyes are linked to family membership, gender, personality and even to
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allegiance to good or evil. Thus an expectation is established of being able to read the
inner essence of an individual from their physical appearance, a belief which child
readers may carry out into their own lives. Together with the patterns revealed above
- in terms of injury and battle, the ability to act on the world and the expression of
emotions - trends in terms of appearance combine to create representations of the
physical identities of the female and male characters in the series which reflect
significant differences in expectations and evaluations for males and females.
Females in both series are portrayed as more emotional than males and this propensity
for emotional responses to danger especially is seen as a liability in terms of the plot.
Hermione in particular cries, it seems, at every turn and her overt expression of her
feelings is a source of annoyance for Harry, and hampers her ability to perform
certain physical actions. Females in general are also depicted as less physically
vigorous than males and in need of more help with physical activities. Their lower
status in terms of power is reflected in the fact that they have less ability to direct the
behaviour of others, all other things being equal. They are also entrusted only with
objects which are relatively peripheral to the story and are frequently connected to
items of a domestic nature41.
The female tendency to withdraw from difficult
circumstances, as well as their physical inabilities, may be linked to their smaller
degree of direct involvement in fighting relative to males and consequently their low
rate of injury.
Males, as a counterpoint to females, present a very different picture physically. They
are much less emotionally open, more directly involved in warfare, much more
physically robust, despite suffering more injuries of a more serious nature, and are
connected with more dangerous objects, more important in the fictional world and
more appropriate to heroic destinies.
Two characters who display qualities in contrast to the rest of their sex are worthy of
further comment. Neville Longbottom, the uncoordinated, overweight buffoon of the
early HP books, represents the antithesis of what a boy should be like, according to
41
A prime example of this is when, while the three main characters in HP are about to go on a
dangerous quest, Hermione announces that she is waiting for Ron’s underwear to come out of the
wash.
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the general representation.
However he is transformed in the final book into
something much closer to dominant ideals of masculinity. His hair, clothes and
manner are no longer constrained by the social niceties of his grandmother and he
acquires manly gashes on his face. His behaviour is similarly transformed and he
reveals himself to his friends with a roar and a leap from the mantelpiece as the leader
of “the resistance” at the school.
The White Witch also runs counter to the
expectations for her sex: she is able to direct the behaviour of others and act on the
world; she is capable of the most hostile of emotions and displays no physical
weakness. She engages directly in violence and bloodshed, and indeed relishes the
prospect. What distinguishes her from the other females, and implicitly explains her
very different demeanour, is her cruelty and her active embrace of power and agency.
In conclusion, the data analysed in this chapter provide ample evidence for the
gendered representation of humans in both series, with the characterisation of females
being largely incongruent with leadership or heroic roles.
These trends will be
contextualised and explained in terms of their ideological impact in Chapter 5.
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CHAPTER FIVE: CONCLUSIONS
5.0
INTRODUCTION
In this final chapter I answer the research questions posed in Chapter One. I consider
how females are portrayed physically in HP and CN and what these patterns in
representation imply ideologically. This necessitates the critical analysis of the trends
in discourse prosody reported in Chapter Four in terms of the social context of the
series and prominent Western views of women and the body, so as to ascertain how
these series reiterate or contest dominant ideologies about gender and the nature of
embodiment.
I consider these findings in terms of female representation in the
context of the results for males, in order to identify any ideologically significant
similarities or differences. I also address the benefits and disadvantages of using two
sub-corpora as data sources, as well as merging two distinct research methods for the
purposes of this study. My own adjustments to the established methods warrant
comment as they imply limitations in the existing methods, at least insofar as they
apply to my study. Lastly, I offer avenues for future research suggested by this work
and its results.
In Section 3.2.4.4 I introduced the term ‘discourse prosody’ which I use to refer to
meanings generated collocationally but discoursally, as opposed to lexically. In other
words, an instance of discourse prosody is found when words combine to form a
recognisable unit of meaning which is related to other such instances, not necessarily
because the same words recur but because the words used encode the same meaning.
Thus the two examples are linked through common meaning, rather than common
lexicalisation. In terms of the processes of Corpus Linguistics, this means that the
usual computation of collocations will not always assist in finding these
commonalities of meaning, due to circumlocution, particularly in the analysis of
literature, but the KWIC sort is crucial in this process. Also central to the endeavour
is the interpretation brought to bear by the analyst, who supplies the intuitive
identification of similar meaning in different phraseologies, based of course on their
previous experience of language and the world, making this ultimately a subjective
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process. It is this reliance on previous experience of life and language which shows
the relevance of this concept to the critical analysis of texts with its emphasis on the
accumulation of Members’ Resources for use in meaning making. Discourse prosody
forms the crucial link, in my view, between the semantic and essentially lexically
based analysis of meaning traditionally found in corpus linguistics and the discoursal
analysis found in CDA. The aggregation of these meanings made feasible by Corpus
Linguistics allows the discovery of discourses, ways of writing about areas of life that
cue the reader to access certain MRs, and these discourses link to ideologies. In the
final section of Chapter Four I discussed clusters of discourse prosodies of
physicality, aggregates of meaning, that could also be termed discourses of the body,
which I characterised as blood, sweat and tears. Thus I identified patterns of meaning
on a discoursal level which suggest a discourse to do with the body as agent, another
referring to the use of the body to communicate emotion and another positioning the
body as a mortal thing, vulnerable to injury and death. I now relate these discourses
to the broad social context thereby revealing their support or contestation of existing
ideological constructs of gender and physical identity.
5.1 GENDERED DISCOURSES OF THE BODY IN THE
CONTEXT OF WESTERN CULTURE: AN
EXPLANATION
In this section I take the discourse prosodies found in the data from Chapter Four and
link them to the social context(s) in which they were written and are read. I show
how these texts invoke several traditional aspects of Members’ Resources and thereby
perpetuate certain ideologies which form the cornerstones of patriarchal ideas about
gender in Western society.
Despite shifts with regard to the overt portrayal of
women’s roles in society in children’s books (2.2.1.1), even during the course of the
half century between the two series, my investigation of the subliminal
representations of physical identity shows that women and girls are still portrayed as
physically passive and handicapped by their emotions.
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5.1.1 CHARACTERISATION AND PLOT
The picture even in terms of overt indicators of gender ideologies is not encouraging
however. In CN, as one might expect given that it was written before general social
awareness of gender issues, although after the attainment of female suffrage (see 1.4),
there is a plethora of males in powerful positions: the indisputable leader of the four
Pevensie children is Peter, who grows up to be High King; other rulers include King
Tirian and Prince Caspian, whose sex is indicated in their titles, and, of course, Aslan
the Lion, who is sovereign above all others, is also male. The only exception is the
White Witch, whose power and dominion over her subjects is very negatively valued.
Here the ultimate point of the series is the pitching of good against evil and what
personifies evil more than a woman who is unwomanly in her lust for power and
control? In the context of the positive value given to domestically and family oriented
women in Britain after the war, this independent and violent woman represents
everything that a woman should not be, according to the dominant view at the time.
However, in HP much the same pattern emerges: the majority of the powerful
positions are taken by males in each domain. In the muggle home that Harry comes
from, Uncle Vernon is clearly the head of the household and makes the family
decisions (although one could argue that he is presented as so unlikeable that his
norms are implicitly negatively valued); at Hogwarts school, while there are female
teachers, they are led by the male Headmaster Dumbledore and Percy is Head Boy; in
the wizarding world more broadly the Ministers for Magic are all male in this corpus
and so is the most powerful wizard of all, Voldemort. Harry Potter, of course, is the
hero, necessarily male.
Thus despite fifty years of social action and supposed
progress in the fight for equal gender rights, the power structures in the newer series
remain firmly masculine. Indeed the broad commercial success of the series suggests
that the way gender is represented here is congruent with dominant views of gender
shared by the mainstream audience, as it could be argued that a dissonant view might
have resulted in more of a ‘cult’ following. Clearly, too, being female does not
guarantee that one adopts a female stance in writing, as JK Rowling displays in HP a
distinctly male stance in an archetypally male story of the heroic quest. The male
stance, as the dominant way of seeing the world, has dictated that power is masculine
and the focal point of the series is the titanic clash between the two most powerful
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males in the fictional world, making physical dominance and superiority particularly
salient aspects of characters’ measures of success.
With reference to the work that characters do, a commonly researched aspect of
children’s books, the story in CN does not deal with everyday life and so characters in
Narnia do not have occupations as such. Nonetheless there is mention of a female
teacher and many male soldiers, following typical occupational lines for both men and
women in the first half of the 20th century in the UK.
In terms of the major
characters, Peter becomes a great warrior and leader, and Edmund a great swordsman
and wise counsellor, while in times of war Susan and Jill are archers and Lucy is a
healer. Susan and Lucy have no evident occupation apart from the unspecified role of
queen in peacetime. The White Witch, in contrast, is both a leader and a warrior and
seemingly takes an active role in ruling Narnia, making laws and ordering
construction. Having mostly male leaders and females without active occupations in
CN can be understood in the context of the era in which this series was written. In
post-war Britain the employment of women was problematic, if not actively
discouraged, due to a perceived need to provide jobs for returning (male) soldiers.
The valorisation of the domestic role for women functioned in part to facilitate the
movement of women from work in the war effort back to unpaid work at home.
While the English females in Narnia contribute to the battle against evil foes in times
of war, in suitably remote ways (archery and nursing), when peace reigns their roles
are largely ceremonial and decorative, as they await suitors to lead them to domestic
bliss. Thus a clear view of the role of women is created, especially as adults, that
their life of adventure and activity is over and marriage awaits. The White Witch is
entirely without family ties, coming from another world, but her apparent preference
for control and power rather than familial affection and her taste for agency to the
point of leading a battle make her unlike other women in almost every way. That her
behaviour is so negatively valued through its association with her role as the leader of
evil forces makes it very difficult to see how independence and agency could be seen
to be anything but bad in ordinary women. Thus a strong ideological opposition is set
up between the good and domestic woman and the bad and independent woman.
In HP, in the only two nuclear families described in any depth, both Mrs Weasley and
Aunt Petunia are housewives and are frequently described as being involved in
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domestic chores. Mrs Weasley, in particular, provides a strong positive maternal role
model with her constant cooking, gardening, knitting and giving of presents. Several
females are teachers at Hogwarts, as I mentioned above, and Professor McGonagall is
Head of house there. Rita Skeeter is a journalist, whose work is very negatively
evaluated, and several peripheral characters work at the Ministry for Magic. The only
one with any institutional status is Dolores Umbridge, briefly Senior Undersecretary
to the Minister for Magic, who is involved in the inquisition of witches and wizards
believed to be of impure blood. She is later banished to Azkaban, the wizard prison,
for her activities. The tendency for women to lack active occupations in HP is rather
more surprising, given that it was written half a century after CN, when the exclusion
of women from leadership and other public roles had been a focus of social reform for
several decades. Nonetheless, high profile occupations belong mostly to males and
those women who achieve some sort of power through their jobs, like Rita Skeeter
and Dolores Umbridge, are usually seen to succumb to its temptations and are
corrupted in that they no longer conform to dominant notions of feminine kindness
and personal sacrifice.
Thus their pursuit of greater power and independence,
paralleling that of the Witch in CN, although of a less extreme nature, is strongly
negatively valued, and as characters they are generally presented as disliked, if not
hated.
5.1.2 REPRESENTATIONS OF THE BODY AND THE MIND
In Section 2.1.4 I reviewed various understandings of the body in Western society,
ranging from the relatively recent conception of the discursive body, through the
biological body all the way back to the Cartesian dualism of the Enlightenment. To
present these views chronologically, however, is not to suggest that older views have
ceased to be held and this is borne out by the data in the corpora.
The body
represented in both series is firmly in the Cartesian mould, with elements of the
biological or Darwinian view which sees differences as representing a natural
hierarchy. This means that the body, according to Descartes, is separate from the
mind and is subject to chaotic impulses which may be controlled by reason. The data
in my study suggest a resolution of this implied conflict that is gender based. In short,
males are shown to be able to control their baser selves, their bodies and their
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emotions, while females are not. This reflects the evaluative weight applied to the
parts of the well-worn binaries male/female; mind/body; reason/emotion with the first
in each pair having a higher status than the second. In other words, the mind is
privileged over the body and reason is more highly valued than emotion, while males
have more status than females. Although females are shown to have functioning
minds in both series in some respects, these states are not unqualified, and while both
series acknowledge the possibility of females possessing intelligence, the evaluation
of this quality is sometimes negative. In this extract from PC in CN, the boys are
discussing the best route to follow:
‘I know,’ said Peter. ‘The one that joins the big river
at the Fords of Beruna, or Beruna’s Bridge, as the D.L.F.
calls it.’
‘That’s right. Cross it and strike uphill, and we’ll be
at the Stone Table (Aslan’s How, I mean) by eight or nine
o’clock. I hope King Caspian will give us a good
breakfast!’
‘I hope you’re right,’ said Susan. ‘I can’t remember all
that at all.’
‘That’s the worst of girls,’ said Edmund to Peter and the
Dwarf. ‘They never can carry a map in their heads.’
‘That’s because our heads have something inside them,’
said Lucy.
Despite Lucy’s rejoinder going unchallenged, and thus giving her the last word on the
supposed contents of girls’ and boys’ heads, the stated belief that girls are not good at
path-finding remains as a presupposition, confirmed by Susan. Although Lucy’s
suggestion for the direction to take proves to be the correct one, it is based on her
vision of Aslan, rather than visual-spatial skills.
Instinct and hunches based on
spiritual experiences are not seen to be part of the application of reason by the mind,
and are dismissed as irrational and unscientific. Here the classic privileging of reason
is evident, as well as its usual association with males, both premised on a Darwinian
assumption of ‘natural’ differences between males and females.
More subtly, in HP, Hermione’s intelligence and knowledge are undisputed but are
initially very negatively valued and she is characterised as an annoying swot. Despite
many comments about the usefulness of her knowledge to the various quests during
the course of the series, neither of the central boys ever tries to emulate her
application to her studies, indeed they actively vocalise a complete lack of
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comprehension of her reasons for working hard, and the negative evaluation given to
her academic success is never fully removed. Despite her intelligence and capacity
for reason, her femininity means it is not positively valued and she is never more than
an assistant in the quest. It appears that there is such a strong link between reason and
masculinity that intelligence in a female can never be wholeheartedly condoned and
its value accrued to her because it upsets the dominant equations: males are rational,
females are emotional. The fact that Hermione is also particularly emotional is
perhaps her undoing as a rational being, in that her negatively valued habit of crying
regularly and uncontrollably negates whatever positive value she obtained through her
knowledge and intelligence. This again underlines the Darwinian view of the body
that biology is destiny: individuals cannot alter their biological destiny because it is
their state as either male or female that determines their identity. For the majority of
the characters in the two series, this is true.
Theoretically, in terms of the Cartesian view of the relationship, the evaluation of the
body rests on the extent to which it may be controlled by the mind, by reason rather
than by emotion, and in this respect females do very badly. The data show repeatedly
that the female body is often portrayed as deficient in capacity and even derailed by
emotion, rendering it unreliable and incompetent for agency, while the male body is
not. Thus important physical tasks in the stories are often reserved for males. This is
especially clearly shown in the tendency for both CN and HP males to bear weapons
and fight more than the females, and in the propensity for HP males to deal with
objects more important in terms of the plot than those handled by females.
Using the concept of discourse prosody, the body part data were presented in Chapter
Four, grouped into aggregated collections of meaning which I characterised as
relating to the physical products blood, sweat and tears.
These reveal highly
stereotyped discourses in terms of physical behaviour for females and males. Two of
the strongest and most prevalent clusterings constitute the discourse of emotional
expression (‘tears’) and the discourse of physical agency (incorporating both ‘blood’
and ‘sweat’). I discuss each of these in turn now.
226
5.1.2.1 THE DISCOURSE OF EMOTIONAL EXPRESSION
In considering the emotions expressed or experienced physically by the characters in
the series, a classification scheme emerges of what I call ‘gentle’ versus ‘hostile’
feelings, many of which also divide along the same lines into ‘vulnerable’ versus
‘assertive’ emotions, such as happiness, sadness, regret and concern versus anger and
malice. These divisions tend to pattern with the gender of the character experiencing
them such that gentle and vulnerable emotions, such as happiness and sadness, tend to
be associated in greater numbers with females and assertive or hostile feelings, such
as malice and anger, with males, chiefly in HP42. This is amplified by the association
of females with requests for emotional support and their receiving it, often from
males.
This supports the patriarchal ideology that assertiveness and anger are
‘unladylike’ and more intrinsically suited to males. The White Witch highlights this
point by being the exception in CN in that she expresses hostile emotions and yet is
female. Her defiance of established norms for feminine behaviour at once make her
the subject of extreme disapprobation as well as marking such behaviour as negatively
valued for females.
In addition, some of the modes of expressing emotions most strongly associated with
females in the data, notably crying, are evaluatively coloured, especially in HP, in that
characters, both male and female, tend to attempt to hide them. This is not a simple
case of positive versus negative emotions because characters make no attempt to
conceal anger and aggression, which are typically masculine emotions, although they
are negatively valued. Thus there is a link between feminine emotional expression
and negative prosody which is not based on the evaluation of the emotion in terms of
its hostility or gentleness but, I argue, on its vulnerability.
I see sadness as a
vulnerable emotion in that it reveals in the individual a capacity for emotional
wounding, a weakness or ‘chink in the armour’. This explains why happiness does
not attract the same negative value, despite being grouped with sadness in terms of its
lack of negative intent towards others, and being more strongly associated with
females than with males. Thus vulnerable emotions are linked to weakness, which
runs counter to dominant views of masculinity in which strength is valued in every
42
Sadness occurs with both males and females but is less frequent for males than for females (9% for
males; 29% for females).
227
facet of life, and their association with feminine behaviour strengthens the masculine
tendency to avoid them. This is because, in the context of the patriarchal system, to
adopt feminine behaviours is intrinsically ‘not masculine’, based on the binary of
male/female, and is essentially and inescapably a bad thing. The acquired negative
value of vulnerability is something which female characters are aware of, positioned
as they are in a world where the masculine set of norms and values is ubiquitous and
dominant, and this explains why they too attempt to hide expressions of sadness. Not
only do female characters experience emotions of vulnerability much more often than
males in the series, they are presented as less able to control them, despite their
attempts to cover their faces, eyes and mouths to conceal and contain their feelings,
while males are able to preserve the impression of invulnerability. This underlines the
importance to masculinity of strength and emotional imperturbability and explains
why female emotional leakage is so negatively valued in a world seen from a
masculine point of view.
A further aspect of the feminine association with emotional expression is the effect of
emotion on physical capacity in females. An inability to communicate as a result of
emotion is fairly common amongst girls and women and there is also a connection
made between the experience of emotions and an inability to perform a physical task.
For instance, due to overwhelming emotion, in HP Hermione injures Ron
unintentionally with a badly performed spell and in CN Jill has trouble setting an
arrow. Both Hermione and Lucy struggle to open a bottle due to fear. Males do not
suffer the same difficulties in either series, illustrating the dominance of reason over
emotion and making them far more reliable as heroes, a role which entails courage
and an ability to perform in dangerous circumstances. The strong association between
femininity and emotion, as well as the consequences of that link, relegates females to
a supporting role in the stories.
5.1.2.2 THE DISCOURSE OF PHYSICAL AGENCY
In the context of the stories in the two series, physical agency, the ability to act on the
world and on others is a powerful and positively valued capacity and one that is
strongly associated with males.
Masculine movement in HP, for instance, is
228
particularly vigorous compared to that of females (see 4.2.5.1), who require assistance
in standing up four times more frequently than do males. Female and male agency
also contrast in terms of the magnitude of their effect on the world, with females
handling relatively small and insignificant objects in terms of their role in the plot
while males are entrusted with larger, more dangerous objects which are central to
moving the story forward. Symbolically too females are less able to direct the
behaviour of others and are positioned in a subordinate role through their relatively
more frequent use of powerless, or less powerful, gestures.
What this means
ideologically is that ordinary females are represented in a deficit position - as
physically weaker, conventionally less powerful in their dealings with others,
strategically less important than males – and all these combine to make the
stereotypical female character unsuitable to anything but a supporting role. The
strong association between males and the wielding of weapons, particularly in CN,
and between males and injury underlines this tendency in the context of armed
combat being central to the plot of both series. The body is the focus of physical
agency and it is shown to be productive and useful if properly controlled. Human
beings are differentiated from other animals by their application of reason to the
control of the body. Females, however, are portrayed as being less able to control
their bodies and bend them to their will, less able to act on the world and others, and
thus they are by definition less successful. The possible roles for females in the
stories are curtailed by their physical ineptitude which accordingly lowers their status.
Susan and Lucy, as well as Hermione, will never be heroes in the classical sense that
Peter, Edmund or Harry are43. None of them will never be the focal character who
drives the plot forward and takes on the quest, risking life and limb for the greater
good.
5.1.2.3 COMPARISON OF THE TWO SERIES
Both series, as I have argued above, present gendered descriptions of physical identity
which position women in traditional roles in terms of emotional expression and
physical agency. For CN, this reflects the era in which it was written. However, the
43
It could be argued that Lucy’s centrality to the CN stories (and Lewis’s apparent fondness for the
character) qualifies her for a heroic role of some sort; however, in terms of her role in the plot and her
physical behaviour she is not a hero in the classical sense.
229
physical emancipation of women and girls that the world saw in the ‘women’s lib’ of
the 1960s is not evident in the data from HP. Neither is there any sense in which the
third wave, celebratory use of the body is presented in HP, no ‘grrrrl power’ to speak
of, despite the timing of its writing and publication (see 1.4).
Just as the UK
represented in HP has not kept pace with modern technological development (see
1.4), so too women’s roles are seemingly frozen in time. Given J.K. Rowling’s
statement that she was the model for Hermione, the main female character who
embodies these anachronistic traits to the full, it is surprising that Ms Rowling’s own
life experiences as a single mother whose life has spanned the second and third waves
of feminist activism has not impacted on the behaviour of Hermione and the other
female characters in a more emancipatory way. I suggest that the strength of the
method I have employed in this study is its ability to eke out the ideological
assumptions possibly hidden even from the author herself and that this is most evident
in this phenomenon.
5.2
METHODOLOGICAL CONSIDERATIONS
Corpus Linguistics processes tend to show up and focus on differences (Baker 2004)
but also have a great capacity for allowing the researcher to find patterns of similarity.
My grouping strategy, based on my conception of discourse prosody discussed earlier,
focuses on these similarities which are useful in what they reveal in respect of the
CDA notions of classification schemes and MRs, which in turn lead to insights into
ideological positions invoked through linguistic choices in the texts. On reflection,
the combination of the two methods has satisfied both the quantitative requirement of
reliability as well as the qualitative need for social relevance and applicability. In
particular, discourse prosody as I have used the term makes the crucial link between
the semantically oriented relationships of collocation to the discoursal representation
of socially located meaning.
My choice to use two sub-corpora has borne some fruit, although it raised problems as
well. CN represents a much smaller corpus than HP, with fewer human characters.
This meant that there were fewer uses of particular body parts and therefore fewer
patterns to be analysed and aggregated. What trends there were tended to be more
230
weakly supported, with fewer examples and fewer collocations. In the discussion of
the data, therefore, HP examples tended to outnumber those from CN, but some
important trends did come from the CN data, such as the tendency for males to bear
weapons. The diachronic aspect was less fruitful than I had hoped, in that HP did not
prove to be as progressive as might be expected in its social context, although the
influence of the post-war ideas are plainly evident in CN44. The similarities between
the two in terms of their views of the gendered body and social hierarchies evident in
the characterisations are nonetheless interesting in their implications for political
progress in terms of gender in Western societies.
5.3
LOOKING FORWARD
The aims of this study as expressed in the research questions were two-fold: to
analyse the representations of particularly female physical identity in CN and HP with
reference to their ideological messages and to explore the methodological
combination of Corpus Linguistics and Critical Discourse Analysis. So far in this
chapter I have considered the findings of the study in the context of the world in
which they were written, in particular in terms of the views of the body and gender
which underlie these representations. I also reviewed the methodological decisions I
made and mention the methodological contribution of this work. In what follows I
look ahead by considering how this research could be used to further the
emancipatory aim that I have often mentioned and suggest other areas of interest
which could be fruitful using a similar research method.
5.3.1 APPLICATION OF THE RESEARCH
The appeal of CDA for me, as I mentioned at the beginning of this thesis, is the
possibilities it presents for research that has social consequences. It is important for
me that the work I have done has some practical effect on the world. In particular I
am concerned about the child readers whose exposure to these popular novels might
have constraining and normalising effects on their worldviews, particularly in terms
44
As I mentioned in 1.3, it should be borne in mind that I am not making any claims of representivity
for the authors of the eras in which they wrote. Rather, I provide the social context of the series to
assist in the explanation of the ideological representations found in each.
231
of gender. The constant reiteration of ideas about the ways in which ‘good’ girls and
boys behave, as well those about ‘bad’ people, accumulate to form congealed notions
of gender-appropriate behaviour which affect the readers’ own behaviour and their
evaluations of the behaviour of others. The unmediated perpetuation of views of
women and men such as are found in the two series has intensely problematic
implications for the future of gender equality in Western society. I use the word
‘unmediated’ intentionally here, because it is my belief that even relatively young
children can be made into critical readers of a sort, through the mediation of the
stories by their caregivers and teachers. As things stand, however, those same adults
are probably not aware of the socialising power of the books and this is my cue for
intervention. As I mentioned in Section 1.1, I plan to take this research to the people
who are in a position to use it for the empowerment of children, especially girls,
namely teachers and parents, and through talks and materials show them the
emancipatory opportunities for both males and females in conscious, critical reading.
5.3.2 FUTURE RESEARCH
In this study I considered including in my analysis body parts only obliquely referred
to through pronouns or ellipsis, e.g. his leg was sore: he wondered if it was broken
and her eyes met his, and decided against it. These body parts were taken into
account in determining the use of the main body part in the analysis in terms of
discourse prosody so their presence was not ignored, but a study focused on which
body parts are implied and which explicitly referenced could shed light on how
particular actions are viewed.
Another area which I specifically excluded from this study was that of the
representation of non-human characters.
As my emphasis was on potential role
models for the child readers, the inclusion of characters who could not fulfil this
function would have diffused the focus of the study. However, as Goatly (2004)
notes, the representation of non-human animals is often significant ideologically. As
Lewis was criticised not only for his supposed racism, but also for his treatment of
animals in CN, this would be of particular relevance to explore.
Certainly my
impression in working with the data as closely as I have is that the animals in CN are
232
anthropomorphised to a much greater extent than they are in HP and are meaningful
characters in the series, as opposed to being part of the context in which humans live
out the plot as they tend to be in HP.
Two further possibilities present themselves with respect to this data and within my
broad theme: the attribution of speech to male and female characters and verbs of
movement. Initial explorations into each of these are suggestive of significant trends
along gender lines. For instance, in HP certain verbs of movement are only used by
males, such as chase, creep and pace while slip is predominantly used in the sense of
moving easily or without detection for males (15/26) but much less and always in the
sense of falling for females, echoing the physically incompetent trend for female
characters found in the body part data.
In terms of the ways in which female and male characters speak, the use of certain
verbs is again ideologically revealing, as are the adverbs which are used to modify the
plain verb said for each of the sexes. In HP, for example, males yell 127 times while
females do so only three times. In CN, females are more likely than males to laugh
(60% of tokens) and cry (52.4%). In the same series the past tense cried is more
common amongst males (60%) who use it in the sense of shout or declaim while the
females most often use it to express emotion, including actual crying. The adverbs
modifying the verbal processes usually provide additional detail on the emotion
accompanying the speech and these mirror the trends for emotional expression found
in the body part data in that anger is typically expressed by males and happiness and
consternation by females. A full analysis of these initial trends would be valuable
given the importance of dialogue to the process of characterisation in both series.
5.4
CONCLUSION
The physical identities of the characters in the two series I have studied are clearly
strongly gendered. Not only are there differences between the ways in which females
and males are represented, but these different ways of being are linked to existing
patriarchal ideologies and have different values: the female is negatively viewed
233
while the male is valorised. One response to this finding which I have often heard is
that this simply reflects reality: males ARE more vigorously physical and females
ARE more emotional.
I would respond that this is precisely why this sort of
representation is problematic, despite some elements, like muscularity, having some
grounding in biology. The more that ideologies are reiterated, the more we read about
girls crying and boys leaping, the more it seems ‘normal’ to us (Stubbs 1995), the
more it seems what girls obviously do with their eyes, and that limits what girls may
appropriately do with their eyes. As these trends are overrepresented, they attract an
evaluative dimension and become normalised, the ‘right’ way, the only way, of
viewing and doing gender. This process also constrains the behaviour of boys. In a
worldview which sees emotions as problematic, as inappropriate behaviour for people
in positions of power or even just respect, in a view of reality that devalues these
responses to context, a strong association between females and emotions, especially
uncontrollable emotions which render one unable to act on the world, clearly also
limits what emotional people can do. It allows the negative values associated with the
expression of emotion to leak onto women, thereby devaluing them too.
The more we read books about crying girls and active boys, the less likely we are to
read books with characters who display the opposite tendencies. And the less likely
are emotional boys and powerful girls to be happily accepted as part of human
variation. For the happiness and fulfilment of all people it is important that the
strongly prescribed gender norms are broken down and a more egalitarian society is
forged.
234
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Rowling, J.K. (2007). Harry Potter and the Deathly Hallows. Great Britain:
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APPENDICES
TABLE OF CONTENTS
APPENDIX ONE: TOTAL BODY PARTS FOR BOTH SERIES................................2
APPENDIX TWO: COLLOCATION TABLES ...........................................................3
CHRONICLES OF NARNIA COLLOCATION TABLES ......................................3
HARRY POTTER COLLOCATION TABLES......................................................17
APPENDIX THREE: NORMALISED DATA FOR BOTH SERIES ........................88
APPENDIX FOUR: KEYNESS WORDLISTS ..........................................................89
CN KEYNESS WORDLIST, WITH HP AS REFERENCE CORPUS .................89
Top Ten Keywords ..............................................................................................89
Human Body Part Keywords ...............................................................................89
HP KEYNESS WORDLIST, WITH CN AS REFERENCE CORPUS .................90
Top Ten Keywords ..............................................................................................90
Human Body Part Keywords ...............................................................................90
APPENDIX FIVE: CONCORDANCE TABLES .......................................................91
CHRONICLES OF NARNIA CONCORDANCE TABLES ..................................91
HARRY POTTER CONCORDANCE TABLES..................................................111
BLOOD, SWEAT AND TEARS...........................................................................226
Chronicles Of Narnia .........................................................................................226
Harry Potter........................................................................................................227
APPENDIX SIX: PERSONAL PRONOUNS AS COLLOCATES OF SINGULAR
AND PLURAL BODY PARTS SORTED BY SEX: CN AND HP .........................231
APPENDIX SEVEN: CDA DESCRIPTION QUESTIONS .....................................232
APPENDIX EIGHT: USES OF BODY PARTS: HP AND CN................................234
APPENDIX ONE: TOTAL BODY PARTS FOR BOTH
SERIES
Body Part
eye
hand
face
hair
arm
head
feet
mouth
shoulder
finger
lip
nose
back
heart
ear
cheek
leg
chest
knee
foot
neck
forehead
teeth
stomach
wrist
ankle
toe
waist
jaw
knuckle
nostril
backside
heel
breast
palm
hip
nail
elbow
thumb
tooth
muscle
shin
belly
Narnia
female
Narnia
male
18
29
29
8
13
11
10
2
6
0
3
1
2
5
2
4
8
0
0
2
1
2
0
0
0
0
1
1
0
0
0
0
1
1
0
0
0
0
1
0
0
0
0
TOTALCN HP female HP male
24
40
61
2
20
35
20
12
20
2
4
2
16
24
12
4
6
8
13
2
5
4
6
1
2
1
3
3
0
0
0
0
0
2
0
1
0
1
0
0
0
1
0
42
69
90
10
33
46
30
14
26
2
7
3
18
29
14
8
14
8
13
4
6
6
6
1
2
1
4
4
0
0
0
0
1
3
0
1
0
1
1
0
0
1
0
2
150
104
98
70
56
53
31
27
26
25
22
14
12
9
8
8
7
7
7
6
4
4
4
3
3
3
2
2
2
2
2
2
1
1
1
1
1
0
0
0
0
0
0
526
446
431
161
173
307
127
86
98
108
32
79
66
90
100
13
67
71
45
25
70
52
25
39
18
8
8
5
11
10
9
1
12
0
7
0
2
13
6
9
7
1
1
TOTALHP
676
550
529
231
229
360
158
113
124
133
54
93
78
99
108
21
74
78
52
31
74
56
29
42
21
11
10
7
13
12
11
3
13
1
8
1
3
13
6
9
7
1
1
APPENDIX TWO: COLLOCATION TABLES
CHRONICLES OF NARNIA COLLOCATION TABLES
SPAN 5L TO 5R, MINIMUM FREQUENCY OF 2, MINIMUM
MUTUAL INFORMATION SCORE OF 3 1.
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
12.81621
11.23124
8.50332
8.20150
7.74296
6.66392
5.55882
5.55411
5.50332
4.79245
4.78609
3.78416
bared
neck
round
put
her
him
she
as
his
had
and
it
2
3
4
2
6
4
2
3
3
2
10
2
1
0
0
2
6
1
1
1
0
1
5
0
1
3
4
0
0
3
1
2
3
1
5
2
ARM FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
7.58739
6.74296
6.70073
6.46748
5.50030
5.36912
4.78738
4.62556
3.94996
3.65067
3.04912
susan
her
lucy
out
on
s
i
said
to
the
and
2
2
2
2
2
2
2
2
2
4
2
2
2
2
1
1
2
0
1
0
1
0
0
0
0
1
1
0
2
1
2
3
2
BACK FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
5.21905
and
3
1
2
CHEEK FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
8.74296
6.50030
4.63409
her
on
and
4
2
3
3
2
1
1
0
2
ARMS FEMALE
EYES FEMALE
1
Column Heading Key: Freq = Frequency; Left = Occurences to the left of Node;
Rt = Occurences to the right of Node; MI Stat = Mutual Information Score
showing strength of collocation.
3
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
1
5.23563
11.16170
the
fixed
2
3
0
3
2
0
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
2
2
2
16
2
2
5
2
6
3
3
2
2
4
3
4
2
9
3
2
2
2
8
2
0
0
2
15
2
1
4
1
5
3
1
2
2
0
1
4
1
2
2
1
1
0
1
1
2
2
0
1
0
1
1
1
1
0
2
0
0
4
2
0
1
7
1
1
1
2
7
1
9.31371
8.99178
8.94447
8.24046
8.19823
6.75912
6.52016
6.26931
6.22624
5.69900
5.58579
5.39882
5.07212
4.99780
4.90809
4.87491
4.64364
3.71655
3.70802
3.48293
3.24493
3.21304
3.14817
3.12800
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
dancing
bright
opened
her
full
lion
lucy
looked
she
when
aslan
into
their
on
with
had
them
and
said
they
in
you
the
he
FACE FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
9.95822
9.95822
9.62565
8.60459
8.22483
8.22126
8.06926
ugh
aside
fhands
pale
her
beautiful
white
2
2
3
2
27
2
6
1
0
1
1
24
1
4
1
2
2
1
3
1
2
2
2
3
2
2
2
2
5
2
2
2
2
2
2
2
7
3
18
3
3
5
2
3
7
4
4
2
6
14
2
5
1
1
3
1
2
2
1
1
2
1
1
1
1
2
2
3
1
4
1
3
1
0
1
4
1
2
2
3
10
2
4
1
1
0
1
0
0
1
4
0
1
1
1
1
0
0
4
2
14
2
0
4
2
2
3
3
2
0
3
4
0
1
7.70189
7.34679
7.01267
6.99887
6.06206
6.01963
5.66872
5.19269
4.93339
4.87548
4.70609
4.60851
4.50244
4.45926
4.42771
4.14434
4.13757
3.94603
3.86606
3.81225
3.75746
3.75311
3.67419
3.48429
3.47441
3.44253
3.28737
3.28423
3.18501
3.09610
3.03117
grew
keep
jill
against
witch
made
away
she
came
see
your
could
from
very
lucy
was
with
and
as
on
that
not
all
to
in
you
at
of
the
s
a
MI STAT
COLLOCATE
EAR FEMALE
RANK FREQ LEFT RT
4
1
1
2
3
2
2
2
2
2
2
0
1
0
0
2
1
9.15958
8.32792
5.56722
4.23563
their
her
a
the
FEET FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
12.94174
12.20477
10.27877
9.08929
8.88284
8.32792
7.66872
6.59124
5.37441
5.27088
4.62583
4.17466
3.87296
3.83408
3.68278
3.66045
crunching
wanting
dance
snow
under
her
felt
she
him
at
on
and
in
that
of
to
2
2
2
3
3
11
2
5
2
3
2
8
2
2
3
3
2
0
0
2
3
11
1
1
1
2
2
2
1
1
1
1
0
2
2
1
0
0
1
4
1
1
0
6
1
1
2
2
MI STAT
COLLOCATE
1
2
8.32792
6.37234
her
i
2
2
2
0
0
2
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
8.10553
7.24804
6.77363
6.18820
5.92139
4.38761
3.82673
3.72756
her
back
about
with
she
was
and
to
6
2
2
3
2
2
4
2
3
1
0
3
1
0
1
1
3
1
2
0
1
2
3
1
HAND FEMALE
FOOT FEMALE
RANK FREQ LEFT RT
RANK FREQ LEFT RT
HAIR FEMALE
5
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
12.20477
10.82626
9.66872
8.19042
6.78523
5.85427
5.59301
5.45792
5.41556
5.30511
4.95116
4.32050
4.09782
4.07549
3.84107
3.69276
3.58356
3.49658
crown
wand
golden
her
right
she
out
in
then
have
with
was
of
to
you
a
the
and
2
2
2
10
2
3
2
6
2
2
2
3
4
4
2
3
7
5
0
2
1
9
2
1
2
4
0
1
2
1
2
2
1
0
3
1
2
0
1
1
0
2
0
2
2
1
0
2
2
2
1
3
4
4
7
8
9
10
11
12
13
14
HANDS FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
12.31371
10.19823
9.62565
8.14735
6.41485
5.78319
5.65708
5.59185
5.22624
4.90809
4.84882
4.74638
4.44499
4.28764
4.00082
3.99780
3.86662
3.82989
3.79102
3.71655
3.44746
clapped
instantly
fface
her
dwarf
lucy
their
so
she
with
up
him
said
for
his
on
s
in
that
and
to
4
2
3
15
2
3
3
3
3
3
2
2
5
2
2
2
2
3
3
9
4
4
1
2
13
0
3
2
0
2
2
2
2
3
1
1
0
2
2
0
6
1
0
1
1
2
2
0
1
3
1
1
0
0
2
1
1
2
0
1
3
3
3
MI STAT
COLLOCATE
1
2
3
4
5
6
12.34227
9.80622
8.17592
6.74932
5.96376
5.91937
crown
golden
her
into
lucy
no
2
2
9
3
2
2
2
2
7
2
2
1
0
0
2
1
0
1
3
0
1
1
0
0
2
3
1
2
1
1
2
2
1
2
5.76334
4.76636
4.63216
4.01046
3.97159
3.87304
3.83026
3.63409
on
his
s
in
that
was
a
and
HEADS FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
15.98613
10.15324
9.77668
6.95409
6.29352
fheads
because
our
s
that
4
2
2
2
2
1
1
1
1
1
1
1
1
1
1
HEART FEMALE
HEAD FEMALE
RANK FREQ LEFT RT
4
2
2
2
2
2
3
5
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
8.32792
7.72874
4.94996
her
she
to
3
3
2
3
2
1
0
1
1
LEG FEMALE
6
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
15.98613
10.49428
9.05539
leg
left
back
4
2
2
1
1
1
1
1
1
4
5
3
3
2
1
1
2
8.91288
5.21905
2
3
4
5
6
her
and
LEGS FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
11.71934
8.32792
6.69496
6.65365
6.35223
4.14866
3.75987
3.74989
carry
her
would
as
their
and
a
of
2
7
2
5
2
5
2
2
0
3
0
4
2
3
0
2
2
4
2
1
0
2
2
0
MI STAT
COLLOCATE
1
2
8.32792
4.98226
her
a
3
2
2
1
1
1
MOUTH FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
8.32792
her
2
2
0
SHOULDER FEMALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
8.94996
over
2
2
0
1
2
1
0
1
1
0
1
3
2
8.77181
7.74296
7.14378
4.63409
4.23563
looked
her
she
and
the
ARM MALE
LIPS FEMALE
RANK FREQ LEFT RT
2
2
2
3
3
7
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
10.17235
9.83131
8.79384
8.58739
7.46453
7.35132
6.98875
6.95684
6.04719
5.90932
5.18746
4.92696
4.81715
4.17837
4.05549
3.88859
3.65067
3.63216
3.42550
3.30858
3.28808
3.04912
shield
strong
unicorn
left
put
round
his
tirian
s
down
so
him
as
on
had
said
the
it
in
he
was
and
2
2
2
4
2
3
14
3
8
2
2
2
3
2
2
3
10
3
2
2
2
5
1
1
0
4
2
1
12
3
3
0
1
2
0
1
1
1
4
0
2
2
1
2
1
1
2
0
0
2
2
0
5
2
1
0
3
1
1
2
6
3
0
0
1
3
22
23
24
25
26
ARMS MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8.78646
8.54319
7.31068
6.24888
5.21547
4.63409
3.65067
put
felt
his
him
he
and
the
2
2
7
2
3
6
4
2
1
6
1
2
3
1
0
1
1
1
1
3
3
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
8.99178
8.81121
8.34408
8.06578
7.76939
7.66985
6.79014
6.46025
6.06831
5.38692
5.32313
5.31973
5.28396
5.07212
5.00688
4.96498
4.93288
4.78753
4.05789
3.84861
3.71655
rishda
lay
tarkaan
set
against
tree
off
his
him
are
with
on
peter
now
so
out
one
then
at
the
and
2
2
2
2
2
2
2
11
5
2
4
5
2
2
2
2
2
2
2
13
9
1
0
1
2
0
0
1
11
4
0
4
4
1
0
0
1
1
0
2
6
2
1
2
1
0
2
2
1
0
1
2
0
1
1
2
2
1
1
2
0
7
7
1
1
1
0
1
2
2
3
2
2
3.71297
3.69247
3.44746
3.21304
3.05475
he
was
to
you
of
CHEEKS MALE
BACK MALE
RANK FREQ LEFT RT
3
3
4
2
3
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6.50030
5.56722
4.97228
4.23563
4.04912
on
a
of
the
and
2
3
2
3
2
2
1
1
2
1
0
2
1
1
1
CHEST MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
8.90932
7.69381
7.67325
6.24888
4.85648
left
tirian
his
him
and
2
2
9
2
7
0
1
8
0
4
2
1
1
2
3
EAR MALE
8
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
10.03485
7.81245
7.01100
6.43621
whispered
man
look
his
4
2
2
7
4
0
0
7
0
2
2
0
5
6
7
8
9
10
11
12
13
14
15
16
2
5
3
7
2
2
2
2
2
3
3
7
0
4
1
6
0
2
2
0
1
2
2
1
2
1
2
1
2
0
0
2
1
1
1
6
5.87565
5.81658
5.72580
5.68031
4.88465
4.67964
4.54228
3.75604
3.75109
3.69276
3.66045
3.58356
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
do
s
is
in
t
as
but
he
said
a
to
the
EYE MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
9.04949
5.76636
5.67978
5.47850
4.97159
4.88859
4.23532
4.21299
3.31216
put
his
but
he
that
said
of
to
and
2
2
2
3
2
2
2
2
2
2
2
1
1
1
1
2
0
0
0
0
1
2
1
1
0
2
2
EYES MALE
2
17
1
2
0
1
6
2
1
2
2
4
0
1
1
3
4
1
1
1
1
3
0
6
0
2
1
1
3
1
0
2
1
7
0
1
0
3
0
2
1
1
1
0
1
1
2
1
0
2
6
2
3
2
7.18685
6.65533
6.44988
5.89139
5.55882
5.18685
5.16102
5.10196
4.75551
4.73140
4.70611
4.65570
4.57303
4.40469
4.29755
4.24682
4.19920
4.18685
4.12011
3.97543
3.85620
3.79245
3.74340
3.46416
3.33038
3.10196
3.02504
own
his
turned
still
saw
by
he
my
edmund
into
as
with
her
their
out
but
s
if
then
at
not
had
were
and
on
to
was
FACE MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
9.90932
8.83893
8.06132
7.30051
merry
blue
mface
believe
2
2
3
2
3
20
2
2
2
2
13
2
2
2
5
4
2
2
2
4
4
2
2
3
2
3
2
12
2
5
3
1
1
1
2
1
1
2
0
9
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
11.23124
11.23124
10.23124
9.42389
flushed
downwards
mhair
honest
2
3
2
2
1
0
1
2
1
3
1
0
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
2
2
4
2
3
2
2
2
3
3
3
2
2
2
44
2
3
56
2
2
2
4
4
4
3
2
2
2
4
2
11
4
3
17
4
8
1
2
1
0
2
1
1
0
2
1
1
0
2
0
39
1
2
1
1
2
0
2
3
4
3
2
1
0
4
2
11
3
3
2
2
2
1
0
3
2
1
1
1
2
1
2
2
2
0
2
5
1
1
1
1
0
2
2
1
0
0
0
1
2
0
0
0
1
0
15
2
6
9.42389
9.06132
8.70768
8.53080
8.06132
7.98332
7.98332
7.64628
7.26162
7.14378
7.11577
6.87369
6.83893
6.80498
6.79283
6.73939
6.53080
6.47636
6.39835
6.04142
5.92746
5.71554
5.60189
5.52388
5.36499
5.36088
4.90033
4.81339
4.75551
4.66900
4.65863
4.60553
4.53080
4.52754
4.40469
4.38419
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
flat
mmouth
pale
solemn
meyes
mhands
glozelle
having
tarkaan
red
full
ground
strange
grew
his
fell
most
mface
already
open
jewel
look
looked
tirian
over
things
old
has
edmund
other
s
from
king
was
now
as
8
2
3
2
3
3
32
2
4
3
4
4
9
5
4
9
2
2
3
2
29
7
4
4
10
6
2
2
4
2
0
0
0
1
12
0
2
2
1
0
7
2
3
2
2
0
1
0
17
2
3
2
4
1
0
1
4
0
3
2
3
2
20
2
2
1
3
4
2
3
1
7
0
2
2
2
12
5
1
2
6
5
2
1
4.33038
4.19232
4.17596
4.14909
4.14732
4.03157
3.87920
3.87369
3.85620
3.85042
3.84538
3.79453
3.74743
3.71239
3.65570
3.63050
3.61653
3.48641
3.41533
3.33946
3.33873
3.26299
3.24682
3.19232
3.12429
3.12359
3.12011
3.00966
on
me
been
can
very
when
and
who
not
one
is
there
in
at
with
he
peter
no
be
so
the
said
but
all
of
that
then
have
FACES MALE
10
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
7.83765
5.24846
5.01046
their
they
in
4
2
2
4
0
1
0
2
1
4
5
4
2
2
0
2
2
4.31216
4.24530
and
a
FINGERS MALE
FEET MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
8.50635
7.71117
7.59381
7.57145
7.36499
7.10196
6.96446
6.78343
6.58259
6.48529
5.21444
4.75304
4.66012
4.54942
4.46453
4.44153
4.40811
4.33878
4.27791
4.12458
3.56370
3.56177
3.48686
3.48616
3.17807
3.01324
lay
dead
noise
snow
under
both
own
his
let
made
or
at
out
if
to
him
he
them
on
was
and
s
of
that
they
the
2
2
2
2
2
2
2
17
2
2
2
4
2
2
10
2
6
2
3
5
10
2
5
3
2
9
2
2
1
1
2
0
2
16
0
1
0
3
1
0
10
1
1
0
1
1
2
1
3
1
1
4
0
0
1
1
0
2
0
1
2
1
2
1
1
2
0
1
5
2
2
4
8
1
2
2
1
5
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
7.50332
5.63409
5.63050
his
and
he
4
6
2
3
5
0
1
1
2
FOOT MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
11.49428
10.96376
9.17235
6.81715
5.01046
4.24530
3.31216
bound
mhand
both
as
in
a
and
2
2
2
4
2
2
2
2
2
1
0
0
2
2
0
0
1
4
2
0
0
FOREHEAD MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
6.50332
5.37105
his
and
2
5
1
1
1
4
HAIR MALE
11
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
10.23124
7.08829
4.55725
4.21905
mface
his
of
and
2
4
2
3
1
2
0
2
1
2
2
1
31
32
33
34
35
36
37
38
39
HAND MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
11.70073
10.96376
10.70073
10.70073
10.28569
9.96376
9.58525
9.11577
7.91065
7.15641
6.78016
6.57145
6.12919
5.29511
5.29134
5.25594
5.24677
5.20177
5.00029
4.97446
4.96979
4.83861
4.43931
4.35200
4.31991
4.15383
4.03066
4.02988
3.88624
3.83861
seized
mfoot
mknee
hilt
laid
sentry
kissed
bound
sword
stood
his
man
right
with
which
peter
me
very
king
he
on
s
in
out
one
what
them
at
but
it
2
2
2
3
2
2
2
2
4
3
21
2
3
6
2
3
2
3
2
11
6
6
7
2
2
2
2
3
3
6
1
0
2
0
2
2
2
2
1
2
16
1
3
3
1
3
1
1
0
4
1
5
6
1
1
1
2
3
1
2
1
2
0
3
0
0
0
0
3
1
5
1
0
3
1
0
1
2
2
7
5
1
1
1
1
1
0
0
2
4
4
2
5
3
3
5
12
9
3
1
1
2
0
1
2
5
3
1
3
1
3
3
2
3
7
6
2
3.49453
3.26194
3.18871
3.18503
3.17804
3.15641
3.12016
3.10357
3.09504
was
had
a
you
that
to
the
and
said
HANDS MALE
12
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
9.56828
9.27877
8.24635
8.12349
7.98332
7.79960
7.24635
6.54080
6.49662
6.03084
5.80747
5.21857
5.12349
4.89182
4.83734
4.74763
4.68835
4.62707
4.55250
4.48239
4.29941
4.29305
swords
tied
fell
put
mface
behind
both
his
their
tirian
back
could
peter
in
on
with
up
then
he
at
had
and
3
2
2
4
2
3
2
13
6
2
2
2
2
7
4
3
2
2
6
3
3
15
3
1
1
4
1
0
2
9
6
1
0
1
1
6
3
2
2
1
4
1
2
5
0
1
1
0
1
3
0
4
0
1
2
1
1
1
1
1
0
1
2
2
1
10
23
24
25
26
27
2
3
2
4
2
1
1
0
0
0
1
2
2
4
2
3.70616
3.54756
3.32246
3.30932
3.12441
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
s
said
they
of
i
HEAD MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
9.77181
9.24130
8.29788
7.77181
7.39742
7.16038
6.83321
6.71292
6.68775
6.63796
6.56670
6.46600
6.24130
6.23438
5.90831
5.74698
5.73228
5.52388
5.44189
5.39742
5.04288
4.71705
4.68592
4.59301
4.46600
hilt
pulled
bowed
above
against
among
off
tree
his
jewel
sword
same
jill
tirian
its
came
our
once
into
my
would
s
at
out
edmund
2
2
2
2
3
2
4
2
25
2
2
2
2
4
2
4
2
2
4
3
3
7
6
3
2
2
1
1
2
0
0
3
1
24
0
1
1
0
4
2
4
0
0
4
3
2
5
1
3
2
0
1
1
0
3
2
1
1
1
2
1
1
2
0
0
0
2
2
0
0
1
2
5
0
0
2
9
4
2
2
2
2
2
7
5
3
5
14
2
2
2
4
4
6
0
3
2
1
1
0
0
2
4
3
1
3
6
0
1
1
3
2
2
2
6
2
1
1
2
2
0
3
2
2
2
8
2
1
1
1
2
4
4.42998
4.34100
4.09468
4.04995
3.99337
3.97595
3.80988
3.72015
3.71705
3.57105
3.50294
3.48805
3.39705
3.36809
3.36620
3.33071
3.32795
3.28800
3.07549
are
he
as
so
this
one
what
have
it
that
had
said
and
we
with
for
i
in
to
HEART MALE
13
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
11.40117
10.81621
10.59381
7.94174
7.70073
7.42389
7.07924
6.86201
6.77181
6.68692
6.31371
6.31068
hoping
beating
leap
stop
inside
gave
my
eustace
though
stood
saw
his
2
6
2
2
2
2
7
2
2
2
3
14
0
0
0
0
0
0
7
2
1
2
1
12
2
6
2
2
2
2
0
0
1
0
2
2
13
14
15
16
17
18
19
20
21
22
23
24
25
26
8
2
6
2
3
2
2
3
3
5
2
4
4
11
2
2
4
0
3
0
2
2
1
1
1
2
1
6
6
0
2
2
0
2
0
1
2
4
1
2
3
5
5.55411
5.53080
4.95409
4.91735
4.41059
4.35677
4.29003
4.14535
3.96238
3.95243
3.79014
3.74743
3.61001
3.50856
as
caspian
s
would
with
if
then
at
had
he
for
in
was
and
KNEES MALE
KNEE MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
11.70073
11.70073
10.70073
7.75731
6.82223
6.78646
5.37741
5.36912
4.04912
3.98226
3.23563
kissed
dropped
mhand
one
on
peter
had
s
and
a
the
2
2
2
5
5
2
2
2
4
2
3
0
2
0
5
5
1
2
0
1
1
0
2
0
2
0
0
1
0
2
3
1
3
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
14.81621
12.81621
11.81621
11.64628
7.50332
6.88547
6.57462
6.29657
4.91534
4.40046
4.27152
4.20242
3.38732
3.36499
snuffly
kisses
giving
mknees
his
back
their
could
on
they
and
i
of
to
2
2
2
11
12
2
3
2
2
2
7
2
2
2
0
1
1
1
9
1
3
1
2
1
3
1
1
1
2
1
1
1
3
1
0
1
0
1
4
1
1
1
LEGS MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
7.08829
5.21547
5.19497
4.56722
4.21905
his
he
was
a
and
4
2
2
2
3
4
1
1
0
0
0
1
1
2
3
LIPS MALE
14
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
7.08829
6.19497
his
was
3
3
3
2
0
1
3
4
2
2
2
0
0
2
4.94996
3.65067
to
the
NOSE MALE
MOUTH MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
9.72874
9.70073
9.21134
9.06132
7.24029
6.34047
5.91333
5.88252
5.82563
5.63050
5.37949
4.70925
4.61001
4.12359
3.78609
words
full
open
mface
his
edmund
were
out
with
he
there
of
was
that
and
2
3
3
2
10
2
3
2
3
6
2
5
3
2
5
2
0
1
0
8
2
2
2
3
1
0
2
1
0
2
0
3
2
2
2
0
1
0
0
5
2
3
2
2
3
MI STAT
COLLOCATE
1
2
3
4
5
6
12.98613
8.67325
7.08829
5.19497
4.95409
3.23563
dagger
round
his
was
it
the
2
2
4
2
2
2
2
1
4
1
0
2
0
1
0
1
2
0
MI STAT
COLLOCATE
1
2
3
4
9.77181
7.50332
6.55411
3.65067
soon
his
as
the
2
4
2
2
0
3
0
1
2
1
2
1
SHOULDER MALE
NECK MALE
RANK FREQ LEFT RT
RANK FREQ LEFT RT
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
8.53492
7.08829
6.96376
6.49428
5.97770
5.76334
5.21712
5.08866
4.23532
4.08363
3.83026
3.31216
over
his
king
down
like
on
s
with
of
the
a
and
5
10
3
2
2
4
3
2
4
9
3
4
5
8
2
1
0
2
3
2
1
3
1
0
0
2
1
1
2
2
0
0
3
6
2
4
SHOULDERS MALE
15
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
13.98613
6.41021
6.15958
6.08526
shrugged
his
their
on
2
5
2
4
2
5
2
2
0
0
0
2
5
6
7
8
9
2
3
7
2
5
1
1
1
2
2
1
2
6
0
3
4.95409
4.79548
4.44144
4.21547
3.55756
3
s
said
and
he
the
TEETH MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
12.49428
6.83765
5.76636
5.76334
4.97159
4.88859
4.31216
chattering
their
his
on
that
said
and
2
2
2
2
2
2
4
0
2
2
1
1
1
2
2
0
0
1
1
1
2
TOES MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
9.24466
8.81621
7.08829
5.53492
right
down
his
to
2
2
2
2
2
2
2
2
0
0
0
0
WAIST MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
8.99178
8.41021
which
his
2
5
1
3
1
2
16
5
2
3
5.95602
and
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
HARRY POTTER COLLOCATION TABLES
SPAN 5L TO 5R, MINIMUM FREQUENCY OF 2, MINIMUM
MUTUAL INFORMATION SCORE OF 3 2.
ANKLE FEMALE
RANK FREQ
1
2
2
2
3
2
4
2
LEFT
2
1
0
1
RT
0
1
2
1
MI STAT
15.00188
5.96296
5.54938
4.70081
COLLOCATE
skinny
said
it
and
RT
0
0
0
0
0
0
7
MI STAT
10.48355
10.48355
8.76986
8.15013
8.10504
7.85128
7.76810
COLLOCATE
parvati
baby
free
beneath
madam
raised
her
ARM FEMALE
RANK FREQ
1
2
2
2
3
2
4
2
5
2
6
2
7
20
LEFT
2
2
2
2
2
2
13
3
2
2
4
2
4
8
3
2
3
5
2
9
3
2
3
5
6
4
3
3
3
0
1
0
1
2
5
0
0
2
1
2
3
2
2
1
2
4
4
1
0
0
2
1
4
1
2
3
3
2
1
4
0
6
1
0
2
3
2
0
2
3
7.72938
7.24477
6.73080
6.58438
5.49260
5.43566
4.74424
4.57794
4.46030
4.40802
4.15213
4.06267
3.99627
3.90864
3.76821
3.59863
3.57666
3.52039
3.26496
3.25627
3.05193
under
against
felt
around
over
she
s
but
out
him
his
hermione
and
had
as
in
of
to
a
was
harry
RT
1
1
3
0
MI STAT
10.63264
10.31072
9.66302
9.24033
COLLOCATE
flung
folded
tightly
waving
ARMS FEMALE
RANK FREQ
1
3
2
2
3
3
4
2
2
Column Heading Key: Freq = Frequency; Left = Occurences to the left of Node;
Rt = Occurences to the right of Node; MI Stat = Mutual Information Score
showing strength of collocation.
17
LEFT
2
1
0
2
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
2
2
2
2
32
10
2
2
2
9
9
6
2
6
2
6
6
8
9
2
4
2
2
2
3
12
3
6
2
6
2
0
0
2
27
0
2
1
0
7
4
2
1
5
0
0
3
7
7
2
1
0
0
2
2
6
2
1
0
3
0
2
2
0
5
10
0
1
2
2
5
4
1
1
2
6
3
1
2
0
3
2
2
0
1
6
1
5
2
3
9.14079
9.01793
8.44282
8.20638
7.95141
7.41154
6.64965
6.48799
6.37526
5.73783
5.59739
5.52586
5.35652
5.10191
5.03273
4.91325
4.74593
4.51890
4.41940
4.36586
4.15539
4.11596
4.07136
3.96553
3.93452
3.91654
3.85841
3.55716
3.49822
3.34493
carrying
fhead
mneck
threw
her
around
stood
oh
great
hermione
ron
she
still
with
ve
him
at
in
s
into
t
were
there
out
on
and
as
harry
but
of
35
36
13
3
7
0
6
3
3.11044
3.04050
the
i
RT
0
4
1
0
0
1
3
3
0
1
1
1
1
0
3
0
3
1
5
5
2
2
8
MI STAT
9.49408
8.09825
8.02460
7.81948
6.62088
6.36797
5.76966
5.71879
5.49929
5.23307
5.21296
5.19171
4.64506
4.52741
4.47513
4.07883
4.06035
3.98934
3.80989
3.70081
3.54239
3.48228
3.43131
COLLOCATE
fhair
her
father
give
turned
thought
if
on
down
then
one
me
but
out
him
with
was
ron
to
and
he
his
the
BACK FEMALE
RANK FREQ
1
2
2
24
3
2
4
2
5
2
6
2
7
3
8
7
9
2
10
2
11
2
12
2
13
3
14
2
15
3
16
2
17
5
18
2
19
7
20
7
21
5
22
3
23
11
18
LEFT
2
20
1
2
2
1
0
4
2
1
1
1
2
2
0
2
2
1
2
2
3
1
3
24
25
26
27
2
3
4
3
2
0
1
2
0
3
3
1
3.39079
3.32699
3.32185
3.11904
had
it
of
harry
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
1
0
2
1
7.49056
7.30375
4.39486
3.94916
her
on
to
the
RT
1
1
2
MI STAT
7.90560
6.86745
3.77923
COLLOCATE
her
but
the
RT
0
0
1
MI STAT
11.25592
10.13563
8.09825
COLLOCATE
clutching
hit
her
4
5
6
7
8
9
10
CHEEK FEMALE
2
2
4
3
2
2
4
0
0
4
1
0
0
3
2
2
0
2
2
2
1
7.14467
6.08774
5.66574
4.50200
4.48975
3.80543
3.55684
over
she
in
a
you
he
the
RT
0
0
0
0
0
2
1
2
2
4
1
0
1
2
1
3
2
0
MI STAT
13.01193
9.63847
8.61028
7.90341
6.68183
6.20516
5.92495
5.81092
5.52720
5.41472
5.14746
4.50324
4.18163
4.02803
3.81092
3.69442
3.59869
3.58920
COLLOCATE
inner
caught
mother
under
an
her
then
so
as
at
not
s
you
that
harry
to
of
his
EYE FEMALE
3
4
2
3
2
4
0
2
RANK FREQ
1
3
2
4
3
2
4
2
5
3
6
4
7
2
8
2
9
4
10
4
11
2
12
4
13
3
14
2
15
3
16
4
17
3
18
2
CHEEKS FEMALE
RANK FREQ
1
3
2
2
3
2
LEFT
2
1
0
CHEST FEMALE
RANK FREQ
1
2
2
2
3
8
LEFT
2
2
7
19
LEFT
3
4
2
2
3
2
1
0
2
0
1
4
2
0
2
1
1
2
19
20
4
2
0
0
4
2
3.58533
3.43030
and
was
RT
0
2
0
0
0
0
1
1
10
0
3
1
3
0
2
1
1
3
1
13
0
0
2
MI STAT
11.79242
10.79242
10.79242
10.47050
10.47050
10.20746
9.98507
9.79242
9.54957
9.26886
8.98507
8.98507
8.98507
8.91795
8.79242
8.79242
8.67695
8.33299
7.96460
7.79769
7.70496
7.66314
7.48500
COLLOCATE
lidded
unfocused
fixing
mopping
beady
freak
swam
bloodshot
tears
wiping
sleeve
fnose
fmouth
heavily
spectacles
precisely
fhair
fixed
enormous
her
colour
brown
closed
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
EYES FEMALE
RANK FREQ
1
3
2
2
3
2
4
4
5
2
6
2
7
2
8
2
9
15
10
4
11
3
12
2
13
3
14
3
15
2
16
2
17
6
18
3
19
5
20
103
21
2
22
2
23
5
LEFT
3
0
2
4
2
2
1
1
5
4
0
1
0
3
0
1
5
0
4
90
2
2
3
20
3
3
4
3
3
4
2
2
115
2
2
2
2
2
2
4
2
2
2
2
3
2
5
2
2
2
2
3
2
2
1
2
4
2
1
4
0
1
2
1
1
1
0
1
1
0
1
1
2
2
2
2
0
1
0
1
0
3
2
2
2
1
0
1
2
0
2
1
2
1
1
1
2
1
1
4
1
1
0
0
1
0
5
1
2
1
2
0
0
0
7.47050
7.42319
7.30057
7.28992
7.12946
7.06450
7.06450
7.03754
6.99801
6.95953
6.83823
6.79242
6.77006
6.70496
6.70496
6.58297
6.54450
6.52564
6.52564
6.50702
6.45852
6.43487
6.42087
6.40011
6.26886
6.17771
6.13421
6.10126
6.06450
6.03754
wide
huge
trelawney
nodded
fface
lily
filled
tight
feyes
spot
thick
herself
noticed
pale
bright
full
met
times
fhand
whose
red
chair
upon
straight
quietly
dear
several
mother
green
tiny
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
2
2
2
3
3
3
2
2
3
2
2
4
17
18
2
2
2
21
19
2
2
2
2
6
2
5
2
6
5
5
0
1
1
1
0
3
1
0
2
1
0
4
1
7
1
1
2
19
7
2
2
2
0
2
0
1
1
1
1
2
2
1
1
2
3
0
1
2
1
1
2
0
16
11
1
1
0
2
12
0
0
0
2
4
2
4
1
5
4
3
5.93444
5.92206
5.86169
5.79996
5.77747
5.71917
5.69439
5.67348
5.54450
5.52564
5.46151
5.40441
5.36320
5.27061
5.25327
5.23018
5.16307
5.12000
4.92466
4.83242
4.80943
4.75350
4.71561
4.67348
4.64777
4.60458
4.57810
4.57164
4.57132
4.47954
remember
slowly
please
sat
gave
light
petunia
moved
has
started
sorry
dark
were
she
yet
small
whispered
hermione
with
went
under
while
open
looked
oh
my
really
like
around
over
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
21
4
32
4
7
4
3
2
2
4
7
2
48
2
3
2
3
3
2
10
2
10
6
5
5
2
7
13
3
19
2
1
21
4
5
2
2
1
1
3
1
0
20
0
1
0
0
1
2
2
1
7
4
3
4
1
2
8
2
7
1
3
11
0
2
2
1
1
1
1
6
2
28
2
2
2
3
2
0
8
1
3
2
2
1
1
5
5
1
12
1
4.41956
4.40926
4.40011
4.33299
4.31467
4.30592
4.21122
4.20371
4.09720
4.09000
4.08162
4.07632
4.06110
4.00888
3.99476
3.94903
3.90165
3.90064
3.83126
3.72365
3.64268
3.63845
3.59373
3.53598
3.51630
3.46535
3.45394
3.41594
3.37991
3.34328
again
s
professor
into
snape
right
mface
even
down
from
seemed
and
potter
just
too
don
are
saw
on
looking
at
not
have
up
still
but
said
then
harry
got
114
115
116
117
118
119
120
121
122
123
124
21
3
2
3
3
7
5
2
2
2
10
11
1
2
0
2
1
1
0
0
1
6
10
2
0
3
1
6
4
2
2
1
4
3.32230
3.31399
3.30861
3.30191
3.29391
3.24058
3.19549
3.15761
3.04423
3.00289
3.00061
a
could
your
so
been
as
for
did
now
an
in
RT
0
2
1
1
1
2
1
1
0
0
3
0
1
11
MI STAT
11.75395
10.33891
9.43202
9.25145
9.22344
8.87948
8.69506
8.69506
8.48093
8.38472
8.18917
8.16899
7.81535
7.68004
COLLOCATE
disheveled
g
drained
beautiful
fhair
torn
parvati
buried
slammed
pretty
tears
expression
woman
her
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
FACE FEMALE
RANK FREQ
1
2
2
2
3
2
4
2
5
6
6
2
7
2
8
2
9
2
10
2
11
4
12
2
13
3
14
65
LEFT
2
0
1
1
5
0
1
1
2
2
1
2
2
54
22
3
4
2
2
2
2
3
2
2
2
3
2
3
2
3
2
3
2
2
5
2
2
2
4
3
2
4
2
2
13
3
2
2
2
1
0
2
1
1
0
2
2
2
0
2
0
1
1
0
2
2
2
0
3
0
0
3
0
1
5
0
2
0
0
1
2
1
1
1
2
1
0
1
2
1
2
2
1
2
3
0
0
2
1
3
2
1
2
1
8
7.63847
7.42005
7.29452
7.25145
7.23039
7.18917
7.12946
7.01698
6.99906
6.89597
6.74397
6.72420
6.70471
6.48093
6.43202
6.33891
6.29452
6.24088
6.18917
6.08719
5.99018
5.94659
5.78432
5.70229
5.68547
5.66649
5.44713
5.37891
5.35592
5.34761
whose
red
smile
pale
marge
waiting
feyes
hidden
shaking
broken
ginny
bellatrix
white
remember
aunt
scabbers
whispered
petunia
eaters
turned
half
forward
fell
little
must
gone
saw
went
stood
she
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
16
2
13
2
4
12
4
2
2
2
2
2
2
2
6
5
3
4
2
2
24
16
2
2
16
2
2
3
2
4
6
2
12
0
4
9
2
0
0
1
0
0
1
2
3
3
3
0
1
2
13
12
1
1
4
0
0
0
0
2
10
0
1
2
0
3
2
2
2
1
2
2
1
0
3
2
0
4
1
0
11
4
1
1
12
2
2
3
2
2
5.22322
5.08152
4.97461
4.91265
4.64368
4.64079
4.63501
4.60759
4.54775
4.54450
4.51555
4.51236
4.47163
4.44713
4.41410
4.39405
4.28906
4.26611
4.16149
4.06279
4.06143
3.95575
3.94659
3.92740
3.88281
3.86318
3.86115
3.84840
3.83509
3.76148
with
great
hermione
death
down
on
looked
potter
something
away
come
thought
look
door
from
into
over
back
very
still
a
s
professor
see
was
can
snape
so
when
them
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
4
2
6
23
2
10
14
3
3
2
3
2
3
4
6
12
1
1
1
9
1
7
2
0
1
0
0
0
0
1
3
5
3
1
5
14
1
3
12
3
2
2
3
2
3
3
3
7
3.67180
3.59072
3.56467
3.56141
3.54938
3.54710
3.48583
3.40326
3.38375
3.37313
3.34550
3.32908
3.27372
3.20449
3.12015
3.05120
out
now
as
and
an
in
harry
have
all
no
up
if
we
but
had
of
RT
0
0
0
1
0
2
2
3
MI STAT
7.39147
6.20017
6.05973
5.98182
5.88175
5.87582
5.28577
3.62723
COLLOCATE
their
hermione
ron
on
s
they
and
the
FACES FEMALE
RANK FREQ
1
2
2
2
3
2
4
2
5
4
6
2
7
5
8
3
23
LEFT
2
2
2
1
4
0
3
0
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
EAR FEMALE
RANK FREQ
1
2
2
2
3
3
4
3
5
2
6
3
LEFT
0
0
3
3
0
0
RT
2
2
0
0
2
3
MI STAT
12.64433
9.11009
7.90560
7.52210
4.80989
4.36420
COLLOCATE
cupboard
door
her
hermione
to
the
RT
0
0
2
0
4
0
2
0
1
3
2
0
5
0
0
MI STAT
10.24033
9.60290
8.61028
8.01793
7.99580
7.86446
7.76228
6.53989
6.30173
6.14883
5.83498
5.56790
5.52586
5.24033
5.18349
COLLOCATE
sprang
leapt
flying
bellatrix
her
getting
books
mcgonagall
moment
looking
too
hermione
she
professor
got
FEET FEMALE
RANK FREQ
1
2
2
3
3
2
4
2
5
33
6
2
7
2
8
2
9
2
10
3
11
2
12
8
13
6
14
2
15
2
LEFT
2
3
0
2
29
2
0
2
1
0
0
8
1
2
2
2
7
2
22
4
3
13
2
3
3
7
4
2
4
4
3
5
1
4
0
20
2
0
3
0
3
1
2
2
1
3
2
0
3
1
3
2
2
2
3
10
2
0
2
5
2
1
1
2
3
2
5.08961
4.96832
4.92874
4.90009
4.42746
4.08318
4.03202
3.96553
3.93452
3.85841
3.77956
3.59372
3.51695
3.24948
3.17655
3.10386
3.08190
around
at
looked
to
ron
but
and
out
on
as
harry
said
with
s
was
in
of
RT
0
2
0
1
2
3
0
1
MI STAT
13.67995
12.26491
11.67995
11.51002
10.97951
8.04310
5.57317
4.40247
COLLOCATE
fore
flips
pressed
touched
mark
her
she
a
FINGER FEMALE
RANK FREQ
1
2
2
2
3
3
4
2
5
2
6
11
7
2
8
4
24
LEFT
2
0
3
1
0
8
2
3
9
10
11
12
13
14
15
16
2
3
2
4
4
2
2
5
1
1
0
0
1
0
2
1
1
2
2
4
3
2
0
4
4.22599
4.18943
4.15117
4.07293
3.96384
3.88175
3.80881
3.36420
said
harry
in
to
and
s
was
the
RT
1
1
2
1
2
4
2
2
3
2
2
2
0
3
2
2
MI STAT
10.49938
8.03995
7.81249
6.10706
5.59343
5.11516
5.07015
4.86745
4.78864
4.66798
4.38166
3.60770
3.54792
3.51136
3.47310
3.30936
COLLOCATE
crossed
each
her
hermione
up
at
were
him
s
for
ron
and
said
harry
in
a
17
18
LEFT
1
1
13
5
1
0
0
1
3
0
0
3
2
0
0
1
0
4
2
3
3.28964
3.17155
his
the
RT
1
0
1
1
1
1
1
MI STAT
6.90560
6.52210
6.38166
5.71570
5.20368
4.71416
4.39486
COLLOCATE
her
hermione
ron
was
s
of
to
MI STAT
13.41691
7.90560
4.87073
4.72440
4.71416
3.36420
COLLOCATE
farther
her
and
a
of
the
FOOT FEMALE
RANK FREQ
1
2
2
2
3
2
4
3
5
2
6
2
7
2
FINGERS FEMALE
RANK FREQ
1
2
2
2
3
15
4
6
5
3
6
4
7
2
8
3
9
6
10
2
11
2
12
5
13
2
14
3
15
2
16
3
2
7
LEFT
1
2
1
2
1
1
1
FOREHEAD FEMALE
RANK FREQ
1
2
2
4
3
3
4
2
5
2
6
2
25
LEFT
2
4
2
2
0
0
RT
0
0
1
0
2
2
HAIR FEMALE
RANK FREQ
1
2
2
5
3
2
4
3
5
2
6
3
7
6
8
2
9
5
10
2
11
6
12
3
13
4
14
2
15
14
16
2
17
4
18
2
19
2
20
47
21
2
22
2
23
3
24
6
25
2
26
5
27
2
LEFT
0
4
0
3
0
2
1
1
4
1
1
3
4
2
13
0
4
0
2
31
2
2
1
6
1
5
0
RT
2
1
2
0
2
1
5
1
1
1
5
0
0
0
1
2
0
2
0
16
0
0
2
0
1
0
2
MI STAT
11.88640
11.88640
11.56447
11.01193
9.49408
9.26191
9.22344
9.18596
8.92293
8.75712
8.67695
8.61338
8.33181
8.27169
8.18993
8.13151
7.96754
7.86403
7.77788
7.75975
7.69658
7.58262
7.36284
7.08335
6.31654
6.13419
6.08550
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
COLLOCATE
fteeth
blonde
bun
bushy
fback
gray
fface
silvery
whose
brown
feyes
short
witch
fhead
long
tight
red
flying
woman
her
glasses
tonks
high
dark
large
black
pulled
26
2
2
10
2
2
4
5
10
5
3
2
4
4
2
5
2
10
2
16
3
3
3
5
2
10
11
5
14
2
2
2
2
4
0
0
0
1
9
1
0
1
1
1
1
4
2
4
1
5
2
2
3
0
1
2
3
4
1
0
2
0
0
6
2
2
4
4
1
4
3
1
3
3
1
1
0
6
1
11
1
1
0
5
1
8
8
1
13
2
0
5.72653
5.52008
5.51658
5.32035
5.30520
5.19117
5.13553
5.09263
4.94154
4.83655
4.40258
4.37663
4.21929
4.18250
4.14359
4.09687
4.09459
4.08066
4.02396
3.93123
3.89393
3.89299
3.84913
3.81092
3.75223
3.47316
3.40460
3.39269
3.15423
3.14746
old
weasley
she
behind
mface
down
back
with
into
over
your
from
out
looked
hermione
an
in
like
a
all
them
up
as
so
was
of
had
and
what
not
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
HAND FEMALE
RANK FREQ
1
2
2
2
3
2
4
4
5
7
6
2
7
58
8
2
9
4
10
2
11
3
12
2
13
2
14
2
15
3
16
2
17
4
18
2
19
2
20
3
21
2
22
7
23
2
24
3
25
2
LEFT
1
1
1
4
7
1
44
2
3
2
1
1
1
1
3
1
0
1
0
3
1
6
0
3
0
RT
1
1
1
0
0
1
14
0
1
0
2
1
1
1
0
1
4
1
2
0
1
1
2
0
2
MI STAT
10.51270
9.15013
8.56517
8.15013
8.12741
7.56517
7.49680
7.21153
7.04393
7.03465
7.03465
7.01627
6.98020
6.89379
6.80698
6.69070
6.57186
6.55187
6.52564
6.41316
6.38932
6.37586
6.20111
6.09766
5.94501
COLLOCATE
stretching
grab
clutched
seized
holding
tight
her
marge
raised
whose
held
sister
shaking
threw
petunia
closed
air
book
feyes
aunt
please
other
moved
put
life
27
23
2
14
5
2
5
6
2
2
2
2
22
3
5
2
3
17
3
27
2
2
9
5
8
7
5
2
2
3
3
22
2
6
4
1
3
2
2
1
0
0
16
2
2
1
2
11
1
15
1
1
3
4
5
3
3
0
1
2
1
1
0
8
1
1
2
4
0
1
2
2
6
1
3
1
1
6
2
12
1
1
6
1
3
4
2
2
1
1
2
5.77887
5.75781
5.43566
5.36586
5.10573
4.94675
4.83221
4.81623
4.68343
4.65117
4.58873
4.39632
4.39524
4.37519
4.31443
4.30696
4.29377
4.27020
4.21250
4.16271
4.14263
4.13078
4.06361
4.03696
4.01171
3.97487
3.94719
3.92774
3.92345
3.82954
hermione
small
she
still
really
down
back
left
little
two
potter
s
my
into
m
by
in
did
a
lupin
very
as
up
on
with
out
again
professor
one
so
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
4
6
7
2
2
13
2
2
2
19
2
2
9
3
13
1
4
1
0
1
6
1
2
0
7
1
1
3
2
7
3
2
6
2
1
7
1
0
2
12
1
1
6
1
6
3.75877
3.69983
3.65573
3.61615
3.57186
3.56440
3.44661
3.35860
3.32853
3.26691
3.25666
3.21677
3.19278
3.16608
3.04644
there
ron
at
looked
now
was
their
then
is
and
could
this
his
not
he
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
RT
3
0
1
1
0
2
5
2
4
1
MI STAT
11.32005
10.80548
9.70114
9.51270
9.10504
8.78756
7.96973
6.32975
6.24302
6.06267
COLLOCATE
fmouth
clapped
trembling
leapt
tea
shaking
her
too
she
hermione
HEAD FEMALE
2
2
2
4
4
15
2
3
2
2
5
6
5
2
3
2
3
1
2
0
2
1
5
0
0
1
1
5
4
2
1
1
0
1
1
0
2
2
3
10
2
3
1
1
0
2
3
1
2
2
2
5.81907
5.64359
5.05461
5.01171
4.84432
4.73323
4.61072
4.50719
4.47725
4.46030
4.33559
4.25987
4.06617
3.65573
3.42264
3.08849
3.05193
ll
your
back
with
on
and
were
ron
we
out
in
it
s
at
you
said
harry
RT
0
0
0
0
0
1
2
2
MI STAT
10.80220
10.65020
10.57981
9.16478
9.01793
8.97213
8.76268
8.27169
COLLOCATE
jerk
poked
jerked
shook
farms
quaffle
wing
fhair
HANDS FEMALE
RANK FREQ
1
3
2
2
3
2
4
2
5
2
6
2
7
23
8
2
9
7
10
8
LEFT
0
2
1
1
2
0
18
0
3
7
RANK FREQ
1
2
2
2
3
4
4
6
5
2
6
2
7
2
8
2
28
LEFT
2
2
4
6
2
1
0
0
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
3
3
2
2
4
44
2
2
2
2
14
2
6
3
3
2
5
3
2
8
2
3
2
2
2
6
2
5
2
3
2
2
1
0
4
37
2
2
1
1
10
0
5
2
2
0
3
2
0
6
1
2
2
1
0
4
1
4
0
3
1
1
1
2
0
7
0
0
1
1
4
2
1
1
1
2
2
1
2
2
1
1
0
1
2
2
1
1
2
0
8.21724
8.21724
7.90604
7.86361
7.79222
7.75032
7.48028
7.41754
6.93871
6.32827
6.08774
5.98914
5.92228
5.92047
5.66531
5.58411
5.22126
5.16478
4.96651
4.90739
4.86884
4.57553
4.46235
4.42910
4.27690
4.27400
4.18260
4.17836
4.16639
4.04732
shaking
hat
continued
added
top
her
trelawney
witch
cold
onto
she
under
over
little
door
dark
back
professor
m
hermione
here
one
my
around
down
on
an
with
like
from
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
2
11
2
2
9
2
12
11
27
4
2
3
2
12
3
5
5
0
4
0
0
7
1
6
7
14
1
1
0
0
3
0
2
0
2
7
2
2
2
1
6
4
13
3
1
3
2
9
3
3
5
4.01068
3.97546
3.96931
3.83899
3.75889
3.70534
3.69465
3.55889
3.50437
3.50045
3.39376
3.35191
3.32198
3.25603
3.19789
3.18032
3.11695
then
was
me
who
s
into
a
of
the
at
up
ron
we
and
as
in
i
RT
1
1
1
1
1
1
MI STAT
9.25592
7.90560
7.26971
6.08774
4.98128
3.47842
COLLOCATE
course
her
my
she
s
and
HEART FEMALE
RANK FREQ
1
2
2
7
3
2
4
2
5
3
6
2
29
LEFT
1
6
1
1
2
1
JAW FEMALE
RANK FREQ LEFT RT
1
2
1
1
2
2
2
0
MI STAT
11.09499
7.90560
COLLOCATE
aunt
her
MI STAT
6.78864
5.28577
COLLOCATE
s
and
4
5
6
7
8
9
10
11
12
KNEE FEMALE
RANK FREQ LEFT RT
1
3
2
1
2
2
0
2
LEFT
6
2
0
1
1
RT
0
0
2
1
2
MI STAT
8.16864
5.98182
4.88175
3.96384
3.62723
COLLOCATE
her
on
s
and
the
RT
0
0
1
MI STAT
14.00188
11.14390
9.40196
COLLOCATE
figg
broken
gave
2
5
1
1
0
2
3
1
0
0
1
1
1
2
0
0
1
2
9.36525
7.90560
6.33477
6.31013
5.52462
4.61871
4.39486
4.13943
4.12920
mrs
her
out
she
t
s
to
a
of
LEFT
2
2
7
0
5
2
1
2
2
1
RT
0
0
1
2
0
1
2
1
2
1
MI STAT
13.77948
9.15013
8.09825
7.95294
7.03667
6.67270
5.25071
4.90835
4.47842
4.39632
COLLOCATE
biting
bit
her
thought
hermione
she
in
was
and
s
RANK FREQ LEFT RT
1
3
3
0
MI STAT
14.58684
COLLOCATE
pursed
LIP FEMALE
RANK FREQ
1
2
2
2
3
8
4
2
5
5
6
3
7
3
8
3
9
4
10
2
KNEES FEMALE
RANK FREQ
1
6
2
2
3
2
4
2
5
3
2
6
2
2
2
2
3
2
2
LEG FEMALE
RANK FREQ
1
2
2
3
3
2
LEFT
2
3
1
LIPS FEMALE
30
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
2
2
2
2
2
20
2
4
2
2
2
2
4
2
2
4
3
2
4
2
0
2
2
2
0
18
2
1
0
2
0
1
3
1
0
3
2
0
1
2
2
0
0
0
2
2
0
3
2
0
2
1
1
1
2
1
1
2
3
0
12.26491
12.26491
10.41691
8.56447
8.31072
8.22753
8.09499
5.89510
5.07015
4.28249
4.22764
3.78311
3.71416
3.54792
3.40973
3.39486
3.30936
3.28964
3.28577
3.20368
parted
ffinger
pressed
madam
raised
her
aunt
she
were
him
as
had
of
said
i
to
a
his
and
s
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
22
2
2
2
7
5
2
3
10
2
3
2
4
2
7
2
3
3
21
1
0
2
6
1
0
1
4
0
1
0
3
0
4
2
0
1
1
1
2
0
1
4
2
2
6
2
2
2
1
2
3
0
3
2
7.97272
7.58719
6.39686
6.30274
5.93713
5.82471
5.82166
4.66379
4.32447
4.06010
3.92112
3.83532
3.81136
3.72285
3.70081
3.39079
3.32339
3.11904
her
mind
too
saw
hermione
she
again
with
to
but
that
as
s
at
and
had
was
harry
RT
0
1
1
1
1
3
1
MI STAT
7.72188
7.58367
6.59780
4.97720
4.81241
4.54881
3.62723
COLLOCATE
around
her
out
of
it
and
the
NECK FEMALE
MOUTH FEMALE
RANK FREQ
1
3
2
6
3
2
4
3
5
4
LEFT
3
6
1
3
0
RT
0
0
1
0
4
MI STAT
11.32005
9.61961
9.57981
8.98507
8.11771
RANK FREQ
1
2
2
4
3
2
4
3
5
2
6
3
7
3
COLLOCATE
fhands
opened
leapt
feyes
open
31
LEFT
2
3
1
2
1
0
2
NOSTRIL FEMALE
NOSE FEMALE
RANK FREQ
1
3
2
2
3
2
4
2
5
3
6
2
7
2
8
11
9
2
10
3
11
2
12
2
13
2
14
2
15
4
16
7
17
3
18
2
19
2
20
3
21
3
22
2
LEFT
3
1
1
1
3
0
2
11
1
2
2
2
2
1
3
1
0
0
0
1
1
0
RT
0
1
1
1
0
2
0
0
1
1
0
0
0
1
1
6
3
2
2
2
2
2
MI STAT
12.27698
10.92150
8.98507
8.67096
8.38145
8.03129
7.68673
7.55768
7.20584
6.97213
5.64634
5.08774
4.71474
4.57430
4.39632
4.28577
4.25071
3.74057
3.60238
3.49177
3.17246
3.11904
RANK FREQ LEFT RT
1
2
1
1
2
2
1
1
COLLOCATE
blew
marched
feyes
high
under
air
mcgonagall
her
turned
professor
who
she
hermione
ron
s
and
in
said
i
of
to
harry
MI STAT
9.78110
7.28964
COLLOCATE
like
his
MI STAT
9.19452
COLLOCATE
professor
MI STAT
11.94298
9.71032
8.62106
8.08953
7.58367
6.14597
6.10756
5.89510
5.75514
5.38166
5.34307
5.30375
5.29913
5.19211
COLLOCATE
patting
cattermole
bag
over
her
looked
time
she
my
ron
know
on
no
back
NOSTRILS FEMALE
RANK FREQ LEFT RT
1
2
1
1
SHOULDER FEMALE
RANK FREQ
1
2
2
2
3
2
4
11
5
16
6
3
7
2
8
5
9
2
10
5
11
2
12
5
13
2
14
2
32
LEFT
2
1
2
11
16
3
0
3
2
1
0
5
0
2
RT
0
1
0
0
0
0
2
2
0
4
2
0
2
0
15
16
17
18
19
20
21
22
23
24
25
26
27
8
2
2
2
4
4
2
5
4
3
6
10
4
4
0
0
2
0
0
0
1
1
2
2
6
0
4
2
2
0
4
4
2
4
3
1
4
4
4
4.88175
4.74823
4.53274
4.20017
4.08780
3.97518
3.96056
3.92640
3.81241
3.81096
3.54881
3.36420
3.07293
s
were
what
hermione
i
you
him
harry
it
said
and
the
to
MI STAT
10.98693
9.77948
9.36574
7.51404
6.90560
6.89510
6.52210
5.78864
3.36420
COLLOCATE
marm
put
around
back
her
she
hermione
s
the
RANK FREQ
1
2
2
3
3
2
4
2
5
2
LEFT
1
2
2
0
1
RT
1
1
0
2
1
MI STAT
16.41691
7.90560
5.13943
5.12920
4.70081
COLLOCATE
tweed
her
a
of
and
RT
0
1
1
MI STAT
11.88640
6.89510
4.28577
COLLOCATE
fhair
she
and
RT
2
2
0
MI STAT
7.32064
6.61278
6.20368
COLLOCATE
her
they
s
RANK FREQ LEFT RT
1
2
0
2
MI STAT
8.99625
COLLOCATE
m
TEETH FEMALE
RANK FREQ
1
2
2
2
3
2
LEFT
2
1
1
SHOULDERS FEMALE
RANK FREQ
1
2
2
2
3
5
4
2
5
2
6
2
7
2
8
3
9
2
LEFT
2
1
4
1
2
0
2
3
0
RT
0
1
1
1
0
2
0
0
2
WRIST FEMALE
RANK FREQ
1
2
2
2
3
3
LEFT
0
0
3
ANKLE MALE
STOMACH FEMALE
33
2
3
4
5
2
2
2
2
2
0
2
1
0
2
0
1
6.53020
5.82477
5.70467
3.77923
at
i
his
the
RT
0
3
0
1
1
0
MI STAT
7.72188
5.29086
4.88175
4.80881
3.96384
3.04227
COLLOCATE
around
he
s
was
and
the
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
11.98693
11.40196
10.98693
10.66500
9.98693
9.66500
9.28649
9.08004
9.02345
mtooth
mribs
fshoulders
teenage
latter
grasped
outstretched
injured
grabbed
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
ANKLES MALE
RANK FREQ
1
2
2
4
3
2
4
2
5
2
6
2
LEFT
2
1
2
1
1
2
ARM MALE
2
2
2
2
2
2
2
2
5
1
2
0
0
0
1
2
1
5
1
0
2
2
2
1
0
1
0
34
2
3
2
6
2
2
2
2
2
2
2
101
2
11
2
5
2
2
5
2
9
2
2
11
2
2
2
2
2
3
2
3
2
3
2
1
2
0
0
2
0
2
1
6
2
4
2
2
4
0
6
2
2
1
2
2
0
1
1
2
0
0
0
3
0
1
0
2
2
0
2
2
1
5
0
1
0
0
1
2
3
0
0
10
0
0
2
1
1
1
8.98693
8.98693
8.89946
8.40196
8.23204
7.89946
7.81700
7.70152
7.59461
7.46336
7.43234
7.38701
7.15404
6.86516
6.57754
6.50150
6.46336
6.41707
6.32586
6.28649
6.08539
5.98693
5.96456
5.90333
5.86799
5.81700
5.78725
5.73900
5.71080
5.55508
gripped
flung
upper
seized
clutched
grip
stretched
dragged
laughing
clutching
tightly
marm
sudden
malfoy
deep
put
wrong
students
under
feeling
right
holding
albus
around
standing
father
stop
caught
raised
nothing
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
2
3
4
2
9
7
50
2
3
40
2
18
2
2
2
14
5
2
3
10
2
3
4
2
2
4
9
3
34
2
0
1
3
2
8
7
36
0
2
36
0
14
1
2
2
6
4
1
1
7
1
0
3
0
0
4
3
1
20
0
2
2
1
0
1
0
14
2
1
4
2
4
1
0
0
8
1
1
2
3
1
3
1
2
2
0
6
2
14
2
5.50311
5.50043
5.48310
5.46336
5.36732
5.28451
5.24762
5.18603
5.17528
5.01165
4.95350
4.95167
4.94253
4.76776
4.76776
4.72954
4.71080
4.65601
4.64411
4.64174
4.62060
4.56907
4.54606
4.53984
4.52750
4.50311
4.47561
4.41454
4.41395
4.41328
along
next
left
suddenly
an
my
s
pulled
felt
his
yes
ron
make
hogwarts
cloak
hermione
by
moment
though
out
weasley
which
off
once
made
your
her
lupin
harry
turned
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
35
13
3
4
3
4
10
4
8
3
2
35
9
4
5
2
2
3
2
12
25
6
21
2
2
2
2
12
6
3
39
4
0
3
0
2
8
3
5
1
2
11
2
2
4
1
0
2
1
4
7
1
10
2
0
2
2
4
2
0
15
9
3
1
3
2
2
1
3
2
0
24
7
2
1
1
2
1
1
8
18
5
11
0
2
0
0
8
4
3
24
4.38302
4.36488
4.35212
4.20338
4.15562
4.02577
4.00536
3.87123
3.86281
3.82958
3.81514
3.79765
3.72014
3.61711
3.61406
3.59246
3.56206
3.51119
3.45815
3.43880
3.43746
3.40519
3.39260
3.38701
3.29170
3.23873
3.11939
3.10021
3.06211
3.04969
him
where
over
just
dumbledore
on
one
with
about
time
and
as
into
she
again
how
if
can
in
to
but
he
wand
ve
down
now
it
at
from
the
100
101
2
3
1
2
1
1
3.02548
3.01060
then
there
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
10.02842
9.72886
9.40693
8.97397
8.40693
8.31382
7.97397
7.82197
7.53903
7.45273
7.16916
6.92150
6.85849
6.63434
6.40894
5.77079
5.74587
5.73262
5.39794
5.24102
5.22503
4.97731
outstretched
flung
folded
spread
mknees
herself
shaking
wide
mchest
raised
mhead
forward
books
both
his
around
under
mface
hagrid
heard
long
other
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
ARMS MALE
2
3
2
2
2
3
3
2
2
4
6
3
2
3
63
6
2
3
5
2
2
2
0
3
0
2
1
2
1
0
0
3
3
2
2
3
51
0
2
2
3
0
2
0
2
0
2
0
1
1
2
2
2
1
3
1
0
0
12
6
0
1
2
2
0
2
36
2
5
3
16
4
2
2
2
5
5
7
3
2
4
2
4
2
22
2
5
17
3
2
2
10
4
14
4
10
4
1
5
1
12
1
2
1
0
2
4
5
3
0
2
1
1
1
10
2
3
7
0
0
0
6
1
5
1
6
1
1
0
2
4
3
0
1
2
3
1
2
0
2
2
1
3
1
12
0
2
10
3
2
2
4
3
9
3
4
3
4.88337
4.78400
4.67901
4.61512
4.59572
4.57151
4.55144
4.52184
4.47336
4.47241
4.42052
4.25043
4.13081
4.06175
4.05997
3.98992
3.89755
3.88722
3.85541
3.84560
3.84227
3.79714
3.76307
3.71903
3.66762
3.66412
3.66354
3.59443
3.39035
3.36966
room
into
over
in
who
lupin
very
where
them
up
with
could
by
out
do
not
dumbledore
and
their
ron
he
were
no
if
s
hermione
of
but
harry
as
53
54
55
28
2
9
8
2
4
20
0
5
3.31357
3.21908
3.03634
the
from
a
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
10.60956
10.60956
9.66401
9.45756
8.97213
8.90502
8.53156
8.25592
7.80220
7.52777
7.49408
7.37009
7.21343
7.13563
6.57981
6.57003
6.20206
6.15013
6.14025
5.96784
5.90297
thumping
prodded
tied
clapped
mback
rolled
danger
view
hiding
turned
stairs
lying
behind
onto
mhands
window
sat
found
on
felt
floor
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
BACK MALE
2
2
3
2
60
3
2
2
2
10
2
2
8
4
2
2
2
2
25
3
2
2
2
3
2
2
3
0
1
2
9
2
2
8
4
1
1
1
2
12
1
1
0
0
0
0
2
0
2
1
0
1
0
0
0
0
1
1
1
0
13
2
1
37
2
37
2
3
5
2
2
2
3
9
2
2
2
2
6
14
2
2
6
6
2
2
17
6
3
13
2
2
4
35
1
34
0
2
1
2
1
2
2
7
0
0
2
1
3
11
2
1
4
1
2
0
8
4
0
6
1
1
1
19
1
3
2
1
4
0
1
0
1
2
2
2
0
1
3
3
0
1
2
5
0
2
9
2
3
7
1
1
3
16
5.89684
5.69174
5.65536
5.47266
5.44857
5.19828
5.19828
5.09649
4.77012
4.74423
4.60207
4.52682
4.50336
4.30173
4.24875
4.20368
4.14467
4.08426
4.06010
4.00525
3.94818
3.90604
3.89289
3.89277
3.82432
3.81948
3.81804
3.71609
3.71474
3.68612
against
his
front
door
hagrid
mface
malfoy
himself
wand
ron
very
think
still
snape
with
s
over
down
him
as
dumbledore
their
he
at
all
harry
then
could
hermione
the
52
53
54
55
56
57
58
59
60
16
17
7
7
8
3
2
6
7
5
5
2
2
4
0
0
1
3
11
12
5
5
4
3
2
5
4
3.58750
3.56588
3.54792
3.47310
3.32339
3.23002
3.20111
3.18734
3.13434
to
and
said
in
was
but
up
i
it
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
6.91795
6.48006
6.45956
5.88871
5.28249
4.72847
4.19775
3.92640
3.87073
do
she
his
on
him
that
he
harry
and
MI STAT
5.70467
COLLOCATE
his
2
3
0
2
8
3
0
0
0
0
1
2
1
1
0
2
2
3
2
2
RANK FREQ
1
2
2
3
3
2
4
2
5
2
6
4
7
2
8
2
9
2
10
2
11
2
12
2
13
2
14
3
15
3
16
3
17
3
18
2
19
2
20
2
21
2
22
2
CHEEKS MALE
RANK FREQ LEFT RT
1
4
4
0
0
1
2
2
4.82477
4.28577
i
and
RT
2
0
0
1
0
1
2
0
0
0
0
0
2
1
0
0
0
1
1
0
1
1
MI STAT
10.81205
10.28154
10.07509
9.93758
9.93758
9.64213
9.39702
9.30955
8.53903
8.30955
8.11161
7.53903
7.51437
7.45842
7.44282
7.29548
7.24051
7.13023
7.11161
6.98762
6.85786
6.76766
COLLOCATE
devil
badge
bare
lump
banging
clutched
rapidly
rubbing
gleaming
skin
stuck
marms
rose
mheart
horcrux
crookshanks
pointing
sign
fear
lying
point
closed
CHEST MALE
CHEEK MALE
2
3
9
3
2
2
3
2
3
2
3
38
LEFT
0
3
2
1
2
3
0
2
2
2
2
2
0
2
3
3
3
1
1
2
1
1
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
4
4
2
2
2
2
2
71
2
3
2
5
5
5
2
4
2
2
2
2
3
4
3
2
4
12
13
23
3
4
4
4
0
2
2
2
2
62
2
3
0
1
2
4
0
0
1
1
1
1
2
3
2
0
3
10
10
13
1
1
0
0
2
0
0
0
0
9
0
0
2
4
3
1
2
4
1
1
1
1
1
1
1
2
1
2
3
10
2
3
6.71754
6.70353
6.57684
6.53903
6.34173
6.34173
6.25746
6.24956
6.14909
6.09933
5.84243
5.65017
5.64748
5.64480
5.43701
5.21960
5.18756
5.07059
5.00041
4.97075
4.85527
4.85398
4.82463
4.80830
4.70179
4.69889
4.62578
4.53741
4.49816
4.43123
across
upon
words
pointed
silver
hard
feel
his
caught
against
fell
looking
right
black
went
very
inside
came
felt
death
through
around
lupin
last
down
on
at
s
your
no
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
10
17
3
3
6
5
2
2
3
2
6
4
3
13
13
2
8
21
2
3
4
12
6
13
1
2
2
3
1
2
0
1
3
0
2
5
6
0
3
1
0
1
2
3
4
4
2
1
4
2
1
0
3
1
3
4
1
8
7
2
5
20
2
2
2
9
4.41459
4.37074
4.34717
4.32913
4.31487
4.20226
4.19000
4.12089
3.99046
3.91926
3.86628
3.83573
3.71519
3.64496
3.64136
3.56571
3.53865
3.48827
3.43557
3.29023
3.03781
3.00792
him
in
over
hagrid
out
were
where
still
is
snape
with
there
into
it
was
dumbledore
that
and
then
she
as
he
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
10.37252
10.07706
grinning
mear
EAR MALE
39
2
29
2
1
0
1
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
2
2
2
2
4
2
2
2
18
5
3
14
2
2
6
2
2
10
12
3
2
3
3
7
5
3
2
4
7
6
2
0
2
0
4
2
0
2
16
5
2
13
0
1
5
1
1
7
6
0
1
3
0
5
0
3
0
1
1
2
0
2
0
2
0
0
2
0
2
0
1
1
2
1
1
1
1
3
6
3
1
0
3
2
5
0
2
3
6
4
9.83195
9.34010
8.17374
7.23204
6.98646
6.32813
5.94017
5.76049
5.70467
5.64411
5.62738
5.52557
5.28892
5.23390
5.21173
4.85039
4.84043
4.77072
4.75647
4.72517
4.15071
4.11256
3.93966
3.77686
3.70138
3.61319
3.54886
3.54222
3.33824
3.22493
hissed
difficult
muttered
gave
voice
left
door
right
his
from
an
in
around
by
ron
one
is
s
harry
she
her
him
t
a
it
had
on
you
and
to
EARS MALE
40
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
12.04252
10.99813
10.87259
9.42781
9.10000
9.06524
8.75712
8.39147
8.26773
7.88770
6.85023
6.51504
6.49755
6.36981
5.52978
5.46038
5.28014
5.25071
4.98182
4.97374
4.80881
4.65181
4.52583
4.47599
4.38208
4.34186
ringing
strained
pounding
screaming
pink
ball
wind
loud
mmouth
broom
side
boy
went
his
though
going
very
in
can
your
was
like
were
one
so
with
3
2
4
3
2
2
2
2
2
2
2
2
2
37
2
2
2
15
2
2
14
2
3
2
2
4
3
2
3
3
0
1
2
2
1
0
0
0
0
30
0
0
1
14
0
0
6
0
1
2
0
1
0
0
1
0
2
1
0
0
1
2
2
2
2
7
2
2
1
1
2
2
8
2
2
0
2
3
27
28
29
30
31
32
33
34
35
36
37
38
39
2
4
2
11
5
3
2
12
11
6
8
2
14
2
0
2
1
1
3
0
5
1
6
5
1
4
0
4
0
10
4
0
2
7
10
0
3
1
10
4.32441
4.09836
3.94778
3.94293
3.92112
3.83734
3.79045
3.74145
3.72500
3.65936
3.59511
3.15321
3.04227
who
as
from
he
that
ron
out
and
to
s
a
him
the
RT
2
0
1
0
0
2
2
1
0
1
4
2
MI STAT
12.41691
6.81886
5.11256
5.03375
4.94524
4.55447
4.54686
4.34144
4.11971
3.96082
3.51620
3.11585
COLLOCATE
length
by
him
s
at
a
to
harry
his
was
the
and
EYE MALE
ELBOW MALE
RANK FREQ
1
2
2
2
3
2
4
4
5
2
6
4
7
5
8
3
9
2
10
2
11
5
12
2
LEFT
0
2
1
4
2
2
3
2
2
1
1
0
41
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
11.93579
11.19882
9.71340
9.71340
9.61386
9.52075
9.52075
8.93579
8.73225
8.71340
8.61386
8.43329
8.12843
7.99719
7.99719
7.97643
7.87689
7.87689
7.54347
7.44750
7.09449
6.79283
6.76586
6.49838
6.46547
6.43329
socket
whizzing
grinned
contact
blinked
pity
casting
blue
caught
tom
moody
bright
magical
umbridge
keeping
eye
seamus
corner
young
mad
turn
green
keep
mind
silver
however
2
2
2
3
2
2
2
5
11
2
2
4
5
2
2
3
2
4
2
3
2
2
4
3
2
2
0
0
0
0
1
0
2
4
11
1
2
3
5
0
2
3
1
4
0
3
1
2
4
3
2
0
2
2
2
3
1
2
0
1
0
1
0
1
0
2
0
0
1
0
2
0
1
0
0
0
0
2
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
2
10
2
5
2
2
2
2
3
2
2
2
3
3
2
2
2
23
3
2
2
3
10
21
3
4
2
6
4
3
1
8
2
1
0
1
2
0
1
2
2
2
2
1
2
0
0
21
2
2
2
1
2
20
1
2
2
1
3
3
1
2
0
4
2
1
0
2
2
0
0
0
1
2
0
2
2
2
1
0
0
2
8
1
2
2
0
5
1
0
6.20787
6.05315
5.98159
5.95089
5.93579
5.92084
5.85541
5.84127
5.82031
5.69420
5.57238
5.47636
5.31130
5.03693
4.93955
4.92084
4.80307
4.74711
4.73285
4.64731
4.62897
4.62795
4.53833
4.52990
4.47090
4.44795
4.44661
4.43860
4.43727
4.27441
set
an
yet
saw
tried
gave
help
both
neville
seen
own
trying
away
looking
malfoy
its
knew
his
again
will
door
snape
him
s
over
back
black
out
been
dumbledore
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
42
2
2
13
2
2
2
5
2
2
6
18
4
15
13
5
18
22
6
3
2
15
17
2
4
29
4
8
1
0
6
2
1
1
0
0
0
3
9
0
7
2
1
6
4
1
0
0
11
6
2
0
18
1
2
1
2
7
0
1
1
5
2
2
3
9
4
8
11
4
12
18
5
3
2
4
11
0
4
11
3
6
4.24463
4.12843
4.10745
4.03693
4.01098
3.97772
3.92382
3.92270
3.92084
3.90053
3.82823
3.78181
3.76720
3.76509
3.72698
3.71662
3.67911
3.63404
3.59594
3.55930
3.55497
3.41623
3.25396
3.23766
3.15609
3.13166
3.06825
still
professor
in
your
my
around
for
by
ve
ron
a
not
harry
was
with
he
and
at
from
then
of
to
into
on
the
they
it
EYES MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
9.93579
9.93579
9.67275
9.67275
9.52075
9.35083
9.35083
9.19882
9.12843
8.93579
8.93579
8.93579
8.93579
8.93579
8.93579
8.76586
8.76586
8.71340
8.61386
8.61386
8.61386
8.61386
8.59183
8.52075
8.49522
8.47636
shadowed
narrowing
widened
maliciously
watering
dart
dabbing
watery
narrowed
unfocused
slits
screwed
piggy
bloodshot
beetle
twinkling
puffy
blink
throbbing
stung
glinting
fraction
fixed
flashing
rolling
swollen
4
2
5
5
3
2
2
3
4
2
4
3
2
4
2
4
4
3
2
2
6
2
13
3
7
4
3
1
0
0
0
0
2
3
0
0
1
3
2
1
2
1
1
3
1
1
2
0
0
0
5
1
1
1
5
5
3
2
0
0
4
2
3
0
0
3
0
3
3
0
1
1
4
2
13
3
2
3
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
43
5
2
3
3
3
2
2
28
2
2
2
2
2
2
2
2
2
3
2
6
2
2
2
2
2
2
25
4
2
2
3
2
2
1
0
2
0
23
2
0
2
2
0
2
1
2
0
3
2
4
0
1
0
0
1
0
25
4
0
1
2
0
1
2
3
0
2
5
0
2
0
0
2
0
1
0
2
0
0
2
2
1
2
2
1
2
0
0
2
1
8.45036
8.35083
8.19882
8.19882
8.19882
8.12843
8.12843
8.11379
7.93579
7.93579
7.93579
7.93579
7.76586
7.76586
7.76586
7.76586
7.76586
7.71340
7.61386
7.61386
7.61386
7.61386
7.61386
7.47636
7.47636
7.47636
7.41977
7.41223
7.35083
7.23535
sunken
gleeful
pupils
flickered
flashed
steering
gleamed
closed
tearing
glittered
glint
avoiding
tablecloth
streaming
mnostrils
misty
blurred
closing
w
riddle
gloom
fletcher
darting
squinted
pacing
bulging
opened
wiping
blinding
painting
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
2
3
9
18
2
2
2
2
7
2
5
2
3
2
8
5
8
2
2
7
4
6
3
2
9
2
2
6
4
4
2
3
8
15
2
0
0
0
0
1
0
1
0
1
3
3
3
1
2
7
2
1
2
0
1
0
1
2
3
1
0
0
1
3
0
2
2
2
7
1
5
1
3
1
5
2
5
1
0
0
2
5
1
2
8
2
1
4
1
3
7.23535
7.19882
7.19882
7.18685
7.12843
7.12843
7.12843
7.12843
6.98826
6.93579
6.93579
6.93579
6.87689
6.84833
6.84833
6.79828
6.78604
6.76586
6.76586
6.65568
6.65039
6.61386
6.56655
6.54347
6.50580
6.35083
6.35083
6.33093
6.32108
6.20787
corners
tore
blue
red
turban
sparkling
seize
darted
tight
rapidly
glittering
draw
shining
wore
bright
rolled
tears
hated
dry
pale
scarlet
wide
opening
sleeve
shut
welcome
space
glasses
meet
filled
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
44
2
2
2
3
3
325
2
5
8
2
5
3
2
2
5
2
3
2
3
2
3
2
2
4
2
3
4
14
5
2
1
1
1
3
2
292
1
4
5
1
3
2
1
2
3
2
2
0
2
0
2
1
1
1
0
1
2
6
2
0
1
1
1
0
1
33
1
1
3
1
2
1
1
0
2
0
1
2
1
2
1
1
1
3
2
2
2
8
3
2
6.12843
6.07781
6.07781
5.99719
5.99719
5.98288
5.98159
5.97231
5.94710
5.93579
5.91787
5.90604
5.89139
5.89139
5.86540
5.84833
5.84833
5.84833
5.82031
5.76586
5.73939
5.72633
5.72633
5.70697
5.68786
5.68786
5.68786
5.66633
5.58529
5.57824
tom
yellow
gleaming
keeping
certainly
his
born
whose
mhair
often
taking
stepped
norbert
directly
straight
struggling
mundungus
brilliant
mforehead
effort
rat
murmured
gray
became
upward
sudden
met
open
pain
purple
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
3
3
2
4
3
2
2
9
2
23
5
2
8
2
2
2
2
2
5
2
6
7
4
2
4
7
50
3
6
2
2
2
1
1
2
2
2
0
2
17
1
0
6
0
0
2
2
2
3
1
2
5
2
2
2
3
5
0
2
1
1
1
1
3
1
0
0
9
0
6
4
2
2
2
2
0
0
0
2
1
4
2
2
0
2
4
45
3
4
1
5.56655
5.56655
5.54347
5.52640
5.49838
5.47636
5.44394
5.41223
5.41223
5.38521
5.36290
5.32108
5.32108
5.32108
5.29193
5.29193
5.29193
5.26336
5.25772
5.23535
5.18983
5.18090
5.16760
5.15443
5.09030
5.08493
5.06296
5.02890
4.99719
4.98159
windows
listening
approached
lying
water
carefully
unless
upon
gregorovitch
black
scar
somebody
man
allowed
fallen
doge
dare
forgotten
believe
round
between
small
stared
laughed
darkness
light
were
flew
suddenly
thick
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
45
6
3
3
22
4
3
3
3
2
2
3
2
2
3
3
5
2
13
12
2
3
6
10
10
2
2
2
5
8
2
0
2
2
18
2
1
1
2
2
1
0
1
0
2
2
5
1
6
5
2
0
5
6
8
1
0
0
3
1
2
6
1
1
4
2
2
2
1
0
1
3
1
2
1
1
0
1
7
7
0
3
1
4
2
1
2
2
2
7
0
4.96616
4.96616
4.95089
4.91746
4.90237
4.89139
4.89139
4.87689
4.86970
4.86970
4.86254
4.82726
4.82726
4.79283
4.77928
4.76586
4.74596
4.74444
4.72633
4.70697
4.70057
4.69420
4.67652
4.67652
4.65039
4.65039
4.63201
4.62836
4.60487
4.59594
fell
dropped
speak
snape
cold
snake
letter
lay
repeated
ready
almost
instead
hallows
green
appeared
those
mmouth
saw
away
forced
slightly
couldn
mface
malfoy
muggles
moving
above
whispered
moment
hat
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
2
2
3
3
3
2
4
12
9
14
4
2
3
2
14
2
5
3
2
2
17
5
108
2
4
2
5
2
3
48
1
1
3
3
3
0
1
6
8
4
2
1
1
2
2
0
4
1
2
1
8
4
83
0
3
2
4
0
3
5
1
1
0
0
0
2
3
6
1
10
2
1
2
0
12
2
1
2
0
1
9
1
25
2
1
0
1
2
0
43
4.59594
4.56075
4.54347
4.50952
4.48733
4.47636
4.47636
4.47090
4.46909
4.46702
4.45197
4.41223
4.40181
4.39663
4.37028
4.35083
4.32698
4.32108
4.32108
4.32108
4.31935
4.30935
4.30751
4.30643
4.29193
4.29193
4.27472
4.24929
4.24463
4.23766
filch
locket
beneath
kept
beside
used
until
voldemort
little
still
along
finally
moved
breath
again
master
vernon
sight
james
blood
looked
own
s
owl
without
corner
stood
such
raised
on
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
46
2
4
121
4
2
2
3
3
10
2
6
14
16
2
2
25
2
2
5
131
2
20
4
6
8
4
2
3
2
2
2
2
77
2
2
2
0
3
7
2
1
7
12
1
1
7
1
1
3
54
0
13
2
2
5
3
0
2
0
1
0
2
44
2
0
0
3
0
3
0
5
7
4
1
1
18
1
1
2
77
2
7
2
4
3
1
2
1
2
1
4.20787
4.20108
4.19421
4.18760
4.18090
4.18090
4.17202
4.16320
4.13101
4.11561
4.11136
4.10833
4.10448
4.10290
4.07781
4.06987
4.06542
4.06542
4.00033
3.99516
3.99327
3.99093
3.95279
3.94710
3.94143
3.93579
3.93579
3.91342
3.91342
3.89139
class
wasn
harry
air
tiny
stopped
half
quite
through
am
let
over
dumbledore
parents
move
from
slowly
passed
great
he
someone
into
under
turned
before
uncle
scabbers
mind
albus
outside
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
3
13
12
5
2
3
4
2
2
2
4
6
4
6
4
4
31
2
11
2
4
2
2
5
2
5
5
9
2
2
0
5
8
2
1
1
0
0
2
0
3
0
1
0
2
0
16
0
7
2
2
0
2
1
1
2
3
1
0
0
3
8
4
3
1
2
4
2
0
2
1
6
3
6
2
4
15
2
4
0
2
2
0
4
1
3
2
8
2
2
3.89139
3.88803
3.86791
3.86111
3.85897
3.84833
3.84303
3.83776
3.83776
3.81685
3.81167
3.80994
3.80651
3.80307
3.79113
3.78604
3.77429
3.76586
3.76041
3.74596
3.72633
3.72633
3.71662
3.71468
3.69738
3.69166
3.66900
3.66484
3.65966
3.65039
found
now
hagrid
felt
kreacher
gone
mcgonagall
lost
bill
standing
front
seemed
sure
knew
mhead
three
with
father
did
close
inside
full
white
toward
walked
behind
even
off
mother
sword
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
47
2
128
2
4
2
7
2
4
2
2
5
2
4
3
2
8
5
9
8
2
25
6
3
2
7
5
43
29
9
2
2
55
2
1
1
5
0
4
0
0
3
2
2
0
1
1
4
4
3
2
18
2
3
0
3
1
30
12
2
1
0
73
0
3
1
2
2
0
2
2
2
0
2
3
1
7
1
5
5
0
7
4
0
2
4
4
13
17
7
1
3.65039
3.63472
3.60487
3.59149
3.57824
3.56572
3.56075
3.54777
3.53491
3.52640
3.50617
3.49284
3.48870
3.47636
3.44394
3.43196
3.41223
3.41048
3.39276
3.38889
3.37446
3.36340
3.36088
3.35083
3.35083
3.32994
3.32313
3.32209
3.29997
3.28474
anyone
and
wood
some
dead
very
give
dark
same
already
other
bed
once
trying
yeah
when
voice
down
around
each
ron
lupin
take
tried
professor
though
said
at
like
school
297
298
299
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
17
16
15
2
2
2
3
7
2
25
41
175
2
2
15
4
6
22
31
2
19
16
11
13
9
2
1
1
1
3
0
8
20
63
2
1
3
1
2
12
8
0
10
3
6
3
6
0
1
1
2
4
2
17
21
112
0
1
12
3
4
10
23
2
9
13
3.28431
3.26868
3.26431
3.26336
3.25631
3.24230
3.23535
3.23337
3.22154
3.22044
3.17960
3.16436
3.12843
3.12201
3.11051
3.10924
3.10924
3.09087
3.08626
3.05315
3.04929
3.01692
not
out
up
fred
both
table
neville
my
sirius
as
in
the
every
magic
what
thought
see
him
had
against
but
for
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
10.00564
10.00564
redder
brutish
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
FACE MALE
5
2
4
2
1
0
48
2
4
2
2
2
2
9
2
2
3
7
2
2
5
2
3
3
10
4
6
2
2
2
2
2
2
2
2
2
2
0
0
2
0
1
0
6
0
2
3
5
2
1
5
0
1
3
5
2
5
2
2
0
1
1
0
2
0
2
1
2
4
0
2
1
2
3
2
0
0
2
0
1
0
2
2
0
5
2
1
0
0
2
1
1
2
0
2
0
1
10.00564
9.68371
9.42068
9.42068
9.00564
9.00564
8.78325
8.68371
8.68371
8.59060
8.49107
8.42068
8.42068
8.42068
8.42068
8.26867
8.26867
8.24010
8.19828
8.06704
8.00564
8.00564
8.00564
8.00564
8.00564
7.83571
7.68371
7.68371
7.68371
7.68371
bruised
contorted
pained
mask
intruder
impassive
sweat
napkin
flitted
snakelike
grin
screwed
gleeful
gaunt
concentration
skull
hairy
colour
sunken
wiping
sweaty
sallow
pathetic
hatred
advantage
puffy
youth
stiff
mopping
lines
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
3
5
2
2
2
2
2
5
3
7
3
2
6
11
3
2
2
2
4
2
2
2
9
2
3
2
2
2
2
4
1
3
2
2
1
1
0
3
2
6
2
2
6
7
3
1
1
1
4
1
1
0
6
1
0
2
2
1
0
0
2
2
0
0
1
1
2
2
1
1
1
0
0
4
0
1
1
1
0
1
1
2
3
1
3
0
0
1
2
4
7.68371
7.57268
7.54621
7.54621
7.54621
7.54621
7.54621
7.52021
7.50314
7.45544
7.42068
7.42068
7.42068
7.37761
7.34267
7.30520
7.30520
7.30520
7.25075
7.19828
7.19828
7.19828
7.13117
7.09875
7.00564
7.00564
7.00564
7.00564
6.91818
6.87636
drained
terror
twisting
swollen
suffered
flooded
alarmed
twisted
blank
purple
wiped
ruddy
expression
pale
handsome
twitched
triumph
illuminated
spread
instantly
handkerchief
anxious
smile
ugly
younger
whipped
shown
painful
dolohov
split
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
49
2
3
2
8
4
3
3
2
3
2
2
3
2
2
2
2
2
2
9
2
2
2
2
5
3
10
10
2
2
5
1
1
2
8
3
2
1
1
3
0
1
2
1
0
0
1
0
0
5
2
0
2
0
3
2
4
8
2
1
4
1
2
0
0
1
1
2
1
0
2
1
1
1
2
2
1
2
2
4
0
2
0
2
2
1
6
2
0
1
1
6.83571
6.83571
6.83571
6.79619
6.75771
6.63641
6.63641
6.61332
6.59060
6.48208
6.42068
6.42068
6.36178
6.36178
6.36178
6.36178
6.30520
6.30520
6.25670
6.25075
6.25075
6.19828
6.14766
6.13774
6.13117
6.12789
6.10840
6.09875
6.09875
6.04217
sticking
peered
macnair
thin
showed
panting
fury
faster
gazing
thirty
bloody
anger
shining
parvati
level
buried
shadow
believed
red
touched
ripped
horror
gleaming
glasses
rolled
mhands
white
photograph
determined
whose
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
3
4
2
2
5
2
2
7
3
3
2
6
2
2
3
2
2
5
4
2
3
243
2
6
4
2
3
6
5
5
2
3
2
1
1
1
2
5
3
1
0
2
1
1
1
0
0
5
0
1
2
203
2
3
2
2
3
5
3
4
1
1
0
1
4
1
0
2
0
2
2
4
1
1
2
2
2
0
4
1
1
40
0
3
2
0
0
1
2
1
6.03601
6.00564
6.00564
6.00564
5.98772
5.96125
5.96125
5.95501
5.91818
5.91818
5.87636
5.84913
5.83571
5.75771
5.73262
5.72024
5.68371
5.68371
5.68371
5.64809
5.63641
5.63325
5.61332
5.60192
5.59625
5.54621
5.54621
5.53532
5.50739
5.50739
smiling
terrible
stunned
crept
filch
wild
beat
pointed
em
covered
page
appeared
pressed
upward
marms
inches
mknees
hit
hidden
pink
huge
his
laughing
mhair
deep
slid
big
hard
slightly
quirrell
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
50
9
4
20
2
8
3
399
3
6
2
2
2
3
5
2
2
3
2
2
7
5
2
7
4
2
2
40
8
2
2
9
1
17
1
3
2
8
1
4
2
2
2
2
2
0
1
3
2
0
5
2
0
7
1
0
1
30
5
0
1
0
3
3
1
5
1
8
2
2
0
0
0
1
3
2
1
0
0
2
2
3
2
0
3
2
1
10
3
2
1
5.49608
5.48208
5.46029
5.45105
5.45105
5.44085
5.42444
5.40078
5.38115
5.36178
5.36178
5.30520
5.30520
5.30520
5.27772
5.25075
5.19828
5.19828
5.19828
5.16914
5.13774
5.12300
5.11951
5.11082
5.09875
5.09875
5.06078
5.05727
5.05144
5.02836
across
quietly
look
smiled
fell
tears
mface
mneck
full
terrified
doge
fhair
fear
albus
filled
odd
straight
shock
mback
onto
close
possible
upon
staring
miss
care
into
own
thick
young
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
2
2
3
2
3
6
3
4
2
16
2
20
2
2
3
10
4
5
2
2
10
5
128
2
2
16
52
2
55
3
0
2
2
0
0
2
1
3
2
10
0
14
2
2
0
9
2
4
1
0
4
0
117
2
1
10
10
0
47
2
2
0
1
2
3
4
2
1
0
6
2
6
0
0
3
1
2
1
1
2
6
5
11
0
1
6
42
2
8
1
5.02836
5.02836
5.02075
5.00564
5.00564
4.98327
4.97589
4.97222
4.96125
4.93150
4.91818
4.84981
4.79619
4.77682
4.77042
4.74637
4.72951
4.71286
4.70186
4.70186
4.67652
4.65514
4.62247
4.61332
4.59625
4.59413
4.59038
4.54621
4.50391
4.50314
thanks
eater
speak
stan
master
most
blood
cold
truth
black
elder
snape
aberforth
forced
am
malfoy
raised
man
vanished
above
meyes
gone
s
leaving
lying
see
with
true
on
however
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
51
4
2
2
2
3
10
4
12
7
2
3
17
5
3
2
3
2
2
2
6
5
5
3
2
2
4
2
2
2
8
1
1
1
1
2
7
4
9
1
1
3
6
4
1
2
1
1
0
1
3
3
0
0
0
0
3
1
1
1
2
3
1
1
1
1
3
0
3
6
1
0
11
1
2
0
2
1
2
1
3
2
5
3
2
2
1
1
1
1
6
4.48208
4.48208
4.46648
4.46648
4.45105
4.43578
4.43578
4.43325
4.41639
4.40573
4.39093
4.38920
4.38505
4.38115
4.37628
4.37143
4.34743
4.34743
4.33321
4.33321
4.32757
4.29414
4.27772
4.27772
4.26417
4.25745
4.25075
4.23745
4.21122
4.20798
suddenly
finally
spoke
breath
feel
saw
large
lupin
felt
watched
sight
looked
boy
window
snake
ground
wearing
almost
ran
great
uncle
yes
set
green
hadn
air
stopped
stared
feyes
too
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
5
2
2
2
2
2
2
9
3
4
4
2
24
2
2
8
2
12
3
2
10
3
63
3
5
7
2
12
4
2
2
2
2
0
0
0
0
3
1
2
1
0
12
2
0
0
0
9
2
1
5
1
40
3
3
2
1
3
2
1
3
0
0
2
2
2
2
6
2
2
3
2
12
0
2
8
2
3
1
1
5
2
23
0
2
5
1
9
2
1
4.20345
4.17275
4.16015
4.16015
4.13527
4.12300
4.11082
4.10679
4.09875
4.07490
4.04564
4.02836
4.01223
4.00564
4.00564
4.00282
3.99441
3.95579
3.91112
3.88670
3.88670
3.87636
3.86918
3.83571
3.82374
3.81018
3.79619
3.78486
3.77682
3.77682
front
pettigrew
watching
darkness
understand
whether
scar
looking
yeah
vernon
went
beneath
up
whole
mfeet
well
kept
over
both
standing
off
sirius
in
keep
long
which
ministry
like
ever
called
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
52
13
19
3
72
3
30
5
80
11
8
5
2
2
33
93
2
3
6
7
3
9
4
3
9
28
3
5
2
4
78
5
10
2
20
0
20
1
48
6
3
0
1
0
15
24
2
0
5
6
2
8
2
1
5
3
1
3
1
3
32
8
9
1
52
3
10
4
32
5
5
5
1
2
18
69
0
3
1
1
1
1
2
2
4
25
2
2
1
1
46
3.74463
3.74379
3.73885
3.71947
3.70796
3.70735
3.70186
3.66713
3.63376
3.63277
3.61676
3.58779
3.58779
3.57836
3.57074
3.54621
3.54621
3.54075
3.53687
3.52451
3.52272
3.50181
3.49784
3.48034
3.45379
3.44594
3.44492
3.44340
3.43199
3.42860
then
from
find
was
against
ron
told
harry
dumbledore
again
seemed
second
better
at
he
until
trying
voldemort
still
mhand
hagrid
left
mcgonagall
down
as
oh
never
small
turned
a
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
2
26
11
8
3
2
3
3
95
2
2
21
175
7
2
2
4
2
2
4
3
6
3
3
2
9
9
35
4
7
1
13
6
4
2
2
3
0
31
0
2
5
98
2
1
1
3
0
0
0
2
0
0
1
0
4
6
12
0
2
1
13
5
4
1
0
0
3
64
2
0
16
77
5
1
1
1
2
2
4
1
6
3
2
2
5
3
23
4
5
3.40573
3.40173
3.38159
3.37083
3.35220
3.31215
3.30520
3.28682
3.27443
3.27093
3.27093
3.26353
3.23421
3.21494
3.20474
3.19828
3.18227
3.17909
3.17909
3.16959
3.16434
3.16224
3.14766
3.14352
3.12300
3.11217
3.10276
3.09600
3.07786
3.06480
gave
him
been
did
must
table
neville
much
and
wasn
dudley
but
the
by
pulled
every
come
seen
couldn
after
death
don
because
once
few
could
back
said
though
now
303
304
305
306
307
308
309
310
61
29
6
5
9
2
2
3
30
10
4
1
1
0
0
1
31
19
2
4
8
2
2
2
3.06370
3.05989
3.04757
3.04680
3.04242
3.02265
3.02265
3.00189
of
had
around
more
who
under
stood
last
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
FACES MALE
3
2
3
2
2
3
1
3
1
0
0
1
0
1
2
7.71340
6.92640
5.20368
5.14351
4.02782
their
so
s
that
he
LEFT
3
2
3
3
2
3
RT
0
0
0
0
1
0
MI STAT
10.84987
9.41691
8.92387
8.92387
8.77948
8.77948
COLLOCATE
scrambling
leaping
staggered
scrambled
sprang
clambered
FEET MALE
RANK FREQ
1
3
2
2
3
3
4
3
5
3
6
3
53
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
8
2
2
3
2
4
3
2
2
3
7
2
4
23
2
2
4
4
2
2
126
2
2
2
2
3
2
3
2
2
8
1
0
3
2
4
1
0
1
1
3
2
4
21
1
1
3
2
2
0
107
0
0
1
0
2
1
0
0
0
0
1
2
0
0
0
2
2
1
2
4
0
0
2
1
1
1
2
0
2
19
2
2
1
2
1
1
3
2
2
8.75395
8.67995
8.67995
8.21761
8.12741
7.97213
7.74554
7.72886
7.72886
7.19452
7.17503
6.83195
6.81866
6.66125
6.65610
6.63264
6.60956
6.55342
6.54245
6.32005
6.26692
6.26491
6.24699
6.22929
6.16058
5.99189
5.91441
5.82307
5.76666
5.72886
jumped
ladder
dangling
lifted
struggled
leapt
trembling
slammed
landing
backward
ground
pair
getting
got
figure
ahead
beneath
cold
big
picked
his
hidden
shaking
chair
case
later
minutes
half
quirrell
move
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
54
2
3
3
2
2
2
2
2
6
2
3
2
2
4
8
3
2
2
2
2
4
8
2
6
2
5
81
2
23
2
2
1
2
1
1
0
1
1
1
0
2
0
1
1
7
1
2
0
1
1
3
6
1
2
1
2
68
1
17
0
0
2
1
1
1
2
1
1
5
2
1
2
1
3
1
2
0
2
1
1
1
2
1
4
1
3
13
1
6
2
5.71648
5.54245
5.52795
5.46790
5.41691
5.38717
5.38717
5.37739
5.37414
5.34844
5.29529
5.22929
5.22929
5.19024
5.14597
5.13838
5.06328
5.03225
5.02460
4.90736
4.90385
4.89161
4.88640
4.79894
4.78594
4.75142
4.73471
4.65610
4.63873
4.58684
slowly
found
onto
standing
father
shouted
mhands
window
too
walked
floor
quite
dead
felt
off
yes
suddenly
fell
small
both
himself
down
wanted
again
pulled
lupin
to
vernon
at
uncle
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
3
2
2
2
40
3
15
5
46
13
8
2
2
4
3
5
13
3
2
2
47
2
3
2
2
2
4
2
3
9
1
0
1
0
30
0
10
1
22
9
1
0
2
1
0
1
1
1
0
0
18
0
1
1
1
0
3
0
2
3
2
2
1
2
10
3
5
4
24
4
7
2
0
3
3
4
12
2
2
2
29
2
2
1
1
2
1
2
1
6
4.37739
4.36767
4.30144
4.25592
4.24833
4.24402
4.21064
4.16058
4.13635
4.08210
4.07015
4.04381
4.00564
3.98879
3.96479
3.94732
3.92808
3.89568
3.87603
3.86916
3.84036
3.76347
3.76029
3.74135
3.71956
3.71340
3.71340
3.69506
3.69404
3.64107
away
cloak
neville
moment
harry
though
on
now
he
ron
were
toward
mface
by
where
then
as
still
seemed
knew
and
come
see
voice
look
will
their
saw
snape
with
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
2
6
2
3
2
2
3
2
4
20
4
16
2
2
2
3
3
7
2
2
51
0
2
0
0
0
0
2
0
3
13
1
12
2
0
1
1
0
5
0
1
9
2
4
2
3
2
2
1
2
1
7
3
4
0
2
1
2
3
2
2
1
42
3.63264
3.59343
3.58966
3.57748
3.51806
3.48355
3.46790
3.46014
3.45370
3.45267
3.32005
3.20368
3.19452
3.19238
3.11111
3.09900
3.09632
3.08984
3.08301
3.07706
3.03662
only
up
going
wand
looking
here
looked
through
who
was
into
s
professor
how
can
back
so
him
when
my
the
RT
1
0
2
1
MI STAT
13.21761
12.04768
12.04768
11.82529
COLLOCATE
index
fore
button
jagged
FINGER MALE
RANK FREQ
1
3
2
2
3
2
4
2
55
LEFT
2
2
0
1
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
2
3
2
2
2
3
2
2
2
2
19
3
2
3
2
3
18
5
5
2
4
4
9
10
6
4
2
4
5
2
2
2
1
0
3
1
1
1
2
13
3
0
0
1
2
12
5
0
1
1
1
6
4
3
2
2
4
1
0
1
0
1
2
0
1
1
1
0
6
0
2
3
1
1
6
0
5
1
3
3
3
6
3
2
0
0
4
10.63264
9.63264
8.67845
8.67845
8.38472
8.35962
8.10908
7.79975
7.73783
7.41347
5.58337
5.56476
5.56118
5.25616
5.19177
5.11432
4.94012
4.83888
4.48290
4.36586
4.34956
4.27344
3.82851
3.76259
3.76151
3.51890
3.42746
3.24948
3.08190
froze
cut
thick
mshoulder
near
pointed
xenophilius
pettigrew
scar
white
his
hagrid
right
then
off
this
a
with
at
into
on
as
he
to
was
in
ron
s
of
FINGERS MALE
RANK FREQ
1
2
2
2
3
2
4
2
5
2
6
2
7
4
8
3
9
2
10
4
11
2
12
2
13
5
14
2
15
2
16
3
17
4
18
2
19
2
20
2
21
3
22
2
23
2
24
2
25
2
26
4
27
2
56
LEFT
2
1
2
2
2
2
4
1
1
2
2
2
5
2
1
0
1
2
1
0
3
1
0
0
2
2
0
RT
0
1
0
0
0
0
0
2
1
2
0
0
0
0
1
3
3
0
1
2
0
1
2
2
0
2
2
MI STAT
12.54245
10.95748
10.54245
10.22052
9.08301
8.89859
8.78756
8.70114
8.54245
7.89859
7.76109
7.70956
7.53346
7.45498
7.33299
7.30723
7.26632
7.20260
7.16741
6.91309
6.90824
6.72227
6.65980
6.64763
6.56517
6.55945
6.55376
COLLOCATE
nerveless
flexing
tips
warmth
clicked
metal
slipped
trembling
wormtail
snitch
snapped
sudden
between
elder
thin
slightly
raised
running
locket
closed
white
quirrell
thinking
staring
beneath
under
mhair
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
2
2
63
2
3
2
2
2
7
5
3
2
3
6
2
2
3
2
4
2
2
9
15
18
2
2
2
2
2
2
2
1
53
0
1
1
1
0
4
3
3
0
3
5
0
2
1
0
1
1
0
2
13
8
2
0
2
0
1
0
0
1
10
2
2
1
1
2
3
2
0
2
0
1
2
0
2
2
3
1
2
7
2
10
0
2
0
2
1
2
6.48716
6.38257
6.22252
6.16741
6.06132
5.98020
5.92039
5.84896
5.75548
5.73767
5.62358
5.58825
5.55376
5.49260
5.33299
5.14584
5.05863
4.99941
4.99941
4.94253
4.61467
4.35317
4.33559
4.25987
4.17394
4.16958
4.10158
4.05863
3.88960
3.75291
silver
opened
his
life
mhand
small
happened
table
wand
through
long
thing
turned
over
inside
felt
looking
toward
around
its
though
as
in
it
just
again
off
your
hagrid
an
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
5
2
6
3
2
2
2
37
15
2
3
9
17
2
3
10
14
5
2
4
0
2
1
0
0
0
18
8
2
1
5
2
0
1
5
7
3
0
1
2
4
2
2
2
2
19
7
0
2
4
15
2
2
5
7
2
2
3.74868
3.71114
3.65573
3.61763
3.58100
3.55092
3.53262
3.52926
3.47528
3.46697
3.46030
3.32921
3.32884
3.27566
3.20854
3.20393
3.15782
3.06065
3.02576
with
dumbledore
at
from
then
is
if
the
he
so
out
s
and
into
for
harry
to
had
were
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
8.83697
8.75158
8.46660
7.38717
7.25788
free
broken
set
put
place
FOOT MALE
57
2
2
3
2
2
1
1
3
2
0
1
1
0
0
2
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
2
2
7
13
2
2
4
2
2
4
8
4
2
2
3
8
5
14
4
5
3
3
4
2
2
2
12
1
1
3
1
2
1
2
0
0
2
2
6
2
3
3
2
2
2
4
0
0
5
1
1
1
1
1
0
3
6
4
2
0
1
2
3
11
1
3
1
1
0
7.04986
6.31188
5.71879
5.59776
5.38878
5.21296
5.07883
4.68475
4.61615
4.33615
4.32185
4.08078
4.06010
3.98934
3.97576
3.89345
3.85601
3.77923
3.73842
3.65401
3.39632
3.32699
3.22047
mhead
never
on
his
like
one
with
from
up
that
of
in
but
ron
had
and
harry
the
was
a
s
it
he
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
11.56447
throbbing
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
FOREHEAD MALE
2
0
2
58
2
2
4
2
2
15
2
2
2
2
2
5
3
6
2
27
51
2
2
3
2
2
2
17
2
2
3
2
3
4
2
1
4
0
2
15
2
0
2
0
0
3
3
4
0
23
39
2
1
1
2
1
1
14
0
1
0
1
1
1
0
1
0
2
0
0
0
2
0
2
2
2
0
2
2
4
12
0
1
2
0
1
1
3
2
1
3
1
2
3
11.56447
10.56447
10.56447
10.30144
10.18596
9.89847
9.79894
9.49408
9.36284
8.88640
8.30144
8.21964
7.79894
7.40527
7.00376
6.35820
6.26162
6.20692
5.95566
5.82031
5.62901
5.55548
5.01296
4.59070
4.47489
4.43725
4.40797
4.40258
4.39856
4.32511
rubbed
shaped
lightning
prickling
clapping
scar
rubbing
sleeve
wiping
burned
clearly
mhair
pain
mhand
thinking
on
his
across
vernon
meyes
great
moment
than
s
see
got
could
your
back
there
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
17
2
5
2
2
16
16
3
3
2
17
6
9
4
4
6
2
23
2
13
0
0
0
0
9
3
0
1
0
11
2
2
0
3
0
0
14
1
4
2
5
2
2
7
13
3
2
2
6
4
7
4
1
6
2
9
1
4.31342
4.09687
4.09263
4.08066
4.05509
4.02396
3.91234
3.88828
3.80425
3.78311
3.67280
3.61299
3.60023
3.58205
3.41472
3.29425
3.23625
3.18732
3.15423
harry
an
with
like
dumbledore
a
he
be
out
this
and
that
was
him
at
i
we
the
what
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
11.59816
11.18312
11.18312
11.01319
11.01319
candyfloss
mbeard
greasy
untidy
unkempt
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
HAIR MALE
2
9
3
6
2
1
0
3
4
0
1
9
0
2
2
59
2
2
4
2
2
2
2
2
2
3
2
3
2
4
5
2
3
2
2
2
2
2
5
3
2
3
2
2
2
4
2
2
3
2
2
0
2
2
0
2
0
2
2
4
3
1
3
1
0
0
1
2
2
0
1
3
0
0
0
3
0
0
1
0
0
2
0
0
2
1
2
1
0
0
2
1
0
1
2
2
1
0
3
3
1
0
2
2
2
1
11.01319
11.01319
11.01319
11.01319
11.01319
10.27623
10.27623
10.27623
10.01319
9.86119
9.79080
9.72369
9.59816
9.59816
9.46065
9.42823
9.01319
8.79080
8.59816
8.59816
8.51069
8.35023
8.21964
8.09565
8.07459
7.97366
7.95430
7.69126
7.69126
7.64396
tuft
smoothing
matted
mane
graying
redder
flatten
fistful
plastered
ruffled
tangled
bushy
curly
blond
pushing
blur
filthy
streaked
whipped
spectacles
wore
jet
mforehead
flat
visible
gray
beard
lie
clothes
thick
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
3
2
2
2
4
3
2
2
2
6
17
3
3
3
6
2
5
2
2
2
2
2
2
15
2
2
3
2
3
2
2
1
1
0
1
1
0
1
2
6
11
0
1
2
6
0
5
1
2
1
2
1
2
14
1
2
2
2
0
0
1
1
1
2
3
2
2
1
0
0
6
3
2
1
0
2
0
1
0
1
0
1
0
1
1
0
1
0
3
2
7.59816
7.55376
7.51069
7.42823
7.40833
7.32514
7.31275
7.31275
7.27623
7.26425
7.18179
7.16075
7.09565
6.97366
6.96395
6.87023
6.86480
6.69126
6.62088
6.62088
6.55376
6.51069
6.46887
6.43090
6.42823
6.31275
6.20584
6.18876
6.06418
5.95430
cut
wild
nervously
hung
glasses
short
stuck
grabbed
mknees
red
long
flying
mnose
thin
white
fat
silver
blue
young
plan
mfingers
bright
less
black
turning
whose
beneath
golden
robes
lay
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
60
8
2
96
2
2
2
6
3
2
2
4
3
2
3
3
2
5
4
2
4
3
21
2
3
2
2
6
4
5
2
3
1
69
1
0
1
3
3
0
1
2
3
1
2
2
0
2
1
2
0
2
15
2
2
1
2
4
4
5
2
5
1
27
1
2
1
3
0
2
1
2
0
1
1
1
2
3
3
0
4
1
6
0
1
1
0
2
0
0
0
5.94710
5.93994
5.88591
5.77798
5.70334
5.66742
5.60192
5.56841
5.47921
5.46887
5.45350
5.44841
5.24060
5.13872
5.13872
5.10630
5.05280
5.03210
5.01319
4.91165
4.87934
4.87478
4.84996
4.72369
4.64979
4.61516
4.58507
4.47145
4.43627
4.25386
meyes
muttered
his
slightly
scar
please
mface
man
standing
percy
mhead
dudley
quite
trying
make
aunt
look
behind
tried
way
much
with
air
made
own
under
by
through
your
some
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
3
53
2
2
37
12
35
5
2
24
4
3
7
24
2
26
6
2
2
3
4
3
3
3
5
27
3
9
11
8
1
15
1
1
25
5
21
2
1
14
1
1
1
1
1
14
3
0
0
1
0
0
2
1
2
7
3
4
4
2
2
38
1
1
12
7
14
3
1
10
3
2
6
23
1
12
3
2
2
2
4
3
1
2
3
20
0
5
7
6
4.18030
4.02501
4.01695
4.00944
3.93493
3.87877
3.86499
3.84728
3.80049
3.79995
3.79241
3.74225
3.73840
3.72702
3.71551
3.63815
3.60474
3.60098
3.59534
3.54831
3.51468
3.47921
3.47403
3.43492
3.37996
3.37899
3.35181
3.29640
3.25386
3.23895
well
and
malfoy
last
of
him
a
back
too
s
like
off
out
was
never
harry
up
going
which
over
been
looked
about
now
all
he
dumbledore
at
had
as
126
127
128
129
130
131
132
133
2
2
3
3
3
3
2
2
1
0
3
0
0
2
0
0
1
2
0
3
3
1
2
2
3.22529
3.22094
3.18030
3.17329
3.11972
3.10764
3.09433
3.05512
again
re
me
if
could
so
when
around
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
7.51270
7.09900
6.07706
5.88871
5.45241
5.03609
4.78311
4.72440
4.51136
4.28964
4.20368
4.17155
3.61278
black
back
from
on
but
of
had
a
harry
his
s
the
he
HAIRS MALE
61
2
3
2
3
2
5
2
4
3
2
2
7
2
2
1
1
0
0
2
1
3
1
0
1
2
0
0
2
1
3
2
3
1
1
2
2
1
5
2
HAND MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
10.52075
9.93579
9.52075
8.52075
8.52075
8.40527
8.35083
8.06132
7.93579
7.93579
7.89831
7.87689
7.82031
7.71340
7.61386
7.61386
7.61386
7.55112
7.52075
7.52075
7.45036
7.40527
7.35083
7.29836
7.27282
7.27282
mfingered
grasping
blackened
thrust
palm
clapping
mthroat
drag
stretched
patted
held
shake
steady
dive
shaken
mwrist
dangling
tightly
trembled
gripped
waving
mforehead
clutched
shook
snatched
bleeding
4
2
2
3
2
3
2
2
6
2
19
4
2
2
2
2
2
6
2
2
5
6
3
9
2
2
4
1
1
3
2
3
0
2
6
1
17
3
0
1
1
1
1
4
1
2
5
2
3
4
2
2
0
1
1
0
0
0
2
0
0
1
2
1
2
1
1
1
1
2
1
0
0
4
0
5
0
0
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
62
2
2
2
2
8
15
6
2
2
7
3
3
2
9
4
3
2
3
3
2
2
2
2
2
2
5
2
2
5
2
2
1
0
2
7
12
0
0
2
4
2
2
2
8
1
1
0
3
3
2
2
1
0
1
1
0
0
2
4
0
0
1
2
0
1
3
6
2
0
3
1
1
0
1
3
2
2
0
0
0
0
1
2
1
1
5
2
0
1
2
7.19882
7.19882
7.19882
7.19882
7.16320
7.15152
7.15152
7.12843
7.06132
6.98826
6.93579
6.82031
6.76586
6.69068
6.68786
6.67945
6.66277
6.58215
6.58215
6.56655
6.52075
6.47636
6.47636
6.35083
6.35083
6.31912
6.31130
6.23535
6.21332
6.16320
raising
raise
lightning
clapped
free
raised
mshoulder
sweat
throw
shaking
placed
charlie
lowered
holding
jumped
trembling
object
keeping
clutching
waved
happily
knight
helped
mine
fluffy
pocket
although
hesitated
letter
purple
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
2
2
2
7
2
3
4
3
32
207
3
4
2
2
2
2
8
2
3
5
4
2
3
2
2
4
3
3
46
6
2
1
1
6
1
2
3
2
21
163
0
2
0
1
2
1
8
0
1
5
0
0
3
1
0
1
0
0
37
1
0
1
1
1
1
1
1
1
11
44
3
2
2
1
0
1
0
2
2
0
4
2
0
1
2
3
3
3
9
5
6.16320
6.16320
6.16320
6.10894
6.06132
6.06132
6.02890
5.93579
5.92643
5.91703
5.91589
5.87689
5.87689
5.84833
5.79283
5.76586
5.71340
5.59001
5.56655
5.54806
5.54347
5.54347
5.53586
5.52075
5.52075
5.48733
5.47636
5.41921
5.37720
5.35752
lovegood
knocked
actually
white
touch
mfingers
flew
seized
wand
his
mmouth
snitch
foot
covered
lucius
slipped
put
shot
point
reached
beneath
backward
wands
stan
drew
beside
closed
crookshanks
out
air
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
63
6
3
9
2
3
3
3
2
2
2
2
3
2
2
2
3
4
2
4
2
3
2
2
2
2
8
18
2
7
6
0
3
6
1
1
3
0
0
1
2
0
1
1
2
0
1
1
1
3
0
2
1
1
0
2
6
14
0
2
2
6
0
3
1
2
0
3
2
1
0
2
2
1
0
2
2
3
1
1
2
1
1
1
2
0
2
4
2
5
4
5.30481
5.29836
5.29407
5.29193
5.28553
5.28553
5.24773
5.23535
5.21697
5.18090
5.16320
5.10571
5.09449
4.99719
4.98159
4.97643
4.96616
4.96616
4.95089
4.93579
4.89626
4.87689
4.86254
4.86254
4.84833
4.76921
4.70911
4.68786
4.65922
4.65863
pulled
empty
felt
curse
slightly
quirrell
pointed
draco
vanished
running
firebolt
scabbers
turn
xenophilius
horcrux
percy
fell
dropped
large
master
window
hit
several
almost
gold
other
one
pettigrew
two
once
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
2
6
4
10
2
3
2
3
4
8
8
2
2
2
3
4
2
2
2
4
4
2
14
16
5
2
3
56
6
10
1
3
3
6
0
1
1
1
1
7
6
0
1
1
2
2
1
1
2
1
0
2
11
6
1
2
1
40
4
2
1
3
1
4
2
2
1
2
3
1
2
2
1
1
1
2
1
1
0
3
4
0
3
10
4
0
2
16
2
8
4.65039
4.60189
4.57238
4.56655
4.56655
4.54347
4.52075
4.49838
4.48183
4.44929
4.44661
4.40181
4.39147
4.38120
4.37100
4.36088
4.33093
4.32108
4.32108
4.31130
4.30158
4.27282
4.25530
4.25396
4.24277
4.23535
4.22307
4.21436
4.21393
4.20787
slowly
left
own
still
silence
small
whole
side
while
right
black
robes
always
feel
dudley
take
close
stop
shouted
took
cloak
caught
back
into
its
sword
against
in
saw
over
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
64
10
6
2
65
2
2
3
2
2
29
3
25
2
4
26
3
2
5
106
3
2
4
29
2
66
3
2
2
3
2
7
1
2
44
0
1
2
1
2
10
1
14
2
4
18
0
1
1
27
0
1
0
8
0
37
0
0
2
2
2
3
5
0
21
2
1
1
1
0
19
2
11
0
0
8
3
1
4
79
3
1
4
21
2
29
3
2
0
1
0
4.18983
4.17794
4.16320
4.15995
4.14571
4.12843
4.12272
4.11136
4.10290
4.09564
4.06132
4.04891
4.02890
4.01692
4.01601
3.98159
3.97386
3.95089
3.94760
3.94584
3.93579
3.93204
3.90706
3.90604
3.90470
3.89626
3.89139
3.87689
3.84833
3.84833
hagrid
though
dead
s
new
forward
stood
already
second
on
make
with
stone
long
ron
front
each
door
and
old
tried
last
at
man
harry
inside
found
without
great
fred
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
4
2
2
5
3
14
4
49
19
2
61
2
3
5
3
3
2
6
7
61
270
2
6
137
3
2
2
53
7
4
2
0
0
4
1
10
1
13
8
1
44
1
1
4
1
3
1
5
6
32
1
2
0
46
0
0
0
31
2
4
2
2
2
1
2
4
3
36
11
1
17
1
2
1
2
0
1
1
1
29
1
0
6
91
3
2
2
22
5
0
3.83776
3.82726
3.82031
3.79283
3.76142
3.74973
3.72959
3.68296
3.63425
3.59001
3.58904
3.56655
3.56268
3.56191
3.52451
3.52451
3.52075
3.50766
3.49680
3.47743
3.45466
3.44394
3.40181
3.39614
3.39491
3.37609
3.37609
3.37600
3.36666
3.36340
himself
upon
our
voldemort
some
up
something
it
but
vernon
a
thing
toward
more
mface
malfoy
uncle
by
dumbledore
he
mhand
open
looked
the
seemed
oh
mhead
of
then
lupin
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
5
6
2
9
2
4
3
3
3
54
2
15
24
4
4
9
4
3
2
4
0
0
1
2
1
10
2
3
19
0
3
4
1
3
0
5
2
4
2
1
2
44
0
12
5
4
1
5
3.33290
3.31618
3.23535
3.18090
3.15443
3.14789
3.11136
3.10290
3.10009
3.08365
3.07781
3.06844
3.06679
3.04502
3.03693
3.00944
my
an
neville
from
weasley
again
before
which
m
to
because
as
said
can
your
her
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
10.38717
10.38717
9.80220
9.38717
9.27169
9.21724
9.21724
9.21724
wringing
clasped
barny
sweaty
clapping
numb
muddy
momentarily
HANDS MALE
65
2
2
2
2
3
2
2
2
2
0
1
2
3
1
1
0
0
2
1
0
0
1
1
2
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
2
8
4
3
2
3
2
2
2
2
7
6
2
2
3
2
2
3
2
2
11
2
2
3
4
2
4
2
5
2
1
2
4
3
2
2
1
0
0
1
5
4
0
1
1
0
2
3
0
1
9
0
1
3
2
1
2
1
0
2
1
6
0
0
0
1
1
2
2
1
2
2
2
1
2
2
0
0
2
1
2
2
1
0
2
1
2
1
5
0
9.21724
9.06524
9.06524
8.32827
8.29970
8.16478
8.13924
8.13924
8.06524
7.99485
7.85467
7.57981
7.52919
7.48028
7.44857
7.43297
7.43297
7.41754
7.29970
7.21724
7.16712
7.02962
6.92774
6.82238
6.81731
6.57981
6.51680
6.48028
6.44231
6.43297
briskly
mknees
clapped
shake
rubbing
clean
surrounded
pockets
folded
clambered
shaking
shook
leaky
sank
clutching
lifted
downstairs
tightly
hooch
pressed
both
surprised
force
enormous
broom
mback
held
wide
together
listening
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
66
2
4
3
10
2
119
3
2
3
2
3
2
2
2
4
4
2
2
2
12
3
4
2
149
2
2
2
3
2
2
1
3
3
6
2
98
3
2
1
1
2
1
0
0
1
1
1
1
0
4
3
2
0
1
1
0
1
1
1
0
1
1
0
4
0
21
0
0
2
1
1
1
2
2
3
3
1
1
2
8
0
2
2
1
1
2
1
2
1
2
6.19734
6.16800
6.13924
6.12789
6.06524
5.98478
5.97213
5.96090
5.89531
5.65925
5.64121
5.57981
5.56699
5.50452
5.50452
5.40417
5.38717
5.38717
5.36480
5.33732
5.32827
5.24251
5.18750
5.18750
5.11104
5.09255
5.03844
5.02376
4.97778
4.93596
break
white
pettigrew
mface
hold
his
holding
threw
kreacher
green
wood
empty
quirrell
thinking
against
under
scabbers
mfeet
madam
over
onto
mhead
stop
mhands
raised
reached
half
own
day
everyone
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
2
2
4
2
3
2
25
2
2
11
19
6
3
4
2
3
2
4
2
2
5
4
3
6
32
2
7
5
2
3
1
1
3
2
2
1
10
0
1
5
10
6
1
0
2
1
1
2
2
1
5
1
3
6
17
0
1
4
0
1
1
1
1
0
1
1
15
2
1
6
9
0
2
4
0
2
1
2
0
1
0
3
0
0
15
2
6
1
2
2
4.84027
4.83258
4.82111
4.76512
4.76268
4.75781
4.74794
4.69368
4.57981
4.57981
4.51940
4.48831
4.46830
4.45939
4.45643
4.42910
4.42717
4.39281
4.38717
4.37036
4.32539
4.31839
4.28914
4.27690
4.27343
4.26305
4.23307
4.19932
4.17771
4.17771
each
fell
behind
happened
took
whispered
on
upon
put
into
with
your
long
though
vernon
toward
went
before
uncle
nothing
get
looking
himself
down
in
front
then
my
inside
away
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
67
4
2
2
9
5
6
3
2
4
58
15
3
14
9
5
3
2
26
5
3
3
12
3
3
26
6
2
4
29
31
1
2
0
2
3
5
2
0
0
23
3
1
9
8
4
3
0
21
1
1
2
10
1
0
18
4
0
1
17
17
3
0
2
7
2
1
1
2
4
35
12
2
5
1
1
0
2
5
4
2
1
2
2
3
8
2
2
3
12
14
4.11104
4.10177
4.04287
4.04041
4.00519
3.99056
3.96931
3.95671
3.94630
3.94408
3.93486
3.89799
3.89017
3.88998
3.83565
3.81478
3.75054
3.70444
3.63362
3.56062
3.52298
3.50045
3.49437
3.42910
3.42717
3.39376
3.38435
3.37734
3.37247
3.36731
still
neville
some
were
looked
one
well
good
off
and
as
black
him
out
their
lupin
little
s
so
see
got
at
snape
around
harry
up
which
if
of
he
129
130
131
132
133
134
135
136
137
138
139
140
141
4
3
2
4
2
3
2
2
3
5
29
13
2
4
1
1
0
2
1
1
0
2
2
11
7
2
0
2
1
4
0
2
1
2
1
3
18
6
0
3.32377
3.31928
3.31571
3.28388
3.22982
3.22394
3.20975
3.18015
3.14082
3.13167
3.05316
3.04869
3.01866
could
hagrid
right
this
time
now
very
where
dumbledore
them
to
said
just
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
10.44218
10.02714
9.85722
9.85722
9.44218
9.12025
9.04986
8.85722
8.85722
8.85722
8.85722
smacked
tilted
nooo
lolling
massaging
shaggy
shook
popping
mknee
brushed
beckoned
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
HEAD MALE
2
3
2
2
3
2
32
2
2
2
2
2
1
0
1
3
2
32
2
0
1
0
0
2
2
1
0
0
0
0
2
1
2
68
2
2
3
2
2
4
2
3
6
2
3
2
2
2
2
2
6
8
2
2
2
3
2
2
2
2
3
2
3
6
2
0
3
2
0
3
0
3
5
0
1
2
2
1
1
2
3
8
0
2
2
0
1
2
1
2
3
2
2
6
0
2
0
0
2
1
2
0
1
2
2
0
0
1
1
0
3
0
2
0
0
3
1
0
1
0
0
0
1
0
8.63483
8.44218
8.32670
8.27226
8.12025
8.04986
7.98275
7.85722
7.74174
7.74174
7.63483
7.53529
7.44218
7.35472
7.27226
7.19425
7.16916
7.10233
7.04986
7.04986
6.98275
6.98275
6.85722
6.79833
6.58420
6.44218
6.41243
6.39779
6.38329
6.35472
galleon
swimming
price
robe
mental
jerked
violently
sweater
stuck
pillow
bowed
nick
hitting
frame
sticking
chain
marms
shaking
mfoot
happening
strength
mshoulders
pounding
shake
flint
questions
screaming
nigellus
seamus
pain
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
3
9
17
2
2
2
2
11
4
8
4
2
2
2
4
2
5
4
2
2
2
2
4
233
4
3
2
3
2
3
0
8
15
2
0
2
2
6
3
8
2
2
0
0
0
0
2
3
2
2
0
2
0
208
1
0
2
1
0
0
3
1
2
0
2
0
0
5
1
0
2
0
2
2
4
2
3
1
0
0
2
0
4
25
3
3
0
2
2
3
6.35472
6.33598
6.32019
6.31290
6.31290
6.31290
6.31290
6.29428
6.27226
6.26227
6.25236
6.23273
6.19425
6.15678
6.15678
6.12025
6.12025
6.10233
6.08463
6.04986
6.01592
6.01592
6.01592
6.00916
5.98275
5.91862
5.91862
5.87740
5.85722
5.83732
mundungus
raised
inside
thousand
split
fang
avoid
side
turning
top
clear
phineas
worry
inches
ceiling
midair
hit
hat
landed
laughing
walk
trembling
except
his
low
woman
cage
screamed
hurt
mneck
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
69
3
3
2
2
3
30
2
7
2
2
3
2
2
2
2
2
4
2
2
2
2
4
6
2
3
2
2
3
2
3
0
1
2
2
3
27
2
3
2
1
1
0
1
2
1
1
2
1
0
2
1
2
6
1
0
2
0
1
1
0
3
2
0
0
0
3
0
4
0
1
2
2
1
0
1
1
2
1
2
0
1
2
0
1
3
0
2
2
1
3
5.81769
5.79833
5.79833
5.74174
5.72336
5.71426
5.71426
5.69495
5.66082
5.60929
5.60088
5.53529
5.48799
5.46490
5.46490
5.46490
5.45350
5.37609
5.37609
5.35472
5.29243
5.24251
5.22624
5.21336
5.15678
5.13840
5.06714
5.04986
5.04986
5.04986
hogsmeade
forced
foot
round
noise
over
fat
fell
fighting
horrible
turn
gasped
question
spell
barely
backward
mhair
repeated
ready
finished
enormous
mhands
pulled
cried
slowly
above
happy
wall
straight
slytherin
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
17
2
2
3
3
2
5
2
3
4
2
2
4
4
2
2
6
2
5
2
2
2
2
2
2
2
5
2
2
4
14
0
0
2
2
1
0
1
1
1
1
0
2
3
1
2
2
2
0
2
0
2
0
0
2
0
4
1
1
1
3
2
2
1
1
1
5
1
2
3
1
2
2
1
1
0
4
0
5
0
2
0
2
2
0
2
1
1
1
3
5.04583
5.03279
5.01592
5.00478
4.97186
4.95033
4.93756
4.90302
4.89786
4.87994
4.87233
4.84227
4.77685
4.76270
4.70071
4.68729
4.63054
4.62200
4.61945
4.60929
4.57182
4.57182
4.55954
4.54736
4.54736
4.51144
4.47871
4.44218
4.43095
4.39779
your
chapter
case
past
hard
flew
couldn
spoke
percy
small
body
shut
help
across
pointing
tiny
felt
quirrell
oh
pettigrew
understand
held
thinking
staring
scar
please
neville
whole
kept
trying
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
70
3
9
2
10
2
2
5
73
2
2
6
2
2
2
2
3
6
4
2
3
3
13
30
53
2
4
2
2
3
2
2
3
2
2
2
0
2
54
0
1
3
0
1
1
1
0
2
4
1
1
2
2
13
28
0
2
2
2
0
2
1
6
0
8
0
2
3
19
2
1
3
2
1
1
1
3
4
0
1
2
1
11
17
25
2
2
0
0
3
0
4.38329
4.33598
4.32324
4.32324
4.32324
4.30263
4.27627
4.24884
4.24251
4.24251
4.23273
4.22301
4.17540
4.17540
4.15678
4.14450
4.13536
4.11575
4.08463
4.08463
4.07878
4.06714
4.06598
4.05636
4.04986
4.03279
4.02433
4.01592
4.01034
3.99924
onto
still
standing
off
moved
dementors
heard
s
sight
shouted
away
white
doing
began
sword
few
saw
came
dead
boy
own
so
on
in
should
let
george
castle
nothing
bed
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
4
4
14
73
12
5
4
4
4
2
2
3
10
2
4
8
2
6
4
5
3
5
2
3
6
6
6
5
8
71
2
2
6
48
7
0
2
1
3
0
0
3
3
1
2
3
2
1
1
4
0
3
2
2
1
1
3
1
2
20
2
2
8
25
5
5
2
3
1
2
2
0
7
1
2
5
0
5
3
1
3
2
0
1
5
5
3
4
6
51
3.99924
3.98275
3.98275
3.97156
3.95434
3.87233
3.86853
3.86098
3.84227
3.82747
3.82013
3.80798
3.80266
3.79833
3.79113
3.78934
3.74869
3.74637
3.73138
3.71426
3.69623
3.68997
3.68729
3.66082
3.65864
3.65428
3.64344
3.63741
3.63644
3.61787
because
made
into
harry
back
door
turned
malfoy
asked
yeh
happened
cloak
then
without
meyes
hagrid
upon
more
seemed
voldemort
moment
black
keep
weasley
just
again
get
through
like
he
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
71
4
8
49
4
3
6
21
6
12
46
2
3
2
80
3
2
17
18
17
3
5
11
2
4
2
5
2
3
4
19
3
3
16
4
1
5
12
6
6
13
1
1
2
20
3
0
5
13
10
0
1
2
2
0
0
3
1
1
2
6
1
5
33
0
2
1
9
0
6
33
1
2
0
60
0
2
12
5
7
3
4
9
0
4
2
2
1
2
2
13
3.61563
3.61087
3.60439
3.59669
3.59669
3.54939
3.53015
3.51737
3.51737
3.50965
3.49967
3.48799
3.48218
3.46304
3.46109
3.41981
3.41395
3.40692
3.39522
3.39052
3.38690
3.38493
3.37609
3.37340
3.36537
3.35260
3.34942
3.34415
3.33889
3.33091
thought
dumbledore
it
voice
good
snape
him
my
from
was
anything
why
went
and
behind
might
with
ron
but
little
re
were
mhand
looking
open
see
mcgonagall
himself
here
as
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
285
4
7
6
7
51
129
63
5
2
3
5
3
7
3
2
3
6
21
1
2
5
5
3
21
61
22
1
2
0
4
1
2
1
0
1
2
11
1
2
2
1
4
30
68
41
4
0
3
1
2
5
2
2
2
4
10
3.29752
3.28483
3.28375
3.27895
3.25801
3.25216
3.23076
3.22748
3.22108
3.21818
3.20378
3.16979
3.15987
3.14625
3.09937
3.09789
3.07295
3.04558
3.03077
mhead
lupin
no
now
is
a
the
to
around
any
come
wand
look
this
though
some
only
one
had
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
8.71340
7.63010
6.75514
3.96384
their
over
from
and
HEART MALE
HEADS MALE
5
2
2
2
5
2
2
0
0
0
0
2
72
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
12.06328
12.06328
11.47832
11.47832
10.74135
10.47832
10.32631
10.06328
10.06328
9.84089
9.80024
9.60385
9.47832
9.47832
9.36284
8.74135
8.74135
8.67096
8.42769
8.01888
7.81535
7.77788
7.45842
7.20530
7.15639
6.78529
skipped
mbrain
hammering
hammered
beating
thumping
sinking
jolt
frantic
ribs
pounding
banging
racing
leap
triumph
unpleasant
sank
faster
fast
beat
change
inches
mchest
scared
remembered
gave
3
2
2
2
6
3
3
2
2
3
5
2
3
2
2
2
3
2
7
2
3
2
3
2
2
5
0
1
0
0
0
1
0
1
2
0
0
0
0
1
2
1
0
1
1
0
3
1
1
1
0
1
3
1
2
2
6
2
3
1
0
3
5
2
3
1
0
1
3
1
6
2
0
1
2
1
2
4
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
5
2
2
2
78
2
4
3
2
4
2
2
4
2
2
6
2
3
2
4
3
3
2
2
3
35
2
2
4
2
0
2
2
0
62
1
3
1
1
1
1
1
1
2
2
3
2
1
2
0
1
2
2
1
2
26
2
2
3
0
5
0
0
2
16
1
1
2
1
3
1
1
3
0
0
3
0
2
0
4
2
1
0
1
1
9
0
0
1
2
6.50256
6.30839
6.21779
6.18063
6.05148
5.87345
5.66667
5.61482
5.44123
5.35247
5.32857
5.25592
5.18983
5.11491
5.08028
5.01343
4.85382
4.82169
4.80589
4.78715
4.76560
4.69404
4.60385
4.57544
4.57410
4.53212
4.52025
4.51638
4.46523
4.43757
against
stopped
darkness
rather
his
close
felt
yes
happened
seemed
wasn
every
than
own
stood
over
inside
thought
great
still
never
only
made
heard
black
harry
toward
first
by
told
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
73
28
4
2
2
3
2
3
4
9
6
3
2
2
4
2
3
2
18
26
14
5
11
17
2
5
3
2
2
2
20
6
3
2
1
0
2
1
3
8
4
3
0
1
2
1
0
1
15
8
8
1
5
7
2
2
0
0
2
0
10
22
1
0
1
3
0
2
1
1
2
0
2
1
2
1
3
1
3
18
6
4
6
10
0
3
3
2
0
2
10
4.41454
4.27374
4.27211
4.26886
4.25592
4.17149
4.17048
4.14144
4.11751
4.10811
4.10521
4.06610
4.05765
3.99988
3.99182
3.90005
3.88586
3.85004
3.78966
3.75689
3.73505
3.71898
3.69824
3.69041
3.65304
3.63841
3.63492
3.57946
3.52995
3.52276
was
an
something
away
professor
saw
snape
know
with
all
around
going
m
could
right
now
very
s
he
in
we
had
it
again
what
if
don
your
would
a
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
27
6
7
2
2
2
2
9
16
3
2
3
3
2
9
7
16
3
3
1
1
1
0
7
9
2
1
3
1
1
4
2
11
3
4
1
1
1
2
2
7
1
1
0
2
1
5
5
3.51710
3.51381
3.51143
3.46336
3.42847
3.35937
3.23197
3.19428
3.19060
3.12762
3.10183
3.08695
3.06987
3.06046
3.05609
3.01226
and
but
as
ve
did
looked
dumbledore
said
of
have
then
there
up
me
i
that
HEELS MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
13.26491
11.29529
7.19211
6.28964
6.14922
5.79324
5.46671
5.18943
3.96384
3.62723
sides
buckbeak
back
his
with
at
s
harry
and
the
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
12.88640
5.61157
5.20368
4.78311
4.71570
4.61278
4.54792
3.92640
3.72440
clenched
his
s
had
was
he
said
harry
a
2
3
2
5
2
2
3
3
2
3
2
2
1
4
2
2
3
2
0
1
0
1
1
1
0
0
0
1
2
2
JAW MALE
HEEL MALE
RANK FREQ LEFT RT
1
2
3
4
5
6
4
4
6
4
4
2
4
4
5
2
0
1
0
0
1
2
4
1
MI STAT
9.69126
6.98182
6.55267
5.29086
4.96384
3.04227
COLLOCATE
turned
on
his
he
and
the
74
2
5
4
2
3
4
2
2
2
0
4
3
0
1
0
2
2
1
2
1
1
2
2
4
0
0
1
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
KNEE MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
8.85722
6.71879
6.02660
4.61871
4.54938
4.39486
4.28577
4.13943
mhead
on
his
s
it
to
and
a
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
12.26491
9.06524
9.03225
9.01698
8.83865
8.74135
8.40693
8.09499
knobbly
mhands
dropped
grass
trembling
cage
marms
face
2
4
5
2
2
3
3
2
2
4
3
2
1
2
1
0
0
0
2
0
1
1
2
2
KNEES MALE
2
8
5
2
2
2
2
2
2
6
5
0
0
2
1
1
0
2
0
2
2
0
1
1
75
2
3
4
2
2
2
2
2
47
2
2
2
2
6
12
5
20
12
17
4
14
6
2
6
3
5
17
1
3
3
0
0
2
1
2
38
1
2
2
2
1
6
5
12
7
14
4
8
5
1
1
0
1
3
1
0
1
2
2
0
1
0
9
1
0
0
0
5
6
0
8
5
3
0
6
1
1
5
3
4
14
8.07509
8.01698
7.71032
7.27623
7.23149
6.93399
6.87259
6.62106
6.52230
5.86831
5.68371
5.58192
4.78715
4.49067
4.46671
4.30375
4.28577
4.18943
4.16039
4.14922
4.09821
4.04615
3.75514
3.73613
3.37820
3.13074
3.12973
mneck
pettigrew
fell
mhair
beside
between
forward
onto
his
felt
mface
himself
snape
as
s
on
and
harry
to
with
he
had
from
in
at
was
the
KNUCKLES MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
7.21397
6.89161
5.87460
5.84790
5.38166
4.47310
4.40973
3.71416
3.68612
3.39486
3.28577
again
down
his
not
ron
in
i
of
the
to
and
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
11.54245
10.01888
9.73509
9.35262
9.25704
9.11618
9.09950
9.01888
7.48716
bitten
weight
suggested
break
stuck
bent
broken
clutching
nearly
2
2
6
2
2
2
2
2
5
2
2
2
2
5
0
1
0
0
1
4
0
0
0
0
1
2
1
2
2
1
1
2
2
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
LEG MALE
2
2
2
4
2
2
4
2
2
2
2
1
2
1
1
3
2
2
0
0
1
2
1
1
1
0
0
76
2
2
2
2
2
4
4
22
3
2
2
8
5
2
2
2
4
13
2
6
2
5
2
3
3
7
2
9
3
2
1
1
2
2
1
2
3
19
1
1
0
7
3
0
0
0
2
9
1
6
1
4
1
2
1
1
1
2
3
1
1
1
0
0
1
2
1
3
2
1
2
1
2
2
2
2
2
4
1
0
1
1
1
1
2
6
1
7
0
1
6.98786
6.91309
6.86297
6.65980
6.32813
6.17394
6.05863
5.70467
5.68654
5.46830
5.38510
5.33726
5.28600
5.06671
4.94812
4.90763
4.87533
4.85972
4.84722
4.84432
4.46964
4.06065
4.03267
4.01171
3.99298
3.89730
3.89229
3.84993
3.82306
3.81028
fell
found
both
against
really
just
your
his
off
black
lupin
ron
up
can
wand
over
out
s
down
on
back
had
from
with
but
it
we
a
him
what
40
41
42
43
44
45
7
3
10
2
4
2
4
0
0
1
0
0
3
3
10
1
4
2
3.68936
3.65016
3.56331
3.47770
3.36534
3.07077
harry
t
and
hermione
i
at
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
10.28763
9.72575
9.28763
7.99813
6.28334
5.90631
5.75217
5.63010
5.56447
5.41316
5.23908
5.19211
4.98472
4.87421
4.59647
4.54881
4.53274
4.46671
sprang
lead
backward
together
felt
his
though
over
d
into
off
back
down
like
been
and
what
s
19
20
21
22
23
24
25
26
27
28
29
LEGS MALE
2
2
3
3
2
23
2
3
3
4
2
3
2
2
2
18
3
9
0
0
2
0
1
21
2
3
1
2
1
3
2
0
0
8
0
9
2
2
1
3
1
2
0
0
2
2
1
0
0
2
2
10
3
0
13
5
2
8
3
2
2
6
7
2
12
2
0
0
7
2
1
2
5
4
0
6
11
5
2
1
1
1
0
1
3
2
6
4.40633
4.19815
4.16326
4.01951
3.96056
3.54552
3.47477
3.39224
3.29532
3.20270
3.04227
he
had
were
harry
him
but
ron
of
to
t
the
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9.73509
8.63483
6.85764
6.12933
6.06724
5.57430
5.18734
4.80543
bit
oh
know
we
his
ron
i
he
MI STAT
COLLOCATE
LIP MALE
3
2
2
2
6
2
3
4
3
1
0
0
6
2
0
0
0
1
2
2
0
0
3
4
LIPS MALE
RANK FREQ LEFT RT
77
30
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
2
2
2
2
2
2
2
2
2
2
2
17
2
2
3
2
10
2
3
6
4
10
4
4
2
3
2
5
3
2
0
0
1
1
2
0
1
0
2
1
17
0
1
2
0
2
0
1
6
1
6
4
2
1
2
1
1
0
0
2
2
1
1
0
2
1
2
0
1
0
2
1
1
2
8
2
2
0
3
4
0
2
1
1
1
4
3
12.74135
10.36284
9.89335
8.85382
8.77788
8.53972
7.94434
7.32857
6.85382
6.77788
6.73685
5.85354
4.99988
4.98780
4.90930
4.79649
4.41115
4.37153
4.28904
4.26508
4.20491
4.19322
4.02436
3.94954
3.92885
3.84451
3.58603
3.52276
3.19574
smacking
lies
effort
aberforth
moving
xenophilius
moved
wasn
took
neville
came
his
could
so
not
into
he
she
as
s
that
to
said
in
but
had
t
a
it
9
4
5
3.01056
the
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
12.39702
11.39702
10.22709
10.22709
9.14909
8.93758
8.87345
8.58966
8.49012
8.26773
8.22709
8.12755
8.04450
7.97075
7.93758
7.77252
7.76766
7.42739
7.38206
7.33812
7.11161
6.78231
6.75316
mlipless
clap
pie
dry
choked
fist
curled
twisted
chocolate
mears
pressed
open
opened
hanging
smile
thin
closed
fell
shut
corner
whose
blood
snitch
MOUTH MALE
78
2
2
2
4
2
2
2
2
3
2
2
14
7
2
3
3
4
6
3
3
2
2
2
2
2
2
0
0
2
1
2
3
1
2
0
7
0
2
3
1
0
0
3
2
1
0
0
0
0
4
2
0
1
0
0
1
0
14
0
2
1
0
3
6
3
0
0
1
2
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
2
2
2
65
3
2
2
2
2
4
10
4
4
2
4
2
2
2
2
10
2
22
9
2
4
2
2
2
19
23
0
0
1
54
3
2
0
1
2
3
8
1
1
1
4
2
1
0
0
7
1
19
3
2
0
1
1
0
16
5
2
2
1
11
0
0
2
1
0
1
2
3
3
1
0
0
1
2
2
3
1
3
6
0
4
1
1
2
3
18
6.57684
6.19734
6.18756
6.12218
5.91589
5.90516
5.78231
5.66231
5.64213
5.56096
5.45216
5.24473
5.23967
5.21214
4.91926
4.80830
4.74596
4.71402
4.60585
4.51376
4.50523
4.47328
4.43251
4.34717
4.32421
4.23967
4.12089
3.98550
3.98450
3.94652
slightly
stop
full
his
mhand
stone
man
dudley
keep
after
into
or
lupin
say
snape
even
meyes
himself
something
ron
saw
s
but
voldemort
back
time
still
see
harry
he
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
3
4
2
2
2
2
22
2
5
12
21
3
5
3
2
2
8
14
3
13
7
1
2
2
0
1
1
8
1
2
2
7
2
3
2
0
1
3
9
0
5
1
2
2
0
2
1
1
14
1
3
10
14
1
2
1
2
1
5
5
3
8
6
3.91858
3.88724
3.85398
3.79710
3.69658
3.68793
3.66446
3.60748
3.60325
3.52588
3.48827
3.46529
3.43585
3.42069
3.41545
3.38719
3.35810
3.33170
3.24981
3.23501
3.09063
could
from
around
ve
d
about
to
an
with
was
and
were
on
there
one
if
said
of
what
a
in
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
12.39702
11.88244
11.81205
scruff
pouch
beefy
NECK MALE
79
2
14
2
2
13
2
0
1
0
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
2
2
2
4
2
2
2
2
2
2
34
3
75
2
4
3
2
5
54
3
2
2
3
3
4
2
2
3
8
2
0
2
1
4
0
2
0
2
2
1
34
3
1
0
0
2
0
2
47
3
0
2
0
1
0
2
2
2
8
0
2
0
1
0
2
0
2
0
0
1
0
0
1
2
4
1
2
3
7
0
2
0
3
2
4
0
0
1
0
2
10.58966
10.39702
10.22709
10.14909
9.69658
8.81205
8.75316
8.69658
8.44282
8.07509
7.94145
7.32377
7.20719
6.62883
6.59612
6.33812
6.25746
5.92128
5.85470
5.83732
5.81959
5.78231
5.77252
5.77252
5.72813
5.57047
5.44865
5.40078
5.32421
5.24727
prickled
craning
upright
chain
hurtled
flung
marauder
tied
farms
mknees
around
wearing
mneck
stared
pulled
onto
feel
too
his
mhead
sat
man
took
inside
two
seen
own
mface
back
three
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
80
5
4
2
3
3
2
21
3
2
5
4
5
4
20
17
26
49
6
2
20
2
7
2
4
10
3
3
2
2
4
5
2
0
2
2
0
16
2
1
3
1
0
2
14
10
4
31
3
0
3
1
3
0
2
6
1
1
0
0
3
0
2
2
1
1
2
5
1
1
2
3
5
2
6
7
22
18
3
2
17
1
4
2
2
4
2
2
2
2
1
5.23513
4.95615
4.85398
4.80456
4.70585
4.50523
4.40617
4.38393
4.29373
4.20917
4.13023
4.05183
3.87640
3.84627
3.82404
3.79639
3.78908
3.77680
3.76220
3.74489
3.74417
3.73269
3.70179
3.65808
3.60520
3.46529
3.40361
3.33362
3.32154
3.28132
your
off
toward
very
still
saw
s
by
here
from
into
out
have
of
harry
and
the
ron
did
he
hagrid
at
down
not
in
were
up
could
so
with
64
65
66
67
68
3
4
9
4
4
1
2
3
0
0
2
2
6
4
4
3.24981
3.11393
3.11084
3.03781
3.00792
what
on
was
as
they
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
NECKS MALE
2
2
2
2
3
2
0
2
1
1
0
2
0
1
2
8.71340
7.11516
5.71416
5.28577
4.94916
their
at
of
and
the
LEFT
3
5
2
2
2
4
0
3
1
RT
0
1
0
0
0
0
2
0
1
MI STAT
12.08434
11.49938
10.91441
10.91441
10.49938
10.49938
10.03995
9.91441
9.69202
COLLOCATE
hooked
crooked
wrinkled
bridge
virtually
spectacles
eyebrows
wiped
handkerchief
NOSE MALE
RANK FREQ
1
3
2
6
3
2
4
2
5
2
6
4
7
2
8
3
9
2
81
2
5
3
2
2
2
2
2
72
2
2
2
4
2
3
2
2
2
4
2
2
2
5
2
2
2
3
2
2
2
2
3
1
2
1
1
2
0
2
2
0
2
4
0
2
0
2
1
0
1
1
0
4
2
0
2
1
2
0
2
0
2
2
0
1
1
0
2
2
0
2
0
0
2
1
2
0
1
4
1
1
2
1
0
2
0
2
0
2
0
9.41191
9.14888
8.91441
8.74449
8.69202
8.64140
8.64140
8.59249
8.41191
8.25145
8.00752
7.47701
7.47701
7.41191
7.09565
7.05643
6.84117
6.81288
6.61673
6.53359
6.44409
6.38044
6.31748
6.30955
6.22325
6.15065
5.96022
5.92952
5.91441
5.89205
blew
mundungus
pressed
moon
twins
liked
flint
panted
mnose
breaking
voices
minister
albus
glass
mhair
broken
almost
crookshanks
against
goblin
nearly
moved
long
close
raised
half
front
large
tried
end
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
2
45
2
2
2
4
15
4
4
2
2
2
2
2
2
2
2
3
3
2
2
29
2
4
4
2
2
3
18
15
1
39
1
0
2
3
9
3
2
0
2
1
0
1
2
1
0
1
2
1
0
15
2
2
3
2
2
1
6
8
1
6
1
2
0
1
6
1
2
2
0
1
2
1
0
1
2
2
1
1
2
14
0
2
1
0
0
2
12
7
5.82695
5.69403
5.62286
5.54518
5.51638
5.42524
5.12318
5.05023
4.98960
4.95635
4.91066
4.81288
4.54518
4.50502
4.42791
4.37267
4.32196
4.29481
4.25303
4.22325
4.08787
4.05629
4.01556
3.98960
3.92100
3.89946
3.84653
3.81755
3.79663
3.74583
gone
his
floor
thing
under
black
on
got
my
toward
even
way
only
before
right
through
very
an
dumbledore
still
see
and
your
from
up
ve
hagrid
into
of
harry
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
44
12
2
3
2
2
2
14
2
2
3
10
14
6
9
4
4
4
17
11
1
2
2
1
1
8
0
0
0
2
3
3
6
3
0
2
27
1
1
1
0
1
1
6
2
2
3
8
11
3
3
1
4
2
3.73616
3.70118
3.62593
3.56765
3.53359
3.49656
3.48955
3.44429
3.43598
3.42657
3.41723
3.36521
3.33268
3.28061
3.21680
3.19503
3.14018
3.02770
the
s
their
were
no
me
if
a
could
back
out
was
he
had
it
him
as
at
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
8.12843
6.88618
5.88814
5.12920
their
with
in
of
NOSES MALE
82
2
2
2
2
2
1
1
1
0
1
1
1
NOSTRILS MALE
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
0
0
1
1
2
0
0
1
1
3
1
3
0
1
1
1
13.41691
12.71648
9.49805
7.76586
6.31363
5.49805
5.44164
5.30122
5.05771
4.55447
4.54578
4.44286
4.03375
3.75647
3.70081
3.54424
slits
foul
red
meyes
this
for
his
with
as
a
was
he
s
harry
and
of
RT
2
0
1
0
2
MI STAT
10.17321
10.04768
9.72575
8.82529
8.67845
COLLOCATE
height
patted
mwrist
glancing
mshoulder
2
2
2
2
2
2
5
2
2
4
3
4
2
2
3
2
2
2
1
1
0
2
5
1
1
1
2
1
2
1
2
1
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
SHOULDER MALE
RANK FREQ
1
2
2
2
3
2
4
2
5
66
LEFT
0
2
1
2
2
83
2
4
4
30
5
2
3
2
3
6
3
2
2
2
5
2
8
5
45
3
2
2
2
16
3
2
3
4
3
4
1
4
0
30
2
1
1
0
1
6
3
1
2
0
2
2
5
5
40
3
2
2
0
15
0
2
0
3
0
2
1
0
4
0
3
1
2
2
2
0
0
1
0
2
3
0
3
0
5
0
0
0
2
1
3
0
3
1
3
2
8.67845
8.25760
8.06279
7.90472
7.67845
7.63264
7.47614
7.46272
7.21761
7.15152
7.09866
6.90472
6.89118
6.70191
6.55797
6.40382
5.92874
5.88579
5.82729
5.65155
5.64965
5.55583
5.42319
5.34956
5.32582
5.26632
5.06026
4.97980
4.67457
4.67119
mfinger
glanced
wands
over
raised
stan
pointing
seized
scabbers
mhand
standing
class
appeared
please
felt
called
looked
looking
his
behind
stood
mr
took
on
saw
weasley
time
hagrid
around
then
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
2
23
10
2
8
16
2
3
3
18
22
5
2
5
14
4
2
4
16
8
8
2
2
0
14
4
2
5
11
0
1
1
10
7
4
1
0
5
2
1
0
7
1
1
1
1
2
9
6
0
3
5
2
2
2
8
15
1
1
5
9
2
1
4
9
7
7
1
1
4.56118
4.49576
4.48290
4.47530
4.32829
4.24948
4.22113
4.14480
3.95082
3.82851
3.79101
3.74939
3.65108
3.59537
3.57755
3.56790
3.52936
3.49822
3.44066
3.18014
3.17655
3.12287
3.11596
right
harry
at
lupin
him
s
see
back
into
he
and
ron
one
as
a
hermione
this
but
to
it
was
from
were
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
10.29452
nagini
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
SHOULDERS MALE
2
2
0
84
2
3
2
4
2
2
2
4
3
7
2
2
3
27
3
2
5
2
2
2
2
2
4
4
8
15
8
2
2
3
1
3
2
2
0
2
1
3
3
7
0
2
1
26
1
1
5
0
1
0
1
1
1
3
8
5
2
0
1
2
1
0
0
2
2
0
1
1
0
0
2
0
2
1
2
1
0
2
1
2
1
1
3
1
0
10
6
2
1
1
8.11618
8.01888
7.91309
7.89859
7.65980
7.55376
7.42350
7.32328
6.98275
6.80677
6.74155
6.28506
6.07756
6.00013
5.49260
5.47098
5.35460
5.16958
5.03267
4.79425
4.75291
4.46697
4.42675
4.33726
4.15928
4.14827
4.08635
4.02576
4.00232
3.84432
threw
griphook
snake
onto
whether
rest
standing
cloak
mhead
around
pulled
great
voldemort
his
over
right
from
again
my
now
an
so
with
ron
s
and
was
were
all
on
32
33
34
35
36
37
38
39
4
5
2
5
2
7
6
3
1
1
1
2
1
4
1
2
3
4
1
3
1
3
5
1
3.42870
3.41188
3.23809
3.20393
3.18325
3.15782
3.15335
3.08849
in
it
him
harry
as
to
he
said
RANK FREQ LEFT RT
MI STAT
COLLOCATE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
13.37739
11.64042
7.82280
6.77747
6.57649
6.38870
6.12000
5.93816
5.39582
5.32754
5.12472
5.11060
4.99368
4.82921
4.72308
4.71027
pit
lurched
dropped
gave
pulled
turned
great
his
one
over
think
into
get
who
in
out
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
STOMACH MALE
4
3
2
2
2
3
2
29
4
3
2
4
2
3
11
4
4
0
2
0
0
0
1
27
1
0
0
3
2
1
10
3
0
3
0
2
2
3
1
2
3
3
2
1
0
2
1
1
17
12
2
5
5
15
12
4
5
2
3
24
2
3
3
2
3
2
14
10
1
3
1
3
11
0
2
1
2
12
1
2
2
0
0
1
3
2
1
2
4
12
1
4
3
1
1
12
1
1
1
2
3
1
4.59217
4.57918
4.54608
4.41623
4.34011
4.31022
4.30191
4.26169
3.89559
3.79430
3.75717
3.73970
3.64522
3.57326
3.49067
3.31264
3.10398
3.07304
of
s
dumbledore
on
as
he
harry
with
had
be
ron
the
what
they
at
hermione
that
him
RT
1
4
4
0
0
0
1
MI STAT
13.58684
12.97213
12.32005
11.77948
10.60956
9.92150
8.80220
COLLOCATE
gritted
bared
chattering
grinding
tongue
yellow
thanks
TEETH MALE
RANK FREQ
1
7
2
4
3
4
4
2
5
2
6
2
7
2
85
LEFT
6
0
0
2
2
2
1
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
5
2
6
2
2
26
5
7
11
2
2
2
2
11
3
3
8
2
9
6
3
2
2
2
2
7
3
5
2
5
0
0
23
0
5
10
1
0
0
0
4
2
0
6
1
2
1
2
1
2
0
1
1
2
0
0
1
2
2
3
5
2
1
1
2
2
2
7
1
3
2
1
7
5
1
1
0
2
1
6
1
8.77050
8.40445
7.23774
6.84875
6.77948
6.18272
5.58473
5.38166
5.20000
5.14467
5.14467
4.70401
4.51270
4.26486
4.24875
4.23002
4.11904
4.11237
4.08697
3.98128
3.50608
3.49640
3.47513
3.42028
3.30781
3.28577
3.07472
between
broke
through
vernon
uncle
his
were
ron
said
over
did
so
into
he
with
but
harry
out
a
s
that
on
him
as
at
and
you
TOE MALE
RANK FREQ
1
3
2
4
3
3
4
2
LEFT
3
4
0
1
RT
0
0
3
1
MI STAT
7.05611
6.28964
5.99469
4.61278
COLLOCATE
with
his
i
he
RANK FREQ LEFT RT
1
4
3
1
MI STAT
6.28964
COLLOCATE
his
RT
1
1
1
MI STAT
11.98693
9.68799
5.28577
COLLOCATE
marm
your
and
RT
0
1
1
0
2
MI STAT
10.09499
9.72575
7.61386
7.39455
6.67059
COLLOCATE
seized
mshoulder
mhand
neville
wand
TOES MALE
TOOTH MALE
RANK FREQ
1
2
2
3
3
2
LEFT
1
2
1
WRIST MALE
RANK FREQ
1
3
2
2
3
2
4
2
5
3
86
LEFT
3
1
1
2
1
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
2
11
5
4
2
2
3
7
3
2
2
4
3
4
8
2
10
2
4
2
0
2
2
1
0
1
2
3
1
5
0
1
3
0
0
2
1
5
2
2
1
2
0
3
3
6.13692
5.84218
5.64268
5.39686
5.17017
4.99871
4.96056
4.82686
4.79324
4.56426
4.47477
4.22745
3.88175
3.48796
3.45731
around
his
as
on
from
her
him
harry
at
with
ron
it
s
to
the
RT
1
3
0
2
1
MI STAT
8.45885
5.70081
5.61871
5.02782
4.80989
COLLOCATE
around
and
s
he
to
WRISTS MALE
RANK FREQ
1
2
2
4
3
2
4
2
5
2
LEFT
1
1
2
0
1
87
APPENDIX THREE: NORMALISED DATA FOR BOTH
SERIES
body part
eye
hand
face
hair
arm
head
feet
mouth
shoulder
finger
lip
nose
back
heart
ear
cheek
leg
chest
knee
foot
neck
forehead
teeth
stomach
wrist
ankle
toe
waist
jaw
knuckle
nostril
backside
heel
breast
palm
hip
nail
elbow
thumb
tooth
muscle
shin
belly
NarniaN
female
18
29
29
8
13
11
10
2
6
0
3
1
2
5
2
4
8
0
0
2
1
2
0
0
0
0
1
1
0
0
0
0
1
1
0
0
0
NarniaN
male
24
40
61
2
20
35
20
12
20
2
4
2
16
24
12
4
6
8
13
2
5
4
6
1
2
1
3
3
0
0
0
0
0
2
0
1
0
1
0
0
0
0
0
0
0
1
0
NCN
Total
42
69
90
10
33
46
30
14
26
2
7
3
18
29
14
8
14
8
13
4
6
6
6
1
2
1
4
4
0
0
0
0
1
3
0
1
0
1
0
0
1
0
HPN
female
46
32
30
22
17
16
10
8
8
8
7
4
4
3
2
2
2
2
2
2
1
1
1
1
1
1
1
1
1
1
1
1
0
0
0
0
0
0
0
0
0
0
0
88
HPN
male
162
138
133
50
53
95
39
27
30
33
10
24
20
28
31
4
21
22
14
8
22
16
8
12
6
2
2
2
3
3
3
0
4
0
2
0
1
4
2
3
2
0
0
NHP
Total
208
170
163
71
71
111
49
35
38
41
17
29
24
31
33
6
23
24
16
10
23
17
9
13
6
3
3
2
4
4
3
1
4
0
2
0
1
4
2
3
2
0
0
APPENDIX FOUR: KEYNESS WORDLISTS
CN KEYNESS WORDLIST,
WITH HP AS REFERENCE
3
CORPUS
TOP TEN KEYWORDS
Rank Freq Stat
Type
1
2
3
4
5
6
7
8
9
10
aslan
lucy
edmund
peter
narnia
king
and
caspian
susan
tirian
477
416
356
392
267
312
5228
234
225
209
1330.345
1160.217
992.878
809.731
744.658
740.708
665.572
652.622
605.751
582.897
HUMAN BODY PART KEYWORDS
Rank Freq Stat
Type
648
7
(female)
11.128
legs
3
Column Heading Key: Freq = Frequency;
Stat = Log-likelihood score of keyness.
89
HP KEYNESS WORDLIST,
WITH CN AS REFERENCE
CORPUS 4
TOP TEN KEYWORDS
Rank Freq Stat
1
2
3
4
5
6
7
8
9
10
6474
2361
2142
911
805
713
773
571
746
530
3689.72
1345.60
1220.78
519.20
458.793
406.359
344.376
325.430
324.633
302.06
Type
harry
ron
hermione
dumbledore
hagrid
snape
wand
lupin
around
voldemort
HUMAN BODY PART KEYWORDS
Rank Freq Stat Type
32
92
95
115
116
243
251
252
303
323
367
369
406
412
440
598
599
628
629
692
718
723
766
865
1038
1077
1132
1223
1286
1453
1454
1455
1456
402
267
127
383
283
68
73
66
147
31
73
67
52
37
35
111
128
58
73
16
33
97
77
13
11
52
10
62
9
8
8
8
8
1641
1777
1778
102.80eyes (male)
49.11 hand (male)
47.74 hair (male)
42.03 face (male)
41.79 head (male)
22.26 nose (male)
21.31 neck (male)
21.30 fingers (m)
18.66 hands (male)
17.66 finger (male)
15.87 chest (male)
15.81 eye (male)
14.71 forehead (m)
14.62 stomach (m)
13.59 ears (male)
10.4 eyes (female)
10.33 feet (male)
9.96 arms (male)
9.96 mouth (male)
9.119 fingers (f)
9.053 leg (male)
8.910 arm (male)
8.252 hand (female)
7.409 eye (female)
6.269 eyebrows (m)
6.182 hair (female)
5.699 finger (f)
5.202 shoulder (m)
5.129 nostrils (m)
4.559 facedown (m)
4.559 hairs (male)
4.559 jaw (male)
4.559 knuckles (m)
4
Column Heading Key: Freq = Frequency;
Stat = Log-likelihood score of keyness.
90
7
21
21
3.990 chest (f)
3.956 back (female)
3.956 mouth (f)
APPENDIX FIVE: CONCORDANCE TABLES
CHRONICLES OF NARNIA CONCORDANCE TABLES
FEMALE AND MALE BODY PARTS ARRANGED ALPHABETICALLY
FEMALE ARM(S)
if it were made of copper. Then, holding out her
ver the stones. Then Susan suddenly caught Lucy’s
te.
‘What’s that?’ said Lucy, clutching Susan’s
Trumpkin, if Peter had not laid his Mhand on her
a nice donkey. His name’s Puzzle. And I’ve got my
t Jill and Lucy did — rushed forward and put your
d break. And even when Lucy went over and put her
. He saw the Witch take off her outer mantle. Her
at the corners of the Table. The Witch bared her
over together in a happy laughing heap of fur and
em (half wondering whether she had been using her
knew was that she was kissing him and putting her
e velvety paws caught him as gently as a mother’s
Farm, she let one drop fall from it on the snow beside
Farm and said, ‘Look!’ On the far side of the camping
Farm. ‘I — I feel afraid to turn round,’ said Susan; ‘
Farm. ‘The D.L.F. doesn’t understand. How could he? Yo
Farms round his neck.’
‘Jill,’ said Tirian, ‘you are
Farms round his neck and kissed his nose and stroked hi
Farms round him and lent him bet handkerchief, he did n
Farms were bare underneath it and terribly white. Becau
Farms as she had bared them the previous night when it
Farms and Flegs. It was such a romp as no one has ever
Farms to push branches aside, or to take hands in a Gre
Farms as far round his neck as she could and burying he
Farms and set him (right way up, too) on the ground. ‘S
FEMALE BACK(S)
. Then she turned inward again and stood with her Fback to the wall and looked at the garden.
‘I see,’
nd the night here I don’t want an open door at my Fback and a great big black hole that anything might co
magic?’
‘Yes!’ said a great voice behind their Fbacks. ‘It is more magic.’ They looked round. There, sh
FEMALE BREAST(S)
and villages mothers pressed babies dose to their Fbreasts, staring with wild Feyes, dogs whimpered, and men
FEMALE CHEEK(S)
o grey Fhairs
Then she felt
ips so that a
ow can they?’
on her Fhead and no wrinkles on her
a set of long whiskers tickling her
drop of blood appeared on her white
said Lucy, tears streaming down her
Fcheek — and said, ‘Sir, this is that Lady Polly who cam
Fcheek and saw the cold daylight coming in through the m
Fcheek. Then she raised her wand. ‘Oh, don’t, don’t, ple
Fcheeks. ‘The brutes, the b~t~!’for now that the first sh
91
FEMALE EAR(S)
NTO THE STABLE? JILL felt something tickling her FFear. It was Jewel the Unicorn, whispering to her with
f watched her keenly as she drew the shaft to her FFear. A moment later, with a little soft thump which t
FEMALE EYES
and — for a moment Jill could hardly believe her
ever far away it might be, once she had fixed her
t all but a real land. And when she had fixed her
her seat and looked Edmund full in the Mface, her
ing to sleep is to stop trying, so she opened her
with his tuning up, burst into full song. Lucy’s
ou see?’ Her Fface had changed completely and her
eally there.’ ‘But I know he was,’ said Lucy, her
ows. A circle of grass, smooth as a lawn, met her
nyway, was it?’ The Lion looked straight into her
to Susan. But she forgot them when she fixed her
were ~still dancing nobody knew, for Lucy had her
babies dose to their Fbreasts, staring with wild
saying; ‘We will make holiday.’ They rubbed their
ry direction. ‘What is it, Aslan?’ said Lucy, her
She was at death’s door, but when she opened her
, the colour came back to her white Fface and her
eard and an old woman with wise, merry, twinkling
Feyes — they were shooting the Horses. Dwarfs are deadl
Feyes steadily on it, became quite clear and close as i
Feyes on one particular spot of it, she at once cried o
Feyes flaming; at the same moment she raised her wand.
Feyes. Though a gap in the bracken and branches she cou
Feyes began to grow accustomed to the light, and she sa
Feyes shone. ‘Do you really mean —?‘ began Peter. ‘Wher
Feyes filling with tears. ‘Yes, Lu, but we don’t, you s
Feyes, with dark trees dancing all round it. And then —
Feyes. ‘Oh, Aslan,’ said Lucy. ‘You don’t mean it was?
Feyes on Aslan. He turned and walked at a slow pace abo
Feyes on the Lion and the rest had their eyes on Lucy —
Feyes, dogs whimpered, and men leaped up groping for li
Feyes and looked round them. The trees had all gone but
Feyes dancing and her Ffeet wanting to dance. ‘Come, ch
Feyes and saw the bright, hairy head of the lion starin
Feyes grew bright and she sat up and said, “Why, I do d
Feyes. He who sat at the right Mhand of the old man was
FEMALE FACE(S)
been dead over two hundred years.’
Jill made a
Tirian, ‘will you give a lady the lie to her very
And Jill (who was no coward, as you know) hid her
’ said Jill, taking her Fhands away from her pale
looked into any forest pool the reflection of her
ust weep, sweetheart (this was to Jill) turn your
t it now.
Even then Jill remembered to keep her
gest of the Queens laughed. He stared hard at her
l: but not Jill as he had last seen her, with her
liked him. And after that. . . ugh! ‘Lucy made a
Fface. ‘Ugh I’ she said. ‘That’s the horrid part about
Fface?’
‘You keep a civil tongue in your Mhead, Miste
Fface in her Fhands to shut out the sight of it. The ot
Fface and trying to smile. ‘I’m all right. It only made
Fface shone out of the water like a star by night for a
Fface aside and see you wet not your bow-string. And pe
Fface turned aside, well away from her bow. Even if I c
Fface, and then gasped with amazement, for he knew her.
Fface all dirt and tears and an old drill dress half sl
Fface.
‘After that,’ said Edmund, ‘someone flung a mo
92
ardrobe and got in among the coats and rubbed her
oment she found that what was rubbing against her
bcttet drop it now?’
Lucy grew very red in the
t Fhand and wore a golden crown on her Fhead. Her
xcept for her very red Fmouth. It was a beautiful
aver.~
A slow cruel smile came over the Witch’s
ned on him with such a terrible expression on her
s fast as her short Flegs would carry her and her
ders running down their backs at the sight of her
se two faces — the golden face and the dead-white
ust turning away with a look of fierce joy on her
ast she drew near. She stood by Aslan’s head. Her
of the girls noticed for the first time the white
flung himself upon the White Witch. Lucy saw her
ke a slender girl, with Fhair blown all about her
said Lucy. ‘Aslan himself.. Didn’t you see?’ Her
s far round his neck as she could and burying her
e bright, hairy head of the lion staring into her
oud at sunrise, the colour came back to her white
ouched in the bushes with their Fhands over their
Fface against them, leaving the door open, of course, b
Fface and Fhands was no longer soft fir but something h
Fface and tried to say something, though she hardly kne
Fface was white - nor merely pale, but white like snow
Fface in other respects, but proud and cold and sterm
Fface.
‘Is this all your news?’ she asked.
‘No, you
Fface that he apologised and began to nibble at the bre
Fface was as white as paper. Then he saw Susan make a d
Fface; and there were low growls among all the animals
Fface — so close together. Not that the Witch looked As
Fface when she stopped and said,
‘But how do I know t
Fface was working and twitching with passion, but his l
Fface of the other. They could see the mice nibbling aw
Fface lifted towards him for one second with an express
Fface, and fond of dancing. She looked at the oak: he w
Fface had changed completely and her Feyes shone. ‘Do y
Fface in the beautiful rich silkiness of his mane. ‘Asl
Fface, she did not scream or faint. She said, ‘Oh, Asla
Fface and her Feyes grew bright and she sat up and said
Ffaces,, they heard the voice of the Witch calling out,
FEMALE FOOT/FEET
ig branch. One of her Flegs hung down so that
’t talk like a grown up,’ said Lucy, stamping
iced that there was something crunching under
middle cia wood at night-time with snow under
lt coats, and instead of crunching snow under
sobey; he stepped on to the sledge and sat at
ood, of course.
‘Ugh!’ said Susan, stamping
‘Turn him into stone? If she can stand on her
s some tiny movement going on in the grass at
come back to Edmund she found him standing on
us woman with black Fhair that fell almost to
But there was, at least, a lilt; she felt her
it, Aslan?’ said Lucy, her Feyes dancing and
her
her
her
her
her
her
her
two
her
his
her
own
her
Ffoot was only an inch or two above the snapping teeth.
Ffoot. ‘I didn’t think I saw him. I saw him.’ ‘Where, L
Ffeet. ‘I wonder is that mote mothballs ? she thought s
Ffeet and snow~akes falling through the air.
Lucy fel
Ffeet she felt wooden boards, and all at once she found
Ffeet, and she put a fold of her flit mantle round him
Ffeet, ‘it’s pretty cold. what about putting on some of
Ffeet and look him in the face it’ll be the most she ca
Ffeet. At first she took no interest in this. What did
Ffeet and not only healed of his wounds but looking bet
Ffeet and the kings of the countries beyond the sea beg
Ffeet wanting to dance as she got nearer. And noi there
Ffeet wanting to dance. ‘Come, children,’ said he. ‘Rid
93
FEMALE FOREHEAD
he girl as she tossed her wet Fhair back from her Fforehead, ‘aren’t you going to tell us who you are and why
FEMALE HAIR(S)/HAIRED
‘And now,’ said the girl as she tossed her wet Fhair back from her Fforehead, ‘aren’t you going to tel
big Calormene pulling Jill away somewhere by her Fhair. But he hardly thought about any of these things.
an grew into a tall and gracious woman with black Fhair that fell almost to her Ffeet and the kings of th
az, the King of Narnia, and his aunt, who had red Fhair and was called Queen Pruna-prismia. His father an
ry voice and would look like a slender girl, with Fhair blown all about her Fface, and fond of dancing. S
ir necks. Lucy put up her Fhands to push back her Fhair and found she was pushing back vine branches. The
school, where a lot of Narnian girls, with their Fhair done very tight and ugly tight collars round thei
woman. Facing Tirian across the table sat a fair Fhaired girl younger than either of these, and on either
t. But as for Lucy, she was always gay and golden-Fhaired, and all princes in those parts desired hei to be
but even she was not old, and there were no grey Fhairs on her Fhead and no wrinkles on her Fcheek — and
FEMALE HAND(S)
the same of the other youth who sat at the right
: she kept on making signs to the others with her
s ? she thought stooping down to feel it with her
and held a long straight golden wand in her right
a sledge, drawn by reindeer, with her wand in her
dn’t see her after I knocked the knife out of her
ling him as well? and who will take him out of my
. Go away, you little beasts.’ And she raised her
the sea began to send ambassadors asking for her
n she came back she was carrying something in her
‘we must not lie here for long. You have work in
was no coward, as you know) hid her Fface in her
ou, Lady?’
‘A-all right,’ said Jill, taking her
d, and set an arrow to her string. She wished her
found that what was rubbing against her Fface and
, who was no longer attending to him, clapped her
t fainting on the way,’ and once more clapped her
‘No,’ said Aslan. ‘I am sad and lonely. Lay your
ever since they first saw him -buried their cold
two girls still crouched in the bushes with their
Fhand of the old woman. Facing Tirian across the table
Fhand to do the same. Then she stopped dead still and T
Fhand. But instead of feeling the hard, smooth wood of
Fhand and wore a golden crown on her Fhead. Her Fface w
Fhand and a crown on her Fhead.’
Edmund was already f
Fhand - I was after the dwarf - do you mean to say she’
Fhand then? Understand that you have given me Narnia fo
Fhand to frighten them away.
‘Wait!’ said Lucy, who h
Fhand in marriage. And she was called Susan - the Gentl
Fhand. ‘Look,’ she said in a rather choking kind of Fvo
Fhand, and much time has been lost today.’ ‘Yes, wasn’t
Fhands to shut out the sight of it. The others watched i
Fhands away from her pale Fface and trying to smile. ‘I’
Fhands were not shaking so.
‘That’s a rotten shot I’
Fhands was no longer soft fir but something hard and rou
Fhands. Instantly the same dwarf whom Edmund had seen wi
Fhands. Another dwarf appeared.
‘Bring the human creat
Fhands on my mane so that I can feel you are there and l
Fhands in the beautiful sea of fur and stroked it and, s
Fhands over their Ffaces,, they heard the voice of the W
94
n they looked at each other and held each other’s
yes. Now?’ said Lucy, jumping up and clapping her
t had been given her for a Christmas present. Her
right.’ ‘I do~ I do!’ said Lucy, and clapped her
oked at her with his happy eyes. Lucy clapped her
e and circling round their necks. Lucy put up her
thank you,’ said Gwendolen. Instantly she joined
an himself, and Peter took his place with Susan’s
Fhands for mere loneliness
and cried again; and then a
Fhands.
‘Oh, children,’ said the Lion, ‘I feel my stre
Fhands trembled so much that she could hardly undo the s
Fhands. ‘But look here, Peter,’ said Edmund. ‘This must
Fhands and began to scramble down after him. From behind
Fhands to push back her Fhair and found she was pushing
Fhands with two of the Maenads, who whirled her round in
Fhands on his Mshoulders and Edmund’s on hers and Lucy’s
FEMALE HEAD(S)
was not old, and there were no grey Fhairs on her
ves.
‘Whv, you goose.’ said Susan putting her
in her right Fhand and wore a golden crown on her
er, with her wand in her Fhand and a crown on her
wn here she seems to be either going queer in the
ul his face looked; now it suddenly came into her
ost. Aslan stooped his golden head and licked her
n the final pull up Glasswater itself, and Lucy’s
she said: ‘Such a horrible idea has come into my
for us all in Narnia before now.’ Lucy buried her
d the Dwarf. ‘They never can carry a map in their
carry a map in their Fheads.’ ‘That’s because our
Fhead and no wrinkles on her Fcheek — and said, ‘Sir, t
Fhead inside and pulling the fur coats apart it’s just
Fhead. Her Fface was white - nor merely pale, but white
Fhead.’
Edmund was already feeling uncomfortable from
Fhead or else turning into a most frightful liar. But w
Fhead that he looked sad as well. But next minute that
Fhead. The warmth of his breath and a rich soft of smel
Fhead ached from the long hours of sun and the glare on
Fhead, Su.’ ‘What’s that?’ ‘Wouldn’t it be dreadful if
Fhead in his mane to hide from his face. But there must
Fheads.’ ‘That’s because our Fheads have something insid
Fheads have something inside them,’ said Lucy. At first
FEMALE HEART(S)/HEARTED
And Tash was there again. My sister is so tender-Fhearted she doesn’t like to tell you that Tash made one p
hitting the apple but bemuse Susan was so tender Fhearted that she almost hated to beat someone who had bee
herself ‘They’re walking about.’ She got up, her Fheart beating wildly, and walked to-wards them. There w
ndly lion or not. She rushed to him. She felt her Fheart would burst if she lost a moment. And the next th
up the street and a stab of joy went through her Fheart. Aslan stopped right under the window and looked
FEMALE HEEL(S)
ay in the open. Susan had a slight blister on one Fheel.
They had left the course of the big river some
FEMALE LEG(S)/LEGGED
ne, Jill ran out about twenty feet, put her right Fleg back and her left Fleg forward, and set an arrow
95
twenty feet, put her right Fleg back and her left
he scrambled after him and came out, rather shaky
the far-off patch of daylight as quickly as her
Lucy was running towards him as fast as her short
get higher than the second big branch. One of her
dge, trying to keep warm; and oh, how tired their
her in a happy laughing heap of fur and Farms and
their Fnecks and thick tickly stockings on their
who were mostly dumpy, prim little girls with fat
Fleg forward, and set an arrow to her string. She wish
Flegged and breathless, on the hill they had been trying
Flegs would carry her. And presently instead of rough b
Flegs would carry her and her Fface was as white as pap
Flegs hung down so that her Ffoot was only an inch or t
Flegs felt. Then at last, as they stood for a moment lo
Flegs. It was such a romp as no one has ever had except
Flegs, were having a history lesson. The sort of ‘Histo
Flegs. Gwendolen hesitated. ‘You’ll stay with us, sweet
FEMALE LIP(S)
they got on the move. Lucy went first, biting her
t easily miss. And when you put this horn to your
spoon on the table. Edmund saw the Witch bite her
nd the Witch, after staring for a moment with her
Flip and trying not to say all the things she thought
Flips and blow it, then, wherever you are, I think help
Flips so that a drop of blood appeared on her white Fch
Flips wide apart, picked up her skirts and fairly ran f
FEMALE MOUTH(S)
t a sound. A moment later she rose again, put her Fmouth close to Tirian’s Mear, and said in the lowest po
or paper or Icing-sugar. except for her very red Fmouth. It was a beautiful Fface in orhet respects, but
FEMALE NECK(S)
one very tight and ugly tight collars round their Fnecks and thick tickly stockings on their Flegs, were h
FEMALE NOSE(S)
front paws. He bent forward and just touched her Fnose with his tongue. His warm breath came all round h
FEMALE SHOULDER(S)
ears and an old drill dress half slipping off one
tive and excited as well. She looked En& over her
t down from its place and slung the belt over her
swering him Tirian slipped his Marm behind Jill’s
Fshoulder. Now she looked cool and fresh, as fresh as if sh
Fshoulder and there, between the dark treetrunks, she could
Fshoulder and once more felt the bottle at her side where i
Fshoulders and said, ‘How is it with you, Lady?’
‘A-all ri
FEMALE THUMB(S)
Why, it is she that has got all Narnia under her Fthumb. It is she that makes it always winter. Always win
96
MALE ANKLES(S)
inst an ash tree. Then they bound ropes round his Mankles and his Mknees and his Mwaist and his Mchest and
MALE ARM(S)/ARMPITS
ford the River to reach it. It was up to Tirian’s
e force of the current, and Tirian put his strong
sword tighter and rolled his cloak round his left
Now, Jewel, let us go softly.’
He put his left
lked sadly together in the rear. The King had his
But instead of answering him Tirian slipped his
glad about it: he was so terribly thirsty and his
to get off the dust. He fitted the shield on his
the march, then,’ said Peter, wearily fitting his
missed it.’ ‘The High King has pricked him in the
his shield properly. He must be hurt in the left
red and sweaty, his Mchest heaving. ‘Is your left
d the Doctor. ‘How did he dolt?’ ‘Grabbed Miraz’s
delight. ‘There’s a man for you! Uses his enemy’s
tried to drop it, but it stuck to his Mhand. His
til the Calormenes untied his Mwrists and put his
hind him came King Tirian. He moved his Mlegs and
had much time to think of this he felt two strong
is Mear, and all at once the soldier threw up his
and all his old battles came back to him, and his
ce with the Badger. Peter leaned forward, put his
Marm-pits, but Jewel (who had four legs and was theref
Marm round the Unicorn’s strong neck and they both got
Marm. They came quickly down among the men.
Two Calo
Marm round the beast’s neck and bent and kissed its no
Marm on the Unicorn’s shoulder and sometimes the Unico
Marm behind Jill’s Fshoulders and said, ‘How is it wit
Marm ached so.
As the defeated Calormenes went back
Marm and slung the sword by his side. He was afraid at
Marm into his shield strap and putting his helmet on.
Marm pit,’ said Caspian, still clapping. ‘Just where t
Marm.’ It was only too true. Everyone could see that P
Marm wounded?’ asked Edmund. ‘It’s not exactly a wound
Marm as it caine down,’ said Trumpkin, dancing with de
Marm as a ladder. The High King I The High King! Up, O
Marm became a branch, his Mbody the trunk of a ace, hi
Marms straight down by his Msides and set him with his
Marms as if he were swimming but he moved straight upwa
Marms thrown about him and felt a bearded kiss on his M
Marms, dropping the Dwarf in the bottom of the boat, an
Marms and Mfingers remembered their old skill. He was K
Marms round the beast and kissed the furry head: it was
MALE BACK(S)
King’s sword away and tied his Mhands behind his
straight down by his Msides and set him with his
and turned into evening, he became cold too. His
’s voice.
‘Stand here, sentry, with your
uck, Eustace I’ cried Tirian, clapping him on the
eet?’
Tirian and his friends could only see the
igure in Calormene armour reeled out, fell on its
t his table tonight.’
Rishda Tarkaan turned his
Mback. One of the Calormenes, who had a helmet instead
Mback against an ash tree. Then they bound ropes round
Mback was very sore. The sun went down and it began to
Mback to the wall. So. Now, Jewel: set the point of you
Mback. ‘Now, Dwarfs, you are free. Tomorrow I will lead
Mback of Rishda Tarkaan, so they never knew what his Mf
Mback, and lay still: the door dosed behind it. The Cap
Mback on the Stable and walked slowly to a place in fro
97
the moths.’
‘There’s something sticking into my
nd great loads of snow came sliding off on to his
e brought out (II suppose from the big bag at his
awn his sword out of it and was straightening his
ced to his Mfeet. Then the dwarf set him with his
Edmund I’ and began to cry. Peter stood with his
musical sound from the depth of the woods at his
chery! The Narnian traitor has stabbed him in the
out their Mchests and slapping one another on the
Mback,’ said Peter.
‘And isn’t it cold?’ said Susan.
Mback. And every time this happened he thought more and
Mback, but nobody quite saw him do it) a large tray con
Mback and rubbing the sweat off his Mface and out of hi
Mback against a tree and bound him fast. He saw the Wit
Mback to the others looking out at the distant sea. The
Mback. Then he thought it was only a dream and turned o
Mback while he lay helpless. To arms I To arms, Telmar!
Mback and whispering, ‘There you are. Might have guesse
MALE BEARD(S)
strong and his limbs full of hard muscle, but his
an older man, thicker and not so tall, with a big
talk.’ He brought him next to a man whose golden
ping the last traces of the fruit from his golden
h a hood that had fur inside it and a great white
ian had ever seen. He had along, silvery, pointed
be a wizened, but hearty old man with a frizzled
Mbeard was still scanty. He had blue Meyes and a fearles
Mbeard.
‘Ho-ho-ho,’ chuckled the Ape. ‘Any more? Any o
Mbeard flowed over his Mbreast and whose Mface was full
Mbeard. ‘Only I think you and I, Polly, chiefly felt tha
Mbeard that fell like a foamy waterfall over his Mchest.
Mbeard which came down to his Mwaist, and his Mface, whi
Mbeard and warts on his Mface and Mhands, and Mhair grow
MALE BODY(S)
stuck to his Mhand. His Marm became a branch, his Mbody the trunk of a ace, his Mfeet took root. The boy,
MALE BREAST(S)
t the point of your horn against this Calormene’s Mbreast.’
‘With a good will, Sire,’ said Jewel.
‘If h
next to a man whose golden Mbeard flowed over his Mbreast and whose Mface was full of wisdom. ‘And this,’ h
MALE BROW(S)
is Mface was flushed and there was a scowl on his Mbrow. ‘There!’ he growled, flinging the parchment acro
MALE CHEEK(S)
lder and sometimes the Unicorn nuzzled the King’s
d the High King raised him and kissed him on both
s thrown about him and felt a bearded kiss on his
ES A DOOR IN THE AIR
AT the sight of Aslan the
Mcheek with his soft nose. They did not try to comfort o
Mcheeks as a High King should. Then he led him to the eld
Mcheeks And heard a well, remembered voice saying:
‘Wh
Mcheeks of the Telmarine sol-diers became the colour of c
98
MALE CHEST(S)/CHESTED
his Mankles and his Mknees and his Mwaist and his Mchest and left him there. What worried him worst at the
ll he was perched on the rope that bound Tirian’s Mchest and was wrinkling his blunt nose just in front of
his spear over his Mshoulder and his Mchin on his Mchest. ‘Well done,’ said Tirian to Jill. She had shown
s aching with cold and his Mheart pounding in his Mchest, and presently the grey wolf, Maugrim, the Chief
Mbeard that fell like a foamy waterfall over his Mchest. Everyone knew him because, though you see people
ropes to meet them, his Mface red and sweaty, his Mchest heaving. ‘Is your left Marm wounded?’ asked Edmun
assed over them. And Peter became a tall and deep-Mchested man and a great warrior, and he %tas called King
rld,’ and the other half began throwing out their Mchests and slapping one another on the Mback and whisper
MALE CHIN(S)
sitting with his spear over his Mshoulder and his Mchin on his Mchest. ‘Well done,’ said Tirian to Jill.
d it full of grass and tied him up from Mscalp to Mchin so that he could make no noise, lowered the man i
pulled his Mhead back so that he had to raise his Mchin. After that Edmund heard a strange noise - whizz
MALE EAR(S)
she rose again, put her Fmouth close to Tirian’s
‘One noise and thou art dead,’ said Titian in his
im and settled it at a convenient place under his
something that Jill was trying to whisper in his
d at his Mface. And Jewel whispered in the King’s
uld. Next moment he heard a twang just beside his
o fetch it, Truffle hunter whispered in Caspian’s
a dream and turned over again; but as soon as his
he point began Edmund, but Lucy whispered in his
irst and shook him. ‘Peter,’ she whispered in his
ave got him from. He is ~ your Lordship’s private
o learned a great deal by using his own Meyes and
Mear, and said in the lowest possible whisper, ‘Get do
Mear. ‘Tell me where the Unicorn is and thou shalt liv
Mear. Tremblingly he went round to the back of the sta
Mear. ‘What do you think is really inside the Stable?’
Mear, ‘By the Lion’s Man; I almost love this young war
Mear, and all at once the soldier threw up his Marms,
Mear, ‘Don’t look. Look the other way. It’s very bad m
Mear touched the ground he felt or heard (it was hard
Mear, ‘Hadn’t we better do what Peter says? He is the
Mear, ‘wake up. Quick. Aslan is here. He says we’ve go
Mear) a kinglier man than ever Mirn was. And what mail
Mears. As a little boy he had often wondered why he dis
MALE EYE(S)/EYED
nd smelling it. Then a wicked gleam came into his
earned again. But Tirian found that he had a good
furiously on the other. Out of the corner,’of one
tif you walk round it,’ said Peter. ‘But put your
f the planks and look through.’
Tirian put his
Meye
Meye
Meye
Meye
Meye
99
and he said:
‘It is a lion’s skin.’
‘Ee — auh
and was very quick on his Mfeet. He was surprised
he saw, but only just saw, a big Calormene pullin
to that place where there is a crack between two
to the hole. At first he could see nothing but bl
ood run so cold as that line of dark-faced bright-Meyed men. There were fifteen Calormenes, a Talking Bul
cle, but his Mbeard was still scanty. He had blue Meyes and a fearless, honest Mface.
There was no one
me the Stag. He said he had seen him with his own Meyes, a great way off, by moonlight, in Lantern Waste.
crowd, smelling of garlic and onions, their white Meyes flashing dreadfully in their brown Mfaces. They p
spirit or whatever you are,’ he said, fixing his Meyes full upon Tirian. ‘If you are from Narnia, I char
gh King.
The room began to swim before Titian’s Meyes. He heard the voices of those seven people all sp
fternoon, slashed wildly (indeed I’m not sure his Meyes weren’t shut) and suddenly found, to his own grea
of grass between the bonfire and the Stable. His Meyes were shining, his Mface very solemn, his Mhand wa
is sword and put up both his Mhands to defend his Meyes. Then one of her own arrows hit a man, and anothe
he could see nothing but blackness. Then, as his Meyes grew used to it. he saw the dull red glow of a bo
e looked round again and could hardly believe his Meyes. There was the blue sky overhead, and grassy coun
- for it hadn’t moved one inch since he first set Meyes on it. Edmund now ventured a little nearer, still
ringing with birds’ music, and wherever Edmund’s Meyes turned he saw birds alighting on branches, or sai
nd rubbing the sweat off his Mface and out of his Meyes. He felt tired all over.
Then, after a bit, Sus
ugly, and very kind. His voice was grave and his Meyes were merry so that, until you got to know him rea
g for about two minutes, but stood still with his Meyes fixed on Tarva and Alambil. Then he drew a deep b
ea. He also learned a great deal by using his own Meyes and Mears. As a little boy he had often wondered
-ney, and Caspian, though tears had come into his Meyes at saying good bye to Doctor Cornelius, felt brav
usty splendour of the treasure house. The Dwarf’s Meyes glistened as he saw the wealth that lay on the sh
see anything,’ said Peter after he had stared his Meyes sore. ‘Can you, Susan?’ ‘No, of course I can’t,’
aid Peter. There’s the Hag, dead.’ (He turned his Meyes quickly away from her.) ‘And Nikabrik, dead too.
rpened his pen, Peter leant back with half closed Meyes and recalled to his mind the language in which he
out Peter and Edmund and the rest?’ ‘I believe my Meyes, your Majesty,’ said Glozelle. ‘Well, this is to
is,’ said Miraz, after staring at them as if his Meyes would start out of his Mhead, ‘you are as lily li
t was it? What was it?’ asked the Doctor. ‘My old Meyes missed it.’ ‘The High King has pricked him in the
th came about him, a new look came into the man’s Meyes — startled, but not unhappy — as if he were tryin
MALE FACE(S)
scanty. He had blue Meyes and a fearless, honest
e right into Lantern Waste itself. And the King’s
rinkling his blunt nose just in front of Tirian’s
’ said the first Mouse, ‘and I’ll wash the King’s
ian felt something like a tiny sponge dabbing his
n, certainly younger than Tirian himself, but his
w the King draw his, rushed at the other one: his
l looked at the King: his Mmouth was open and his
Mface.
There was no one with him that spring morning
Mface turned white when he saw it.
Right through the
Mface. Then the second Mouse climbed up and hung on jus
Mface. There is blood on it.’
Then Tirian felt someth
Mface, and it was most refreshing.
‘Little friends,’
Mface had already the look of a king and a warrior. And
Mface was deadly pale, but I wouldn’t blame him for tha
Mface was full of horror. And then she understood the d
100
ishda Tarkaan. ‘These be high matters.’
Emeth’s
ck of Rishda Tarkaan, so they never knew what his
nfire and the Stable. His Meyes were shining, his
igh. Jill felt like crying when she looked at his
s the best eyes of all living things, noticed the
on my horn at each plunge?’ But Tirian, with his
pport him. You would not have known from Tirian’s
il and pointed; then he put his Mhands before his
he put his Mhands before his Mface and fell flat,
hou to say?’
But the Tarkaan neither lifted bis
sk which was the High King, for he remembered his
e golden Mbeard flowed over his Mbreast and whose
ds with everyone and grinning all over his honest
r any other god. But when I watched the Tarkaan’s
shaggy white Mhair which grew over most of his
rose from her seat and looked Edmund full in the
s to visit me.’
‘Why not now?’ said Edmund. His
ishly Edmund spoke or how flushed and strange his
then stopped. Anyone could see from the old man’s
ard and was quite sure from the expression on his
d the Witch, giving Edmund a stunning blow on the
ightening his Mback and rubbing the sweat off his
yew trees. Edmund simply sank down and lay on his
o her to see Peter looking as he looked now — his
covered with blood, his Mmouth was open, and his
she was still looking eagerly into Edmund’s pale
ow, ‘I insist upon being answered. Look me in the
ted Mbeard which came down to his Mwaist, and his
him, but the Doctor’s hood concealed most of his
owing back his hood so that Caspian could see his
e savoury, and he began already to harden and his
k we’re no good,’ said Edmund, getting red in the
y old man with a frizzled Mbeard and warts on his
one Mknee and raising the Lion’s heavy paw to his
with vine leaves wreathed in his curly Mhair. His
know who they are.’ ‘Who?’ ‘The boy with the wild
Mface grew sterner. ‘Is it then not true that Tash and
Mface looked like as he shrugged his Mshoulders and sai
Mface very solemn, his Mhand was on his sword-hilt, and
Mface. And Jewel whispered in the King’s Mear, ‘By the
Mface of Rishda Tarkaan at that moment. And from what F
Mface as stern as stone, said, ‘Stand fast, Jewel. If y
Mface that he had now given up all hope.
~‘Listen,’ h
Mface and fell flat, Mface downwards, on the ground. Ti
Mface downwards, on the ground. Titian looked in the di
Mface from the ground nor said a word. He was shaking l
Mface (though here it was far nobler) from his dream. H
Mface was full of wisdom. ‘And this,’ he said, ‘is the
Mface. And Jewel leaned his snowy white head over the K
Mface, and marked every word that he said to the Monkey
Mface as well as on his Mhead, and they liked him almost
Mface, her Feyes flaming; at the same moment she raised
Mface had become very red and his Mmouth and Mfingers w
Mface was. ‘I’ve been having lunch with dear Mr Tumnus,
Mface that he was perfectly serious. Then Susan pulled
Mface that he was not making fun of them.
‘But how co
Mface as she re-mounted the sledge, ‘let that teach you
Mface and out of his Meyes. He felt tired all over.
T
Mface doing nothing at all and not even caring what was
Mface was so pale and stem and he seemed so much older.
Mface a nasty green colour. ‘Quick, Lucy,’ said Aslan.
Mface and wondering if the cordial would have any resul
Mface, Who has been telling you this pack of lies?’ ‘N
Mface, which was brown and covered with wrinkles, looke
Mface. ‘The virtue of this tower,’ said Doctor Corneliu
Mface clearly in the moonlight. All at once Caspian rea
Mface wore a kinglier look. When the great night came,
Mface. ‘Now pray don’t be offended,’ interrupted the
Mface and Mhands, and Mhair growing out of the warts. S
Mface, ‘I’m so glad. And I’m so sorry. I’ve been leadin
Mface would have been almost too pretty for a boy’s, if
Mface is Bacchus and the old one on the donkey is Silen
101
ndship, I’m sure. His Majesty, bless his handsome
match. It was Edmund. The little flame showed his
aur and the Giant has no look of surrender in his
veniently without a King as with one?’ Glozelle’s
d Miraz, unarmed and finishing his breakfast. His
re-fused. There is death in the strange knight’s
refuse it? You might as well call me coward to my
nd Peter came outside the ropes to meet them, his
rnians. Miraz was down — not struck by Peter, but
y. ‘Yes — that and other things,’ said Peter, his
ir white Meyes flashing dreadfully in their brown
heir Mheads and light shirts of chain mail. Their
g to the window. But as soon as their mean little
athing hard, stood round them with stern and glad
r Mknees knocked together, and many fell on their
Mface, has no need to be afraid of an old woman that’s
Mface, looking pale and dirty. He blundered about for a
Mface,’ said Glozelle. ‘Who can he be? It is not the bo
Mface grew ugly. ‘Not forgetting,’ said he, ‘that it wa
Mface was flushed and there was a scowl on his Mbrow. ‘
Mface.’ ‘There you are again!’ said Miraz, now thorough
Mface.’ The conversation was going exactly as the two l
Mface red and sweaty, his Mchest heaving. ‘Is your left
Mface downwards, having tripped on a tussock. Peter ste
Mface very solemn. ‘I can’t tell it to you all. There w
Mfaces. They put a rope halter round Jewel’s neck. They
Mfaces were bearded and hard. The children drew back fro
Mfaces looked out, Bacchus gave a great cry of Euan, eu
Mfaces. And the first thing that happened was that the ol
Mfaces. They had not believed in lions and this made the
MALE FOOT/FEET
the remains of them he bound the sentry Mhand and
ly alive and was in fact a Dwarf; bound Mhand and
er of his youth.’ ‘So I’m to be a dotard with one
re entering the lists from opposite ends, both on
words. Many a Telmarine ‘arrior that day felt his
he talking trees?’ cried the king, leaping to his
ung round the Unicorn’s neck and the noise of two
The one who had already spoken to him rose to his
‘It’s you we’ve come to help.’ Titian got to his
that he had a good Meye and was very quick on his
when he saw him and was just going to jump to his
reat surprise, that the Calormene lay dead at his
ne by Tirian’s sword. The Fox lay dead at his own
ing from my Mlimbs and caused me to stand upon my
of a wood.
There was crisp, dry snow under his
tting Wetter every minute.’ He struggled to his
g; not the slightest sound anywhere. Even his own
Edmund found himself being roughly forced to his
nd gave him a pair of warm, soft bus-ldns for his
Mfoot. Finally he made him open his Mmouth, stuffed it
Mfoot but struggling as hard as he could. Next moment h
Mfoot in the grave, as well as a dastard,’ roared Miraz
Mfoot, both in chain shirts, wit helmets and shields. T
Mfoot suddenly pierced as if by a dozen skewers, hopped
Mfeet and drawing his sword. ‘How dare they? And who da
Mfeet and four hoofs.
They soon reached the River and
Mfeet. ‘Shadow or spirit or whatever you are,’ he said,
Mfeet and led them rapidly down hill, southward and awa
Mfeet. He was surprised at the strength of both the chi
Mfeet: he was afraid Tirian might be one of his own off
Mfeet. And though that was a great relief, it was, at t
Mfeet, and he Wondered if it was he who had killed it.
Mfeet. And after that, he said not much but that we sho
Mfeet and more snow lying on the branches of the trees.
Mfeet.
‘Let’s get out,’ said Edmund, ‘they’ve gone.
Mfeet made no noise on the deep newly fallen snow. He w
Mfeet. Then the dwarf set him with his Mback against a
Mfeet. A moment later, both muffled so that they could
102
ly Cas-pian could feel the ground shake under his
l and small voice from some-where at the Doctor’s
king about the battle that they forgot their sore
’ ‘Great Heaven!’ exclaimed Miraz, jumping to his
his shield, and he certainly made good use of his
ittle creatures were dancing in and out among the
ecame a branch, his Mbody the trunk of a ace, his
Mfeet as if some-one were hammering down below. Trump k
Mfeet. ‘Let them come! All I ask is that the King will
Mfeet and the heavy drag of their mail shins on their M
Mfeet. ‘Are you also bewitched today? Do you think I am l
Mfeet. He was almost playing Tig with Miraz now, keepin
Mfeet of both armies, jabbing with their swords. Many a
Mfeet took root. The boy, who had been crying a moment
MALE FINGER(S)
His Mface had become very red and his Mmouth and Mfingers were sticky. He did not look either clever or ha
ed into the house.
Edmund stood and waited, his Mfingers aching with cold and his Mheart pounding in his M
s old battles came back to him, and his Marms and Mfingers remembered their old skill. He was King Edmund on
MALE FOREHEAD(S)
ious One-lent down his golden head and touched my Mforehead with his tongue and said, Son, thou art welcome.
nor dead, and its bared teeth knocked against his Mforehead, and everything was blood and heat and hair. A mo
did hurt him too) something struck Caspian on the Mforehead and he knew no more. Wheb he came to himself he
MALE HAIR(S)
ic h i’nsell was a very old
ack his shirt at the Mneck.
led Mbeard and warts on his
fawn skin, with vine leaves
man with shaggy white
Then he took Edmund’s
Mface and Mhands, and
wreathed in his curly
Mhair which grew over. most of ii is Mface as well as o
Mhair and pulled his Mhead back so that he had to raise
Mhair growing out of the warts. She looked at the beech
Mhair. His Mface would have been almost too pretty for
h a matter?’ And, without knowing it, he laid his
a cry and came towards them with their weapons in
, merry, twinkling Meyes. He who sat at the right
t too for the wine glass which stood at his right
hough he turned pale) except that he clenched his
to be gone from here: for my enemies are close at
these beasts and devils of Narnians. Give me thy
as happening the Calormene sentry found his right
pes. With the remains of them he bound the sentry
d was the Ape. He was holding on to the Tarkaan’s
o one ever saw him again.
Tirian stood with his
Mhand on his sword hilt.
‘That I know not, Lord King,
Mhand. But the King held out his sword with the hilt to
Mhand of the old man was hardly full grown, certainly y
Mhand was swept off the table: Tirian could hear the ti
Mhand very tight. Then he said:
‘Speak, if you’re not
Mhand. Will you come with me?’
‘Of course,’ said the
Mhand, friend.’
Before he well knew what was happenin
Mhand seized in a mighty grip. Next instant someone was
Mhand and Mfoot. Finally he made him open his Mmouth, s
Mhand with one paw and kept whimpering and muttering, ‘
Mhand on his sword-hilt and his Mhead bowed. He was daz
MALE HAND(S)
103
is Meyes were shining, his Mface very solemn, his
ped forward, sank on one Mknee and kissed Peter’s
ll moved towards the trees.
Everyone raised his
dly dared to touch it, but at last he put out his
g.’
And Peter with his sword still drawn in his
y eagerly bent forward to see what was in Peter’s
t was really alive and was in fact a Dwarf; bound
ghness,’ said King Miraz, letting go of Caspian’s
in a hooded robe and holding a small lamp in his
ttle man dropped down on one Mknee and kissed his
’ began Caspian, when Nikabrik jumped up with his
have flown at Trumpkin, if Peter had not laid his
for going up.’ ‘Oh, Ed!’ said Lucy and seized his
g a boy. The stick burst into flower in the man’s
s Mhand. He tried to drop it, but it stuck to his
ey did. Most of them had naked scimitars in their
ck. I will give up my sword and put myself in the
eck. They took the King’s sword away and tied his
when the last cord was cut he fell forward on his
enough, by the Lion!’ said Tirian, blowing on his
rked up about it,’ said Eustace who had stuck his
en another, dropped his sword and put up both his
scimitar, seized his enemy by the belt with both
da gave a great wail and pointed; then he put his
mail as well and had their swords drawn in their
hen, rather clumsily (for even in that moment his
ave?’ said the Witch. ‘Do as you’re told. Tie the
being forced to walk as fast as he could with his
ere is something far better.’ He put in Caspian’s
with a frizzled Mbeard and warts on his Mface and
early double. The boys held their swords in their
of the far past.’ The badgers nosed at the boys’
who faced him on the left. Peter bad just shaken
d flinging down their swords and holding up their
Mhand was on his sword-hilt, and he carried his Mhead h
Mhand. ‘High King,’ he said. ‘You are welcome to me.’ A
Mhand to pick the fruit he best liked the look of, and
Mhand, very quickly, and did. It was cold stone. He had
Mhand went with the Lion to the eastern edge of the hil
Mhand — a little, bright thing that gleamed in the fire
Mhand and Mfoot but struggling as hard as he could. Nex
Mhand, which he had been holding till now, ‘I insist up
Mhand, stood by the bed-side. Caspian remembered at onc
Mhand. ‘What does it all mean? I don’t understand,’ sai
Mhand on his dagger. ‘There you are!’ he cried. ‘Not on
Mhand on her Farm. ‘The D.L.F. doesn’t understand. How
Mhand. ‘And now it’s your turn, Peter,’ said Susan, ‘an
Mhand. He tried to drop it, but it stuck to his Mhand.
Mhand. His Marm became a branch, his Mbody the trunk of
Mhands.
‘Quick. On my back,’ said Jewel.
The King fl
Mhands of the Calormenes and ask that they bring me befo
Mhands behind his Mback. One of the Calormenes, who had
Mhands and Mknees. I-Ic couldn’t get up again till he ha
Mhands, ‘And faugh I What foul smell is this?’
‘Phewl’
Mhands in his pockets (forgetting how very odd that look
Mhands to defend his Meyes. Then one of her own arrows h
Mhands, and jumped back into the Stable, shouting:
‘Co
Mhands before his Mface and fell flat, Mface downwards,
Mhands. Tirian bowed courteously and was about to speak
Mhands had gone numb and blue) he took out a golden key
Mhands of the human creature behind it and keep hold of
Mhands tied behind him. He kept on slipping in the slush
Mhands something which he could hardly see but which he
Mhands, and Mhair growing out of the warts. She looked a
Mhands for fear they would trip them up. It was heart br
Mhands. ‘At last,’ they said. ‘At last.’ •
‘Give us a
Mhands with Edmund and the Doctor, and was now walking d
Mhands, and Peter’s army, still holding their weapons an
104
MALE HEAD(S)/HEADED
ng leaned hard on his friend’s neck and bowed his Mhead.
‘Jewel,’ he said, ‘what lies before us? Horrib
n command, snatched the gold circlet off Tirian’s Mhead and hastily put it away somewhere among his cloth
ck that night and then put all worries out of his Mhead and fell asleep at once. It seemed only a moment
r very Fface?’
‘You keep a civil tongue in your Mhead, Mister,’ replied the Dwarf. ‘I don’t think we wa
rvousness, and said nothing. But Tirian, with his Mhead against Jewel’s flank, slept as sound as if he we
faces Changed your mind, eh I’
Tirian bent his Mhead to hear something that Jill was trying to whisper
an stood with his Mhand on his sword-hilt and his Mhead bowed. He was dazed with the horrors of that nigh
s Mhand was on his sword-hilt, and he carried his Mhead high. Jill felt like crying when she looked at hi
flashed in the firelight as he waved it above his Mhead and cried in a great yoke:
‘Here stand I, Tiria
hard as he could.
A new idea came into Tirian’s Mhead. He dropped his sword, darted forward, in under t
s) for a great joy put everything else out of his Mhead. Among the happy creatures who now came crowding
his, for immediately I was forced to fight for my Mhead against one of our own men. As soon”as I saw him
grew over. most of ii is Mface as well as on his Mhead, and hey liked him almost at once; hut on the fir
one another.
‘Battyl’ said Edmund, tapping his Mhead. ‘Quite batty.’
‘VThat do you mean, Lu?’ asked
e asked himself) and horrible ideas came into his Mhead.
‘Here we are,’ said Mr Beaver, ‘and it looks a
s Mtoes, and at the same time there came into his Mhead what seemed a perfectly lovely idea. ‘Probably,’
the dwarf when he saw that Edmund had turned his Mhead to look at them; and tie gave the rope a vicious
Mneck. Then he took Edmund’s Mhair and pulled his Mhead back so that he had to raise his Mchin. After tha
ere —?‘ ‘Hush!’ said Doctor Cornelius, laying his Mhead very close to Caspian’s. ‘Not a word more. Don’t
ou secrets, you’d be whipped and I should have my Mhead cut off.’ ‘But why?’ asked Caspian. ‘It is high t
uch a very long beard. Two thoughts came into his Mhead at the same moment. One was a thought of terror —
now. Not after we’ve taken it in and bandaged its Mhead and all. It would be murdering a guest.’ ‘Gentlem
t he had found the Old Narnians at last. Then his Mhead began to swim again. In the next few days he lear
It isn’t the creature’s fault that it bashed its Mhead against a tree outside our hole. And I don’t thin
which) a faint beating or drumming. He raised his Mhead. The beating noise at once became fainter, but th
l arrow had sunk into a tree trunk just above his Mhead. As he pulled Susan down and dropped himself, ano
though, it was a near thing.’ ‘I ought to have my Mhead smacked for bringing us this way at all,’ said Pe
or be killed.’ ‘So,’ said Sopespian, nodding his Mhead. ‘And if he killed we should have won this war.’
ng at them as if his Meyes would start out of his Mhead, ‘you are as lily livered as hares yourselves and
on Peter. It looked as if it would slash off his Mhead. Thank heavens! It had glanced down his right Ms
the back cut of the same stroke, walloped off his Mhead. Ed-mund was now at his side crying, ‘Narnia, Nar
h day. You may imagine that this caused plenty of Mhead scratching among the Telmarines. Some of them, ch
be set up two stakes of wood, higher than a man’s Mhead and about three feet apart. A third, and lighter,
mbered him in his later years when he was• a grey-Mheaded warrior. This was his father, young and merry, as
emed to be soldiers. They had steel caps on their Mheads and light shirts of chain mail. Their Mfaces were
105
MALE HEART(S)
hat lies before us? Horrible thoughts arise in my
by Tirian’s sword and the other gored through the
f The Tisroc’s, may he live forever? It cheers my
alormene and felt almost shy. As for Eustace, his
t, ‘This is really Narnia at last.’ Even Tirian’s
he greatest woe that ever befell you.’
Titian’s
egun. Aslan to our aid!’
Eustace stood with his
see who had spoken. And what he saw then set his
urned last because he was afraid. There stood his
among us, and will avenge himself. And though my
rd, and there he saw a sight that nearly made his
covered with snow. Then very slowly and with his
and waited, his Mfingers aching with cold and his
shing and even (in the distance) roaring. And his
King Edmund, ‘the like foreboding stirreth in my
moment Caspian was puzzled and then suddenly his
. But I have two reasons. Firstly, because my old
any more words of direction and advice. Caspian’s
— the moon then shining al-most at her full — his
ed out stronger than they had reckoned. Caspian’s
n the shrill, whining voice began, ‘Oh, bless his
to meet that young man in battle is more than my
yourselves and have the effrontery to imagine my
who does not wish to feel this sword as near his
Mheart. If we had died before today we should have been
Mheart by Jewel’s horn.
CHAPTER
THE APE IN ITS GLO
Mheart to meet thee among all these beasts and devils of
Mheart was still beating rather quickly. Tirian and Jewe
Mheart grew lighter as he walked ahead of them, humming
Mheart seemed to stop beating at these word; but he set
Mheart beating terribly, hoping and hoping that he would
Mheart beating as it had never beaten in any fight
Sev
Mheart’s desire, huge and real, the golden Lion, Aslan h
Mheart was turned into water inside me because of the gr
Mheart stop beating. Just inside the gate, with the moon
Mheart beating as if it would burst, Edmund ventured to
Mheart pounding in his Mchest, and presently the grey wo
Mheart gave a great leap (though he hardly knew why) whe
Mheart also.’
‘And in mine, fair brother,’ said King P
Mheart gave a leap. ‘Do you mean,’ he gasped, ‘that ther
Mheart has carried these secret memories so long that it
Mheart was sinking, but he tried to take it all in. Then
Mheart swelled as he saw their numbers and heard their g
Mheart sank as he saw company after company arriving. An
Mheart, his dear little Majesty needn’t mind about the W
Mheart would serve me for. And if (as is likely) his bro
Mheart after the likeness of yours! Grounds for a refusa
Mheart as I can reach shall talk in my presence about Tr
MALE HIP(S)
ng to seek adventures, with his sword on his left Mhip and Queen Susan’s magic horn on his right. But wh
MALE KNEE(S)
before he could get up Tirian had dropped on one
) from his dream. He stepped forward, sank on one
nd this is one queer thing. I’d had a rather sore
reat surprise, the little man dropped down on one
ck. ‘Oh, Aslan,’ said King Peter, dropping on one
Mknee beside him, saying:
‘Art thou a warrior of The
Mknee and kissed Peter’s Mhand. ‘High King,’ he said. ‘
Mknee, from a hack at rugger. I noticed it had suddenly
Mknee and kissed his Mhand. ‘What does it all mean? I d
Mknee and raising the Lion’s heavy paw to his Mface, ‘I
106
eter staggered, slipped sideways, and fell on one
. Then they bound ropes round his Mankles and his
on their hind legs, laying their cool paws on his
ying their cool paws on his Mknees and giving his
nees snuflly animal kisses. (They could reach his
said the Beasts, rubbing their noses against his
st cord was cut he fell forward on his Mhands and
as stxonger than my fear, and I put force upon my
, afraid to go on and afraid to go back, with his
sol-diers became the colour of cold gravy, their
Mknee. The roar of the Telmarines rose like the noise o
Mknees and his Mwaist and his Mchest and left him there.
Mknees and giving his Mknees snuflly animal kisses. (The
Mknees snuflly animal kisses. (They could reach his Mkne
Mknees because Narnian Talking Beasts of that sort are b
Mknees. ‘We will come back — if we can.’ Then they all p
Mknees. I-Ic couldn’t get up again till he had brought s
Mknees to stay them from trembling, and on my Mteeth tha
Mknees knocking together. He stood there so long that hi
Mknees knocked toge~~, and many fell on their Mfaces. Th
MALE LEG(S)
stone wolf. It can’t hurt me’, and he raised
y pierced as if by a dozen skewers, hopped on
again till he had brought some life back into
ty grip. Next instant someone was kneeling on
s. Just behind him came King Tirian. He moved
home. Peter swung to face Sapespian, slashed
his
one
his
his
his
his
Mleg to step over it. Instantly the huge creature rose
Mleg cursing the pain, and fell as often as not. If he
Mlegs by a good rubbing.
‘I say,’ said the girl. ‘It
Mlegs and a dagger was pressed against his Mneck.
‘On
Mlegs and Marms as if he were swimming but he moved str
Mlegs from under him and, with the back cut of the same
MALE LIMB(S)
athed upon me and took away the trembling from my Mlimbs and caused me to stand upon my Mfeet. And after t
MALE LIP(S)
e things that are hardest to stand — was that
nd that a little wooden cup was being held to
cupful of something sweet and hot was set to
He was on top of Peter already. Edmund bit
his
his
his
his
Mlip was bleeding where they had hit him and he couldn
Mlips. It was only the size of an egg-cup so that he ha
Mlips and he drank. At that moment one of the others po
Mlips till the blood came, as the sword flashed down on
his
his
his
his
his
his
Mmouth, stuffed it full of grass and tied him up from Ms
Mmouth he realized that he had made a false move. The Dw
Mmouth was open and his Mface was full of horror. And th
Mmouth full of Turkish Delight, kept on saying, ‘Yes, I
Mmouth and Mfingers were sticky. He did not look either
Mmouth he reali ed that he had given himself away. Every
MALE MOUTH(S)
try Mhand and Mfoot. Finally he made him open
e lion.’
The moment those words were out of
p out of our way.’
Jill looked at the King:
Eve, neither more nor less?’ and Edmund, with
aid Edmund. His Mface had become very red and
wood before. The moment the words were out of
107
die fighting line. He was covered with blood, his Mmouth was open, and his Mface a nasty green colour. ‘Qu
the end and poured a few drops into her brother’s Mmouth.
‘There are other people wounded,’ said Aslan w
this is not the only tree,’ said Edmund with his Mmouth full of apple. ‘Look there — and there.’ ‘Why, th
MALE MUSCLE(S)
ready broad and strong and his limbs full of hard muscle, but his Mbeard was still scanty. He had blue Mey
MALE NECK(S)
ress on a narrow silver chain that went round
on his Mlegs and a dagger was pressed against
man got up the point of the dagger never left
Edmund’s collar and folded back his shirt at
his
his
his
the
Mneck. It was a nice bunch of keys that he brought out,
Mneck.
‘One noise and thou art dead,’ said Titian in
Mneck. It only travelled round (cold and rather ticklis
Mneck. Then he took Edmund’s Mhair and pulled his Mhead
MALE NOSE(S)
eryone ducked and pulled his helmet well over his Mnose. The Dogs crouched behind. But tough a few arrows
aTld had to keep au pretending he was blowing his Mnose to hide It.
As soon as they had said good nigh’
Aslan, bending towards him and touching the man’s Mnose with his own. As soon as the Lion’s breath came a
MALE SCALP(S)
th, stuffed it full of grass and tied him up from Mscalp to Mchin so that he could make no noise, lowered
MALE SHIN(S)
ks, and sliding down steep banks, and barking his Mshins against rocks, till he was wet and cold and bruis
MALE SHOULDER(S)
.
‘Ho, there I’ said the King, looking over his
even standing but sitting with his spear over his
o close that Tirian, from where he stood with his
de the door with his sword raised, resting on his
Jewel leaned his snowy white head over the King’s
gh it was velveted it was very heavy - on Peter’s
Cas-pian. It fitted on by a strap over Caspian’s
nd dropped himself, another came rasping over his
wound,’ Peter said. ‘I got the full weight of his
ad. Thank heavens! It had glanced down his right
Mshoulder towards the door of the hunting lodge. ‘A bowl of
Mshoulder and his Mchin on his Mchest. ‘Well done,’ said
Mshoulder against the end-wall of the ‘stable, could look r
Mshoulder, ready to cut down anyone who came through. We we
Mshoulder and the King whispered in Jewel’s ear. Then every
Mshoulder and said, ‘Come, Son of Adam, and I will show you
Mshoulder, like a satchel you would use for taking books to
Mshoulder and struck the ground at his side. ‘Quick! Quick!
Mshoulder on my shield — like a load of bricks — and the ri
Mshoulder. The Dwarf wrought mail was sound and did not bre
108
was between twenty and twenty-five years old; his
new what his Mface looked like as he shrugged his
ous little beasts —‘ said Peter, and shrugged his
hat noise,’ said his uncle, taking Caspian by the
t and the heavy drag of their mail shins on their
the poorest beggar, and shame enough to ~bow the
trying to remember something. Then he squared his
d Peter took his place with Susan’s Fhands on his
Mshoulders were already broad and strong and his limbs full
Mshoulders and said, ‘Bear witness all that I am guiltless o
Mshoulders and said no more. There seemed, indeed, no more t
Mshoulders and giving him a shake. ‘Stop it. And never let m
Mshoulders. The Dwarf was interested too. They were all gett
Mshoulders of the greatest emperor on earth. Be content.’ ~
Mshoulders and walked into the Door. Everyone’s eyes were fi
Mshoulders and Edmund’s on hers and Lucy’s on his and the fi
MALE STOMACH(S)
ctor to his own lines with a sick feeling in his Mstomach. But the new bout went well. Peter now seemed to
MALE TEETH(S)
med to stop beating at these word; but he set his
my Mknees to stay them from trembling, and on my
‘Yes please, your Majesty,’ said Edmund, whose
nocking together. He stood there so long that his
an, strolling along their lines and picking their
Mteeth
Mteeth
Mteeth
Mteeth
Mteeth
and said, ‘Tell on.’
‘Two sights have I seen,’
that they should not chatter, and resolved to loo
were chattering.
The Queen took from somewhere
would have been chattering with cold even if they
after breakfast, looked up and saw corning down t
MALE THROAT(S)
t simply had to howl it would have got him by the Mthroat at once. As it was -though all this happened too
face and she had just got Doctor Cornelius by the Mthroat. At one slash of Trumpkin’s sword her head rolled
MALE TOE(S)
le prod or kick from behind with the point of his Mtoe.
‘Do leave me alone,’ muttered Shift. But he sa
y and creamy, and it warmed him right down to his Mtoes.
‘It is dull, Son of Adam, to drink without eat
d he suddenly got warm all over right down to his Mtoes, and at the same time there came into his Mhead w
MALE TONGUE(S)
m heaven. Nevertheless I hid my anger and held my Mtongue and waited to see how it would end. But last nigh
MALE WAIST(S)
nd ropes round his Mankles and his Mknees and his Mwaist and his Mchest and left him there. What worried h
g, silvery, pointed Mbeard which came down to his Mwaist, and his Mface, which was brown and covered with
109
MALE WRIST(S)
bricks — and the rim of the shield drove into my Mwrist. I don’t think it’s broken, but it might be a spr
hat was happening until the Calormenes untied his Mwrists and put his Marms straight down by his Msides and
ying, ‘All right, all right, I’m unarmed. Take my Mwrists if you like, worthy Badgers, but don’t bite right
110
HARRY POTTER CONCORDANCE TABLES
FEMALE AND MALE BODY PARTS ARRANGED ALPHABETICALLY
FEMALE ANKLE(S)
e Muggle-born?’ and then, ‘Bad posture and skinny Fankles.’ ” “Don’t take it personally, she’s rude to ever
. At the wedding. The one who said you had skinny Fankles.” “Oh,” said Hermione. It was a sticky moment: Ha
ad started to twist snakelike tendrils around her Fankles. As for Harry and Ron, their Mlegs had already be
FEMALE ARM(S)
mall sob; Hermione went over and put a comforting
vender Brown seemed to be crying. Parvati had her
r. “H—he was only a baby!” Parvati tightened her
anything, she tucked the enormous book under her
n's red Mhair was visible beneath Madam Pomfrey's
ople. He was trying so hard to avoid brushing her
Ron was there. He caught hold of Hermione’s free
so that her silhouette was raised above his. Her
g serenely up out of the newspaper. Baby Ariana’s
night in a far flung field belonging to a lonely
ed for the tiny beaded bag, this time sinking her
sworn I did…” She broke from him to free her wand
Hermione moved closer to him under the Cloak, her
bling in her Fhands and something bulky under her
f Snatchers watching, frozen, and felt Hermione’s
ry saw the Dark Mark burned into the flesh of her
h looked eerie floating in midair, unconnected to
finger to the skull and snake branded on her fore
” “I won’t!” Ginny’s Fhair flew as she pulled her
ecognized Pansy Parkinson as she raised a shaking
y’s curse soared beneath Bellatrix’s outstretched
Mwrist, hobbled off with Madam Hooch, who had her
one came out, but she wasn't carrying an owl. Her
er, the cat was purring contentedly in Hermione's
and beads hung around her spindly Fneck, and her
Farm around her. “But didn't any of you—fall off your
Farm around her and was explaining something to Seamus
Farm around Lavender's Fshoulders. “But then, why wou
Farm, and, still sobbing, ran toward the staircase to
Farm. Harry moved his Mhead over on the pillow. In th
Farm he could barely cut his chicken. “No news about M
Farm, and Harry felt her turn on the spot; sight and s
Farm curved to the floor, her Ffingers inches from Ron
Farm waved vaguely out of her shawl. Harry looked abov
farm, from which they had managed to obtain eggs and b
Farm in it right up to the armpit. “Here… we… are…” sh
Farm. “We look like Muggles,” Harry pointed out. “Mugg
Farm pressed against his. “How does she know?” He shoo
Farm. “Thanks,” he said, taking one of the cups. “Do y
Farm trembling against his. Greyback got up and took a
Farm, and knew that she was about to touch it, to summ
Farm or Fbody. She knocked once, and in the silence it
Farm. CHAPTER THIRTY THE SACKING OF SEVERUS SNAPE The
Farm out of her mother’s grip. “I’m in Dumbledore’s Ar
Farm and screamed, “But he’s there! Potter’s there. So
Farm and hit her squarely in the Fchest, directly over
Farm around him. No sooner were they out of earshot th
Farms were clamped tightly around the enormous ginger c
Farms. “Hermione, that thing nearly scalped me!” said
Farms and Fhands were encrusted with bangles and rings.
111
ione. I'll help.” “Oh, Ron!” Hermione flung her
he nearest tree, then sat down on the dry ground,
s a general cry of greeting as Hermione flung her
ou did?” said Hermione, gazing up at Ron with her
Weasley carrying a large basket of laundry in her
he spot, quite alone, Feyes closed and waving her
at Luna, who was still dancing alone, waving her
rmione crouched on the floor by the door with her
in the drafty room, she perched on the sofa, her
into the hall. She tried to shield them with her
muttered Harry, tugging at the chains binding her
tty Fface, and a baby boy sitting in his mother’s
f his wand… and there she stood, the child in her
ed her son into the crib behind her and threw her
Hermione threw herself down into a chair with her
ntion,” he said, shoving the tray into Hermione’s
as he relaxed his grip upon Ron’s and Hermione’s
ped to the objects clutched in Ron and Hermione’s
as the basilisk fangs cascaded out of Hermione’s
eemed to recognize him from the train, folded her
, who was wearing a dressing gown, stood with her
asley threw off her cloak as she ran, freeing her
spoil your special day!" she cried, flinging her
she was dashing back, an enormous old book in her
at. The books she was carrying tumbled out of her
d, and she suddenly dashed at Harry and threw her
e in. "Harry!" Hermione looked ready to fling her
e fifty points." Hermione buried her Fface in her
Farms around Ron's Mneck and broke down completely. Ron
Farms around her Fknees. “Harry, there's something I d
Farms around him, Ron clapped him on the Mback, and Hag
Farms still around his Mneck. “Always the tone of surpr
Farms. “Oh, good, you’ve fed the chickens,” she called
Farms. “She’s great isn’t she?” said Ron admiringly. “A
Farms around her Fhead like someone attempting to beat
Farms over her Fhead, and Ron, who was shaking from Mhe
Farms wrapped tightly around her. Ron crossed to the wi
Farms. There was a flash of green light - “Harry! HARRY
Farms, “Well, I’ve had a change of Mheart. Diffindo!” N
Farms. Snow lay upon all their heads, like fluffy white
Farms. At the sight of him, she dropped her son into th
Farms wide, as if this would help, as if in shielding h
Farms and Flegs crossed so tightly it seemed unlikely t
Farms and joining Harry at the statue’s side. “Modeled,
Farms, it happened. The air was rent by a scream that s
Farms: great curved fangs; torn, he now realized, from
Farms. Running at Ron, she flung them around his Mneck
Farms, and firmly turned her Fback on him. The roll cal
Farms folded in front of the portrait of the Fat Lady,
Farms, Bellatrix spun on the spot, roaring with laughte
Farms around him. "I... don't... want... him... t-t-to
Farms. "I never thought to look in here!" she whispered
Farms, but she didn't pick them up. "How do you know -Farms around him. "Hermione!" "Harry — you're a great w
Farms around him again, but Harry was glad she held her
Farms; Harry strongly suspected she had burst into tear
FEMALE BACK(S)
” Uncle Vernon nodded curtly behind Aunt Marge's
nned,” said Professor Trelawney, sitting with her
he ward, he could make out Madam Pomfrey with her
been the next best thing to having his own father
as he was, her long blonde Fhair hanging down her
-” “ ’M all right,” said Ron, patting her on the
Fback. “Yes,” said Harry. Then, feeling he might as we
Fback to the fire and gazing around. “The fates have in
Fback to him, bending over a bed. Harry squinted. Ron's
Fback. And while no news of Sirius was definitely good
Fback, but beneath the table her slim Ffingers closed b
Fback. “ ’M fine.” “Ron was great,” said Tonks warmly,
112
Harry flatly. “It’s got to be me.” He handed her
ever kissed him before, and Harry was kissing her
e world, Ginny, the feel of her, one Mhand at her
hough he hardly knew what, but she had turned her
on sat next to him opposite Hermione, who had her
amy. “Brilliant!” said Harry, clapping her on the
n once, keeping a firm grip on her, then took her
ermione – She shrieked with pain as he pulled her
, but became lost: It was necessary to go farther
what they’ve done to her. But they might give her
another squeal - “When you thought we’d give her
still operating an Owl-Order business out of her
an he was, her long black Fhair rippling down her
into a strangling hug, while he patted her on the
he train, folded her Farms, and firmly turned her
Fback the single sock he was supposed to be identifying
Fback, and it was blissful oblivion better than firewhi
Fback and one in her long, sweet-smelling Fhair - The d
Fback on him. He thought that she might have succumbed,
Fback to the entrance and did not like it: She glanced
Fback. “Take care of the other one and the waitress whi
Fback inside. Didn’t know what to make of it.” It seems
Fback across the bed: The snake reared again, but Harry
Fback to make sense of it all, and eventually he found
Fback to me if I - If I -” “Hand over Harry?” Hermione
Fback if you offered us proof there are Cumple” - bang
Fback room. It cheered her up to have her tiara back, t
Fback, her heavily lidded Feyes disdainful as they rest
Fback, his Meyes on his father. “I’m sorry, Dad,” Percy
Fback on him. The roll call continued. Harry watched Lu
FEMALE BACKSIDE(S)
ittle first-year darted up to her and prodded her Fbackside with his big Mtoe. “I think she might be dead!” h
FEMALE CHEEK(S)/CHEEKBONE(S)
on high-heeled boots, he kissed her twice on each Fcheek, leaving her flustered. “You ’ave been so much tr
r Fhair had come down and there was a gash on her Fcheek. As she turned the corner, they heard her scream,
cked up his briefcase, pecked Mrs. Dursley on the Fcheek, and tried to kiss Dudley good-bye but missed, be
wine, finally kissing Professor McGonagall on the Fcheek, who, to Harry's amazement, giggled and blushed,
Bill; Fleur nodded, tear tracks glittering on her Fcheeks in the light from the kitchen window. “It happene
more coherent words. Tears flowed down Hermione’s Fcheeks as she watched Kreacher, but she did not dare tou
n that?” She could not blush, but her transparent Fcheeks became more opaque, and her voice was heated as s
bumped her large Fjaw against Aunt Petunia's bony Fcheekbone. Uncle Vernon now came in, smiling jovially as h
cans he seen as he studied her dark Feyes, high Fcheekbones, and straight Fnose, formally composed above a hi
FEMALE CHEST(S)
Professor Trelawney's Fhead fell forward onto her
e Hermione’s silent Stunning Spell hit her in the
her short Fhair and clutching a clipboard to her
e wore to reveal a single dark wound in her white
Fchest. She made a grunting sort of noise. Harry sat the
Fchest and she toppled over. “Nicely done, Hermione,” sa
Fchest. CHAPTER THIRTEEN THE MUGGLE-BORN REGISTRATION CO
Fchest. When he saw what he had done, he was overcome wi
113
ks?” wheezed Hermione, bent double, clutching her Fchest. “Are you a wizard, or what?” “Oh - right - yeah
x’s outstretched Farm and hit her squarely in the Fchest, directly over her Fheart. Bellatrix’s gloating s
" Hermione gasped, clutching at the stitch in her Fchest, "I — told — you." "We've got to get back to Gryf
FEMALE EYE(S)/EYEBROW(S)/EYELASH(ES)
Marge, on the other Fhand, wanted Harry under her
tle and bustle of the main school clouds my Inner
uffer but be very happy...” “You need your Inner
ndor team was training harder than ever under the
tly act as though I am not possessed of the Inner
still overseeing Gryffindor practices to keep an
s looks down the table at him, but he avoided her
g down into his own lap, then caught his mother’s
plit himself into seven.” Harry caught Hermione’s
the crabapple tree to gold. “You’ve really got an
ail-Safe Ways to Charm Witches; he caught Ginny’s
loor. “What, has she got magic ears as well as an
might be in Slyth-” But James caught his mother’s
Harry, “loads of times.” Aunt Marge narrowed her
unt Marge, holding up a Fhand, her tiny bloodshot
. Her great red Fface started to expand, her tiny
rely round, now, like a vast life buoy with piggy
faintest trace of interesting powers. The witch’s
itch who wore her Fhair in a tight bun; her sharp
he was very thin; her large glasses magnified her
ofessor Trelawney went on, her enormous, gleaming
relawney chose not to reply. She lowered her huge
chair, her glittering Fhand at her Fheart and her
rry's cup. “My dear,” Professor Trelawney's huge
to a tabby cat with spectacle markings around her
Professor McGonagall, fixing Harry with her beady
to ignore the way Professor Trelawney's enormous
d Lavender, looking up at Hermione with streaming
down her Fhand, and stared at the floor with her
aking. Hermione made a small, squeaky noise. Her
Quidditch.” “Harry, please,” said Hermione, her
Feye at all times, so that she could boom out suggesti
FEye.” Nobody said anything to this extraordinary pro
FEye tested, if you ask me,” said Ron, and they both h
Feye of Madam Hooch. Then, at their final training ses
FEye, so as not to make others nervous. “That explain
Feye on Harry, was just as impressed with the Firebolt
Feye and was careful to let her see him walking back u
Feye. She shook her Fhead almost imperceptibly, then r
Feye and looked away at once. “So, Potter - some of yo
Feye for that sort of thing.” “Thank you, Ron!” said H
Feye and grinned at her before remembering his promise
Feye, now?” The witch glanced toward the shining mahog
Feye and fell silent. The five Potters approached the
Feyes. “I still don't like your tone, boy,” she said.
Feyes fixed on Harry's. “Go on, boy, go on. Proud of yo
Feyes bulged, and her Fmouth stretched too tightly for
Feyes, and her Fhands and Ffeet stuck out weirdly as sh
Feyes moved from Scabbers's tattered left ear to his fr
Feyes were framed with square spectacles. Harry fought
Feyes to several times their natural size, and she was
Feyes moving from face to nervous face. “It is a Gift g
Feyes to Harry's cup again and continued to turn it. “
Feyes closed. “My dear boy... my poor, dear boy no it
Feyes opened dramatically, “You have the Grim.” “The
Feyes. “Really, what has got into you all today?” said
Feyes. “Then you should know, Potter, that Sibyll Trela
Feyes filled with tears every time she looked at him. H
Feyes, “but I was obviously dreading him dying, wasn't
Feyes full of tears. It was a mark of how much the clas
Feyes were extremely bloodshot. “But the match,” said
Feyes now shining with tears, “Please be sensible. Blac
114
relawney, however, did not sit down; her enormous
tated, then lowered herself into the empty chair,
Tripe, Sibyll?” Professor Trelawney ignored her.
the Committee into it,” said Hermione, wiping her
ot!” said Hermione, brushing her Fhair out of her
again!” Professor Trelawney raised her enormous
t morning; she had shadows like Lupin's under her
all was sobbing harder even than Wood, wiping her
or Trelawney had gone rigid in her Farmchair; her
Professor Trelawney didn't seem to hear him. Her
one suddenly grabbed Harry’s Marm again. Her wide
ed, staring at the lifeless Snape with frightened
rmione. Moonlight was falling across her bed. Her
need,” said Dumbledore slowly, and his light blue
more time.” “But —” Hermione began. And then her
u mean?” “Yes... her voice went all deep and her
s. Except for the Meyes... you have your mother's
lfoy’s left, his wife made an odd, stiff nod, her
in looks, with her dark Fhair and heavily lidded
ix, from you.” Her Fface flooded with colour; her
g of mirth. “We - Narcissa and I - have never set
st.” “Yes, my Lord,” whispered Bellatrix, and her
volved to face Snape. Tears were pouring from her
nounced: Her Fhair was a light soft brown and her
tack. He forced himself to look directly into her
constant vigilance,’ ” said Hermione, mopping her
that they’ve got a daughter, you see.” Hermione’s
sent. Unwrap it up here, it’s not for my mother’s
oks,” said Hermione in a thick voice, mopping her
” “No, I didn’t,” said Hermione, still wiping her
h clutching his Marm. Her beaky Fnose, red-rimmed
. Hermione turned around and beamed at Harry; her
oor, where she revolved on the spot, quite alone,
uck look of one who had just been Obliviated: her
himself into a kitchen chair; Hermione closed her
esn’t think like that,” said Hermione, wiping her
Feyes had been roving around the table, and she suddenl
Feyes shut and Fmouth clenched tight, as though expecti
FEyes open again, she looked around once more and said,
Feyes. “You know what he's like. They're a bunch of dod
Feyes and staring hopelessly around for her bag. “I jus
Feyes to Hermione’s Fface. Parvati whispered something
Feyes, and seemed constantly close to tears. Ron had t
Feyes with an enormous Gryffindor flag; and there, figh
Feyes were unfocused and her Fmouth sagging. “S—sorry?
Feyes started to roll. Harry sat there in a panic. She
Feyes were travelling around the boarded windows. “Har
Feyes. “Oh, we're going to be in so much trouble —” Lu
Feyes were open too. She looked petrified, and when she
Feyes moved from Harry to Hermione, “is more time.” “B
Feyes became very round. “OH!” “Now, pay attention,” s
Feyes rolled and she said ...she said Voldemort's serva
Feyes. Harry shook his Mhead. “It was stupid, thinkin
Feyes averted from Voldemort and the snake. To his righ
Feyes, as she was in bearing and demeanor; where Narcis
Feyes welled with tears of delight. “My Lord knows I sp
Feyes on our sister since she married the Mudblood. Thi
Feyes swam with tears of gratitude again. “At the first
Feyes into her Fhair. Snape looked back at her, quite i
Feyes were wider and kinder. Nevertheless, she looked a
Feyes, noticing as he did so that they were precisely t
Feyes. “That’s right,” said Ron, nodding. “He’d tell us
Feyes were swimming with tears again. Ron got back off
Feyes.” “A book?” said Harry as he took the rectangular
Feyes with her sleeve. “But why that particular book?”
Feyes on her sleeve. “And if the Ministry hasn’t found
Feyes, and leathery pink hat gave her the look of a bad
Feyes too were full of tears. “… then I declare you bon
Feyes closed and waving her Farms. “She’s great isn’t s
Feyes had even drifted out of focus. “… at the time,” s
Feyes. “It’s not over yet,” said Harry, and he raised h
Feyes on the back of her Fhand. “He’s a slave; houseelv
115
had been bidden to memorize it, while Hermione’s
hamed!” “Remus!” whispered Hermione, tears in her
Native Americans he’d seen as he studied her dark
rehead. His Mhand jumped to it. He saw Hermione’s
description?” Mrs. Cattermole nodded, mopping her
s at Grimmauld Place? He can’t get in there?” Her
and Hermione ate breakfast in silence. Hermione’s
o Godric’s Hollow.” She looked up at him, but her
r for weeks. “I’m sure it is,” said Hermione, her
t, then turned and peered into Harry’s Mface. Her
?” “Yes,” said Harry, looking down into the milky
nything for me?” he repeated. Then she closed her
quite…” There were purple shadows under her brown
?” She was biting her Flip, and tears swam in her
e looked up to see fresh tears leaking out of her
ting the name as though she could not believe her
bunk and moved like a sleepwalker toward Ron, her
t in front of him, her Flips slightly parted, her
would like to know, though,” she said, fixing her
ight,” said Hermione. She passed a Fhand over her
one’s comprehension in the sudden widening of her
ly always right.” Harry looked at Hermione, whose
t, staring at Hermione through her heavily lidded
r of his - of -” She stopped struggling, her dark
underground room with light. Harry saw Luna, all
do!” said Hermione. She had sat up straight, her
needn’t. I won’t be lying… really.” Harry met her
Fhair rippling down her Fback, her heavily lidded
ng to stop the little freak doing it.” Hermione’s
o I?” Professor McGonagall stood up and her beady
eally? But all seems calm.” Snape looked into her
ome!” Ginny shouted, angry tears sparkling in her
nd waiting there alone and not knowing and -” Her
ry, haven’t you? Another student?” She closed her
ust have been Fiendfyre!” whimpered Hermione, her
e ground. “It’s not right,” said Petunia, but her
Feyes swiveled backward and forward from Harry to Lupin
Feyes. “Don’t say that - how could any child be ashamed
Feyes, high Fcheekbones, and straight Fnose, formally c
Feyes narrow, and he tried to pass off the movement by
Feyes on her sleeve. “Could you please tell us from whi
Feyes sparkled with unshed tears as she nodded. “Harry,
Feyes were puffy and red; she looked as if she had not
Feyes were unfocused, and he was sure she was still thi
Feyes upon the church. “They… they’ll be in there, won’
Feyes were thick with cataracts and sunken into folds o
Feyes fixed upon his own. “I think she does.” “Well, ok
Feyes and several things happened at once: Harry’s scar
Feyes and he noticed a small sponge in her Fhand: She h
Feyes. “Harry…” “Where’s my wand?” She reached down bes
Feyes, and knew that his anger must have shown in his M
Feyes. Slowly she looked up at Harry. “Grindelwald!” Ig
Feyes upon his pale Mface. She stopped right in front o
Feyes wide. Ron gave a weak hopeful smile and half rais
Feyes on a spot a foot over Ron’s Mhead. “How exactly d
Feyes. “I’d feel so sorry for Xenophilius if -” “- if h
Feyes. Ron was looking from one to the other, astonishe
Feyes were full of tears. “Nearly always right,” she re
Feyes, “But surely,” she said quietly, “this is the Mud
Feyes fixed upon something Harry could not see. Jubilan
Feyes in her white Fface, and the motionless figure of
Feyes bright. “We protest! And I’m hunted quite as much
Feyes with a mixture of defiance and shame. He remember
Feyes disdainful as they rested upon him; but then she
Feyes were huge in the firelight; Ron looked slightly s
Feyes swept the room. Twice they passed right over the
Feyes. “Have you seen Harry Potter, Minerva? Because if
Feyes. “my whole family’s here, I can’t stand waiting t
Feyes met Harry’s for the first time. She looked at him
Feyes and nodded. “I had… no idea… He was flattering. H
Feyes on the broken piece. “Sorry?” “Fiendfyre - cursed
Feyes had followed the flower’s flight to the ground an
116
me stupid castle and learn to be a - a…” Her pale
t. “- you think I want to be a - a freak?” Lily’s
imself quickly; Lily, too busy trying to wipe her
! We’re off to Hogwarts!” She nodded, mopping her
let you -” “Let me? Let me?” Lily’s bright green
ck off an irksome fly. “Her son lives. He has her
. “Her son lives. He has her Feyes, precisely her
You remember the shape and colour of Lily Evans’s
air back as she drew closer to him, and her green
ooked defeated and terrified, and Narcissa, whose
her Fheart. Bellatrix’s gloating smile froze, her
arry’s three children, Albus had inherited Lily’s
pulled out a lace handkerchief and dabbed at her
look a lot like yet dad, but yeh've got yet mom's
r." It wasn't a question. "You have your mother's
up as much as you can while you are waiting." Her
e, put on the hat, which fell right down over her
h, arrived. She had short, gray Fhair, and yellow
t that troll in, to make a diversion!" Hermione's
very pretty woman. She had dark red Fhair and her
woman. She had dark red Fhair and her Feyes — her
new that, Sibyll?” said Professor McGonagall, her
show two missing fingernails: Hermione raised her
thrust the blackthorn wand at her. She raised her
her, then threw Harry a glowing look, batting her
Feyes roved over the platform, over the cats mewling in
Feyes filled with tears as Petunia succeeded in tugging
Feyes without being noticed, did not hear him. “But we’
Feyes, but in spite of herself, she half smiled. “You’d
Feyes were slits. Snape backtracked at once. “I didn’t
Feyes, precisely her Feyes. You remember the shape and
Feyes. You remember the shape and colour of Lily Evans’
Feyes, I am sure?” “DON’T!” bellowed Snape. “Gone… dead
Feyes, so like his, searched his Mface hungrily, as tho
Feyes were sunken and full of apprehension. Every eye w
Feyes seemed to bulge: For the tiniest space of time sh
Feyes. “Ablus Severus,” Harry said quietly, so that nob
Feyes beneath her spectacles. Dumbledore gave a great s
Feyes." Uncle Vernon made a funny rasping noise. I dema
Feyes. It seems only yesterday she was in here herself,
Feyes lingered for a moment on Neville's cloak, which w
Feyes, and sat down. A moments pause - "HUFFLEPUFF!" sh
Feyes like a hawk. "Well, what are you all waiting for?
Feyes were wide. "No — he wouldn't, she said. "I know h
Feyes — her Feyes are just like mine, Harry thought, ed
Feyes are just like mine, Harry thought, edging a little
Feyebrows raised. Professor Trelawney gave Professor McGon
Feyebrows coldly - “and I came out miles from where you wer
Feyebrows. “Bring them in,” she said. Harry and the others
eyelashes. Ginny cleared her throat loudly. Well, come in,
FEMALE FACE(S)/FACED
Aunt Marge sputtered and blinked, her great ruddy
“Not to worry,” grunted Aunt Marge, mopping her
rge had already had quite a lot of wine. Her huge
anger—but the swelling didn't stop. Her great red
” Ron grimaced, “his girlfriend. She's hidden her
shrieked Pansy Parkinson, a Slytherin girl with a
“Parvati! Forward!” Parvati walked forward, her
ned to look at him, with an odd expression on her
her office, with such a sombre expression on her
Fface dripping. “Marge!” squealed Aunt Petunia. “Marge
Fface with her napkin. “Must have squeezed it too hard.
Fface was very red. “Just a small one, then,” she chuc
Fface started to expand, her tiny Feyes bulged, and her
Fface under the frame because her Fnose has gone all bl
Fface like a pug. “Potter! The dementors are coming, Po
Fface set. Snape rounded on her. There was another crac
Fface. Was it pity? “I'm sorry, Potter, but that's my f
Fface Harry thought someone must have died. “There's n
117
m, and smoky. A curvy sort of woman with a pretty
ed or intrigued by the news. On the contrary, her
e threw her book aside. She was still pink in the
at his Mshoulder, Hermione rushing past with her
le. “LOOK!” he yelled, shaking the sheets in her
hem, with an expression of the utmost fury on her
Hermione was walking toward them. One look at her
whether Professor Trelawney had heard them as her
ere!” Professor Trelawney whispered, lowering her
Trelawney raised her enormous Feyes to Hermione’s
Silent tears were now streaming down Hermione’s
we would. Good-bye, Peter.” Hermione covered her
ing to help Sirius?” Harry stared at her shadowy
gether!” From what Harry could see of Hermione’s
eak and walked a little faster. Hermione's white
behind the shifting clouds. Hermione sat with her
hat means a great deal, Bellatrix, from you.” Her
llatrix and the Malfoys’ humiliation. Bellatrix’s
demort. Snape raised his Meyes to the upside down
as topped with a picture showing another familiar
, and then a car door slammed. Aunt Petunia whose
answer was clearly etched in Mrs. Weasley’s pale
ked house, Harry knew that she wanted to hide her
em all, tear tracks still etched on her beautiful
” He had spoken without thinking, and saw Ginny’s
rs. Weasley, whose Fhair was disheveled and whose
, had jet black Fhair pulled into a high bun. Her
mily was left well alone. “Slammed the door in my
he door opened: A laughing woman stood there. Her
over his Mshoulder, Harry saw Hermione’s anxious
ack into a bun and she wore long plain robes. Her
imy, scabbed hand grasped her chin and forced her
vanished with a pop as she turned a horror struck
lasp she threw the bag aside and raised a shining
ding the tent, tears were pouring down Hermione’s
she returned, her sopping Fhair plastered to her
Fface was serving a bunch of rowdy warlock' up at the b
Fface fell, and she bit her Flip. “What's the matter w
Fface, but stood up and faced Ron defiantly. “Because
Fface averted. “No, Potter, you can't have it back yet
Fface. “Ron, what —?” “SCABBERS! LOOK! SCABBERS!” He
Fface, was Professor McGonagall. “An unworthy trick!”
Fface convinced Harry that she had heard what had happe
Fface was hidden in shadow. She continued, however, as
Fface to the ball, so that it was reflected twice in he
Fface. Parvati whispered something to Lavender, and the
Fface, but she hid them from Hagrid, bustling around ma
Fface with her Fhands and turned to the wall. “NO!” Ha
Fface. “There must be something that happened around n
Fface, she looked terrified. “If we manage that withou
Fface was sticking out from behind a tree. “Harry, hur
Fface turned toward the Willow, waiting. And then, at
Fface flooded with colour; her Feyes welled with tears
Fface, so recently flushed with happiness, had turned a
Fface. All of the Death Eaters were looking up at the c
Fface: a woman wearing jeweled glasses with elaborately
Fface had been buried in her Fhandkerchief looked aroun
Fface. “The Death Eaters were waiting for us,” Harry to
Fface. He turned to Ginny and she answered his unspoken
Fface, silently daring any of them to contradict her. N
Fface whiten. “So it’s true?” she said. “That’s what yo
Fface was contorted with rage. “I’m so sorry to break u
Fface had a carved quality about it. Harry thought of p
Fface when I went around to welcome her with a batch of
Fface fell as she looked into Harry’s Mface: humor gone
Fface sinking back out of sight, a tall wizard on eithe
Fface was completely bloodless. As she passed the demen
Fface back. “EXPECTO PATRONUM!” The silver stag soared
Fface to Harry. “Harry, if we’re trapped here -!” “We w
Fface to Harry. “The sword can destroy Horcruxes! Gobli
Fface, and the excitement of a few minutes before had v
Fface. “He’s g-g-gone! Disapparated!” She threw herself
118
, did not wish Harry good morning, but turned her
om him, finally sitting down on a large rock, her
asses, a woman with long Fhair and a kind, pretty
y stone, gazing down at it, a little frown on her
ken into folds of transparent skin, and her whole
ot hear, her long dark-red Fhair falling over her
k on his pillows and looked into her pinched gray
to,” said Hermione, the tears trickling down her
row yours for now, then. While I keep watch.” Her
ed that he might curse her with her own wand. Her
then sat up quickly, pushing her Fhair out of her
er immediately. He looked into her intense, eager
of Rowena Ravenclaw lay beside him with half its
d of Gryffindor gripped tightly in her Fhand, her
ith light. Harry saw Luna, all Feyes in her white
” “Yes,” said the goblin. Relief broke across her
regained since their arrival had drained from her
e dropped down into the nearest chair. Hermione’s
ok back at him with a quizzical half smile on her
e up or you’ll pay the price.” And he spat in her
an end it!” She was crying too, and she wiped her
ed away. Harry saw Hermione approach Ginny, whose
eager in the greenish gloom, moved over the pale
in a corner seat beside the window was Lily, her
at Snape, and there was a sad little smile on her
en: She sat closest to Voldemort, disheveled, her
ald-green robes stood there. She had a very stern
sight. Madam Hooch was bending over Neville, her
m. It was Hermione. Harry caught a glimpse of her
to bed. He tore his Meyes away from his mother's
yffindor house fifty points." Hermione buried her
returned with annoyingly superior looks on their
vati and Lavender quivered with excitement, their
w his own shock reflected in Ron’s and Hermione’s
to act.” He could tell from Ron’s and Hermione’s
omething worth eating, and I’ll sit here and pull
Fface away quickly as he went by. He’s gone, Harry told
Fface on her Fknees, shaking with what he knew were sob
Fface, and a baby boy sitting in his mother’s Farms. Sn
Fface. “Harry, come back a moment.” He did not want to
Fface was dotted with broken veins and liver spots. He
Fface. Now the father scooped up the son and handed him
Fface. “We shouldn’t have gone to Godric’s Hollow. It’s
Fface. “Remember… remember Ron? When he broke his wand,
Fface glazed with tears, Hermione handed over her wand,
Fface streaked with tears, she crouched down beside him
Fface. “What’s wrong? Harry? Are you all right?” “It’s
Fface and then out into the surrounding darkness, think
Fface missing fragments of torn parchment were floating
Fface waxen. “Where did you get this sword?” she whispe
Fface, and the motionless figure of Ollivander the wand
Fface, all tension drained from it. “Good,” she said, a
Fface. Ron gave Harry a reproachful look, and said, “Le
Fface was wet with tears, and Ron was almost as pale as
Fface, beautiful yet slightly intimidating. A delicateFface. Harry pulled the Cloak off himself, raised his w
Fface on her torn and singed sleeve as she spoke, but s
Fface was swollen and blotchy, and hug her. Ron joined
Fface, the dark red Fhair. “No,” he said. “It doesn’t m
Fface pressed against the windowpane. Snape slid open t
Fface. Harry saw Sirius move up the bench to make room
Fface a little bloody but otherwise unharmed. Voldemort
Fface and Harry's first thought was that this was not s
Fface as white as his. "Broken Mwrist," Harry heard her
Fface — and was startled to see that she was in tears.
Fface, whispered, "I'll come back," and hurried from th
Fface in her Farms; Harry strongly suspected she had bu
Ffaces, as though they knew things the others didn't. Th
Ffaces lit by the milky glow of their crystal ball. “I
Ffaces. The scars on the back of his right Mhand seemed
Ffaces that they were scared; he was not particularly co
Ffaces and moan and you can see you -” “Shut up!” said H
119
mione had just turned up in the common room, pink-Ffaced from the cold wind and looking as though they'd h
on one side of her, and Hermione, quite as white-Ffaced as Mrs. Cattermole, on the other. At the foot of
ide him, slightly hunched, next to a thin, sallow-Ffaced, sour-looking woman who greatly resembled him. Sn
FEMALE EAR(S)
I think—I think it might be us!” Hermione had
we're out there too?” “Yes,” said Hermione,
ff. “Oh, he's horrible,” whispered Hermione,
At least there were no radishes dangling from
her
her
her
her
FFear pressed against the cupboard door. “Footsteps ac
FFear still glued to the cupboard door. “I'm sure it's
FFear to the door. “I bet he's all excited because the
Ffears. Xenophilius, who was deep in conversation with a
FEMALE FEET
st life buoy with piggy Feyes, and her Fhands and
“NOOOOOOO!” Uncle Vernon seized one of Marge's
t to him, bobbing up and down on the balls of her
voice. Slowly, she reached down for a bag at her
er as they sat down. Next he saw another pair of
ed. “That's true,” said Hermione, getting to her
orner, her fluffy ginger cat, Crookshanks, at her
d Hermione, looking terrified as she leapt to her
m a hundred and seven and I ought not to be on my
as…” Hermione whimpered, as Ron helped her to her
ave here with us,” said Harry, pulling her to her
ry said. Looking relieved, Hermione sprang to her
Ron said, but at that moment Hermione got to her
g as a Resurrection Stone!” Hermione leapt to her
fingered hands. Hermione was lying at Bellatrix’s
goblin’s face, and he dropped with a yell at her
the way of further harm, Bellatrix sprang to her
borrowed dressing gown, pale and unsteady on her
m,” Hermione spluttered, as Ron pulled her to her
know - the other one - safe.” Cho had got to her
e are you? I need to get under the Cloak!” Luna’s
Luna could act, Professor McGonagall rose to her
s happened?” asked Luna. Harry dragged her to her
h such enthusiasm that he lifted Hermione off her
and look -?” “No,” said Hermione, getting to her
Ffeet stuck out weirdly as she drifted up into the air,
Ffeet and tried to pull her down again, but was almost
Ffeet with her Fhand in the air, was very off-putting,
Ffeet, turned it upside down, and tipped a dozen bits o
Ffeet, wearing sparkly turquoise high heels, and heard
Ffeet. “If he sees you... How do you open the witch's h
Ffeet, sorting books, some of which Harry recognized as
Ffeet, sending books flying in every direction. “we wil
Ffeet too long.” Ron gave Harry a meaningful look as he
Ffeet. “Yeah,” said Harry, “but it wasn’t really him, w
Ffeet. “Go home, grab your children, and get out, get o
Ffeet. “Where are you going?” asked Ron. “If we’re stay
Ffeet, and he looked apprehensive again. Hermione put t
Ffeet, looking exasperated and angry. “Harry you’re try
Ffeet. She was barely stirring. “Well?” Bellatrix said
Ffeet. She kicked him aside. “And now,” she said in a v
Ffeet, her Fhair flying as she brandished the silver kn
Ffeet; Ron put an Marm around her when she reached him.
Ffeet, but to Harry’s horror he saw that she was no lon
Ffeet, but Ginny said rather fiercely, “No, Luna will t
Ffeet appeared out of nowhere; he hurried to her side a
Ffeet, pointed her wand at the groggy Death Eater, and
Ffeet and they raced along the corridor, trailing the I
Ffeet. “Is this the moment?” Harry asked weakly, and wh
Ffeet too. Malfoy and Goyle remained slumped hopelessly
120
n in his life… And Hermione was struggling to her
rid was silenced. Bellatrix, who had leapt to her
ew from both wands, the floor around the witches’
here?" cried Professor McGonagall, jumping to her
Miss Granger!" Hermione had managed to get to her
partner, Nicolas Flamel'!" Hermione jumped to her
Ffeet in the wreckage, and three redMheaded men were gr
Ffeet, was looking eagerly from Voldemort to Harry, her
Ffeet became hot and cracked; both woman were fighting
Ffeet and pointing at number four. "Dumbledore — you ca
Ffeet at last. I went looking for the troll because I —
Ffeet. She hadn't looked so excited since they'd gotten
FEMALE FINGER(S)
. Aunt Petunia was sipping coffee with her little
ther to tell him off She was actually shaking her
and when she saw that Harry was awake, pressed a
ewell, he turned to his daughter, who held up her
though?” “Oh, it’s fine,” said Luna, sucking her
da Bagshot,” murmured Hermione, running her index
coated in dust like a second statue, pressed her
d she pushed back her sleeve and touched her fore
Harry raised his wand, she pressed a stubby fore
HIRTY THE SACKING OF SEVERUS SNAPE The moment her
bursting free of her tweed waistband, each of her
ng down her Fback, but beneath the table her slim
arly supposed to be a winning smile, wiggling her
!” said Mr. Lovegood, seizing Luna’s outstretched
ie Muriel drained her goblet and clicked her bony
seemed to be enjoying herself hugely, snapped her
ised above his. Her Farm curved to the floor, her
uite surprised not to see webs between the stubby
hings in the world were Ron’s Marm and Hermione’s
happened to him?” “Splinched,” said Hermione, her
ket! Come on,” she said impatiently, clicking her
d’s real, what about the Resurrection Stone?” Her
ne of Fleur’s coats, crouched down and placed her
urned me!” moaned Hermione, sucking her blistered
d hit a Bludger at him. Hermione, who had all her
rs from the crowd. Hermione stood up, her crossed
Ffinger sticking out. Harry really wanted to disappear in
Ffinger in Malfoys direction, her hat had fallen off, and
Ffinger to her Flips, then pointed to the hospital wing d
Ffinger and said, “Daddy, look - one of the gnomes actual
Ffinger in a dreamy fashion and looking Harry up and down
Ffinger over Bathilda’s embossed name on the front cover
Ffinger to her Flips. The door downstairs crashed open. “
Ffinger to the Dark Mark. At once, Harry’s scar felt as t
Ffinger to the skull and snake branded on her fore Farm.
Ffinger touched the Mark, Harry’s scar burned savagely, t
Ffingers blowing up like a salami — “MARGE!” yelled Uncle
Ffingers closed briefly on his Mwrist. At her touch, Malfo
Ffingers up at him. Doing his best to ignore this nauseati
Ffingers and examining the bleeding puncture marks. “Luna,
Ffingers at a passing waiter for a replacement. She took a
Ffingers for more champagne. Numbly Harry thought of how t
Ffingers inches from Ron’s. Harry wondered whether they ha
Ffingers. Hermione’s Fhands were shaking with shock. She f
Ffingers, which were slowly slipping away… And then he saw
Ffingers already busy at Ron’s sleeve, where the blood was
Ffingers at him when he did not react, “the Horcrux, Harry
Ffingers sketched quotation marks around the name, and her
Ffingers tenderly upon each of the elf’s eyelids, sliding
Ffingers. “They have added Germino and Flagrante Curses!”
Ffingers crossed in her lap, was squinting fixedly at Harr
Ffingers in her Fmouth, as Harry streaked toward the groun
121
FEMALE FOOT
arry. “Ouch!” gasped Hermione. “Ron, that was my
hoked, his glasses askew. Then he saw Hermione's
off one of her shoes and rubbing the sole of her
l woman stood up; she was trembling from Fhead to
Ffoot!” Harry felt his way back to his seat. “D'you t
Ffoot swing out of nowhere. Black let go of Harry with
Ffoot. “Ron’s gone looking to find more butterbeers. It
Ffoot. Her dark Fhair was smoothed back into a bun and
FEMALE FOREHEAD(S)
s a flash of red light; Umbridge crumpled and
course!” cried Hermione, clapping a Fhand to
ishes had been stuck to a second strap around
ebrows were travelling farther and farther up
her
her
her
her
Fforehead hit the edge of the balustrade: Mrs. Cattermole’s
Fforehead and startling both of them into silence. “Harry,
Fforehead. “Look at this,” said Harry. “Fetching,” said Ron
Fforehead. “I know James Potter’s an arrogant toerag,” she
FEMALE HAIR(S)/HAIRED
r as Percy strode over to a girl with long, curly
crowd. She was a stern looking witch who wore her
uch.” “No, I'm not!” said Hermione, brushing her
t ahead, quite as pale as he was, her long blonde
her sister, as unlike her in looks, with her dark
Snape. Tears were pouring from her Feyes into her
ng jeweled glasses with elaborately curled blonde
liances; Ron, long and lanky; Hermione, her bushy
l Meye whizzing in its socket; Tonks, whose short
ender and beautiful, with her long silvery blonde
sister Bellatrix became much less pronounced: Her
ing that he was looking up at Mrs. Weasley, whose
in miniature; eleven years old, with waist-length
at her Fback and one in her long, sweet-smelling
he had accessorized with a large sunflower in her
ilac-coloured dress with matching high heels; her
Muriel standing there, the plumes dancing on her
e bench, shaking bits of glass ashtray out of her
nctive-looking. The mother, Kendra, had jet black
pop and a little Ministry witch with flyaway gray
toadlike witch wearing a velvet bow in her short
inside, talking to an elderly witch whose blonde
Fhair, walking with his Mchest thrown out so that she c
Fhair in a tight bun; her sharp Feyes were framed with
Fhair out of her Feyes and staring hopelessly around fo
Fhair hanging down her Fback, but beneath the table her
Fhair and heavily lidded Feyes, as she was in bearing a
Fhair. Snape looked back at her, quite impassive, as sh
Fhair, her Fteeth bared in what was clearly supposed to
Fhair tied back in a long plait; Fred and George, grinn
Fhair was her favorite shade of bright pink; Lupin, gra
Fhair; Kingsley, bald and broad-Mshouldered; Hagrid, wi
Fhair was a light soft brown and her Feyes were wider a
Fhair was disheveled and whose Fface was contorted with
Fhair of pure, silvery blonde, she gave Mrs. Weasley a
Fhair - The door banged open behind them and they jumpe
Fhair. Once you get over the brightness of it all, the
Fhair was sleek and shiny. “Your Great-Aunt Muriel does
Fhair, a goblet of champagne in her Fhand. “She’s writt
Fhair and trembling all over. “D-diffindo,” she said, p
Fhair pulled into a high bun. Her Fface had a carved qu
Fhair Apparated feet from them, blinking a little in th
Fhair and clutching a clipboard to her Fchest. CHAPTER
Fhair was teased so high it resembled an anthill. “… I
122
lift doors opened; the old witch with the anthill
; she was trembling from Fhead to Ffoot. Her dark
le; she no longer looked like Mafalda, though her
the ground. He looked up at Hermione, whose bushy
es. After a few minutes she returned, her sopping
with untidy Mhair and glasses, a woman with long
ten black shawl, revealing a Fhead of scant white
saying words he could not hear, her long dark-red
e!” She stirred, then sat up quickly, pushing her
it knocked her Fbackward onto the floor. Spitting
from the other prisoners, then dragged her by the
further harm, Bellatrix sprang to her Ffeet, her
leur had come out of the cottage, her long silver
nd by the time I get back. Andromeda says Tonks’s
the smallest bedroom a single long, coarse black
thing. She was taller than he was, her long black
art as the spells hit them. Hermione’s long black
t you, you’ve got to go home!” “I won’t!” Ginny’s
McGonagall. She appeared not to notice them. Her
hest, her Fbody shaking. Mr. Weasley stroking her
sh gloom, moved over the pale Fface, the dark red
barely a second after it had touched the dark red
ly’s smile was widest of all. She pushed her long
e could hear the woman’s fast breathing, her long
rom his Mear, her Fhead bent so low that her long
o, was wearing a cloak, an emerald one. Her black
n his first day at school." "All right, keep your
he had a bossy sort of voice, lots of bushy brown
eacher, Madam Hooch, arrived. She had short, gray
or. She was a very pretty woman. She had dark red
ageway that led backstage. Hermione plucked a few
owing a small and embarrassed smile upon the dark
Fhair left, and Ron darted past her out of sight. Harry
Fhair was smoothed back into a bun and she wore long pl
Fhair was still gray in places. “Unstopper it for me, H
Fhair obscured the tiny patch of sky visible through th
Fhair plastered to her Fface. “He’s g-g-gone! Disappara
Fhair and a kind, pretty Fface, and a baby boy sitting
Fhair through which the Fscalp showed clearly. “Bathild
Fhair falling over her Fface. Now the father scooped up
Fhair out of her Fface. “What’s wrong? Harry? Are you a
Fhair out of her Fmouth, she leapt up again. “Hermione!
Fhair into the middle of the room, while Greyback force
Fhair flying as she brandished the silver knife; but Na
Fhair flying in the breeze. “ ’Arry, Grip’ook would lik
Fhair started changing colour the day that she was born
Fhair (plucked from the sweater Hermione had been weari
Fhair rippling down her Fback, her heavily lidded Feyes
Fhair rippled behind her as she climbed the steps. “One
Fhair flew as she pulled her Farm out of her mother’s g
Fhair had come down and there was a gash on her Fcheek.
Fhair while Mtears cascaded down his Mcheeks. Without a
Fhair. “No,” he said. “It doesn’t make any difference.”
Fhair, the hat cried, “Gryffindor!” Harry heard Snape l
Fhair back as she drew closer to him, and her green Fey
Fhair tickled his Mface. He knew that she could feel th
Fhair shielded his Mface from the onlookers. “Yes,” he
Fhair was drawn into a tight bun. She looked distinctly
Fhair on." A whistle sounded. "Hurry up!" their mother
Fhair, and rather large front Fteeth. "We've already to
Fhair, and yellow Feyes like a hawk. "Well, what are yo
Fhair and her Feyes — her Feyes are just like mine, Har
Fhairs from the witch’s Fhead and added them to a flask
Fhaired Hestia. “It’s really good of you to do this… They
FEMALE HAND(S)/HANDFUL
d a moustache, though not as bushy as his. In one Fhand she held an enormous suitcase, and tucked under t
as only too happy to do. Aunt Marge, on the other Fhand, wanted Harry under her Feye at all times, so tha
123
wineglass Aunt Marge was holding exploded in her
r family, Petunia” she patted Aunt Petunia's bony
“No, Vernon,” hiccupped Aunt Marge, holding up a
though he'd only just spotted her and seizing her
awney sank into a vacant armchair, her glittering
again, but nobody spoke. Then Hermione raised her
was panting slightly, hurrying up the stairs; one
lves is, what is a boggart?” Hermione put up her
ng up and down on the balls of her Ffeet with her
sely,” said Professor Lupin, and Hermione put her
-school,” he said, punching a fist into his other
tionless silence; everyone except Hermione, whose
all are...” “Please, sir,” said Hermione, whose
ow-it-all.” Hermione went very red, put down her
eople called “terrifying monsters.” Or' the other
Hagrid,” said Hermione, sitting down and laying a
ad made a full recovery, then said, “On the other
Goyle stood flabbergasted as Hermione raised her
mione!” said Ron weakly, and he tried to grab her
he wand tips away; the Mknuckles of Harry's other
ren't responsible for their actions. On the other
gripping the back of Harry's robes with her left
of the washing machine, and she wiggled her left
nd me.” Hermione stifled a little moan behind her
ing Quidditch Teams of Britain and Ireland in her
d Monsieur Delacour, still holding Mrs. Weasley’s
ancing on her Fhair, a goblet of champagne in her
buffetted by terrified guests: Harry seized her
sed in upon him; all he could feel was Hermione’s
s, leaving a deep cut. “Oh, I’m so sorry, Ron, my
ily Potter had lived, really lived, that her warm
aid Hermione, wiping her Feyes on the back of her
t have a choice,” said Ron fiercely, gripping her
arry -” said Hermione, stretching out a consoling
quite surprised you’re not down there holding her
alda, pass them to me.” Umbridge held out a small
Fhand. Shards of glass flew in every direction and Aunt
Fhand with her shovel like one “but your sister was a b
Fhand, her tiny bloodshot Feyes fixed on Harry's. “Go o
Fhand too. “How really corking to see you —” “I said,
Fhand at her Fheart and her Feyes closed. “My dear boy
Fhand. “Please, Professor, we've just had our first Di
Fhand clutched her bag, the other seemed to be tucking
Fhand. “It's a shape-shifter,” she said. “It can take
Fhand in the air, was very off-putting, but Harry had a
Fhand down, looking a little disappointed. “It's always
Fhand, the old manic glint back in his Meye. “We've got
Fhand, as it so often did, had shot straight into the a
Fhand was still in the air, “the werewolf differs from
Fhand, and stared at the floor with her Feyes full of t
Fhand, there didn't seem to be any particular harm in B
Fhand on Hagrid's massive forearm. “I'm sure you can pr
Fhand, she rides a Comet Two Sixty, which is going to l
Fhand again. “Don't you dare call Hagrid pathetic, you
Fhand as she swung it back. “Get off, Ron!” Hermione
Fhand collided with the side of Black's Mhead and they
Fhand, their interference might have permitted Black to
Fhand. “Alohomora!” The window sprang open. “How—how
Fhand at him; a ring glistened there. “You got married?
Fhand. “What happened to you?” Lupin asked Kingsley. “F
Fhand. “He could have used a Shield Charm -” “Fleur sai
Fhand between his own two plump ones and beaming. “We a
Fhand. “She’s written a book about Dumbledore, you know
Fhand to make sure they weren’t separated as a streak o
Fhand as he was squeezed through space and time, away f
Fhand’s shaking! Diffindo!” The severed ropes fell away
Fhand had once moved across this parchment, tracing ink
Fhand. “He’s a slave; houseelves are used to bad, even
Fhand back. “I’ll teach you my family tree so you can a
Fhand, but he shrugged it off and walked away, his Meye
Fhand while she waits. Already given her up as a bad jo
Fhand: She looked so toadlike at that moment that Harry
124
ome on!” Harry shouted at Hermione; he seized her
ET’S GO!” Harry yelled. He seized Hermione by the
essing hands, but something was wrong… Hermione’s
a scream and a flash of purple light: Hermione’s
ed to -?” “Of course!” cried Hermione, clapping a
ing a bonnet he had won in a cracker, of Ron in a
ached this uneasy conclusion, she raised a gloved
o magic, too, for she lit the candles clumsily by
brown Feyes and he noticed a small sponge in her
’s wand gave a little jerk, but did not leave her
she brushed the top of his Mhead lightly with her
said. He looked at the book still clutched in her
Harry -” “Please, Ron! Harry, hold on tight to my
fell like boulders. Harry still holding onto her
I hope you’re right,” said Hermione. She passed a
he told her, pushing his mother’s letter into her
authority!” she sneered, attempting to wrench her
empting to throw off her brother-in-law, her free
e. Jubilant at her capitulation, Lucius threw her
f, the sword of Gryffindor gripped tightly in her
er in the shape an eagle. Luna reached out a pale
wall had blasted apart. Harry grabbed Hermione’s
w above. “DON’T!” Ron yelled, grabbing Hermione’s
as the giants wrestled, and he seized Hermione’s
s not hurting you,” said Lily, but she closed her
ney, I’m sorry! Listen -” She caught her sister’s
ant - to - go!” said Petunia, and she dragged her
ed with tears as Petunia succeeded in tugging her
kneeling beside the injured girl now, holding her
t, Harry pictured Bellatrix withdrawing a helpful
e onlookers. “Yes,” he breathed back. He felt the
small girl, also red-Fheaded, who was holding her
Ron, who looked as stumped as he was; Hermione's
clearly isn't everything." He ignored Hermione's
you to find me a bezoar?" Hermione stretched her
gi? Snape was still ignoring Hermione's quivering
Fhand and they jumped into the fireplace together as Ya
Fhand and Ron by the Marm and turned on the spot. Darkn
Fhand seemed to be sliding out of his grip… He wondered
Fhand was suddenly vicelike upon his and everything wen
Fhand to her Fforehead and startling both of them into
Fhand-knitted sweater… There was a kissing gate at the
Fhand and beckoned. Hermione moved closer to him under
Fhand, her trailing lace cuff in constant danger of cat
Fhand: She had been wiping his Mface. “You’ve been ill,
Fhand. The feeble attempt at magic was too much for Har
Fhand. He closed his Meyes at her touch, and hated hims
Fhand. It was The Life and Lies of Albus Dumbledore. “W
Fhand, Ron grab my Fshoulder.” Harry held out his left
Fhand for dear life, there was a scream from below, and
Fhand over her Feyes. “I’d feel so sorry for Xenophiliu
Fhand. “Read it! Dumbledore had the Cloak, Hermione! Wh
Fhand from his grasp. “You lost your authority when you
Fhand groping in her pocket for her wand. “Take your go
Fhand from him and ripped up his own sleeve - “STOP!” s
Fhand, her Fface waxen. “Where did you get this sword?”
Fhand, which looked eerie floating in midair, unconnect
Fhand as they staggered and stumbled over stone and woo
Fhand as she raised her wand. “Stun him and he’ll crush
Fhand and tore down the steps into the grounds, Ron bri
Fhand on the blossom and threw it back to the ground. “
Fhand and held tight to it, even though Petunia tried t
Fhand back out of her sister’s grasp. “You think I want
Fhand away. “I’m not a freak,” said Lily. “That’s a hor
Fhand. With a huge effort Harry forced himself on. He t
Fhand. “The boy… Is he dead?” There was a complete sile
Fhand on his Mchest contract: her Fnails pierced him. T
Fhand, "Mom, can't I go... " "You're not old enough, Gi
Fhand had shot into the air. "I don't know, sir," said
Fhand. "Let's try again. Potter, where would you look i
Fhand as high into the air as it would go without her l
Fhand. "What is the difference, Potter, between monksho
125
d and wolfsbane?" At this, Hermione stood up, her
field waiting for the two teams, her broom in her
s place. Snape was shaking Professor McGonagall's
, like a vast life buoy with piggy Feyes, and her
ed the witch, but Scabbers, shot from between her
d, Ron looked thunderstruck, and Hermione had her
hung around her spindly Fneck, and her Farms and
f Magnolia Crescent... Lavender Brown clapped her
olt as everyone else had been. She took it in her
,” said Hermione. She was holding a letter in her
sob. She straightened up with the new jug in her
bye, Peter.” Hermione covered her Fface with her
entors! This is it, Hermione —” Hermione put her
me of Merlin’s pants have you managed to get your
But Kreacher shook his head and wept. Hermione’s
see webs between the stubby Ffingers. Hermione’s
the ground clearer. He met Hermione, also on her
l gray in places. “Unstopper it for me, Harry, my
Harry, you’re still wearing it!” She held out her
down beside him, two cups of tea trembling in her
ated, looking upset, cradling her tea in her cold
e tried to protest he went on, “We’ll be off your
aking a crunching, grinding sound, then leapt up,
ut there's no wood!" Hermione cried, wringing her
lf and pointing at them. At last, she clapped her
oldemort suspected that all had not gone to plan…
that he did not even notice as Hermione yanked a
Fhand stretching toward the dungeon ceiling. "I don't k
Fhand. "Now, I want a nice fair game, all of you," she
Fhand, with a horrible, forced smile. He caught Harry's
Fhands and Ffeet stuck out weirdly as she drifted up int
Fhands like a bar of soap, landed splay-legged on the fl
Fhands over her Fmouth. She finally lowered them to say,
Fhands were encrusted with bangles and rings. “Sit, my
Fhands to her Fmouth too. Everyone was looking at Harry,
Fhands before takeoff and gave them the benefit of her p
Fhands and her Flip was trembling. “I just thought you o
Fhands, fighting back tears. “We'll stay with you too,
Fhands and turned to the wall. “NO!” Harry yelled. He r
Fhands on Buckbeak's back and Harry gave her a Fleg up.
Fhands on those Horcrux books?” “It - it wasn’t stealing
Fhands leapt to her Fmouth: She seemed to have understoo
Fhands were shaking with shock. She fumbled in a pile of
Fhands and Fknees, at Ron’s Mhead. The moment his Meyes
Fhands are shaking.” Harry wrenched the stopper off the
Fhands, and Harry lifted the golden chain over his Mhead
Fhands and something bulky under her Farm. “Thanks,” he
Fhands. “I think that’s the worst bit. I know Bathilda t
Fhands soon too, Ron, Hermione, and I. We won’t need to
Fhands on Fhips. “Mummy said you weren’t allowed, Lily!”
Fhands. "HAVE YOU GONE MAD?" Ron bellowed. "ARE YOU A WI
Fhands. "Got it," she said. "The smallest bottle will ge
FHands, softer than he had been expecting, touched Harry
Fhandful of Mhairs from the top of his Mhead. “Oh dear!” s
FEMALE HEAD(S)/HEADED
ernon...” “Now, this one here —” She jerked her
his Mshoulder; she was holding her cloak over her
at now...” She sounded as though she had a sudden
ning one of his Mhands over the one-Feyed witch's
fied, patted her very awkwardly on the top of the
Hermione was sitting at a table, fast asleep, her
nd instead of seizing the Quaffle had grabbed her
Fhead at Harry, who felt his Mstomach clench. The Handb
Fhead and was, inexplicably, beaming. “I've had an ide
Fhead cold. “There, now, Minerva,” said Fudge kindly,
Fhead, examining it closely. Harry managed to shake Ne
Fhead. Finally, Hermione drew away. “Ron, I'm really,
Fhead resting on an open Arithmancy book. They went to
Fhead. Katie cart wheeled in the air, managed to stay o
126
rmione nudged him hard in the ribs and jerked her
TO REJOIN... HIS MASTER... Professor Trelawney's
her. Then, quite suddenly, Professor Trelawney's
the hall and a door slamming. Hermione poked her
lap, then caught his mother’s Feye. She shook her
n a Chocolate Frog card.” Skeeter throws back her
ge of speech, but then, with a little jerk of her
” he asked Hedwig, who was still sulking with her
lp him retrieve it, but continued to sit with her
still dancing alone, waving her Farms around her
d Hermione. “I’ve no idea, it just popped into my
on the floor by the door with her Farms over her
, brow wrinkled. “Little woman. Bow on top of ’er
orovitch?” said a high, cold voice. She shook her
Er wohnt hier nicht mehr!” she cried, shaking her
wait,” Ron finished, throwing it over Hermione’s
e. Hermione plucked a few Fhairs from the witch’s
e. A small woman stood up; she was trembling from
ry looked to Hermione for help, but she shook her
the unwound a moth-eaten black shawl, revealing a
steps closer to Harry. With a little jerk of her
go.” But when Hermione moved, Bathilda shook her
ear in the candlelit room, the old lady shook her
ry for him, only he kept chucking goat dung at my
k to a leather strap that ran over the top of her
atue’s side. “Modeled, fittingly enough, upon the
ey mend themselves, you know.” Hermione shook her
e… ah… escape.” Harry willed Hermione to keep her
rclet had been reproduced in marble on top of her
waited. She drew a deep breath and threw back her
ouse?” There was a crack. A branch over Petunia’s
essor McGonagall dropped the Sorting Hat onto her
udible, her Flips were an inch from his Mear, her
d Ginny two tables away; she was sitting with her
s going on. It was on their news." She jerked her
ken her Fleg. She can't take him." She jerked her
Fhead toward the entrance hall. “Why'd you stop me?” s
Fhead fell forward onto her Fchest. She made a grunting
Fhead snapped up again. “I'm so sorry, dear boy,” she
Fhead around the door. “Okay,” she whispered, “no one
Fhead almost imperceptibly, then resumed her own deadpa
Fhead and laughs. “Darling Dodgy! I remember interviewi
Fhead, she hustled out of the room after he husband and
Fhead under her wing. “We’ll never be here again. Don’t
Fhead under her wing. Harry turned his Mback on the fro
Fhead like someone attempting to beat off midges. “Vy i
Fhead, but I’m sure we’re safer out in the Muggle world
Fhead, and Ron, who was shaking from Mhead to Mfoot, pa
Fhead.” He frowned and then added, “Looked like a toad.
Fhead: She was trying to close the door. A white Mhand
Fhead. “He no live here! He no live here! I know him no
Fhead like a blanket over a birdcage and rolling his Me
Fhead and added them to a flask of muddy Polyjuice Poti
Fhead to Ffoot. Her dark Fhair was smoothed back into a
Fhead, apparently as nonplussed as he was. “What’s the
Fhead of scant white Fhair through which the Fscalp sho
Fhead she looked back into the hall. “You want us to le
Fhead with surprising vigor, once more pointing first a
Fhead a little at the loud noise. “Maybe Dumbledore tol
Fhead. I don’t think Albus was fussed about him. I neve
Fhead, while one of the orange radishes had been stuck
Fhead of the beautiful Rowena Ravenclaw, ‘Wit beyond me
Fhead and continued laying down forks as Bill appeared,
Fhead. If this was true, and Bellatrix was not supposed
Fhead. It was not unlike the tiara Fleur had worn at he
Fhead. “He tracked me to the forest where I was hiding.
Fhead had fallen. Lily screamed. The branch caught Petu
Fhead, and barely a second after it had touched the dar
Fhead bent so low that her long Fhair shielded his Mfac
Fhead on her mother’s Fshoulder: There would be time to
Fhead back at the Dursleys' dark living-room window. "I
Fhead in Harry's direction. Dudley's Mmouth fell open i
127
plump woman outside an Apothecary was shaking
an to the stool and jammed the hat eagerly on
de a classroom. She opened the door and poked
a mountain troll on your own?" Hermione hung
UCH — that must have hurt, hit in the back of
rawing attention to herself in class, keeping
and three-quarters!" piped a small girl, also
her Fhead as they passed, saying, "Dragon liver, seventeen
her Fhead. "GRYFFINDOR!" shouted the hat. Ron groaned. A ho
her Fhead inside. "Excuse me, Professor Flitwick, could I b
her Fhead. Harry was speechless. Hermione was the last pers
the Fhead by a Bludger — Quaffle taken by the Slytherins —
her Fhead down and working in silence. Harry was almost gla
red-Fheaded, who was holding her Fhand, "Mom, can't I go... "
FEMALE HEART
to a vacant armchair, her glittering Fhand at her
when Black nearly stabbed yeh, Ron. She's got her
peak. “I mean close emotionally. Ginny poured her
nce, for he was a bad boy and broke my Mistress’s
r!” whispered Professor McGonagall, clutching her
hit her squarely in the Fchest, directly over her
I've heard --I've learned all our course books by
Fheart and her Feyes closed. “My dear boy... my poor, d
Fheart in the right place, Hermione has, an' you two not
Fheart out into that diary, she made herself incredibly
Fheart with his lawless ways. But Master Regulus had pro
Fheart. “Potter - you’re here! What -? How -?” She strug
Fheart. Bellatrix’s gloating smile froze, her Feyes seem
Fheart, of course, I just hope it will be enough — I'm H
FEMALE HEEL
ou informed.”
Professor McGonagall turned on her Fheel and carried the Firebolt out of the portrait hole
FEMALE HIPS
unching, grinding sound, then leapt up, Fhands on Fhips. “Mummy said you weren’t allowed, Lily!” “But I’m
FEMALE JAW
ia kissed, or rather, Aunt Marge bumped her large Fjaw against Aunt Petunia's bony Fcheekbone. Uncle Ve
tomorrow,” said Harry. Hermione stopped dead, her Fjaw hanging; Ron choked a little over his soup. “Tomo
FEMALE KNEE(S)
e others; he spotted it lurking near Katie Bell's
other, Potter. He learned secrecy at our mother’s
ribbling keenly on the parchment perched upon her
then sat down on the dry ground, Farms around her
iled Hermione, who was crying. She dropped to her
clearer. He met Hermione, also on her Fhands and
ly sitting down on a large rock, her Fface on her
Fknee, looped her easily, and caught it again. It was
Fknee. Secrets and lies, that’s how we grew up, and Alb
Fknees. “My boy, you may well be seeing the outcome of p
Fknees. “Harry, there's something I don't understand...
Fknees beside the elf and tried to hug him. At once he w
Fknees, at Ron’s Mhead. The moment his Meyes fell upon R
Fknees, shaking with what he knew were sobs. He watched
128
FEMALE KNUCKLES
ams Skeeter, rapping me affectionately across the Fknuckles, “you know as well as I do how much information c
his Mchest. She closed the door behind them, her Fknuckles blue and mottled against the peeling paint, then
FEMALE LEG(S)
ol and Hedwig (who had a note to Ron bound to her
wanted to return to school tonight... Hermione's
er Fhands on Buckbeak's back and Harry gave her a
news, Vernon," she said. "Mrs. Figg's broken her
ought to feel sorry that Mrs. Figg had broken her
t as bad as usual. It turned out she'd broken her
hrew herself down into a chair with her Farms and
” He watched his mother walk forward on trembling
Fleg) soared out of the window and out of sight. Harry
Fleg gave a nervous twitch next to him. “So, what bri
Fleg up. Then he placed his Mfoot on one of the lower
Fleg. She can't take him." She jerked her Fhead in Har
Fleg, but it wasn't easy when he reminded himself it w
Fleg tripping over one of her cats, and she didn't see
Flegs crossed so tightly it seemed unlikely that she wo
Flegs and sit down upon the rickety stool. Professor Mc
FEMALE LIP(S)
stmas. Harry deserves a break.ö Hermione bit her
On the contrary, her Fface fell, and she bit her
e. She was holding a letter in her Fhands and her
telling twice. Hermione, gasping for breath, her
t place,ö Harry shrugged. Hermione was biting her
. ôWhereÆs my wand, Hermione?ö She was biting her
t his scar. "I might get lucky again." Hermione's
sit it out. “Aah,” said Aunt Marge, smacking her
Hermione, who disapproved of copying, pursed her
Two Thousand. Madam Hooch put her whistle to her
aw that Harry was awake, pressed a Ffinger to her
edore. “I must insist.” Madam Pomfrey pursed her
in your family this week?” She stared at him, her
ale Mface. She stopped right in front of him, her
is Mhand flew into the air before Hermione’s. Her
like a second statue, pressed her Ffinger to her
e about the lost diadem.” A cold smile curved her
Ginny, and her blazing look, and the feel of her
the castle?” The whisper was barely audible, her
Flip, looking extremely worried. ôAre you going to re
Flip. ôWhat's the matter with you?ö said Ron. ôI don
Flip was trembling. ôI just thought you ought to know.
Flip bleeding, scrambled aside, snatching up her and R
Flip, deep in thought. ôWe know everything important,ö
Flip, and tears swam in her Feyes. ôHarryàö ôWhereÆs m
Flip trembled, and she suddenly dashed at Harry and th
Flips and putting the empty brandy glass back down. “Ex
Flips but didn't say anything. Crookshanks was still st
Flips and gave it a blast that sounded shrill and dista
Flips, then pointed to the hospital wing door. It was a
Flips and strode away into her office at the end of the
Flips parted, evidently confused. “I don’t know what yo
Flips slightly parted, her Feyes wide. Ron gave a weak
Flips quivered suspiciously as she raised her own. “Out
Flips. The door downstairs crashed open. “Didn’t I tell
Flips. “I am afraid,” she said, turning to leave, “that
Flips on his - Voldemort had raised his wand. His Mhead
Flips were an inch from his Mear, her Fhead bent so low
129
rowd." Mrs. Dursley sipped her tea through pursed
water. "What's this?" he asked Aunt Petunia. Her
hard before the whistle had touched Madam Hooch's
arry. Harry had never seen her look so angry. Her
Flips. Mr. Dursley wondered whether he dared tell her h
Flips tightened as they always did if he dared to ask a
Flips. "Come back, boy!" she shouted, but Neville was r
Flips were white. Hopes of winning fifty points for Gry
FEMALE MOUSTACHE(S)
: large, beefy, and purple Ffaced, she even had a Fmoustache, though not as bushy as his. In one Fhand she h
nto you.” She took a large gulp of tea, wiped her Fmoustache, and said, “Where is it that you send him, again,
FEMALE MOUTH(S)
started to expand, her tiny Feyes bulged, and her
he bus. Madam Marsh clamped a handkerchief to her
understruck, and Hermione had her Fhands over her
scent... Lavender Brown clapped her Fhands to her
ring instructions to him out of the corner of her
etal, green tinged face—a banshee. She opened her
d Harry, making up his mind. Hermione opened her
ockjaw and merely nodded. Harry saw Madam Hooch's
ered herself into the empty chair, Feyes shut and
ne enough damage this year?” Hermione opened her
n her Farmchair; her Feyes were unfocused and her
and forced the dementors to retreat. Hermione's
.” Harry glanced up at Hermione and saw that her
mione listened to what had just happened with her
his head and wept. Hermione’s Fhands leapt to her
ackward onto the floor. Spitting Fhair out of her
een like that, Miss Granger?” Hermione opened her
eady to take it?" Professor McGonagall opened her
us about, and used it on you. Hermione opened her
't move, she was still flat against the wall, her
d. Hermione stood up, her crossed Ffingers in her
Fmouth stretched too tightly for speech—next second, sev
Fmouth and tottered down the steps. Stan threw her bag o
Fmouth. She finally lowered them to say, “Sirius Black e
Fmouth too. Everyone was looking at Harry, everyone exce
Fmouth, so that Snape wouldn't see. Harry and Ron packe
Fmouth wide and an unearthly sound filled the room, a lo
Fmouth to argue, but at that moment Crookshanks leapt li
Fmouth form the words, “Mount Your brooms.,, He pulled h
Fmouth clenched tight, as though expecting a thunderbolt
Fmouth to respond, but with a soft hiss, Crookshanks lea
Fmouth sagging. “S—sorry?” said Harry. But Professor T
Fmouth was slightly open by the time Harry had finished.
Fmouth was fully open now. She was gazing at him with a
Fmouth open yet again. “Did anyone see you?” “Yes, hav
Fmouth: She seemed to have understood something. “M-Mast
Fmouth, she leapt up again. “Hermione!” said Harry. “Cal
Fmouth to answer, then closed it again, looking more con
Fmouth, changed her mind, swallowed, and then said, "Yes
Fmouth, perhaps to tell Ron exactly how to use the Curse
Fmouth open with terror. The shouting and the echoes see
Fmouth, as Harry streaked toward the ground like a bulle
FEMALE NAIL(S)
ck. He felt the Fhand on his Mchest contract: her Fnails pierced him. Then it was withdrawn. She had sat u
130
FEMALE NECK(S)
umerable chains and beads hung around her spindly
” said Hermione, and she placed it around her own
the great snake pouring from the place where her
He remembered the snake coming out of Bathilda’s
d blonde and had nearly twice the usual amount of
Fneck, and her Farms and Fhands were encrusted with ban
Fneck and tucked it out of sight down the front of her
Fneck had been. The snake struck as he raised his wand:
Fneck: Hermione did not need to know the details. “… sh
Fneck, which came in very useful as she spent so much o
FEMALE NOSE(S)
he's hidden her Fface under the frame because her
ving a jar of Cockroach Clusters under Hermione's
to smithereens...” Professor McGonagall blew her
d dropped him down beside Fleur, who wrinkled her
ere she sat, spectacles perched on the end of her
mione. “Oh… thanks, Ron… I’m sorry…” She blew her
stock of Polyjuice Potion right under Ron’s mum’s
th an elderly witch clutching his Marm. Her beaky
ed her dark Feyes, high Fcheekbones, and straight
very nice thing to say to somebody!” She turned,
re, nodding to her. Professor McGonagall blew her
from the druidess Cliodna, who was scratching her
us so much good." Hermione marched away with her
gall, breathing heavily through her long, pointed
Fnose has gone all blotchy...” “I've got something to
Fnose. “Definitely not,” said Harry. Ron nearly dropp
Fnose and said thickly, “Stupid boy ...foolish boy... h
Fnose pointedly and moved along to stand between Fred a
Fnose, scanning an immense list of jobs that she had sc
Fnose and hiccupped. “It’s just so awf-ful, isn’t it? R
Fnose. “I’ve also modified my parents’ memories so that
Fnose, red-rimmed Feyes, and leathery pink hat gave her
Fnose, formally composed above a high-necked silk gown.
Fnose in the air, and marched off toward her sister. “N
Fnose in reply. Dumbledore turned and walked back down
Fnose, to open a bag of Bertie Bott's Every Flavor Bean
Fnose in the air. Harry had a lot of trouble keeping hi
Fnose. "Professor — please "You can't -— " "Don't tell
FEMALE NOSTRIL(S)
essor McGonagall broke off, and they saw that her Fnostrils had gone white. She went on, more calmly, “Divina
at once he hadn't, because Professor McGonagall's Fnostrils flared. "Professor Dumbledore left ten minutes ag
FEMALE PALM
ar enough to have a clear view, then held out her Fpalm. The flower sat there, opening and closing its pe
FEMALE SHOULDER(S)
e in a lofty voice, heaving her bag back over
“Fine!” she repeated, swinging the bag over
s bleeding too; the Willow had cut her across
o be difficult...” She looked nervously over
her
her
the
her
Fshoulder. “Yes, you were,” said Ron. “I said I wonder wha
Fshoulder and almost knocking Ron off his chair. “I give up
Fshoulder. “No! That thing's big enough to eat him; we hav
Fshoulder into the depths of the forest. The sun was settin
131
sure at the sight of any of them. Over Hermione’s
h, it’s nothing, dear,” she said fondly. Over her
ntrance and did not like it: She glanced over her
from Mhead to Mfoot, patting her clumsily on the
and hugged her. “Harry,” he said over Hermione’s
aid breathlessly. She turned and shouted over her
of her, Umbridge’s velvet hair-bow level with her
ul. Then: “Mary!” Mrs. Cattermole looked over her
hivering a little and kept glancing back over her
on! Harry, hold on tight to my Fhand, Ron grab my
ou, my dear,” said Ollivander, patting her on the
ice, and Harry came back. He was clutching Luna’s
. Lily screamed. The branch caught Petunia on the
y; she was sitting with her Fhead on her mother’s
..." Dumbledore reached out and patted her on the
lying next to the bottles. Harry looked over her
y!” Parvati tightened her Farm around Lavender's
r, Ron had snatched his Marm back from around her
y extracting his Marm to put it around Hermione’s
r moment there. He put his Marm around Hermione’s
Fshoulder Harry saw him raise his wand and point it at Lupi
Fshoulder, Ron gave Harry the thumbs-up and mouthed, Good o
Fshoulder so frequently she appeared to have a twitch. Harr
Fshoulder and saying, “It’s all rright… It’s g-gone…” Dust
Fshoulder, “I -” “It’s not a problem,” said Harry, sickened
Fshoulder, “Ron! I’ve found him!” Ron’s annoyed voice echoe
Fshoulder. “What brings you here, Runcorn?” asked the new M
Fshoulder. The real Reg Cattermole, no longer vomiting but
Fshoulder. “Harry? What do you think? Harry?” She tugged at
Fshoulder.” Harry held out his left Mhand. Ron vanished ben
Fshoulder. “You were an inexpressible comfort to me in that
Fshoulder to steady himself. “Time’s running out, Voldemort
Fshoulder, and she staggered backward and burst into tears.
Fshoulder: There would be time to talk later, hours and day
Fshoulder. "I know... I know..." he said heavily. Professor
Fshoulder to read it: Danger lies before you, while safety
Fshoulders. “But then, why would you dread him dying?” said
Fshoulders; she had dropped The Monster of Monsters on his M
Fshoulders. Scrimgeour turned back to the will. “ ‘To Harry
Fshoulders, and she put hers around his Mwaist, and they tur
FEMALE STOMACH(S)
...” She burped richly and patted her great tweed Fstomach. “Pardon me. But I do like to see a healthy-size
s—she was inflating like a monstrous balloon, her Fstomach bursting free of her tweed waistband, each of he
hat she might be more persuadable than usual on a Fstomach full of spaghetti Bolognese and tinned pears. He
FEMALE TEETH
nd the table. A broad, hunched woman with pointed
glasses with elaborately curled blonde Fhair, her
armpit. “Here… we… are…” she said between gritted
lots of bushy brown Fhair, and rather large front
Fteeth cackled. “Yes… Professor Burbage taught the child
Fteeth bared in what was clearly supposed to be a winnin
Fteeth, and she pulled at something that was evidently i
Fteeth. "We've already told him we haven't seen it," sai
FEMALE THROAT(S)
thin cut Bellatrix had made, scarlet against her Fthroat. Did you know that it was Harry who set Dobby fr
132
FEMALE WAIST(S)
pin before placing his Mhands on each side of her Fwaist. Hagrid kicked the motorbike into life: It roared
le was Fleur in miniature; eleven years old, with Fwaist-length Fhair of pure, silvery blonde, she gave Mr
FEMALE WRIST(S)
d. “Peeves!” Harry muttered, grabbing Hermione's Fwrist. “In here!” They tore into a deserted classroom
I’ll explain some other time -” He seized Tonks’s Fwrist and pulled her away; they reached the fence, clim
s, and his Mhand actually closed upon Bellatrix’s Fwrist, preventing her from touching the Mark. “I shall
MALE ANKLE(S)
s restraining belt and snapped viciously at Ron’s
spered, “Levicorpus.” Hoisted into the air by his
w a sliver of light ahead. Hermione tugged at his
as Bole sent a Bludger at him—he was at Malfoy's
ed themselves around Lupin's Mmouth, Mwrists, and
hedge. The men’s long cloaks flapped around their
e was hanging me out of an upstairs window by the
thout Quirrell noticing, but the ropes around his
Mankle. “I’m sorry, I’m sorry!” Hermione cried as Harry
Mankle, Harry hit a suit of armor and replicas burst out
Mankle. “The Cloak!” she whispered. “Put the Cloak on!”
Mankles—he was level — Harry threw himself forward, took
Mankles; he overbalanced and fell to the floor, unable to
Mankles as they marched. “Thought I might be late,” said
Mankles when my Great Auntie Enid offered him a meringue
Mankles were too tight: he tripped and fell over. Quirrel
MALE ARM(S)
TER HERE!” he roared, now holding the receiver at
h his pet rat, Scabbers, on his Mshoulder and his
s heavy trunk behind him, Hedwig's cage under his
His wand flew out of his Mhand as he flung out an
clicked her beak and fluttered down onto Harry’s
ger than Harry, who was swinging off his father's
tructing. Oh, and dear”—she caught Neville by the
saw that there was a long, deep gash on Malfoy's
' HIM!” Hagrid strode over to Harry, grabbed his
Potions. He swaggered into the dungeon, his right
help cutting up these daisy roots, because of my
went brick red. “There's nothing wrong with your
this”—he gave a huge, fake sigh—”who knows if my
trouble was. “Oh, my —” Hermione grabbed Harry’s
the team. “Flint's excuse is that their Seeker's
Marm's length, as though frightened it might explode.
Marm around his little sister, Ginny. Harry couldn't
Marm. CHAPTER THREE THE KNIGHT BUS Harry was severa
Marm to break his fall, and he landed, hard, in the gu
Marm. “Very smart owl you've got there, chuckled Tom.
Marm. “Irish International Side's Just put in an orde
Marm as he made to stand up—”after you've broken your
Marm; blood splattered the grass and Hagrid ran with h
Marm, and pulled him to the door. “C'mon!” Hagrid sai
Marm covered in bandages and bound up in a sling, acti
Marm —” “Weasley, cut up Malfoy's roots for him,” sai
Marm,” he hissed at Malfoy. Malfoy smirked across the
Marm'll ever be the same again?” “So that's why you'r
Marm. The Fat Lady had vanished from her portrait, wh
Marm's still injured,” said Wood, grinding his Mteeth
133
of thunder. “There's nothing wrong with Malfoy's
d, and none more so than Malfoy. “Ah, if only my
ing my mum.” Lupin made a sudden motion with his
Ron and Hermione, who each seized Hagrid under an
Goyle sniggered. “Pity you can't attach an extra
eering crowd. “Yes!” Ron yelled, yanking Harry’s
He had to go to the hearing to tell them about my
— Harry pulled off the cloak, tucked it under his
ok both Mhands off his broom. He knocked Malfoy's
s jaws fastened instead around Ron's outstretched
ne whispered uncertainly. She now grasped Harry’s
hadowy hallway. Hermione suddenly grabbed Harry’s
ked up at the ceiling. Hermione's grip on Harry’s
Harry’s Mface by inches; Harry felt the shrunken
front claws had sunk themselves deep into Harry’s
. “My friends... my old friends...” Black's wand
thin air; soon Pettigrew was upright again, left
again, left Marm chained to Lupin's right, right
d stopped abruptly. Black froze. He flung out one
il whip through the manacle on Ron's outstretched
. he groped in the mist for Sirius, and found his
one, what —?” “In here!” Hermione seized Harry’s
quickly pulled down the window, stretched out his
l, this is good-bye then boy.” He swung his right
, with a burning sensation in his Mribs and right
ken? I’ve fixed your Mribs, your Mtooth, and your
and’s here, son,” said Ted, tapping it on Harry’s
ver her son that Lupin grabbed Harry by the upper
our mind!” When he did not reply, she gripped his
Ron bounded off the bed and got there first. One
more books. A second later, Ron had snatched his
th tears again. Ron got back off the bed, put his
come here.” For the second time Ron withdrew his
so tightly that Ron had difficulty extracting his
on reappeared with an elderly witch clutching his
onto the sofa: Hermione joined him, gripping his
Marm!” said Harry furiously. “He's faking it!” “I kno
Marm was feeling a bit better!” he sighed as the gale
Marm as though to grip Harry's Mshoulder, but thought
Marm and heaved him back into the cabin. Hagrid allowe
Marm to yours, Malfoy,” said Harry. “Then it could cat
Marm into the air. “Yes! Yes!” “Well done, Harry!” sa
Marm... about how I couldn't use it for three months..
Marm, and ran, flat out, along the passage... Malfoy w
Marm out of the way and — “YES!” He pulled out of hi
Marm. Harry lunged forward, he seized a handful of the
Marm painfully hard. “How did he know —?” “He's frien
Marm again. Her wide Feyes were travelling around the
Marm was so tight he was losing feeling in-his Mfinger
Marm under his Mfingers twisting madly, but he clung o
Marm; Harry threw him off, but Crookshanks now darted
Marm rose, but Lupin seized him around the Mwrist, gav
Marm chained to Lupin's right, right Marm to Ron's lef
Marm to Ron's left. Ron’s Mface was set. He seemed to
Marm to make Harry and Hermione stop. Harry could see
Marm and heard a scurrying through the grass. There w
Marm... they weren't going to take him... But a pair
Marm and dragged him across the hall to the door of a
Marm, and caught it. It felt like a very fluffy Snitch
Marm upward to shake Harry’s Mhand, but at the last mo
Marm. His missing Mtooth had been regrown. The scar on
Marm. I’m Ted, by the way, Ted Tonks - Dora’s father.”
Marm. “It fell right beside you, I picked it up… And t
Marm and dragged him, none too gently, back into the k
Marm. “Harry, he’s taking over the Ministry and the ne
Marm around Hermione, he fished in his jeans pocket an
Marm back from around her Fshoulders; she had dropped
Marm around her once more, and frowned at Harry as tho
Marm from around Hermione and stumped over to the door
Marm to put it around Hermione’s Fshoulders. Scrimgeou
Marm. Her beaky Fnose, red-rimmed Feyes, and leathery
Marm. “They’re all right, they’re all right!” she whis
134
was a picture of four Hogwarts students standing
icture of four Hogwarts students standing Marm in
egulus’s sign. She read it, then clutched Harry’s
ed off the Invisibility Cloak, draped it over his
this time found his way blocked by Mr. Weasley’s
d. He seized Hermione by the Fhand and Ron by the
and the only solid things in the world were Ron’s
ed unpleasantly as Hermione laid bare Ron’s upper
usy,” croaked Ron, wincing as he felt his injured
ntors, then,” said Harry, stung. “I would, but my
me of my life here,” said Ron, “you know, with my
k he could stand another moment there. He put his
ry? What do you think? Harry?” She tugged at his
ing them. He did not need Hermione’s pinch to his
e next room. Hermione jumped and clutched Harry’s
before: in The Life and Lies of Albus Dumbledore,
in The Life and Lies of Albus Dumbledore, Marm in
uld count; he had lost all THE bones in his right
aving somebody else’s hand sewn to the end of his
ed into their midst. “DOB-!” Harry hit Ron on the
d themselves upon him. Ron seized Wormtail’s wand
gown, pale and unsteady on her Ffeet; Ron put an
ooked exceptionally frail, and he clung to Bill’s
“Imperio!” A curious sensation shot down Harry’s
id not even seem to feel him. He stretched out an
itch blackness, he felt Hermione take hold of his
Snape made a slight flexing movement of his left
steadied. “No!” shouted Malfoy, staying Crabbe’s
yelled Crabbe, throwing off Malfoy’s restraining
Harry dived. Malfoy saw him coming and raised one
ogether. I say we go - Harry, what’s that on your
HAGRID!” He thought he could make out an enormous
. Ron joined Bill, Fleur, and Percy, who flung an
a basket that spends so much time dangling on the
d to find that he could touch him: He gripped his
mained exactly where he had fallen, with his left
Marm in Marm, laughing at the camera. With a leap of p
Marm, laughing at the camera. With a leap of pleasure,
Marm so tightly that he winced. “Sirius’s brother?” sh
Marm, and hurried along the gloomy hallway toward the
Marm. “One moment, Runcorn.” The lift doors closed and
Marm and turned on the spot. Darkness engulfed them, a
Marm and Hermione’s Ffingers, which were slowly slippi
Marm, where a great chunk of flesh was missing, scoope
Marm. “Where are we?” “In the woods where they held th
Marm’s in a sling, in case you hadn’t noticed!” “That’
Marm mangled and nothing to eat and freezing my backsi
Marm around Hermione’s Fshoulders, and she put hers ar
Marm, but Harry was not paying attention. He was looki
Marm. There was next to no chance that this woman was
Marm. “It’s okay,” said Harry reassuringly, and he led
Marm in Marm with the teenage Dumbledore, and that mus
Marm with the teenage Dumbledore, and that must be whe
Marm once; this journey had already given him scars to
Marm. “You just need to practice,” said Hermione, who
Marm to stop him shouting, and Ron looked terrified at
Marm and forced it upwards. Harry slapped a Mhand to h
Marm around her when she reached him. Luna, who was hu
Marm as the latter supported him, carrying a large sui
Marm, a feeling of tingling, warmth that seemed to flo
Marm; Hermione hoisted herself up; Ron climbed on behi
Marm and together, they turned on the spot. The air th
Marm, where the Dark Mark was branded into his Mskin.
Marm as the latter made to repeat his spell. “If you w
Marm. “But if I can, I will, the Dark Lord wants him d
Marm, but even as Harry grasped it he knew at once tha
Marm?” “What? Oh yeah -” He pulled the diadem from his
Marm waving from the midst of the spider swarm, but as
Marm around Ron’s Mshoulders. As Ginny and Hermione mo
Marm of Lord Voldemort.” “Which I do on your orders!”
Marm tightly and Dumbledore gradually regained control
Marm bent out at an awkward angle and his Mmouth gapin
135
fully behind her brothers, clutching her father’s
eld out an enormous Mhand and shook Harry's whole
the ruff he'd seen earlier. The ghost patted his
. fie was carrying a large wooden crate under his
onfused Hufflepuffs, Harry suddenly grabbed Ron’s
ents as he, too, carried a lumpy sweater over his
g in midair, and even though Harry could feel his
in, black-haired man standing next to her put his
ext second, Harry had pulled out of the dive, his
ient oak. "Look -— " he murmured, holding out his
en Mwrist to Melbow, Mshoulder to floor, Mknee to
Harry clamped the struggling book tightly in his
Harry sat down, feeling goose bumps rising up his
ts ten minutes later with his new books under his
le had short, bristly Mhair and long, gorilla-ish
nted to help whoever it was, he tried to move his
the air of one cradling a large bombshell in his
pe. Harry raised his Mhead very slightly off his
dages, and celebrated having the full use of both
great wail and lurched forward, his Mface in his
ft of Harry. Crabbe blundered forward, his long
n down tie front of his robes; he had to keep his
o turn back, but both Ron and Hermione seized his
nd untied him. Lupin straightened up, rubbing his
im.” “Harry!” gasped Pettigrew, and he flung his
hem broke step: In silence both raised their left
coat hanger, Hermione flung herself into Harry’s
cried as she staggered off the broom into Lupin’s
said brightly, taking Harry’s presents out of his
th a number of burns and scratches up his muscley
opes fell away. Ron got to his Mfeet, shaking his
ike his, at the unknown man now standing with his
and, from what he could tell from his wellmuscled
enage boys, both laughing immoderately with their
their rotting, scabbed hands clutching the upper
Mrs. Cattermole, and she threw herself into Ron’s
Marm. “It won’t be long, and you’ll be going too,” Har
Marm. "What about that tea then, eh?" he said, rubbing
Marm, giving Harry the sudden, horrible feeling he'd j
Marm. Harry landed next to him. "Very nice," said Wood
Marm. "I've just thought — Hermione." "What about her?
Marm, which Fred seized. "P for prefect! Get it on, Pe
Marm supporting it, the sight gave him the creeps. The
Marm around her. He wore glasses, and his Mhair was ve
Marm raised in triumph, the Snitch clasped in his Mhan
Marm to stop Malfoy. Something bright white was gleami
Marmpit and round his Mhead. As he measured, he said, "Ev
Marms, hurried to his Mchest of drawers, and pulled out
Marms despite the glow of the fire. Fudge took off his
Marms and made his way back to the Leaky Cauldron, hard
Marms. “Well, look who it is,” said Malfoy in his usua
Marms, but couldn't... a thick white fog was swirling a
Marms. “He got very angry when she wouldn't let him in,
Marms to free his other Mear, “Many, Severus, each of
Marms again by doing spirited imitations of Harry falli
Marms. “What about Dumbledore, Hagrid?” said Harry. “
Marms outstretched like a zombie. Harry dodged around h
Marms folded to hide the lump. They skulked in an empty
Marms. “We can't,” said Ron, who was paper-white. “He'
Marms where the ropes had cut into them. “Thank you, H
Marms around Harry's Mknees. “You—thank you—it's more t
Marms in a kind of salute and passed straight through,
Marms, but Kingsley showed no pleasure at the sight of
Marms. his Mface was set and white: He seemed unable to
Marms as the three of them headed back upstairs. “I’m n
Marms. “Hi, Hagrid, how’s it going?” “Bin meanin’ ter w
Marms to regain feeling in them. Harry picked up his wa
Marms raised in the hall below. “Hold your fire, it’s m
Marms, powerfully built. He also had a Mbeard. Stowing
Marms around each other’s Mshoulders. Dumbledore, now w
Marms of a wizard who appeared to be fainting. They gli
Marms. “Runcorn let me out, he attacked Umbridge and Ya
136
ealizing it, he was digging his Mfingers into his
.” “Maybe I am!” Harry bellowed, and he flung his
ispered. “I know he loved you.” Harry dropped his
re was nothing left, nothing he could do, and the
illed with anguish. he raised the sword high, his
d it. He had sunk to his Mknees, his Mhead in his
Ron gave a weak hopeful smile and half raised his
always told us,” said Ron, who had stretched out,
es he gets bored of running at them, flapping his
not lose Luna. You must not leave.” He spread his
oor, unable to see as debris rained upon him, his
who had been forced into a kneeling position, his
ossomed in the darkness… The steady rhythm of his
is Mback on the spectacular view, and waited, his
y yellow objects, Ron with a broomstick under his
arred like wood… And he saw them: Malfoy with his
one and only weapon, and shield his Mhead in his
ng robes of midnight blue. “Harry.” He spread his
demort said. “He will be nice and visible in your
ere exceedingly gentle. Harry could feel Hagrid’s
shed down upon him as Hagrid cradled Harry in his
would see him, lying apparently dead, in Hagrid’s
and in his free Mhand as Voldemort fell backward,
ts were like baby dolphins. In his vast, muscular
get this over with." Dumbledore took Harry in his
e, go on." The boy lifted the lid of a box in his
to his Mfeet. He was beaming at the students, his
in pain as angry red boils sprang up all over his
ok a great running jump and managed to fasten his
mily." They frog-marched Percy from the room, his
e back a minute later with a pile of books in his
He took a deep breath, covered his Mface with his
ve him. The Snitch! He tried to catch it, but his
Marms as if he were trying to resist physical pain. He
Marms over his Mhead, hardly knowing whether he was try
Marms. “I don’t know who he loved, Hermione, but it was
Marms that closed around his Mchest were surely Death’s
Marms shaking. “Do it, Ron!” Harry yelled. Ron looked t
Marms. He was shaking, but not, Harry realized, from co
Marms. Hermione launched herself forward and started pu
Marms behind his Mhead, to listen. Hermione shot him a
Marms and shrieking… sorry, Hermione.” “ ‘Then Death st
Marms in front of the staircase, and Harry had a sudden
Marms over his Mhead. He heard Hermione’s scream, Ron’s
Marms outstretched. Out of the corners of his Meyes Har
Marms beat time with his thoughts. Hallows… Horcruxes…
Marms folded, his scar prickling. Hermione took the cha
Marms. “Where the hell have you been?” Harry shouted. “
Marms around the unconscious Goyle, the pair of them pe
Marms: He heard the screams and yells of his companions
Marms wide, and his Mhands were both whole and white an
Marms, will he not? Pick up your little friend, Hagrid.
Marms trembling with the force of his heaving sobs; gre
Marms, and Harry did not dare, by movement or word, to
Marms. “NO!” The scream was the more terrible because h
Marms splayed, the slit pupils of the scarlet Meyes rol
Marms he was holding a bundle of blankets. "Hagrid," sa
Marms and turned toward the Dursleys' house. "Could I —
Marms, and the people around him shrieked and yelled as
Marms opened wide, as if nothing could have pleased him
Marms and Mlegs. "Idiot boy!" snarled Snape, clearing t
Marms around the troll's neck from behind. The troll co
Marms pinned to his side by his sweater. Harry had neve
Marms and slammed them down on the table. "Dragons!" he
Marms, and sprinted across the room. He expected to fee
Marms were too heavy. He blinked. It wasn't the Snitch
MALE BACK(S)
eps into the castle.
Hermione prodded Ron in the Mback to make him hurry, and the three of them joined t
137
and squinted up to where they stood; Dumbledore's Mback was to him, but he could see Percy's Mface, rapt
He heard Ron leave again, and rolled over on his Mback, his Meyes wide open. A hatred such as he had ne
rry jerked back to life. He was lying flat on his Mback on the floor. The classroom lamps were alight aga
unlight outside Honeydukes and prodded Ron in the Mback. It's me,” he muttered. “What kept you?” Ron hi
him, picked up a stick, and lobbed it at Crabbe's Mback. Harry doubled up with silent laughter as Crabbe
t seems to clear that up! Severus, I'll take this Mback, shall I?” He folded the map and tucked it inside
tested. He settled himself on the floor with his Mback against the wall, listening to a fly buzzing in t
d Hagrid. They followed him to the door into his Mback garden. Harry felt strangely unreal, and even mor
he blew apart the street with the wand behind his Mback, killed everyone within twenty feet of himself—an
spitting and snarling on the bed; the hair on his Mback was standing up. He was a very short man, hardl
along the corridor. The door opened. Dumbledore's Mback appeared. “I am going to lock you in,” they hear
an with a long, twisted Mface, clapped him on the Mback. “It is a start,” said Voldemort. “But Thicknesse
t with her Fhead under her wing. Harry turned his Mback on the front door. “And under here, Hedwig” - Har
lung her Farms around him, Ron clapped him on the Mback, and Hagrid said, “All righ’, Harry? Ready fer th
and were pursuing them, aiming for Hagrid’s broad Mback. Hagrid swerved, but the Death Eaters were keepin
mself onto the motorbike’s seat and found himself Mback-to-Mback with Hagrid. As they soared upward, away
o the motorbike’s seat and found himself Mback-to-Mback with Hagrid. As they soared upward, away from the
kled. The next thing he knew, he was lying on his Mback on what felt like cushions, with a burning sensat
t to stay, mate,” said Ron, thumping Harry on the Mback. “Are you all right?” Hermione asked, close enoug
rforth in a duel with both Mhands tied behind his Mback. Muriel swigged yet more champagne. The recitatio
sip of butterbeer, choked. Doge banged him on the Mback as Harry coughed, looking at Auntie Muriel throug
like resisting the urge to be sick. He turned his Mback on Ron and Hermione, pretending to examine the ol
s it did not affect him? Could he have turned his Mback on a sister who was being imprisoned and hidden?
e that they were looking at each other behind his Mback, communicating silently. He turned around and cau
nd Hermione exchanging skeptical looks behind his Mback. “Harry, you keep talking about what your wand di
ven’t noticed the two of you whispering behind my Mback? D’you think I didn’t guess you were thinking thi
e Harry from drowning. He hoisted it onto his own Mback and walked back to Ron, who clambered to his Mfee
ted, Harry, sorry,” said Ron, clapping him on the Mback. “Fine,” said Harry, half amused, half irritated.
much she hates Celestina Warbeck.” Ron turned his Mback on the Burrow. “Let’s try up here,” he said, lead
u-Know-Who’s after the Elder Wand.” He turned his Mback on their strained, incredulous faces. He knew it
from overhead, and Harry was rolled over onto his Mback. A beam of wand light fell onto his Mface and Gre
what’s his name -?” “Yeah,” said Draco again, his Mback to the prisoners. “It could be.” The drawing room
forced down a steep flight of stairs, still tied Mback-to-Mback and in danger of slipping and breaking t
own a steep flight of stairs, still tied Mback-to-Mback and in danger of slipping and breaking their Mnec
e blade of Gryffindor’s sword bumping against his Mback: Dobby’s hand jerked in his; he wondered whether
ds he did not catch; he felt gentle pats upon his Mback, and then they all traipsed back toward the cotta
138
he sunrise. Harry moved to the window, turned his
Harry bent down and the goblin clambered onto his
se in waves, and sweat ran down Harry’s Mface and
them. “You’re Aberforth,” said Harry to the man’s
hing pain in the lightning scar. As he turned his
ly behind the headmaster’s chair, then turned his
dge gleaming upon his Mchest, patted Snape on the
raised his wand, pointing it directly at Lupin’s
d back on drills. Mr. Dursley always sat with his
ng pan being put on the stove. He rolled onto his
on. "Anyway — Harry," said the giant, turning his
s fat bottom, howling in pain. When he turned his
t him," said Ron, grinding his Mteeth at Malfoy's
won! We won!" shouted Ron, thumping Harry on the
d shuffled into view, hiding something behind his
grid shuffled off. "What was he hiding behind his
t, " he said in his gloomy voice. Bane kicked his
e unicorn. "You are safe now." Harry slid off his
aid Harry, hurriedly putting the cloak behind his
was only when he spotted three only-too-familiar
Mback on the spectacular view, and waited, his Marms fo
Mback, his Mhands linked on front of Harry’s throat. He
Mback as he struggled to think of a way up to the cup;
Mback. He neither confirmed or denied it, but bent to l
Mback hastily on the curious and delighted faces, the R
Mback on it. The stone Pensieve lay in the cabinet wher
Mback as he sat down beside him… And the scene changed…
Mback. “Sectumsempra!” shouted Snape. But the spell, in
Mback to the window in his office on the ninth floor. I
Mback and tried to remember the dream he had been havin
Mback on the Dursleys, "a very happy birthday to yeh. G
Mback on them, Harry saw a curly pig's tail poking thro
Mback, "one of these days, I'll get him -— " "I hate th
Mback. "And I gave Malfoy a black Meye, and Neville tri
Mback. He looked very out of place in his moleskin over
Mback?" said Hermione thoughtfully. "Do you think it ha
Mback legs in anger. "For the best! What is that to do
Mback. "Good luck, Harry Potter," said Firenze. "The pl
Mback. Neville stared at their guilty faces. "You're go
Mbacks ahead of them that he realized they must be havin
MALE BACKSIDE
mbed the stairs; looking back, he saw an enormous Mbackside and shiny bald Mhead, buried in a box. Harry reac
MALE BEARD
rgy. He had several feet of long silver Mhair and
nkard away. Hagrid came back, his long Mhair and
road-Mshouldered; Hagrid, with his wild Mhair and
ellmuscled Marms, powerfully built. He also had a
e new Minister of Magic. His long black Mhair and
with Melbow-length Mhair, had grown a tiny wispy
Mhead. He had pure-white Mhair and a thick, bushy
Mhair was now long and wavy; he had a thick brown
aster’s Mface. Dumbledore’s long silver Mhair and
d so wild — long tangles of bushy black Mhair and
a long, shaggy mane of Mhair and a wild, tangled
Mbeard, half-moon spectacles, and an extremely crooked M
Mbeard sopping wet, wiping the water out of his Meyes.
Mbeard, standing hunchbacked to avoid hitting his Mhead
Mbeard. Stowing the Invisibility Cloak and his glasses i
Mbeard were streaked with silver and a great overhanging
Mbeard that recalled the one on Krum’s Mchin that had so
Mbeard: a trussed-up Father Christmas. “I have it not, I
Mbeard and Mmoustache, no freckles, a short, broad Mnose
Mbeard, the piercingly blue Meyes behind half-moon spect
Mbeard hid most of his Mface, he had Mhands the size of
Mbeard, but you could make out his Meyes, glinting like
139
a long, crooked Mnose, and flowing silver Mhair, Mbeard, and Mmoustache. Underneath the picture was the n
MALE CHEEK(S)
ht one-armed hug, and planted a large kiss on his
rhaps she understood them, because she patted his
e decided.” Scrimgeour scratched his badly shaven
t of it sear the back of his Mhand. Glass cut his
e,” he pointed at a particularly deep gash in his
le had been blown away, and hot stickiness on his
s. He could feel the cold hard ground beneath his
owl when you get there." She kissed Percy on the
for?” said Harry furiously. Peeves puffed out his
en coop?” Ron rolled his Meyes and said, with his
Mr. Ollivander,” said Fleur, kissing him on both
stroking her Fhair while Mtears cascaded down his
arance. A dull flush of colour mounted the sallow
n't go red, but a pink tinge appeared in his pale
Mcheek. Harry knew perfectly well that Dudley only put
Mcheek clumsily when he released her, then waved her wan
Mcheek, scrutinizing Harry. “Why do you think -?” “- Dum
Mcheek as, pulling Hermione with him, he leapt from bed
Mcheek, “I refused to do it. Some people are into it, th
Mcheek told him that he was bleeding copiously. Then he
Mcheek, and the hinge of his glasses, which had been kno
Mcheek and he left. Then she turned to the twins. "Now,
Mcheeks, blew hard, and zoomed backward out of the room,
Mcheeks bulging, “Ermy- nee, ’oo worry ’oo much. ’Elax!”
Mcheeks. “And I wonder whezzer you could oblige me by del
Mcheeks. Without a word to Harry, Ron and Hermione walked
Mcheeks as he looked at Lily. “What’s obvious?” asked Lil
Mcheeks. "I'd be careful if I were you, Potter," he said
MALE CHEST(S)
stood quite still, wands directed at each other’s
ogetically. “Yeah,” said Stan, still rubbing his
Scabbers?” said Ron, pointing at the lump in his
pointed to the brand-new silver badge on Percy's
What about poor Scabbers, eh?” He pointed at his
o a girl with long, curly Fhair, walking with his
them all. Harry felt his own breath catch in his
cold went deeper than his skin. It was inside his
tting a few seats down from Harry, puffed out his
t was as though freezing water were rising in his
okshanks sprang from Seamus's bed, right at Ron's
hort of Snape's desk, clutching the stitch in his
p still,” Ron hissed, clamping his Mhand over his
n enormous leap and the front paws hit him on the
ad bellowed it. A boiling hate erupted in Harry's
was sprawled at the bottom of the wall. His thin
ght above him, his wand still pointing at Black's
Mchests; then, recognizing each other, they stowed their
Mchest. “Yeah, that's right. Very close to You-Know-'Oo,
Mchest pocket. “He needs rest and relaxation! How's he g
Mchest. “Second Head Boy in the family!” she said, swell
Mchest, where a large lump indicated that Scabbers was c
Mchest thrown out so that she couldn't miss his shiny ba
Mchest. The cold went deeper than his skin. It was insid
Mchest, it was inside his very Mheart... Harry’s Meyes
Mchest again and stared around impressively. Dumbledore
Mchest, cutting at his insides. And then he heard it aga
Mchest. “GET—HIM—OUT—OF—HERE!” Ron bellowed as Crooksha
Mchest and trying to speak. “I—gave—Harry—that—stuff,”
Mchest. The rat was wriggling madly. Ron came to a sudde
Mchest; he keeled over backward in a whirl of hair; he f
Mchest, leaving no place for fear. For the first time in
Mchest rose and fell rapidly as he watched Harry walking
Mchest, looking down at him. A livid bruise was rising a
140
reaked past Harry; Crookshanks leapt onto Black's
ised, Black staring up at him, Crookshanks on his
ill had Crookshanks lying Protectively across his
ul to keep this wand pointing directly at Lupin's
lease. Now.” Ron clutched Scabbers closer to his
e breath was coming in wheezes as he clutched his
is wand was still pointed sideways at Pettigrew's
g weirdly ahead of Black, his chin bumping on his
He leapt forward but Black caught him around the
lake, his Mheart doing a kind of drumroll in his
S-so sweet, Dudders…” she sobbed into his massive
that tattoo,” said Ron, looking down at his bare
enta!” The jinx hit the middle Death Eater in the
ry saw him raise his wand and point it at Lupin’s
seeming to crawl over his skin, throbbing in his
ur limped toward Harry and jabbed him hard in the
re and now, for veering that filthy sign upon his
o. The strange triangular eye was gleaming on his
h the iced champagne was stealing through Harry’s
felt as though a brick had slid down through his
the words UNDESIRABLE NO.
emblazoned across his
ore - nor the slightly smaller writing across his
burn away a little of the fear fluttering in his
ht beneath his robes, where it rested against his
that currently lay against the bare flesh of his
fear and exhaustion, that the Horcrux against his
back to her, his Mheart positively banging in his
eeling as if something heavy were pressing on his
wed down with age, she came barely level with his
t his voice, and the Horcrux beat faster upon his
air from him, pressing the Horcrux hard into his
hing going… A metal heart was banging outside his
change the subject. “It was stuck, stuck to your
; this journey had already given him scars to his
he could do, and the Marms that closed around his
ovement with his free index Mfinger, “right to my
Mchest and settled himself there, right over Black's Mhe
Mchest. Ron's ragged breathing came from near the bed; H
Mchest. Harry stood there, feeling suddenly empty. He h
Mchest. “Very useful, Potter, I thank you...” Snape was
Mchest. “Come off it,” he said weakly. “Are you trying
Mchest. Black and Lupin were looking at each other. Then
Mchest. Silently they tramped through the grounds, the
Mchest. And then — A cloud shifted. There were suddenly
Mchest and threw him back. “Leave it to me—RUN!” There
Mchest... Whoever had sent that Patronus would be appear
Mchest. “S-such a lovely b-boy… s-saying thank you…” “Bu
Mchest. “Harry, your eyesight really is awful,” said Her
Mchest; For a moment the man was absurdly spread-eagled
Mchest. “The last words Albus Dumbledore spoke to the pa
Mchest, clogging his throat. As they walked down the bac
Mchest with the point of his wand; It singed a hole in H
Mchest.” “Sign?” said Harry, looking over at Xenophilius
Mchest. “Why? What’s wrong with it?” “Grindelvald. That
Mchest. “What do you mean?” he asked Muriel. “Who said h
Mchest into his Mstomach. He remembered. He had even han
Mchest. A little pink note was stuck to it with a pictur
Mchest: “by Rita Skeeter, bestselling author of Armando
Mchest. After a minute or two, Ron broke the silence. “W
Mchest beside the pouch Hagrid had given him. “I think w
Mchest. Curiously, it had not taken heat from his body,
Mchest was ticking away the time he had left… Stupid ide
Mchest. “Is it -?” “No, but look!” She pointed to the da
Mchest, the same sensation he had had right after Dumble
Mchest. She closed the door behind them, her Fknuckles b
Mchest. “Who is this person?” Harry asked her, pushing t
Mchest, a circle of ice that throbbed with life, inches
Mchest, and now he was flying, flying with triumph in hi
Mchest. You’ve got a mark; I’m sorry, I had to use a Sev
Mchest and forearm to join those on his Mhand and Mforeh
Mchest were surely Death’s… Choking and retching, soakin
Mchest, and then - it just went straight through. It was
141
erision. Dumbledore’s Mhands were folded upon his
o Dumbledore, keeping his secrets clutched to his
ght up. “Harry!” he panted, massaging his immense
ked Ron, but he too got to his Mfeet, rubbing his
ozen: Harry’s breath caught and solidified in his
t his Mhead; Mrs. Weasley was lying across Fred’s
e wearing, anyway?” she said, pointing at Snape’s
Lucius Malfoy, a prefect badge gleaming upon his
vive. He felt his Mheart pounding fiercely in his
rt’s Mhead. Harry could feel his wand against his
obes because he could feel it pressed between his
an Meyelid, crept beneath his shirt, down to his
“Yes,” he breathed back. He felt the Fhand on his
head, the locket of Regulus Black bouncing on his
s wand had given him its allegiance…” Voldemort’s
edore," said Hagrid importantly, throwing out his
es, and Harry noticed a shiny silver badge on his
found himself on the floor with a buffalo on his
ted enough to help him, apart from you." Hagrid's
gasped, wrestling with it as it curled around his
Mchest, and there it lay, clutched beneath them, buried
Mchest, afraid to trust? But Dumbledore had trusted Snap
Mchest beneath his emerald-green silk pajamas. “My dear
Mchest and looking left and right. “Shall we split up an
Mchest. Shapes moved out in the darkness, swirling figur
Mchest, her Fbody shaking. Mr. Weasley stroking her Fhai
Mchest. “Your mum’s blouse?” There was a crack. A branch
Mchest, patted Snape on the Mback as he sat down beside
Mchest. How strange that in his dread of death, it pumpe
Mchest, but he made no attempt to draw it. He knew that
Mchest and the ground. A slight cushioning effect in the
Mchest, and felt his Mheart. He could hear the woman’s f
Mchest contract: her Fnails pierced him. Then it was wit
Mchest, was Kreacher, his bullfrog’s voice audible even
Mchest rose and fell rapidly, and Harry could feel the c
Mchest. "It's about the YouKnow-What in vault seven hund
Mchest with the letter P on it. "Can't stay long, Mother
Mchest." It was very difficult. Harry and Seamus swished
Mchest swelled at these last words. Harry and Ron beamed
Mchest. "Devil's Snare, Devil's Snare... what did Profes
MALE CHIN(S)
tiny wispy Mbeard that recalled the one on Krum’s Mchin that had so annoyed Ron. The boy who roared in si
fat Mhead, a bow tie just visible under his many Mchins. Aunt Marge thrust the suitcase into Harry's Msto
MALE EAR(S)
jumped and held the receiver a foot away from his
down, a drawling, delighted voice sounded in his
st robes. “Look at Snape!” Ron hissed in Harry's
nless Miss Granger is hissing instructions in his
ead very slightly off his Marms to free his other
ad been floating next to him, blowing hard in his
, who was shivering under her cloak. Ron had his
ner, he saw Ron dashing toward him, grinning from
saw Ron dashing toward him, grinning from Mear to
was quite some Patronus,” said a voice in Harry's
Mear, staring at it with an expression of mingled fury
Mear. “You fainted, Potter? Is Longbottom telling the
Mear. Professor Snape, the Potions master, was starin
Mear.” Neville went scarlet. Harry glared at Snape; i
Mear, “Many, Severus, each of them as unlikely as the
Mear. “What did you do that for?” said Harry furiousl
Mear to the door. “There's a weird noise,” he said. “
Mear to Mear. “She gave it to You? Excellent! Listen,
Mear. “She gave it to You? Excellent! Listen, can I s
Mear. Harry turned around to see Professor Lupin, who
142
l, Padfoot, and Prongs,” Fred muttered in Harry's
more quietly. “Harry!” said a voice in his right
on Malfoy. “Leave him to me,” he hissed in Ron's
of the Bludgers came streaking past Harry's right
u find a wizard family to take you in? Keeping an
en't we?” said Harry. He stood up and pressed his
k so, although there’s no chance of replacing his
toward Harry, dressed in a snowy-white towel, his
s barely audible, her Flips were an inch from his
bbed unashamedly; Dexter Fortescue was waving his
dley won, so Harry, his glasses dangling from one
eville's cloak, which was fastened under his left
e hat. He waited. Hmm," said a small voice in his
thing so far. She sometimes flew in to nibble his
der at the flash of gold that had passed his left
"He's lost his marbles," Ron muttered in Harry's
tartan bathrobe and a hair net, had Malfoy by the
ck her, just this once," Ron whispered in Harry's
was staring at his plate, a funny ringing in his
hteen or nineteen at most, with large, protruding
avourite nephew. Harry, who couldn't believe his
t Harry couldn't help noticing that Mr. Weasley's
was drowning in cold. There was a rushing in his
ils too unpleasant for precious Potter's delicate
. Harry didn't move. There was a pounding in his
huge burst of speed; the wind was roaring in his
rry soared above the crowd, an odd ringing in his
r...” The taunt about his father rang in Harry's
story?” Harry repeated, a furious pounding in his
fectly positioned to act, if one hint reached his
rry yelled, trying to blot the screaming from his
putrid breath... His mother was screaming in his
ring seemed to be travelling very slowly from his
A blur of colours and shapes rushed past him, his
” said Hermione, hurrying over and scratching his
ped and Harry’s Mstomach lurched: One of George’s
Mear. Only one person wasn't joining in the festiviti
Mear. Harry started and looked around at Hermione, who
Mear. The opportunity was too perfect to miss. Harry
Mear, hit by the gigantic Slytherin Beater, Derrick. T
Mear out for news, weren't YOU, Peter? Just in case yo
Mear against the door. “Doesn't sound like anyone's t
Mear, not when it’s been cursed off -” There was a scu
Mear hair as clean and fluffy as cotton wool, Regulus’
Mear, her Fhead bent so low that her long Fhair shield
Mear-trumpet; and Phineas Nigellus called, in his high
Mear, lay flat on his Mstomach to listen at the crack
Mear, and on Ron's smudged Mnose. Harry nervously trie
Mear. "Difficult. Very difficult. Plenty of courage, I
Mear and have a bit of toast before going off to sleep
Mear. Harry saw it. In a great rush of excitement he d
Mear. "Hagrid," said Harry loudly, "give it two weeks
Mear. "Detention!" she shouted. "And twenty points fro
Mear, but Harry shook his Mhead. As they climbed caref
Mears. Grasp your broom firmly by the tail, he thought.
Mears and quite a few pimples. “What were you doin' do
Mears, opened his Mmouth to speak, couldn't think of an
Mears had gone red, just like Ron's did when he was und
Mears as though of water. He was being dragged downward
Mears?” Harry bit his Mlip. He didn't know what had ha
Mears. “Turn out your pockets, or we go straight to th
Mears; he stretched out his Mhand, but suddenly, the Fi
Mears. The tiny golden ball was held tight in his fist,
Mears as though Black had bellowed it. A boiling hate e
Mears. “You sold them to Voldemort. That's all I need t
Mears that the Dark Side was gathering strength again..
Mears. “EXPECTO PATRONUM!” A thin wisp of silver escap
Mears... She was going to be the last thing he ever hea
Mears to his brain, so that it was difficult to underst
Mears were pounding, he tried to yell but couldn't hear
Mears to quieten him. “That was really close!” she said
Mears was missing. The side of his Mhead and Mneck were
143
oked his lungs and a distant screaming filled his
e was trembling from his Mfeet to the tips of his
of this cellar?” he asked Dobby, who nodded, his
,” repeated Harry: The phrase fell oddly upon his
t; his worst fear was Peeves, and he strained his
us trip into the room. His breath was loud in his
back and opened his Meyes at the same moment his
sounds of the surrounding battle were loud in his
gas nor liquid, it gushed form his Mmouth and his
y from him, their voices echoing strangely in his
they were approaching the castle and strained his
dn't aff --I mean, I got Scabbers instead." Ron's
had any breakfast, leapt to his Mfeet, but Ron's
o bounded straight at Ron and started licking his
le." Harry ignored her. Blood was pounding in his
teep dive, racing the ball - wind whistled in his
corridor, the book's shrieks still ringing in his
Mears, that he was not going to be able to protect hims
Mears. He was back in the home of his old masters, and
Mears flapping. “And you can take humans with you?” Dob
Mears as his scar prickled, as Voldemort turned his tho
Mears with every step to hear the first, telltale signs
Mears, and then his very soul seemed to shiver. There i
Mears were assaulted with the screeches and cries, the
Mears. “Can’t thank you enough,” said Ron shakily, turn
Mears and his Meyes, and Harry knew what it was, but di
Mears. “So the boy… the boy must die?” asked Snape quit
Mears to distinguish, above the gleeful voices of the D
Mears went pink. He seemed to think he'd said too much,
Mears went pink again and he muttered that he'd brought
Mears. Like Hagrid, Fang was clearly not as fierce as h
Mears. He mounted the broom and kicked hard against the
Mears, mingled with the screams of people watching — he
Mears. He came to a sudden halt in front of a tall suit
MALE ELBOW(S)
er, whose gaunt Mface was surrounded by a matted,
raffic lights. Mr. Weasley kept close to Harry's
again WHOOSH. The second Bludger grazed Harry's
e to an abrupt halt, but Hermione took him by the
have caught a glimpse of his momentarily exposed
und each other’s Mshoulders. Dumbledore, now with
. He picked up a quill from a packed table at his
d Harry from Mshoulder to Mfinger, then Mwrist to
d answer, Professor Flitwick appeared at Malfoy's
them. A mass of filthy, matted Mhair hung to his
Melbow-length tangle, Harry felt very well groomed indee
Melbow all the way into the station. “Right then,” he s
Melbow. The other Beater, Bole, was closing in. Harry h
Melbow and tugged him on up the stairs. Feeling nervous,
Melbow. Shutting the front door carefully behind him, he
Melbow-length Mhair, had grown a tiny wispy Mbeard that
Melbow, and pulled a torn piece of parchment from betwee
Melbow, Mshoulder to floor, Mknee to Marmpit and round h
Melbow. "Not arguing, I hope, boys?" he squeaked. "Potte
Melbows. If Meyes hadn't been shining out of the deep, da
MALE EYE(S)/EYEBALL(S)/EYEBROW(S)/EYELID(S)
t. Sure you'll understand. Tom will be keeping an
ley where there were plenty of wizards to keep an
Mhair and going Pink again. Ginny caught Harry’s
clearly, Neville? Can you see them in your mind's
his other Fhand, the old manic glint back in his
Meye on you for me.” “Okay,” said Harry slowly, “but
Meye on him. And he was sending two Ministry cars to t
Meye, and they both turned away to hide their laughter
Meye?” “Yes,” said Neville uncertainty, plainly wonde
Meye. “We've got three superb Chasers.” Wood pointed
144
at all,” said Snape, but there was a look in his
he end, a boy called Davey Gudgeon nearly lost an
re. Harry, remembering the boggart, caught Ron’s
felt his Mlegs shaking. Out of the corner of his
nty feet above the game. Out of the corner of his
ls until next term,” Ron muttered, casting a wary
to turn back to his bed when something caught his
s the Quaffle—Flint alongside her—poke him in the
background. “Lovely day,” said Fudge, casting an
im. A livid bruise was rising around Black's left
ly at Voldemort and away again, terrified to make
himself, seeing nothing but his own bright green
t again, and saw nothing but his own bright green
split second, he had thought he saw Dumbledore’s
ing two enormous bulging sacks, and whose magical
battle-worn, one-legged, his bright blue magical
force, then it will,” growled Moody, his magical
sk.” Mundungus shrugged and grimaced; the magical
ing,” growled Moody, and sure enough, his magical
roken as Dumbledore’s had been, yet with that one
toward him, at least until they poked him in the
s he went; Harry felt sure that he was keeping an
ill have the whole Wizarding population under his
Weird, not being on it, isn’t it?” In his mind’s
a peephole on a Muggle front door, a large, round
bright blue iris had been set into the wood - an
e strode straight over to the door to examine the
with a flouncy, flowered cloth. Behind Mad-eye’s
ut his Mhand in his pocket and drew out Mad-Eye’s
d. There in its shadows he buried Mad-Eye Moody’s
ograph near the back of the collection caught his
moved weirdly: He saw it out of the corner of his
n Durmstrang felt it could no longer turn a blind
a gap of only a few inches between the trunks at
both of the glass windows within blinked a living
ophilius did not take Harry’s Mhand, although the
Meye Harry didn't like. He backed out of the room, uns
Meye, and we were forbidden to go near it. No broomsti
Meye and they both grinned; Snape's Mmouth thinned and
Meye, he saw Professor Lupin forcing the boggart back
Meye, he saw Cho following him... She'd decided to mar
Meye around for Professor Trelawney, in case she was l
Meye. An animal of some kind was prowling across the s
Meye, Angelina!—it was a joke, Professor, it was a jok
Meye over the lake. “Pity... pity...” He sighed deep
Meye and his Mnose was bleeding. “You killed my paren
Meye contact. “My Lord,” said a dark woman halfway dow
Meye reflected back at him. Then he placed the fragmen
Meye looking back at him. He had imagined it, there wa
Meye. It was not until his uncle bellowed, “BOY!” that
Meye was spinning from darkening sky to house to garde
Meye whizzing in its socket; Tonks, whose short Fhair
Meye now quivering a little in its socket as he glared
Meye swerved sideways to glance at him out of the side
Meye did not waver from Mundungus as he continued, “Ar
Meye still whizzing in its socket. He felt a stab of r
Meye. “Slick,” snorted Ron. Reveling in the removal of
Meye out for Krum. By the time they had reached the ot
Meye from a young age. And it’s also another way of we
Meye Harry seemed to see the scarlet steam engine as h
Meye with a bright blue iris had been set into the woo
Meye that was shockingly familiar to anybody who had k
Meye. It was not moving. It gazed blindly upward, froz
Meye, a telescopic attachment enabled Umbridge to spy
Meye. Hermione recoiled, looking horrified. “Umbridge
Meye and marked the spot by gouging a small cross in t
Meye, and he snatched it up. It was the golden-haired,
Meye; panic made him turn and horror paralyzed him as
Meye to the twisted experiments of Gellert Grindelwald
Meye level, an ideal place to see but not be seen. The
Meye, dark and handsome as Tom Riddle’s Meyes had been
Meye that was not pointing inward at his Mnose slid st
145
in. “Ah,” said Xenophilius, “Help, Hmm.” His good
e was sure to give him away; yet he still avoided
d he saw a gleam of brightest blue - Dumbledore’s
e’re in the cellar of Malfoy Manor, help us!” The
but Harry knew what he had seen. A piercing blue
e at the horizon. “The silver doe. The sword. The
irror -” “Harry admits he could have imagined the
ell, more of a crown, really.” Ron caught Harry’s
n which he had been sure he had seen Dumbledore’s
ly wizards. One man had a bloody bandage over his
Meyes were a piercing, brilliant blue. “It’s your
Albus told me what it was. Been trying to keep an
ed a page, and said, without looking up, “Keep an
you owe me, I thought you agreed to keep a close
Great Hall forced their way back into his mind’s
was no longer paying attention. Catching Harry’s
At the end nearest him sat Hagrid, who caught his
her?" A few people laughed; Harry caught Seamus's
ief, because Neville had been trying to catch his
something about their guilty faces caught Snape's
some troll blood in him. Out of the corner of his
book. A large black and silver volume caught his
ng Harry on the Mback. "And I gave Malfoy a black
ory and believed it, too?" Harry caught Neville's
re to Snape at that Quidditch match. She broke my
with a horrible, forced smile. He caught Harry's
D—OF—HARRY'S—FROM—SCHOOL —” Uncle Vernon's small
Dudley. It must be very late, Harry thought. His
een—stubbornly untidy, whatever he did to it. The
warts. Then he took off his glasses and lay down,
st of the summer in the kitchen, his piggy little
ident still brought tears of laughter to Dudley's
“And thirdly,” said Uncle Vernon, his mean little
s bedroom, but he met Uncle Vernon's angry little
BANG, and Harry threw up his Mhands to shield his
open. With a feeling of unease, Harry saw Stan's
Meye moved again to Harry’s scar. He seemed simultaneo
Meye contact with Draco as the latter approached. “Wel
Meye was gazing at him out of the mirror. “Help us!” h
Meye blinked and was gone. Harry was not even sure tha
Meye had looked out of the mirror fragment, and then h
Meye Harry saw in the mirror -” “Harry admits he could
Meye! Don’t you, Harry?” “I could have,” said Harry wi
Meye and grinned; Harry knew that he was remembering t
Meye. Then the sound of a door opening made him look a
Meye. As they set off along the street, the beggars gl
Meye I’ve been seeing in the mirror.” There was a sile
Meye out for you.” Ron gasped. “The silver doe,” he sa
Meye on Quirrell, won’t you?” A whirl of colour, and n
Meye on our young Slytherin friend?” Snape looked angr
Meye, and for a moment he could hardly breathe. Death
Meye, he nodded covertly to a point some fifty yards a
Meye and gave him the thumbs up. Harry grinned back. A
Meye, and Seamus winked. Snape, however, was not pleas
Meye). Ron, however, was to be working with Hermione G
Meye. He limped over. He hadn't seen the fire, but he
Meye he saw the fluttering banner high above, flashing
Meye. He pulled it out with difficulty, because it was
Meye, and Neville tried to take on Crabbe and Goyle si
Meye and tried to tell him without words that this was
Meye contact with you. Another few seconds and I'd hav
Meye and Harry knew at once that Snape's feelings towa
Meyes swivelled around to Harry, who was rooted to the
Meyes were itching with tiredness. Perhaps he'd finish
Meyes behind his glasses were bright green, and on his
Meyes open, facing his three birthday cards. Extremely
Meyes fixed on the screen and his five chins wobbling a
Meyes. “Marge'll be here for a week,” Uncle Vernon sna
Meyes now slits in his great purple Mface, “we've told
Meyes and knew he would have to sit it out. “Aah,” sai
Meyes against a sudden blinding light — With a yell, h
Meyes move to the scar on Harry's Mforehead. “Woss tha
146
h a single curse. Harry looked into the shadowed
there was any more magic there!” Unless Harry’s
, bird entrails. But Harry wasn't listening. His
g else?” he said. “Yes,” said Harry, tearing his
doing Muggle Studies for?” said Ron, rolling his
k. “What were you saying, Malfoy?” Malfoy's pale
. They illuminated his tired, grey Mface, but his
e was completely hidden beneath its hood. Harry’s
Mchest, it was inside his very Mheart... Harry’s
slapping his Mface. “W—what?” Harry opened his
he leaned back into the lumpy seat and closed his
eps to the castle, his Mface gleeful and his pale
Pomfrey, who was now trying to peer into Harry’s
ell; it was the look Snape wore every time he set
eaking again, they saw that Hagrid was wiping his
ks like a Grim if you do this,” he said, with his
closed their bags. Even Ron was avoiding Harry’s
paddock seemed to be holding its breath. Malfoy's
don' trust yeh if yeh blink too much...” Harry’s
of the crinkled corners of Hagrid's beetle-black
d Mbeard sopping wet, wiping the water out of his
lfoy? Need something else skinned?” But Malfoy's
on't you know, Potter?” breathed Malfoy, his pale
“Everyone gather 'round,” said Snape, his black
, and he looked around as the class filed in. His
ed and menacing, Professor Snape stepped out, his
wildfire. Snape didn't seem to find it funny. His
ugh of tea leaves?” Harry looked at him. Lupin's
tly, and stopped at the sight of Harry, his black
for me?” Snape set down the smoking goblet, his
sor Flitwick, the Charms teacher. Harry moved his
e Snape sat. Was he imagining it, or were Snape's
quick look at the ruined painting and turned, his
them as unlikely as the next.” Harry opened his
mpletely different conditions!” Wood shouted, his
he was. “What's wrong with him?” Snape's black
Meyes of Sirius Black, the only part of the sunken Mfac
Meyes were deceiving him, Fudge was suddenly looking aw
Meyes had fallen on another book, which was among a dis
Meyes away from the dog's and dazedly consulting his bo
Meyes at Harry. “You're Muggleborn! Your mum and dad ar
Meyes narrowed; he wasn't fool enough to pick a fight r
Meyes looked alert and wary. “Stay where you are,” he
Meyes darted downward, and what he saw made his Mstoma
Meyes rolled up into his Mhead. He couldn't see. He was
Meyes; there were lanterns above him, and the floor was
Meyes until they had passed the gates. The carriage pic
Meyes glinting maliciously. “Shove off, Malfoy,” said R
Meyes. “I've already had some,” said Harry. “Professor
Meyes on Harry. “As to our second new appointment,” Du
Meyes on the tablecloth. “Well, I think that's everyth
Meyes almost shut, “but it looks more like a donkey fro
Meyes. “Until we meet again,” said Professor Trelawney
Meyes were narrowed maliciously. “Easy) now, Harry,” s
Meyes immediately began to water, but he didn't shut th
Meyes. He grabbed both Harry and Ron and pulled them in
Meyes. “That's better,” he said, shaking his Mhead lik
Meyes were shining malevolently, and they were fixed Ha
Meyes narrowed. “Know what?” Malfoy let out a low, sn
Meyes glittering, and watch what happens to Longbottom'
Meyes were glittering and there was a nasty sneer playi
Meyes flashing at Neville. Neville backed away, his wa
Meyes flashed menacingly at the very mention of Profess
Meyes were twinkling. “How did you know about that?” H
Meyes narrowing. “Ah, Severus,” said Lupin, smiling. “
Meyes wandering between Harry and Lupin. “I was just s
Meyes along the table, to the place where Snape sat. Wa
Meyes flickering toward Lupin more often than was natur
Meyes sombre, to see Professors McGonagall, Lupin, and
Meyes a fraction and squinted up to where they stood; D
Meyes bulging slightly. “Diggory's put a very strong s
Meyes glittered. “Nothing life-threatening,” he said,
147
a few feet. Shaking his sodden fringe out of his
efore he'd had time to think, Harry had taken his
ed black figures... cold ...screaming... Harry’s
ly on him and there were dark shadows beneath his
“A bit of old parchment!” said Fred, closing his
y bouncing around the trophy room. And as Harry’s
on leave again, and rolled over on his Mback, his
dy had pasted the picture from the album over his
he door creaked open. Hagrid stood there with his
' Dangerous Creatures!” choked Hagrid, wiping his
dad died... day I had ter let Norbert go...” His
exactly the right height for him to mount it. His
..” “Certainly, certainly,” said Dumbledore, his
, bent over her work and carefully avoiding their
nty of special features, hasn't it?” said Malfoy,
The Gryffindor team laughed loudly. Malfoy's pale
ng the Gryffindor goal post — Harry accelerated,
oying a large plate of dead ferrets. Averting his
et —” To Harry's immense disquiet, Snape's black
the spot, trying to rub it out of his small, dull
y surprised. “I don't know, Professor.” Snape's
father you are, Potter,” Snape said suddenly, his
care that Snape's Mface had gone rigid, the black
he said with a shrug. Snape turned it over, his
t passing the dementors?” Harry blinked. Snape's
that ever became a professor.” Harry closed his
the effort of holding onto the Firebolt, but his
n' I'll be beside him... “ Hagrid swallowed. His
here to hurt you!” Hagrid suddenly stood up, his
ry groped for his wand, blinking blood out of his
w tunnel. Crookshanks was a little way along, his
n the Shrieking Shack.” Harry looked around. His
s of filthy, matted Mhair hung to his Melbows. If
lack caught them. Then he took a step closer. His
e spoke. Something flickered in Black's shadowed
eady. Black stared up at him out of those sunken
Meyes, he squinted back into the stands. The dog had va
Meyes off the Snitch and looked down. At least a hundr
Meyes snapped open. He was lying in the hospital wing.
Meyes; nevertheless, he smiled at the class as they too
Meyes with a grimace as though Harry had mortally offen
Meyes travelled up and down the familiar corridors, he
Meyes wide open. A hatred such as he had never known b
Meyes. He watched, as though somebody was playing him a
Meyes red and swollen, tears splashing down the front o
Meyes on his sleeve. “They've got it in fer interestin'
Meyes filled with tears. Norbert was the baby dragon Ha
Meyes moved from the golden registration number at the
Meyes twinkling. “Let me draw you up a chair —” And he
Meyes. Harry and Ron approached her table and at last,
Meyes glittering maliciously. “Shame it doesn't come wi
Meyes narrowed, and he stalked away. They watched him r
Meyes fixed on the speck of gold ahead—but just then, C
Meyes from this unpleasant sight, Harry saw a gigantic,
Meyes flicked to the doorways on either side of them, a
Meyes. “It came from over there!” said Malfoy, wiping
Meyes were boring into Harry's. It was exactly like try
Meyes glinting. “He too was exceedingly arrogant. A sma
Meyes flashing dangerously. “What did you say to me, P
Meyes on Harry. “Surely you don't need such a very old
Meyes gleamed. “Let me see, let me see...” he muttered
Meyes in horror. When he'd opened them, the map had had
Meyes were sparkling maliciously. He had achieved what
Meyes were darting all over the cabin as though looking
Meyes fixed on the window. His normally ruddy Mface had
Meyes “Lumos!" he whispered. The wandlight showed him
Meyes flashing in the light from Harry's wand. Seconds
Meyes fell on a wooden chair near them. Large chunks ha
Meyes hadn't been shining out of the deep, dark sockets
Meyes were fixed on Harry. “I thought you'd come and h
Meyes. “Lie down,” he said quietly to Ron. “You will d
Meyes. “I don't deny it,” he said very quietly. “But i
148
s Mface bloodless, his wand raised and ready. His
sn't he shown himself before now? Unless”—Lupin's
d Harry. “No, we weren't!” I couldn't believe my
in. “Two of you.” He had stopped his pacing, his
!” Black stopped struggling, though his hollowed
“All right, then,” Black said, without taking his
, Harry.” Harry looked down at Ron, and as their
e by me.” He pushed his greying Mhair out of his
along.” “Snape?” said Black harshly, taking his
perhaps, how I knew you were here?” he said, his
“Two more for Azkaban tonight,” said Snape, his
t Snape pointed his wand straight between Black's
the rat —” But there was a mad glint in Snape's
ld have left him to me...” Harry avoided Black's
at Black, who shook his Mhead slowly; the sunken
roached Lupin and the struggling rat, and his wet
ound his pointed Mnose and his very small, watery
ll, his breathing fast and shallow. Harry saw his
.” Even Pettigrew's voice was squeaky. Again, his
ver as he stared at Pettigrew with his fathomless
ed Pettigrew, looking wildly about him once more,
ashen colour of Pettigrew's Mface and the way his
What did he do to him?” Hermione whispered. Ron’s
omeone,” said Harry, pushing his Mhair out of his
s Mknees hit the cold grass. Fog was clouding his
weak to move, sick and shaking, Harry opened his
amid the light, galloping away across the lake...
ly been foolish...” Harry lay listening with his
grew in the pit of his Mstomach... He opened his
ve a word of Black's story?” Snape whispered, his
nding, dazzling, silver animal. He screwed up his
ly shocked at his behaviour, to Dumbledore, whose
o look extraordinarily like James. Except for the
, as it's my fault he no longer has a rat. Ron’s
lingered for a moment on the threshold. As their
kelike, with slits for Mnostrils and gleaming red
Meyes flickered over Ron, lying on the floor, over Herm
Meyes suddenly widened, as though he was seeing somethi
Meyes,” said Lupin, still pacing, and ignoring Harry's
Meyes moving over Ron. “Do you think I could have a lo
Meyes were still fixed on Scabbers, who was clamped tig
Meyes off the rat. “Tell them whatever you like. But m
Meyes met, they agreed, silently: Black and Lupin were
Meyes, thought for a moment then said, “That's where al
Meyes off Scabbers; for the first time in minutes and l
Meyes glittering. “I've just been to your office, Lupin
Meyes now gleaming fanatically. “I shall be interested
Meyes. “Give me a reason,” he whispered. “Give me a re
Meyes that Harry had never seen before. He seemed beyon
Meyes. He wasn't sure, even now, that he'd done the rig
Meyes were suddenly over bright. “Harry... I as good a
Meyes suddenly seemed to be burning in his Mface. “Tog
Meyes. He looked around at them all, his breathing fast
Meyes dart to the door and back again. “Well, hello, P
Meyes darted toward the door. “My friends... my old fri
Meyes. “No one's going to try and kill you until we've
Meyes taking in the boarded windows and, again' the onl
Meyes continued to dart toward the windows and door. “
Meyes were only half-closed, his Mmouth hung open; he w
Meyes, trying to think straight. “Come —” But then, fr
Meyes. With a huge effort, he fought to remember—Sirius
Meyes. The dementor must have released him. The blindin
MEyes blurred with sweat, Harry tried to make out what
Meyes tight shut. He felt very groggy. The words he was
Meyes. Everything was slightly blurred. Somebody had r
Meyes fixed on Dumbledore's Mface. “I wish to speak to
Meyes, trying to see what it was. It looked like a hors
Meyes were twinkling behind his glasses. Snape whirled
Meyes... you have your mother's Feyes. Harry shook his
Meyes widened. The minute owl was still hooting excited
Meyes grew accustomed to the lack of light, they were d
Meyes whose pupils were vertical. He was so pale that h
149
urday… at nightfall,” repeated Voldemort. His red
able, the firelight glinting strangely in his red
quiet, thoughtful tone, and without removing his
ared yellowish and waxy in the firelight, and his
to Voldemort, who held it up in front of his red
n. The gesture was not missed by Voldemort, whose
uest, Severus?” asked Voldemort. Snape raised his
anything was certain, it was that the bright blue
Uncle Vernon, glaring at Harry with piggy little
nd try to rescue you.” Uncle Vernon’s and Harry’s
at Kingsley bloke.” Harry managed not to roll his
o tower his Mmouth. With his parents’ and Harry’s
dirty, and hangdog, with his droopy beady hound’s
ty lurch. He was rising through the air fast, his
“Avada-” As the pain from Harry’s scar forced his
saw him. Looking sideways, he stared into the red
head was still throbbing. “Hagrid?” He opened his
sat up too quickly. Lights popped in front of his
ff the sofa; he needed to see Hagrid with his own
He felt ashamed of himself as the tears stung his
ected?” “Saintlike,” repeated George, opening his
orner where he had most space, was dabbing at his
aked. As he clutched his Mforehead and closed his
“Here he goes,” Ron said to Hermione, rolling his
and size, and was wearing what, now that Harry’s
to his problem…? “Oi, wake up.” Harry opened his
as I can see that I am gatecrashing a party.” His
ome good in the world!” Ron laughed. Scrimgeour’s
rimgeour quietly. Harry met the Minister’s yellow
held out his invitation to Ron and said, with his
at him under the table, but caught Harry instead.
… the shock… and for you, I am sure…” Doge’s tiny
ell.” “As well as anyone,” said Doge, dabbing his
ughed, looking at Auntie Muriel through streaming
Where are we?” said Ron’s voice. Harry opened his
the darker Death Eater with his Mfoot; the man’s
Meyes fastened upon Snape’s black ones with such intens
Meyes. “Will the Ministry have fallen by next Saturday?
Meyes from the revolving body above, “have I not spoken
Meyes were sunken and shadowed. When he spoke, his voic
Meyes, examining it closely. “What is it?” “Elm, my Lor
Meyes widened maliciously. “Give you my wand, Lucius? M
Meyes to the upside down Fface. All of the Death Eaters
Meyes of Albus Dumbledore would never pierce him again.
Meyes. “I’ve decided I don’t believe a word of it. We’r
Meyes met. Harry was sure that in that instant they wer
Meyes, but with difficulty. This question had also been
Meyes upon him, he slowly lowered them again and asked,
Meyes and matted Mhair. Harry’s Mheart seemed to expand
Meyes watering slightly, Mhair whipped back off his Mfa
Meyes shut, his wand acted of its own accord. He felt i
Meyes and was sure they would be the last thing he ever
Meyes and saw that he was lying on a sofa in an unfamil
Meyes and he felt sick and giddy. “Voldemort -” “Easy,
Meyes before he would believe that he was alive. He had
Meyes. The owl had been his companion, his one great li
Meyes and looking up at his brother. “You see… I’m holy
Meyes with his tablecloth-sized handkerchief. Bill walk
Meyes, a voice screamed inside his Mhead. “You told me
Meyes. “As we knew he would,” he sighed, turning back t
Meyes became used to the darkness, was clearly an old p
Meyes. He was lying again on the camp bed in Ron’s ding
Meyes lingered for a moment on the giant Snitch cake. “
Meyes flickered toward him and away again as Harry spok
Meyes and knew he had no option but to obey. He held ou
Meyes on Hermione, “You look vunderful.” “Viktor!” she
MEyes watering in pain, Harry lost track of the convers
Meyes filled with sudden tears. “I saw the obituary you
Meyes with a napkin. “Certainly I knew him longest, if
Meyes. Once he had control of his voice again, he asked
Meyes. For a moment he thought they had not left the we
Meyes moved rapidly between Harry, Ron and Hermione. “T
150
orehead and said, “Obliviate.” At once, Dolohov’s
rry’s lungs expanded gratefully and he opened his
exploded in a great cloud of dust: Coughing, his
water, Harry drew heaving breaths and opened his
etrified Mface seemed burned on the inside of his
son. Impatiently brushing away the wetness in his
ione. “That’s a good idea,” said Ron, rolling his
y: A Wizarding Genealogy. Refusing to believe his
and Hermione looked gleeful. Kreacher closed his
you -” “Mundungus Fletcher,” croaked the elf, his
ow chest was rising and falling rapidly, then his
nakelike Mface vanishing into darkness, those red
pallid forehead where he had struck himself, his
ng position again, rubbing his Mknuckles into his
hand, but he shrugged it off and walked away, his
e’s father, Percival, was a good-looking man with
d a little closer to Mundungus’s baggy, bloodshot
off the movement by brushing his Mhair out of his
the form of open-mouthed serpents and closed his
sh of green light - “Harry! HARRY!” He opened his
ad like a blanket over a birdcage and rolling his
good, is it?” Ron gave a nervous laugh. Yaxley’s
great overhanging Mforehead shadowed his glinting
ize him if they looked directly into each other’s
gain. CHAPTER FOURTEEN THE THIEF Harry opened his
Fhands and Fknees, at Ron’s Mhead. The moment his
t it and hastened back to Hermione and Ron, whose
Hermione could answer, Ron groaned and opened his
hey had settled him on the mattress he closed his
n a burst of green light - “Harry!” He opened his
“What’s You-Know-Who doing?” Harry screwed up his
“I dunno… It’s weird, isn’t it?” Harry closed his
wanted something from Gregorovitch,” Harry said,
mort, had seemed to hurtle through Gregorovitch’s
ome money under the chicken coop?” Ron rolled his
irk’s laughter. Inside the tent, Harry closed his
Meyes became unfocused and dreamy. “Brilliant!” said Ha
Meyes: They were now standing in the middle of a famili
Meyes watering, Harry looked around to see Hermione cro
Meyes. He was spread-eagled on the cold black marble fl
Meyes. Harry felt sickened by what he had seen, by the
Meyes, he reread the letter, this time concentrating on
Meyes, and he resumed his examination of the curtains.
Meyes, Harry snatched up the blankets and shook them. A
Meyes as though he could not bear to see their reaction
Meyes still tight shut. “Mundungus Fletcher stole it al
Meyes flew open and he uttered a bloodcurdling scream.
Meyes fixed pitilessly on the thrashing elf whose death
Meyes swollen and bloodshot and swimming in tears. Harr
Meyes like a small child. “Kreacher, I am going to ask
Meyes on the fire Hermione had conjured. He had once sp
Meyes that seemed to twinkle even in this faded old pho
Meyes. “We already knew you were an unreliable bit of s
Meyes. “Well, if all three of us go we’ll have to Disap
Meyes… He was gliding along a twilit street. The buildi
Meyes; he had sunk to the floor. Hermione was pounding
Meyes at Harry. Little more than a minute later, there
Meyes widened. “You think it’s funny, Cattermole, do yo
Meyes, putting Harry in the mind of a crab looking out
Meyes. “I couldn’t stop it, so they’ve sent me to get B
Meyes and was dazzled by gold and green; he had no idea
Meyes fell upon Ron, all other concerns fled Harry’s mi
Meyes were now half-closed, strips of white Meyeball al
Meyes. He was still gray and his Mface glistened with s
Meyes again and did not speak for a while. “I’ll make s
Meyes, panting, his Mforehead throbbing. He had passed
Meyes in the effort to remember every detail, then whis
Meyes, thinking of all that he had seen and heard. The
Meyes still closed tight. “He asked him to hand it over
Meyes, into his memories… “He read Gregorovitch’s mind,
Meyes and said, with his Mcheeks bulging, “Ermy- nee, ’
Meyes, willing someone to ask the question he needed an
151
old appeared over Phineas Nigellus’s clever, dark
igellus paused again in his struggles to free his
like a dead body in the way it seems to draw his
. Harry jumped down from his own bed, keeping his
. MHeart beating in his Mthroat, Harry opened his
r, looking down at the thick snow hiding from his
mass. And in the instant that he looked away, his
that was rustling was not a snake… He opened his
nake was her… all along.” “W-what?” He closed his
back.” “The snake was inside her?” He opened his
er at some long-forgotten joke. Harry dropped his
f his Mhead lightly with her Fhand. He closed his
at, and raised Hermione’s wand. He screwed up his
int of the doe faded away with every blink of his
looking back down at the locket and narrowing his
a living Meye, dark and handsome as Tom Riddle’s
The point dangled over the frantically swiveling
point trembled, and Ron gazed down into Riddle’s
he sword still higher, and as he did so, Riddle’s
rlet. Out of the locket’s two windows, out of the
STAB IT!” Harry yelled, but Ron did not move. His
nd Harry thought he saw a trace of scarlet in his
what to say or do. Ron was breathing heavily: His
n had pierced the glass in both windows: Riddle’s
, who clambered to his Mfeet as Harry approached,
his empty Mhand and pointed in front of him, his
Ron was watching Harry out of the corners of his
Lies of Albus Dumbledore under Harry’s unwilling
nophilius did not answer. He kept swallowing, his
stening. Reaching the spiral stair, he raised his
Who can kill people with a single glance from his
had suffered some violent allergic reaction. His
barely able to see anything through his puffed-up
another as they landed in a country lane. Harry’s
ck to the four other prisoners. Closing his puffy
eath its thin blanket and rolled over toward him,
Meyes, causing him to bump into the frame and shriek wi
Meyes and sniggered. “Muggle-born,” he said, “Goblin-ma
Meyes. Harry jumped down from his own bed, keeping his
Meyes averted from Ron’s. Hermione, who was already bus
Meyes. They were standing hand in hand in a snowy lane
Meyes the place where the last of Lily and James lay, b
Meyes taking the tangled mess for a sword hilt, a ruby,
Meyes. “Harry,” Hermione whispered. “Do you feel all Meyes. He could still smell Bathilda’s house on him; it
Meyes again. Hermione looked revolted, nauseated. “Lupi
Meyes to the caption. Albus Dumbledore, shortly after h
Meyes at her touch, and hated himself for wishing that
Meyes as the light became blinding, the trees in front
Meyes as he stood there, listening to the sounds of the
Meyes, concentrating on the letter S, imagining a serpe
Meyes had been before he turned them scarlet and slit-p
Meyes, and Harry gripped the locket tightly, bracing hi
Meyes. “Least loved, always, by the mother who craved a
Meyes gleamed scarlet. Out of the locket’s two windows,
Meyes, there bloomed like two grotesque bubbles, the he
Meyes were wide, and the Riddle-Harry and the Riddle-He
Meyes. “Ron -?” The sword flashed, plunged: Harry threw
Meyes were no longer red at all, but their normal blue:
Meyes were gone, and the stained silk lining of the loc
Meyes bloodshot but otherwise composed. “I’m sorry,” he
Meyes focused on something neither Harry nor Hermione c
Meyes, “he had the real sword last, didn’t he? Harry di
Meyes and saw a photograph of the original letter that
Meyes darting between the three of them. Harry had the
Meyes absently to the next level and was distracted at
Meyes. That’s a basilisk, listeners. One simple test: C
Meyes had been reduced to slits through which he could
Meyes. When at last the man tying then had walked away,
Meyes, still puffy, took a moment to acclimatize, then
Meyes, he allowed the pain in his scar to overcome him
Meyes opening in a skull of a Mface… The frail man sat
152
ll of a Mface… The frail man sat up, great sunken
dazzled after the darkness outside; even with his
ricately scrolled frame. Through the slits of his
le Mface in sharp detail even through his swollen
his Marms outstretched. Out of the corners of his
l’s Mmouth. He saw the ratlike man’s small watery
lpless, Pettigrew’s pupils dilated in terror. His
gave a dreadful scream from overhead. Wormtail’s
ittle shudder the elf became quite still, and his
, muffling his batlike ears. “We should close his
e time to work that out? Harry stood quite still,
rply against the yellowish skin. His great silver
first of the wands and held it close to his faded
“I think so,” replied Ollivander, his protuberant
ainst the snowy pillow he was light gray, and his
ever mind how I know it,” said Harry, closing his
illusionment Charm that hid him even from his own
sable weapon against the Horcruxes. He closed his
erin… “Maybe he’s lying,” Harry said, opening his
asked questions, although Harry often felt Bill’s
nly one who had noticed this, until he saw Bill’s
w Griphook’s face when the tiara passed under his
er Harry’s Mfeet found pavement and he opened his
ing. They zoomed through it. Water filled Harry’s
dragon clawed and fought its way through. Harry’s
hered out to join him like a long shadow… Harry’s
He wore spectacles. Behind the dirty lenses, the
w up, and Albus… he was a natural.” The old man’s
so strikingly like his brothers’: The bright blue
ng. He didn’t like that.” said Aberforth, and his
ined fixed in his chair, gazing at Harry with the
ked at Neville, the worse he appeared: One of his
he lost diadem,” said Michael Corner, rolling his
They’re pleased!” “Yeah… great…” Harry closed his
is sister, he had a pallid, doughy Mface and tiny
in curtains around his thin Mface, how his black
Meyes fixed upon him, upon Voldemort, and then he smile
Meyes almost closed Harry could make out the wide propo
Meyes he saw his own reflection for the first time sinc
Meyes. With his Mface a puffy mask, Harry felt as thoug
Meyes Harry saw Bellatrix bearing down upon the werewol
Meyes widen with fear and surprise: He seemed just as s
Meyes had slid from Harry’s Mface to something else. Hi
Meyes rolled upward in his purple Mface; he gave a last
Meyes were nothing more than great glassy orbs, sprinkl
Meyes.” Harry had not heard the others coming through t
Meyes glazed, watching the place where a bright gold ra
Meyes seemed vast in their sunken sockets. The Mhands t
Meyes, rolling it between his knobble-knuckled Mfingers
Meyes upon Harry’s Mface. “You ask deep questions, Mr.
Meyes were enormous, bloodshot, and bulging with what l
Meyes momentarily as his scar burned and he saw, for me
Meyes. And he walked on, around the edge of the lake, t
Meyes for a moment or two and listened to the rush of t
Meyes again. “Griphook. Maybe Gryffindor didn’t take th
Meyes on the three of them at the table, thoughtful, co
Meyes following the goblin up the stairs. “No… no… I re
Meyes. He disapproves. I believe he thinks, as do the f
Meyes on Charing Cross Road. Muggles bustled past weari
Meyes and Mmouth: He could not see or breathe: Then, wi
Meyes were shut tight against the heat and dust: Deafen
Meyes flew open as he wrenched himself back to the pres
Meyes were a piercing, brilliant blue. “It’s your Meye
Meyes traveled to the painting of the girl over the man
Meyes gave the same impression that they were X-raying
Meyes were briefly occluded by the fireflight on the le
Meyes that were so extraordinarily like his brother’s.
Meyes was swollen yellow and purple, there were gouge m
Meyes, “is lost, Luna. That’s sort of the point.” “When
Meyes, and as his scar throbbed he chose to sink again
Meyes, which fell at once on Alecto, sprawled motionles
Meyes had a dead, cold look. He was not wearing nightcl
153
ofessor McGonagall. Snape stepped nearer, and his
rgot.” Snape pretended not to have heard her. His
ngling hug, while he patted her on the Fback, his
n coming on for a while,” said Percy, mopping his
pressed his Mhands over his Mface, and closed his
? In living memory… Beneath his Mfingers, Harry’s
o get rid of Horcruxes,” said Ron simply. Harry’s
Harry wheeled in the air. His glasses giving his
her, and Ron was kneeling beside them, and Fred’s
g to show him Voldemort’s thoughts? He closed his
received after the boy’s last escape. One of his
nk. With a gasp, Harry pulled back and opened his
he gap, and Harry drew back a little, keeping his
rt stood up. Harry could see him now, see the red
” And for a moment Harry saw Snape’s profile. His
ldemort, and Harry caught the glint of red in his
op himself from crying out in pain. He closed his
Snape was not looking at Voldemort now. His dark
a shock to see that anyone lived behind the blank
ttle colour it had left; it whitened as his black
in the tunnel and his own mind, Harry opened his
down upon the man he hated, whose widening black
, it gushed form his Mmouth and his Mears and his
lackened. “Look… at… me…” he whispered. The green
e, being Muggle-born?” Snape hesitated. His black
Lily asked. A little crease appeared between his
e, Severus,” said Dumbledore, without raising his
tempted to join him?” “No,” said Snape, his black
re she eats it.” His tone was light, but his blue
at?” Dumbledore took a deep breath and closed his
o let him try his strength,” said Dumbledore, his
mean the end of Voldemort.” Dumbledore opened his
lvery glow faded he turned back to Snape, and his
erstand?” “I understand,” murmured Mundungus, his
and Mthroat were completely dry, but so were his
ching them: They were fetching him. He closed his
Meyes flitted over Professor McGonagall into the air ar
Meyes were still probing the air all about her, and he
Meyes on his father. “I’m sorry, Dad,” Percy said. Mr.
Meyes under his glasses with a corner of his traveling
Meyes, trying to concentrate. Voldemort thought I’d go
Meyes flew open again. He leapt up from the plinth and
Meyes dropped to the objects clutched in Ron and Hermio
Meyes some small protection from the smoke, he raked th
Meyes stared without seeing, the ghost of his last laug
Meyes on her command, and at once, the screams and bang
Meyes remained closed and puffy. “My Lord… please… my s
Meyes at the same moment his Mears were assaulted with
Meyes fixed upon Nagini, wondering whether there was an
Meyes, the flattened, serpentine Mface, the pallor of h
Meyes were fixed upon the coiling snake in its enchante
Meyes as he turned again, and the swishing of his cloak
Meyes, and suddenly he was Voldemort, looking into Snap
Meyes were still fixed upon the coiling serpent in its
Meyes. “My Lord - let me go to the boy -” “All this lon
Meyes widened, as the snake’s fangs pierced his Mneck,
Meyes; He had drawn blood biting down on his Mknuckles
Meyes found Harry as he tried to speak. Harry bent over
Meyes, and Harry knew what it was, but did not know wha
Meyes found the black, but after a second, something in
Meyes, eager in the greenish gloom, moved over the pale
Meyes. “Fine,” he said. “They’re not arguing anymore?”
Meyes from a copy of Transfiguration Today. “Other teac
Meyes on Fleur’s and Roger’s retreating figures. “I am
Meyes pierced Snape as they had frequently pierced Harr
Meyes. “Tell him that on the night Lord Voldemort tried
Meyes still tight shut. “Meanwhile, the connection betw
Meyes. Snape looked horrified. “You have kept him alive
Meyes were full of tears. “After all this time?” “Alway
Meyes unfocused… Now Harry was flying alongside Snape o
Meyes. Dumbledore’s betrayal was almost nothing. Of cou
Meyes and turned the stone over in his Mhand three time
154
arked the outer edge of the forest. He opened his
. “You’ve been so brave.” He could not speak. His
v. Voldemort’s expression did not change. The red
me,” said Voldemort in his high, clear voice, his
n his numb Mfingers, and out of the corner of his
Voldemort had frozen where he stood, but his red
n if he proceeded. Harry looked back into the red
o see. In opening them, he discovered that he had
rroundings seemed to invent themselves before his
long silver Mhair and Mbeard, the piercingly blue
by Dumbledore’s tone, by the sudden tears in his
and tears still sparkled in the brilliantly blue
ng for them too?” he asked. Dumbledore closed his
It seemed that he forced himself to meet Harry’s
he came…” Dumbledore looked directly into Harry’s
t Grindelwald was? I think I did, but I closed my
tomb?” suggested Harry, and Dumbledore dabbed his
oke as if to a lover. Harry did not dare open his
see what was happening and why, Harry opened his
hind, kneeling beside Voldemort. Harry closed his
ut he lay quiescent, his Mmouth lolling open, his
Hagrid’s unexpected bellow nearly forced Harry’s
hing their procession pass; he dared not open his
so close to him that Harry did not dare open his
Hagrid was forced to follow. Now Harry opened his
sobbed Hagrid. “Oh, Harry… Harry…” Harry shut his
s head with a single white Mfinger. He closed his
flash of light, and grunt of pain; he opened his
eville’s Mhead, so that it slipped down below his
sed. “Potter doesn’t mean that,” he said, his red
oldemort, and his wholy body was taut and his red
rry as they circled, and stared into each other’s
ldemort, but still he did not strike, and his red
contract to thin slits, saw the Mskin around his
rd, Marms splayed, the slit pupils of the scarlet
our contribution not be forgotten!” But Harry had
Meyes and looked around. They were neither ghost nor tr
Meyes feasted on her, and he thought that he would like
Meyes seemed to burn in the firelight. Slowly he drew t
Meyes on the leaping flames. “I expected him to come.”
Meyes he saw his parents, Sirius, and Lupin vanish as h
Meyes had found Harry, and he stared as Harry moved tow
Meyes, and wanted it to happen now, quickly, while he c
Meyes. He lay in a bright mist, though it was not like
Meyes. A wide-open space, bright and clean, a hall larg
Meyes behind half-moon spectacles, the crooked Mnose: E
Meyes. “The Hallows, the Hallows,” murmured Dumbledore.
Meyes. “Master of death, Harry, master of Death! Was I
Meyes for a moment and nodded. “It was the thing, above
Meyes. “You know what happened. You know. You cannot de
Meyes again. “Grindelwald. You cannot imagine how his i
Meyes. If the plans we were making came to fruition, al
Meyes. After another short pause Harry said, “You tried
Meyes, but allowed his other senses to explore his pred
Meyes by a millimeter. Voldemort seemed to be getting t
Meyes again and considered what he had seen. The Death
Meyes shut, and in the darkness, while the Death Eaters
Meyes open. “Happy now, are yeh, that yeh didn’ fight,
Meyes to look. Some of the Death Eaters called insults
Meyes again. “Come,” said Voldemort, and Harry heard hi
Meyes a fraction, and saw Voldemort striding in front t
Meyes tight again. He knew that they were approaching t
Meyes again. “No!” “No!” “Harry! HARRY!” Ron’s, Hermion
Meyes an infinitesimal amount. Someone had broken free
Meyes. There were movements from the watching crowd in
Meyes wide. “This isn’t how he works, is it? Who are yo
Meyes stared, a snake that was about to strike. “You th
Meyes, green into red. “You won’t be able to kill any o
Meyes did not waver from Harry’s. “Severus Snape wasn’t
Meyes whiten. “It’s your one last chance,” said Harry,
Meyes rolling upward. Tom Riddle hit the floor with a m
Meyes only for the man who stood in the largest portrai
155
love!” “But you know Neville -” James rolled his
rummed his Mfingers on the steering wheel and his
ground, and high-heeled, buckled boots. His blue
nkling light that usually shone from Dumbledore's
Professor Dumbledore, sir." Wiping his streaming
ce, knobbly Mknees, black Mhair, and bright green
ge pink Mface, not much Mneck, small, watery blue
on was tearing the letters into pieces before his
wild, tangled Mbeard, but you could make out his
erce, wild, shadowy Mface and saw that the beetle
ter summat stronger if yeh've got it, mind." His
hing so wonderful, but he still couldn't take his
up in a family o' the biggest Muggles I ever laid
d at Harry with warmth and respect blazing in his
though he could tell it was daylight, he kept his
was going to a school for wizards. When I open my
his Mheart sinking. But he still didn't open his
d toward Harry and seized his Mhand, tears in his
made his way forward, very nervously. One of his
oney first." Harry wished he had about eight more
wn way, because Griphook wasn't steering. Harry's
old man was standing before them, his wide, pale
Harry. Harry wished he would blink. Those silvery
Harry could see himself reflected in those misty
t of control --he was a foot away — he closed his
idn't come... he kept on running... he opened his
" said Harry, pushing his sweaty Mhair out of his
do you want it? You can start collecting." Ron's
es and Wizards cards, but Harry couldn't keep his
irce, Paracelsus, and Merlin. He finally tore his
omehow turned his teacher's wig blue. He kept his
? What if he just sat there with the hat over his
t thing Harry saw before the hat dropped over his
oked past Quirrell's turban straight into Harry's
to remember that as well." Dumbledore's twinkling
clapped loudest. "Ah, music," he said, wiping his
Meyes. “Outside, yeah, but at school he’s Professor Lon
Meyes fell on a huddle of these weirdos standing quite
Meyes were light, bright, and sparkling behind half-moo
Meyes seemed to have gone out. "Well," said Dumbledore
Meyes on his jacket sleeve, Hagrid swung himself onto t
Meyes. He wore round glasses held together with a lot o
Meyes, and thick blond Mhair that lay smoothly on his t
Meyes. Uncle Vernon didut go to work that day. He staye
Meyes, glinting like black beetles under all the Mhair.
Meyes were crinkled in a smile. "Las' time I saw you, y
Meyes fell on the empty grate with the shriveled chip b
Meyes off the giant. Finally, as nobody seemed about to
Meyes on." "We swore when we took him in we'd put a sto
Meyes, but Harry, instead of feeling pleased and proud,
Meyes shut tight. "It was a dream, he told himself firm
Meyes I'll be at home in my cupboard." There was sudden
Meyes. It had been such a good dream. Tap. Tap. Tap. "A
Meyes. "Welcome back, Mr. Potter, welcome back." Harry
Meyes was twitching. "Professor Quirrell!" said Hagrid.
Meyes. He turned his Mhead in every direction as they w
Meyes stung as the cold air rushed past them, but he ke
Meyes shining like moons through the gloom of the shop.
Meyes were a bit creepy. "Your father, on the other han
Meyes. "And that's where..." Mr. Ollivander touched the
Meyes ready for the crash - It didn't come... he kept o
Meyes. A scarlet steam engine was waiting next to a pla
Meyes. "What's that?" said one of the twins suddenly, p
Meyes strayed to the pile of Chocolate Frogs waiting to
Meyes off them. Soon he had not only Dumbledore and Mor
Meyes away from the druidess Cliodna, who was scratchin
Meyes fixed on the door. Any second now, Professor McGo
Meyes for ages, until Professor McGonagall jerked it of
Meyes was the hall full of people craning to get a good
Meyes — and a sharp, hot pain shot across the scar on H
Meyes flashed in the direction of the Weasley twins. "I
Meyes. "A magic beyond all we do here! And now, bedtime
156
ere was a pop, and a little man with wicked, dark
calling the names and looked up at the class. His
himself to keep looking straight into those cold
t help thinking that Hagrid didn't quite meet his
t about it, Hagrid definitely didn't meet Harry's
rkness. They edged along the walls, keeping their
should," said Peeves in a saintly voice, but his
nd her bad temper back again. "You don't use your
CHAPTER TEN HALLOWEEN Malfoy couldn't believe his
y landed next to him. "Very nice," said Wood, his
and peered inside — and a horrible scene met his
he middle of the stands opposite them. He had his
your broomstick, muttering, he wouldn't take his
." "Oh yeah, you're right," said Ron, tearing his
e passed Filch in the doorway; Filch's pale, wild
, he had to find his way back to bed. He tore his
ch cup — I'm Quidditch captain, too. Ron tore his
h laughter, but Ron, still not daring to take his
t," said Hagrid, looking at the dragon with misty
." When they told him about Charlie's letter, his
he light of adventure was kindling again in Ron's
pale sapphires. He looked carefully at Harry, his
The other two stared at him. He was pale and his
k dormitory. He putted out the cloak and then his
re jammed together so he couldn't speak. Only his
on something soft. He sat up and felt around, his
to close in on it!" Harry called, not taking his
med to come from Quirrell's turban. He closed his
ad ever seen. It was chalk white with glaring red
at his Mfingers — they were blistering before his
the windowsill, which gave Harry time to dry his
n, and I thought you might like it." Dumbledore's
ike a Stinging Jinx to me,” said Lucius. His gray
e door, leaving a hole behind, pulled the magical
whose Meyes were now half-closed, strips of white
king. “Yeah, I like that stuff!” Lupin raised an
Meyes and a wide mouth appeared, floating cross- legged
Meyes were black like Hagrid's, but they had none of Ha
Meyes. He had looked through his books at the Dursleys'
Meyes when he said that. "How's yer brother Charlie?" H
Meyes this time. He grunted and offered him another roc
Meyes on the doors at either end of the room. Harry too
Meyes glittered wickedly. "It's for your own good, you
Meyes, any of you, do you?" she snapped. "Didn't you se
Meyes when he saw that Harry and Ron were still at Hogw
Meyes glinting. "I see what McGonagall meant... you rea
Meyes. Snape and Filch were inside, alone. Snape was ho
Meyes fixed on Harry and was muttering nonstop under hi
Meyes off you." "Rubbish," said Hagrid, who hadn't hear
Meyes away from Professor Flitwick, who had golden bubb
Meyes looked straight through him, and Harry slipped un
Meyes away from his mother's Fface, whispered, "I'll co
Meyes away from this splendid sight to look excitedly a
Meyes from the game, said, "You tell him, Neville." "Lo
Meyes. "He really knows me now, watch. Norbert! Norbert
Meyes filled with tears, although that might have been
Meyes, but Hermione answered before Harry could. "Go to
Meyes lingering on the scar that stood out, livid, on H
Meyes were glittering. "I'm going out of here tonight a
Meyes fell on the flute Hagrid had given him for Christ
Meyes were moving, looking at them in horror. "What've
Meyes not used to the gloom. It felt as though he was s
Meyes off the key with the damaged wing. "Ron, you come
Meyes, stepped in front of the mirror, and opened them
Meyes and slits for Mnostrils, like a snake. "Harry Pot
Meyes. "Seize him! SEIZE HIM!" shrieked Voldemort again
Meyes on the sheet. When he had found his voice again,
Meyes twinkled. "Useful things... your father used it m
Meyes raked Harry’s Mforehead. “There’s something there
Meyeball out of it, and placed it in his pocket. The he t
Meyeball all that were visible between his lids. “He’s fa
Meyebrow. “Oh -Ron and Hermione brought me some back from
157
f other teachers. Professor Lupin had raised his
fight it?” said Harry abruptly. Lupin raised his
was losing feeling in-his Mfingers. He raised his
. “Sit down!” said Uncle Vernon. Harry raised his
ndungus on the Mnose and shot red sparks into his
d Hermione looked at each other. Harry raised his
e wondered what it meant.” Xenophilius raised his
e Hallows - really exist?” Xenophilius raised his
t from Kreacher,” she explained as Ron raised his
im from Lord Voldemort’s wrath.” Snape raised his
saw the three of them look stunned and raised his
the ground, and he was terrified a Mfinger or an
expecting, touched Harry’s Mface, pulled back an
lt to understand... His limbs felt like lead; his
cured his vision, brightening when he lowered his
is wand as well! ’Ere, ma’am -” Through his puffy
re’s Mthroat. After a moment or two, Dumbledore’s
n triumph and stamped their feet, and through his
the lightening of the darkness through his closed
Meyebrows. “I was hoping that Neville would assist me with
Meyebrows. “I would have thought that was obvious, Harry,”
Meyebrows at her; she nodded again and let go. Quietly as
Meyebrows. “Please!” added Uncle Vernon, wincing slightly a
Meyebrows, which ignited. “Aquamenti!” screamed Hermione, a
Meyebrows; Hermione gave a tiny, nervous nod. They stepped
Meyebrows. “Are you referring to the sign of the Deathly Ha
Meyebrows again. “Well, of course.” “But,” said Hermione, a
Meyebrows. “It lists the pure-blood families that are now e
Meyebrows and his tone was sardonic as he asked, “Are you i
Meyebrows. "It's not that unusual, yeh get a lot o' funny f
Meyelid might twitch. “You,” said Voldemort, and there wa
Meyelid, crept beneath his shirt, down to his Mchest, and
Meyelids too heavy to lift... He wanted to lie here, on th
Meyelids, disorienting him. Now fear came: Her presence ha
Meyelids Harry saw Narcissa Malfoy scrutinizing his swolle
Meyelids fluttered and opened. “Why,” said Snape, without
Meyelids, Harry saw bursts of red and silver light shoot i
Meyelids, that the trees were beginning to thin. “BANE!” H
MALE FACE(S)/FACEDOWN/FACED
d on the sill, the cool night air pleasant on his Mface after a long time under the blankets. Hedwig had
ive, Voldemort had fled...
But Harry had come Mface-to-Mface with him at Hogwarts. Remembering their
emort had fled...
But Harry had come Mface-to-Mface with him at Hogwarts. Remembering their last meet
e moving photograph, and a grin spread across his Mface as he saw all nine of the Weasleys waving furious
o the man on the television, however, whose gaunt Mface was surrounded by a matted, Melbow-length tangle,
s mean little Meyes now slits in his great purple Mface, “we've told Marge you attend St. Brutus's Secure
oking calmly up into Uncle Vernon's large, purple Mface. “It's a lot to remember. I'll have to make it so
Uncle Vernon stopped, his fist still raised, his Mface an ugly puce. “But if you sign my permission for
of the Hogsmeade form stopped him. He forced his Mface into a painful smile. “Don't you smirk at me!” b
entrate on his food, but his Mhands shook and his Mface was starting to burn with anger. Remember the fo
fferent street. Stan was watching Harry's stunned Mface with great enjoyment. “This is where we was befo
rior sort of chuckle at the blank look on Harry’s Mface, removed the front page, and handed it to Harry.
eyes of Sirius Black, the only part of the sunken Mface that seemed alive. Harry had never met a vampire,
examining the newspaper picture of Black's gaunt Mface again. “Never been a breakout from Azkaban before
uldn't soon forget the look of terror on Hagrid's Mface when he had been told where he was going, and Hag
158
said Stan, beaming at Harry, while Ernie's owlish Mface peered interestedly over Stan's Mshoulder. “And
look of enormous relief spread over the manager's Mface. “Thank heavens for that. I've been bitten five t
eetshop,” said Ron, a dreamy look coming over his Mface, “where they've got everything... Pepper Imps—the
ndful of flames. They illuminated his tired, grey Mface, but his Meyes looked alert and wary. “Stay wher
ry! Are you all right?” Someone was slapping his Mface. “W—what?” Harry opened his Meyes; there were l
sh his glasses back on, he felt cold sweat on his Mface. Ron and Hermione heaved him back onto his seat.
happened?” said Harry, wiping more sweat off his Mface. “Well—that thing—the dementor—stood there and l
Harry's way up the stone steps to the castle, his Mface gleeful and his pale Meyes glinting maliciously.
bustling in. Harry felt himself going red in the Mface. It was bad enough that he'd passed out, or whate
rtled at the expression twisting his thin, sallow Mface. it was beyond anger: it was loathing. Harry kne
ed forward to see Hagrid, who was ruby-red in the Mface and staring down at his enormous Mhands, his wide
n ter you three,” said Hagrid, wiping his shining Mface on his napkin as he looked up at them., “Can' bel
wanted. —” Overcome with emotion, he buried his Mface in his napkin, and Professor McGonagall shooed th
e grass and push up his visor to mop his sweating Mface. “Listen,” said Harry, taking advantage of the k
am sure he will perform it admirably.” Neville's Mface went, if possible, even redder. Snape's Mlip curl
dn't feel like working. He turned around and came Mface-to-Mface with Filch, who had obviously just seen
like working. He turned around and came Mface-to-Mface with Filch, who had obviously just seen off the l
g of Harry's thoughts seemed to have shown on his Mface, because Lupin said, “Anything worrying you, Harr
miled slightly at the look of surprise on Harry’s Mface. “That suggests that what you fear most of all is
Arts job.” Lupin drained the goblet and pulled a Mface. “Disgusting,” he said. “Well, Harry, I'd better
dore's Mback was to him, but he could see Percy's Mface, rapt with attention, and Snape's profile, which
ster with an expression of deep resentment on his Mface; then he too left. Harry glanced sideways at Ron
h. “Detention, Weasley,” Snape said silkily, his Mface very close to Ron's. “And if I ever hear you crit
he growled at his Nimbus as the rain whipped his Mface. 'Faster!” But something odd was happening. An e
ink he's trying to drown himself.” Harry put his Mface to his Mknees, his Mhands gripping his Mhair. Fre
y crocodile heart at Malfoy, which hit him in the Mface and caused Snape to take fifty points from Gryffi
ng Lupin's grey Mhairs and the lines on his young Mface. “Dementors are among the foulest creatures that
ght them —” Lupin looked into Harry's determined Mface, hesitated, then said, “Well... all right. I'll t
assage began to rise. Panting, Harry sped up, his Mface hot, his Mfeet very cold. Ten minutes later, he
ed the look that would spread over Dudley's piggy Mface if he could see where Harry was now. There were
guessed it was Black in this old photograph. His Mface wasn't sunken and waxy, but handsome, full of lau
arry thought, staring into the handsome, laughing Mface. He doesn't have to hear my Mum screaming if they
know,” Hermione said, peering anxiously into his Mface. “I'm fine,” said Harry. “Harry, listen,” said
umped over the table, sobbing uncontrollably, his Mface glazed with tears that dripped down into his tang
, then gave a great wail and lurched forward, his Mface in his Marms. “What about Dumbledore, Hagrid?” s
rid, stroking Fang with one Mhand and mopping his Mface with the other. “Worried abou' Buckbeak, an' no o
159
...” He looked up at them, tears leaking down his
wake up...” Lupin was tapping Harry hard on the
ry suddenly realized that there were tears on his
on his Mface mingling with the sweat. He bent his
James?” said Lupin in a strange voice. “Yeah...”
ew they were friends at Hogwarts too...” Lupin's
onger she was going to keep it. He screwed up his
inest hour,” said Fred, unable to keep a straight
e Firebolt. Ron, an expression of ecstasy on his
were all looking thunderstruck. “Did you see his
y woke as suddenly as though he'd been hit in the
orn from one side, a look of utmost terror on his
so near, and judging by the uneasy look on Ron’s
ok one frightened look at the expression on Ron’s
“Great, you can help me!” said Neville, his round
—” Malfoy suddenly caught sight of Ron. His pale
It came from over there!” said Malfoy, wiping his
rry felt a great tug, then the cloak slid off his
ied to look innocent, all too aware of his sweaty
“I know that,” said Harry, striving to keep his
” Snape went on, pressing his advantage, his thin
coursing through him. He didn't care that Snape's
r, Potter,” he said, a terrible grin twisting his
e map. Harry tried with all his might to keep his
Lupin mildly. “I certainly did,” said Snape, his
ng. An odd, closed expression appeared on Lupin's
ned around and hurried back toward his cabin, his
e first—SMACK! She had slapped Malfoy across the
was a Bludger. George Weasley elbowed Bole in the
till. Malfoy was diving, a look of triumph on his
his Meyes fixed on the window. His normally ruddy
f nowhere, something hit Harry so hard across the
n was stretched so tightly over the Mbones of his
a jet of sparks into the air that missed Harry’s
-poster and collapsed onto it, panting, his white
Professor Lupin came hurtling into the room, his
Mface again. “I don' ever want ter go back ter Azkaban
Mface. This time it was a minute before Harry understoo
Mface mingling with the sweat. He bent his Mface as low
Mface as low as possible, wiping them off on his robes,
MFace dry, Harry looked up. “Why—you didn't know my dad
Mface relaxed. “Yes, I knew him,” he said shortly. “Or
Mface and imitated Professor McGonagall's severe voice.
Mface. “Let the scar on Goyle's Mfinger stand as a last
Mface, mounted the broom and zoomed off into the gather
Mface?” said Ron gleefully, looking back at Malfoy. “He
Mface. Disoriented in the total darkness, he fumbled wi
Mface. “Black! Sirius Black! With a knife!” “What?”
Mface, he had too. They had also forgotten their promis
Mface, gathered up Crookshanks, and hurried away toward
Mface anxious. “I don't understand that thing about the
Mface split in a malevolent grin. “What are you doing,
Mface, and staring at a spot some six feet to the left
Mface. For a split second, Malfoy stared at him. “AAA
Mface and his muddy Mhands, which he quickly hid in his
Mface free of guilt or fear. “It sounds like Malfoy's h
Mface full of malice. “Rules were for lesser mortals, n
Mface had gone rigid, the black Meyes flashing dangerou
Mface. “Have you been imagining some act of glorious he
Mface impassive. “Spare bit of parchment,” he said wit
Mface contorted with fury as he strode back to his desk
Mface. “Well?” said Snape. Lupin continued to stare a
Mface buried in his handkerchief. “Look at him blubber
Mface with all the strength she could muster. Malfoy st
Mface in retaliation. Madam Hooch awarded both teams pe
Mface—there, a few feet above the grass below, was a ti
Mface had gone the colour of parchment. “They're comin
Mface he was knocked off his Mfeet again. He heard Her
Mface, it looked like a skull. His yellow Mteeth were b
Mface by inches; Harry felt the shrunken Marm under his
Mface now tinged with green, both Mhands clutching his
Mface bloodless, his wand raised and ready. His Meyes f
160
about? He turned to look at Black again. Black's
ery slowly, his sunken gaze never leaving Lupin's
't want Harry dead. An odd shiver passed over his
ssed to the four-poster bed and sank onto it, his
him twelve years ago!” He pointed at Black, whose
who was squealing like a piglet, scratching Ron’s
ng Scabbers with a horrible sort of hunger on his
h's adventure. And I haven't changed...” Lupin's
k you...” Snape was slightly breathless, but his
dead. It would have been impossible to say which
d of his wand, which was still pointed at Black's
y... I —” What little colour there was in Blacks
is wet Meyes suddenly seemed to be burning in his
ld see beads of sweat breaking out over his pasty
too... You've got to help me, Remus...” Black's
tigrew, his breathing faster than ever. His whole
igrew again, more shrilly than ever. He wiped his
t men in Azkaban—the spy, Sirius Black!” Black's
me and Remus... and James... Pettigrew wiped his
more attention to the ashen colour of Pettigrew's
and the ghost of a grin flitted across his gaunt
existed?” said Black, with a terrible fury in his
to Lupin's right, right Marm to Ron's left. Ron’s
?” “Yeah, I mean it!” said Harry. Black's gaunt
were hunching. Hair was sprouting visibly on his
elves around Harry's Mneck. They were forcing his
e was shaking his Mhead with a small smile on his
ry's side and was gazing imploringly into Fudge's
Snape whispered, his Meyes fixed on Dumbledore's
ster of Magic...” Harry stared up into the grave
Harry pulled his Mhead out of sight as Macnair's
sed to listen too, that's procedure —” Macnair's
Snape howled, pointing at Harry and Hermione. His
ee a very bleary-Meyed Hagrid, mopping his sweaty
g broadly at the look of horror on Uncle Vernon's
his silhouette. As they drew nearer, however, his
Mface was quite expressionless. For a few seconds, he d
Mface, Black nodded. “Professor,” Harry interrupted lo
Mface. “But I won't deny that I am a werewolf.” Ron ma
Mface hidden in one shaking Mhand. Crookshanks leapt up
Mface twitched convulsively. “I meant to,” he growled,
Mface and Mneck as he tried to escape. “They've—got—a—
Mface. “I'm getting there, Sirius, I'm getting there..
Mface had hardened, and there was self-disgust in his v
Mface was full of suppressed triumph. “You're wondering
Mface showed more hatred. Harry stood there, paralyzed
Mface. Hermione fell silent. “Vengeance is very sweet,
Mface left it. “You -you've got to hear me out,” he cr
Mface. “Together?” he said quietly. “I think so,,, sa
Mface, “you don't believe him, do you...? He tried to k
Mface looked more skull-like than ever as he stared at
Mface was shining with sweat now. “You haven't been hi
Mface on his sleeve and looked up at Lupin. “You don't
Mface contorted. “How dare you,” he growled, sounding
Mface again; he was almost panting for breath. “Me, a
Mface and the way his Meyes continued to dart toward th
Mface. He, too, began rolling up his sleeves. “Shall we
Mface. “Only innocent lives, Peter!” “You don't unders
Mface was set. He seemed to have taken Scabbers's true
Mface broke into the first true smile Harry had seen up
Mface and Mhands, which were curling into clawed paws.
Mface upward... He could feel its breath... It was goin
Mface. “Harry, Harry, you're very confused, you've bee
Mface. “I saw him too. It was Ron's rat, he's an Animag
Mface. “I wish to speak to Harry and Hermione alone,”
Mface and felt as though the ground beneath him were fa
Mface appeared at Hagrid's window, staring out at Buckb
Mface vanished from the window. It was now or never. “
Mface was twisted; spit was flying from his Mmouth. “C
Mface with one of his tablecloth-sized handkerchiefs an
Mface, Harry set off toward the station exit, Hedwig ra
Mface shone through the gloom, Mhairless, snakelike, wi
161
ape, however, looked calmly back into Voldemort’s Mface and, after a moment or two, Voldemort’s Mlipless
his neighbor, Dolohov, a man with a long, twisted Mface, clapped him on the Mback. “It is a start,” said
th anxious expressions. Finally, his large purple Mface crumpled with concentration. Uncle Vernon stopped
rongly that his great black moustache rippled his Mface still purple with concentration. “All right,” he
ped with all his Mheart would never appear on his Mface again. “Miss Granger with Kingsley, again by thes
yes watering slightly, Mhair whipped back off his Mface. Around him brooms were soaring upward too; the l
ext Stunning Spell, Harry saw the strangely blank Mface of Stanley Shunpike - Stan - “Expelliarmus!” Harr
roomstick or thestral to hold him, his snake-like Mface gleaming out of the blackness, his white Mfingers
The motorbike sped up, sucked towards the earth. MFace level with the handlebars, Harry could see nothin
a door opened and Hagrid squeezed through it, his Mface covered in mud and blood, limping a little but mi
supporting George, who was unconscious and whose Mface was covered in blood. Harry ran forward and seize
bbed harder than ever. Colour flooded Fred’s pale Mface. “Pathetic,” he told George. “Pathetic! With the
e staggered off the broom into Lupin’s Marms. his Mface was set and white: He seemed unable to speak, Ron
arated. Voldemort’s curse hit Mad-Eye full in the Mface, he fell backward off his broom and - there was n
ione asked, close enough now to look into Harry’s Mface. “You look awful!” “Well,” said Harry shakily, “I
itch.’ ” Harry was not wearing his glasses; Ron’s Mface appeared slightly blurred. “Who’s Gregorovitch?”
with Ginny’s window. Ginny looked up into Harry’s Mface, took a deep breath, and said, “Happy seventeenth
you?” said Scrimgeour breathing hard into Harry’s Mface. “Remembered that I am not Dumbledore, who forgav
our attitude,” he said, looking Harry full in the Mface once more. “You seem to think that the Ministry d
smile, but as they turned away Harry saw Lupin’s Mface fall again into lines of misery. He did not under
n, Harry hurried back to the entrance to find Ron Mface-to-Mface with a most eccentric-looking wizard. Sl
hurried back to the entrance to find Ron Mface-to-Mface with a most eccentric-looking wizard. Slightly cr
ways good value.” But the smile vanished from his Mface at once: Viktor Krum had dropped into Luna’s vaca
d not come to compliment her. With a scowl on his Mface he said, “Who is that man in the yellow?” “That’s
rview Rita Skeeter gave about Dumbledore?” Doge’s Mface flooded with angry colour. “Oh yes, Harry, I saw
ledore!” Harry looked into Doge’s earnest, pained Mface, and felt, not reassured, but frustrated. Did Dog
that Ariana was dead and then punched him in the Mface. According to Bathilda, Albus did not even defend
was about to argue, even if he could not see his Mface. “Most of the Order was there, they’ll look after
pefy!” The great blond Death Eater was hit in the Mface by a jet of red light: He slumped sideways, uncon
tunning Spell at the Death Eater with the twisted Mface who had tied up Ron, but the spell missed, reboun
r light darting across a terrified, pointed white Mface - with a sense of emerging from deep water, Harry
rge bathtub. He sat up. Malfoy’s gaunt, petrified Mface seemed burned on the inside of his Meyes. Harry f
irius, carelessly handsome, his slightly arrogant Mface so much younger and happier than Harry had ever s
reacher straightened up to look Harry full in the Mface. Then he said, “Yes.” “Where is it now?” asked Ha
appening. He watched Voldemort’s white, snakelike Mface vanishing into darkness, those red Meyes fixed pi
othed out the paper. A huge photograph of his own Mface filled the front page. He read the headline over
162
sion is?” Harry looked into the prematurely lined
’t sticking with your own kid, actually.” Lupin’s
time ever, the shadow of the wolf upon his human
him, but he continued to glare into Lupin’s livid
upin had consoled him. Now Lupin’s tortured white
brought was still lying on the table, Harry’s own
n something interesting. The man with the twisted
the Prophet so as not to have to look at Snape’s
there. Her Fface fell as she looked into Harry’s
aggressively, shaking the bag of pastilles in his
hrough them. The man’s scowling, slightly brutish
Cattermole. “You?” she whispered, gazing into his
urn, saw an inkling of truth dawn on that brutish
r above him. Then an object twitched close to his
ood drenched the whole of Ron’s left side and his
rance, his Mhair turning redder and redder as his
d and opened his Meyes. He was still gray and his
Harry, and Harry could tell by the look on Ron’s
bound, his limbs wrapped about him, his terrified
ated him, Harry saw the delight upon his handsome
those wide, tunnellike pupils and Gregorovitch’s
it was your scar! I can tell by the look on your
a row, Harry ducked back inside. Ron’s still-pale
could have another glimpse of the laughing boy’s
f? Harry could still see the blond-haired youth’s
demanded Ron, whenever he noticed Harry wince. “A
“A Mface,” muttered Harry, every time. “The same
g endlessly on the unknown youth with the gleeful
g, here, into yours?” Phineas Nigellus turned his
Again he saw the contemptuous expression on Ron’s
like the first time in months: The muscles in his
ne was looking at Harry, and he was glad that his
them, boiling hot then instantly freezing on his
eeling paint, then turned and peered into Harry’s
ake flew into the air, smacking Harry hard in the
hood of the cloak, saw the fear cloud his pained
Mface, framed in thick but graying Mhair, and wished th
Mface drained of colour. The temperature in the kitchen
Mface. “Don’t you understand what I’ve done to my wife
Mface. “I’d never have believed this,” Harry said. “The
Mface seemed to swim in the air before him. He felt a s
Mface staring up at the ceiling from the front page. He
Mface pointed and his closest companion, a podgy, palli
Mface. “Well, at least we know exactly where Snape is n
Mface: humor gone, terror replacing it… “Gregorovitch?”
Mface. Looking rather alarmed, the little wizard took o
Mface was somehow at odds with his magnificent, sweepin
Mface. “But - but Reg said you were the one who submitt
Mface. “Come on!” Harry shouted at Hermione; he seized
Mface. He pushed himself onto his Mhands and Mknees, re
Mface stood out, grayish-white, against the leafstrewn
Mface drained of the little colour it had left. “What’s
Mface glistened with sweat. “How d’you feel?” Hermione
Mface that he was thinking the same. “I dunno.” Ron sti
Mface, on a level with Harry’s, ruddy due to the blood
Mface, then the intruder shot a Stunning Spell from his
Mface was stricken with terror. “Who was the thief, Gre
Mface! You were looking into Vol-” “Don’t say his name!
Mface was poking out from the lower bunk; Harry climbed
Mface. The theft had happened many years ago, according
Mface; it was merry, wild; there was a Fred and GeorgeMface,” muttered Harry, every time. “The same Mface. Th
Mface. The thief who stole from Gregorovitch.” And Ron
Mface, whose name and whereabouts, Harry felt sure, Vol
Mface in the direction of Harry’s voice. “Evidently it
Mface. Harry strode off through the heather, walking in
Mface felt oddly stiff. “I might’ve opened it, you know
Mface was hidden in shadow. He read the words on the to
Mface, and what was the point in wiping them off or pre
Mface. Her Feyes were thick with cataracts and sunken i
Mface as it went, coil after heavy coil rising up to th
Mface: Then the child turned and ran away… Beneath the
163
of his crib, and he looked up into the intruder’s
He pointed the wand very carefully into the boy’s
mall sponge in her Fhand: She had been wiping his
ably wasn’t.” Harry looked down upon Dumbledore’s
s, and knew that his anger must have shown in his
book lay on the ground between them, so that the
aration. He had just held a Mhand in front of his
drenched to the skin, his Mhair plastered to his
’s voice and Ron was gazing, mesmerized, into its
r lips met. On the ground in front of them, Ron’s
in a low voice, grateful for the fact that Ron’s
ht you knew.” Ron did not respond, but turned his
a sleepwalker toward Ron, her Feyes upon his pale
hat it was quite difficult to maintain a straight
at?” asked Harry, turning to look Ron full in the
he had retorted to Hermione, and something in his
Xenophilius very clearly, a mulish look upon his
he next level and was distracted at once. His own
old tight… any second…” Xenophilius’s paper-white
cried Hermione, pointing her want first into his
a filthy old man brandishing an ugly ring in the
aw him waving it in the bloke from the Ministry’s
s voice shook and he could feel the colour in his
nt her wand, not toward the outside, but into his
uckled in agony, unable to see. He could feel his
and. Harry clutched at his excruciatingly painful
h the tent!” said another voice. Harry was thrown
nto his Mback. A beam of wand light fell onto his
ion, but on the other hand, he only had until his
ter Harry’s glasses had been rammed back onto his
ed over toward him, Meyes opening in a skull of a
arry saw Narcissa Malfoy scrutinizing his swollen
taller than he was, rising from an armchair, his
the first time since leaving Grimmauld Place. his
se that Harry could see the usually languid, pale
p detail even through his swollen Meyes. With his
Mface with a kind of bright interest, perhaps thinking
Mface: He wanted to see it happen, the destruction of t
Mface. “You’ve been ill,” she finished. “Quite ill.” “H
Mface and experienced a surge of savage pleasure: Now h
Mface. “No,” he said quietly. “No, Hermione, I know it
Mface of Albus Dumbledore smiled dolefully at both. “Ha
Mface to see whether he could make out his Mfingers whe
Mface, the sword of Gryffindor in one Mhand and the Hor
Mface. “Why return? We were better without you, happier
Mface filled with anguish. he raised the sword high, hi
Mface was hidden, “she cried for a week. Probably longe
Mface away from Harry and wiped his Mnose noisily on hi
Mface. She stopped right in front of him, her Flips sli
Mface. Late in the afternoon he and Ron escaped Hermion
Mface desperate for the answer. “I dunno,” said Ron. “S
Mface seemed to decide Ron against pursuing the subject
Mface, “is a shy and highly magical creature, and it’s
Mface was looking back at him from the ceiling of the r
Mface appeared over the top of the sideboard. “Obliviat
Mface then at the floor beneath them. “Deprimo!” She ha
Mface of a Ministry official, and he cried aloud, “Marv
Mface, he nearly shoved it up his Mnose!” “The Peverell
Mface, but he did not care. “My mum told Sirius that Du
Mface; there was a bang, a burst of white light, and he
Mface swelling rapidly under his Mhands as heavy footfa
Mface, which felt unrecognizable beneath his Mfingers,
Mface down onto the ground. A thud told him that Ron ha
Mface and Greyback laughed. “I’ll be needing butterbeer
Mface regained its usual appearance before the game was
Mface. The Snatchers were closing in now, peering at hi
Mface… The frail man sat up, great sunken Meyes fixed u
Mface. Scabior thrust the blackthorn wand at her. She r
Mface a pale and pointed blur beneath white-blond Mhair
Mface was huge, shiny, and pink, every feature distorte
Mface in sharp detail even through his swollen Meyes. W
Mface a puffy mask, Harry felt as though he was peering
164
k properly! What do you think?” Harry saw Draco’s Mface up close now, right beside his father’s. They wer
n have me, keep me!” Bellatrix hit him across the Mface: the blow echoed around the room. “If she dies un
low ceiling, searching for a trapdoor. Dean, his Mface bruised and bloody, said “Thanks” to Luna and sto
ilated in terror. His Meyes had slid from Harry’s Mface to something else. His own silver Mfingers were m
ead. Wormtail’s Meyes rolled upward in his purple Mface; he gave a last twitch, and was still. Harry and
raco doubled over, his Mhands covering his bloody Mface. As Ron ran to pull Hermione out of the wreckage,
her; he was staring at Harry. His deeply scarred Mface was hard to read. Finally, Bill said, “All right.
one occasion. He was emaciated, the bones of his Mface sticking out sharply against the yellowish skin.
ed Ollivander, his protuberant Meyes upon Harry’s Mface. “You ask deep questions, Mr. Potter. Wandlore is
g to do with wands?” Harry looked into the sunken Mface and believed that Ollivander was not acting. He d
ised the wand again. The wrappings fell open. The Mface was translucent, pale, sunken, yet almost perfect
mpty sea, and the feel of cold, salty wind on his Mface. The enormity of his decision not to race Voldemo
e can have it.” A grin spread slowly across Ron’s Mface. Hermione, however, looked alarmed. “Harry, we ca
ad been created since his last visit. Harry’s own Mface glared down at him from posters plastered over ma
reasure rose in waves, and sweat ran down Harry’s Mface and Mback as he struggled to think of a way up to
grunted. Harry approached him looking up into the Mface: trying to see past the long, stringy, wire-gray
y, “Bellatrix Lestrange killed him.” The barman’s Mface was impassive. After a few moments he said, “I’m
positively dangerous look crept over Aberforth’s Mface. “Grindelwald. And at last, my brother had an equ
go back to Hogwarts, so I told ’em, both of ’em, Mface-to-Mface, like I am to you, now,” and Aberforth l
to Hogwarts, so I told ’em, both of ’em, Mface-to-Mface, like I am to you, now,” and Aberforth looked dow
nd it -” The colour was draining from Aberforth’s Mface as though he had suffered a mortal wound. “- and
e appeared to have suffered several gashes to his Mface and his clothes were ripped and torn. Larger and
revealed. And out of it, his Mhair overgrown, his Mface cut, his robes ripped, clambered the real Neville
yellow and purple, there were gouge marks on his Mface, and his general air of unkemptness suggested tha
anymore,” said Neville, the smile fading from his Mface as he spoke. “Do you know about the Carrows?” “Th
got this one,” he indicated another slash to his Mface, “for asking her how much Muggle blood she and he
Harry had not recognized until he spoke: Seamus’s Mface was bruised and puffy. “It’s a proper hideout, as
n the Room of Requirement, sweat pouring from his Mface and Ron holding him up. “Are you all right, Harry
Hunched like his sister, he had a pallid, doughy Mface and tiny Meyes, which fell at once on Alecto, spr
sh it off on the kids,” said Amycus, his pig like Mface suddenly crafty. “Yeah, that’s what we’ll do. We’
as offensively close to Professor McGonagall, his Mface within inches of hers. She refused to back away,
easy black Mhair hung in curtains around his thin Mface, how his black Meyes had a dead, cold look. He wa
He put the map away, pressed his Mhands over his Mface, and closed his Meyes, trying to concentrate. Vol
“We can do Diss-lusion Charms now! And then,” his Mface split into a gormless grin, “you turned up right
ose Mhair, like Hermione’s, was singed, and whose Mface was blackened. “If he hadn’t tried to kill us all
the ghost of his last laugh still etched upon his Mface. CHAPTER THIRTY-TWO THE ELDER WAND The world had
165
saw tear tracks streaking the grime coating Ron’s Mface as he sezied his elder brother’s Mshoulders and p
“I wanna help - I wanna kill Death Eaters -” his Mface was contorted, smeared with dust and smoke, and h
teachers. Dean had won himself a wand, for he was Mface-to-Mface with Dolohov, Parvati with Travers. Harr
Dean had won himself a wand, for he was Mface-to-Mface with Dolohov, Parvati with Travers. Harry, Ron an
now, see the red Meyes, the flattened, serpentine Mface, the pallor of him gleaming slightly in the semid
ain. Snape did not speak. Harry could not see his Mface. He wondered whether Snape sensed danger, was try
denly he was Voldemort, looking into Snape’s pale Mface. “My wand of yew did everything of which I asked
.” And now Snape looked at Voldemort, and Snape’s Mface was like a death mask. It was marble white and so
.” There was a terrible scream. Harry saw Snape’s Mface losing the little colour it had left; it whitened
did not know what he felt as he saw Snape’s white Mface, and the Mfingers trying to staunch the bloody wo
stringy. There was undisguised greed in his thin Mface as he watched the younger of the two girls swingi
aned against it, looking up into the thin, sallow Mface. “That was nothing,” said Snape. “It was a laugh,
d you from whatever’s down there -” Snape’s whole Mface contorted and he spluttered, “Saved? Saved? You t
Snape with his robes whipping around him, and his Mface was illuminated from below in the light cast by h
ing grim. After a moment or two, Snape raised his Mface, and he looked like a man who had lived a hundred
d, looking down into Snape’s ferocious, anguished Mface. “If you insist…” The office dissolved but re-for
snarled Snape, and real anger flared in the thin Mface now. “You take a great deal for granted, Dumbledo
th Mundungus in an unfamiliar tavern, Mundungus’s Mface looking curiously blank, Snape frowning in concen
E FOREST AGAIN Finally, the truth. Lying with his Mface pressed into the dusty carpet of the office where
rock cakes and giant grubs, and his great bearded Mface, and Ron vomiting slugs, and Hermione helping him
thed, the smell of the grass, the cool air on his Mface, was so precious: To think that people had years
race, his Mhands in his pockets and a grin on his Mface. Lupin was younger too, and much less shabby, and
m, and her green Feyes, so like his, searched his Mface hungrily, as though she would never be able to lo
t up. His body appeared unscathed. He touched his Mface. He was not wearing glasses anymore. Then a noise
l into the other, staring at his old headmaster’s Mface. Dumbledore’s long silver Mhair and Mbeard, the p
rry onward, a broad smile of encouragement on his Mface. “… has it gone?” “Oh yes!” said Dumbledore. “Yes
that the words wiped the smile from Dumbledore’s Mface. “Ah, yes,” he said. He even looked a little worr
misunderstand me,” he said, and pain crossed the Mface so that he looked ancient again. “I loved them, I
ofter than he had been expecting, touched Harry’s Mface, pulled back an Meyelid, crept beneath his shirt,
oman’s fast breathing, her long Fhair tickled his Mface. He knew that she could feel the steady pounding
head bent so low that her long Fhair shielded his Mface from the onlookers. “Yes,” he breathed back. He f
-” Someone slammed Harry’s glasses back onto his Mface with deliberate force, but the enormous Mhands th
y all at once, and there was a cold hatred in his Mface as they wove and ducked around him, unable to fin
… “Is it love again?” said Voldemort, his snake’s Mface jeering. “Dumbledore favorite solution, love, whi
Harry, and he saw shock flit across the snakelike Mface, though it was instantly dispelled; Voldemort beg
, feel it building inside the wand pointed at his Mface. “The true master of the Elder Wand was Draco Mal
166
Draco Malfoy.” Blank shock showed in Voldemort’s
d shrunken, the white Mhands empty, the snakelike
hat fear was. Harry crouched down so that Albus’s
ren that before, and he saw the wonder in Albus’s
arry walked alongside it, watching his son’s thin
lmost knocked to the ground. On the contrary, his
s of bushy black Mhair and Mbeard hid most of his
out a large, spotted handkerchief and burying his
t four times bigger than he was. Harry had a thin
oked a lot like Uncle Vernon. He had a large pink
Dudley, meanwhile, was counting his presents. His
thirty-seven then," said Dudley, going red in the
lly cried — but he knew that if he screwed up his
n with his mother. Piers was a scrawny boy with a
rning you," he had said, putting his large purple
right around in his seat and yelled at Harry, his
etter open with one Mhand and glancing at it. His
g. He took a few deep breaths and then forced his
t the big, squashy something had been his uncle's
A giant of a man was standing in the doorway. His
t. Harry looked up into the fierce, wild, shadowy
rry asked urgently. The anger faded from Hagrid’s
the back of the shop, a boy with a pale, pointed
ad, facing the platforms with a nasty grin on his
te Frog and picked up the card. It showed a man's
r and saw, to his astonishment, that Dumbledore's
ed at Ron, and was relieved to see by his stunned
and Ron stood up. "Say that again," Ron said, his
here! All right there, Harry?" Hagrid's big hairy
d Mhair." "Wearing the glasses?" "Did you see his
saying, "Back, Fang --back." Hagrid's big, hairy
tight like this and if it turns red — oh..." His
ve feet — twenty feet. Harry saw his scared white
can say 'Quidditch.' Come on, dear." Neville, his
than Malfoy burst into laughter. "Did you see his
y Slytherin, I couldn't look Severus Snape in the
Mface for a moment, but then it was gone. “But what doe
Mface vacant and unknowing. Voldemort was dead, killed
Mface was slightly above his own. Alone of Harry’s thre
Mface when he said it. But now the doors were slamming
Mface, already ablaze with excitement. Harry kept smili
Mface split into a wide smile and he said in a squeaky
Mface, he had Mhands the size of trash can lids, and hi
Mface in it. "But I c-ccan't stand it — Lily an' James
Mface, knobbly Mknees, black Mhair, and bright green Me
Mface, not much Mneck, small, watery blue Meyes, and th
Mface fell. "Thirty-six," he said, looking up at his mo
Mface. Harry, who could see a huge Dudley tantrum comin
Mface and wailed, his mother would give him anything he
Mface like a rat. He was usually the one who held peopl
Mface right up close to Harry's, "I'm warning you now,
Mface like a gigantic beet with a moustache: "MOTORCYCL
Mface went from red to green faster than a set of traff
Mface into a smile, which looked quite painful. "Er — y
Mface. Uncle Vernon had been lying at the foot of the f
Mface was almost completely hidden by a long, shaggy ma
Mface and saw that the beetle Meyes were crinkled in a
Mface. He looked suddenly anxious. "I never expected th
Mface was standing on a footstool while a second witch
Mface. "Well, there you are, boy. Platform nine — platf
Mface. He wore half-moon glasses, had a long, crooked M
Mface had disappeared. "He's gone!" "Well, you can't ex
Mface that he hadn't learned all the course books by Mh
Mface as red as his Mhair. "Oh, you're going to fight u
Mface beamed over the sea of heads. "C'mon, follow me —
Mface?" "Did you see his scar?" Whispers followed Harry
Mface appeared in the crack as he pulled the door open.
Mface fell, because the Remembrall had suddenly glowed
Mface look down at the ground falling away, saw him gas
Mface tear-streaked, clutching his Mwrist, hobbled off
Mface, the great lump?" The other Slytherins joined in.
Mface for weeks...." Professor McGonagall peered sternl
167
ast on his cold pie. Catching the look on Harry’s Mface, he added quickly, "But people only die in proper
l rule today. On the other hand, Malfoys sneering Mface kept looming up out of the darkness — this was hi
darkness — this was his big chance to beat Malfoy Mface to- Mface. He couldn't miss it. "Half-past eleven
this was his big chance to beat Malfoy Mface to- Mface. He couldn't miss it. "Half-past eleven," Ron mut
Harry with a mixture of jealousy and spite on his Mface. "You'll be in for it this time, Potter, first ye
ng not to laugh at the look of horror on Malfoy's Mface. "And it's really thanks to Malfoy here that I've
gh in the air and then pelted straight at Harry’s Mface. Harry swung at it with the bat to stop it from b
into the hall, his turban askew and terror on his Mface. Everyone stared as he reached Professor Dumbledo
to shut the door quietly, but - "POTTER!" Snape's Mface was twisted with fury as he dropped his robes qui
ch in a few hours — but the expression on Snape's Mface when Harry had seen his Mleg wasn't easy to forge
— passes Spinnet --passes Bell — hit hard in the Mface by a Bludger, hope it broke his Mnose --only joki
ssor Snape," said Hagrid, sticking his huge hairy Mface out from behind the tree. "Malfoy was insultin' h
visibility cloak," said Ron, a look of awe on his Mface. "I'm sure it is — try it on." Harry threw the cl
y watched Hagrid getting redder and redder in the Mface as he called for more wine, finally kissing Profe
d Section." Harry felt the blood drain out of his Mface. Wherever he was, Filch must know a shortcut, bec
"I need to concen -— " He caught sight of Harry’s Mface. "What's the matter with you? You look terrible."
Mshoulder and looked up into Dumbledore's smiling Mface. "Well done," said Dumbledore quietly, so that on
ere, too. Harry couldn't make out the look on his Mface, but he was stuttering worse than ever. Harry str
he heard? Harry didn't like the look on Malfoy's Mface at all. Ron and Hermione argued all the way to He
answer when the colour suddenly drained from his Mface --he leapt to his Mfeet and ran to the window. "W
on. Something about the smile lurking on Malfoy's Mface during the next week made Harry, Ron, and Hermion
tairs. As they stepped into the corridor, Filch's Mface loomed suddenly out of the darkness. "Well, well,
n't be so bad. His relief must have showed in his Mface, because Filch said, "I suppose you think you'll
bin a dragon dealer, mightn' he? I never saw his Mface, he kept his hood up." Harry sank down next to th
e swayed where he stood and then fell flat on his Mface, stiff as a board. Hermione ran to turn him over.
s he joined her by the wall, wiping sweat off his Mface. "Yeah," said Ron, "and lucky Harry doesn't lose
... I'll run." He took a deep breath, covered his Mface with his Marms, and sprinted across the room. He
here was no alternative. "Ready?" Ron called, his Mface pale but determined. "Here I go — now, don't hang
irrell. "You!" gasped Harry. Quirrell smiled. His Mface wasn't twitching at all. "Me," he said calmly. "I
t time, a spasm of fear flitted across Quirrell's Mface. "Sometimes," he said, "I find it hard to follow
e high voice spoke again. "Let me speak to him... Mface-to-Mface..." "Master, you are not strong enough!"
ice spoke again. "Let me speak to him... Mface-to-Mface..." "Master, you are not strong enough!" "I have
have been a back to Quirrell's Mhead, there was a Mface, the most terrible Mface Harry had ever seen. It
ell's Mhead, there was a Mface, the most terrible Mface Harry had ever seen. It was chalk white with glar
legs wouldn't move. "See what I have become?" the Mface said. "Mere shadow and vapor... I have form only
stumbled backward. "Don't be a fool," snarled the Mface. "Better save your own life and join me... or you
168
, so that Voldemort could still see him. The evil Mface was now smiling. "How touching..." it hissed. "I
y, by instinct, reached up and grabbed Quirrell's Mface - "AAAARGH!" Quirrell rolled off him, his Mface b
s Mface - "AAAARGH!" Quirrell rolled off him, his Mface blistering, too, and then Harry knew: Quirrell co
asses. How strange. He blinked again. The smiling Mface of Albus Dumbledore swam into view above him. "Go
ledore smiled at the look of amazement on Harry’s Mface. "To one as young as you, I'm sure it seems incre
"It's — all — my — ruddy — fault!" he sobbed, his Mface in his Mhands. I told the evil git how ter get pa
to Mr. Ronald Weasley..." Ron went purple in the Mface; he looked like a radish with a bad sunburn. "...
surprised at the grin that was spreading over his Mface. "They don't know we're not allowed to use magic
ly wild swing made him overbalance, and he landed Mfacedown in the grass. “Are you all right?” said Harry, m
.. He felt himself fall forward onto the grass... MFacedown, too weak to move, sick and shaking, Harry opened
rawled under the bed and armchair. At last, lying Mfacedown on the floor, he spotted what looked like a torn
der than he had ever been in his life, he came to Mfacedown in the snow. Somewhere, close by, another person
orridor beyond. Malfoy fell off the broom and lay Mfacedown, gasping, coughing, and retching. Harry rolled ov
was gone. CHAPTER THIRTY-FIVE KING’S CROSS He lay Mfacedown, listening to the silence. He was perfectly alone
PTER THIRTY-SIX THE FLAW IN THE PLAN He was lying Mfacedown on the ground again. The smell of the forest fill
- WHAM — a thud and a nasty crack and Neville lay Mfacedown on the grass in a heap. His broomstick was still
gged him off the board, where he lay quite still, Mfacedown. "Had to let that happen," said Ron, looking shak
Mhand on each arm of Harry's chair, so that their Mfaces were a foot apart. “If your Mhead was in Hogsmead
ry. Through the small space between their jeering Mfaces he saw Draco Malfoy. “That’s my wand you’re holdi
d they looked for a long moment into each other’s Mfaces. “Tell me one last thing,” said Harry, “Is this r
f the nearest window. The light hit both of their Mfaces at the same time, so that Voldemort’s was suddenl
t sight of Malfoy, Crabbe, and Goyle's triumphant Mfaces as he left, walking numbly in Professor McGonagal
n Voldemort.
CHAPTER SEVENTEEN THE MAN WITH TWO MFACES It was Quirrell. "You!" gasped Harry. Quirrell sm
once or twice more, Dudley subsided into scarlet-Mfaced silence. Aunt Petunia burst into tears. Hestia Jo
k where… With Gregorovitch dead, it was the merry-Mfaced thief who was in danger now, and it was on him th
to Harry, who pictured a round-bellied, cheerful-Mfaced man. “Six weeks… Seven… I forget,” said the tired
e snatched it up. It was the golden-haired, merry-Mfaced thief, the young man who had perched on Gregorovi
open. Lupin fell over the threshold. He was white-Mfaced, wrapped in a traveling cloak, his graying Mhair
MALE FEET
tunia,” said Uncle Vernon, getting heavily to his
idea. Abandoning his toast, he got quickly to his
car crash!” said Harry, who found himself on his
y snatched up his wand again and scrambled to his
toward Harry. “Eat, Harry, you look dead on your
Lupin. “New teacher,” said Harry, who got to his
Mfeet, “I'll be off to the station, then. Want to come
Mfeet and followed Uncle Vernon to the front door. Unc
Mfeet. “They died in a car crash, you nasty little lia
Mfeet. Close up, he saw that Stan Shunpike was only a f
Mfeet. Now then... You will be pleased to hear that we
Mfeet, too, in case he needed to hold Ron back. “What w
169
n the same hoarse voice, and he got slowly to his
age seemed to vanish instantly. He clanked to his
, and a silvery ladder descended right at Harry's
pin. I'd rather not witness this.” He got to his
n out of its way and it came to a halt at Harry's
rise. Panting, Harry sped up, his Mface hot, his
steps, he lost count as he climbed, watching his
cleaned us out —” said a woman's voice. A pair of
pty tankard and watched the teachers' and Fudge's
r, hear!” squeaked tiny Professor Flitwick, whose
MISSING “W—what?” said Harry, scrambling to his
ed he'd be leaving Privet Drive, Harry got to his
arry's Mlegs felt like water, he was still on his
swollen —” “SHUT UP!” Harry was suddenly on his
sulted in my death if your father hadn't got cold
Finally, after about twenty minutes, Ron's large
er as they hurtled after Ron; they could hear his
skidded around for a new attack. Ron was on his
y so hard across the Mface he was knocked off his
o Black himself, crumpled and bleeding at Harry's
Black's side, seized his Mhand, pulled him to his
oking at them. Little patches of dust rose at his
VOLDEMORT Hermione screamed. Black leapt to his
or rattle on its hinges; Snape was lifted off his
g it tightly to a splint. Lupin helped him to his
. He hung a few inches above the ground, his limp
oice — And then he felt solid ground beneath his
t risk it happenin again. Harry scrambled to his
untain was playing. Gravel crackled beneath their
e Vernon, but Harry lost patience. Getting to his
ll in the kitchen. Moody dropped his sacks at his
y stuffed his rucksack and broomstick down by his
urtled away from Mr. Tonks. Second later, Harry’s
ollapsed on landing, clambered laboriously to his
over their Mheads and a ladder slid down to their
f sheepish; he rocked backward and forward on his
Mfeet with his Mhandful of fire held out in front of hi
Mfeet and shouted, “Come follow me, dear friends, and w
Mfeet. Everyone got quiet. “After you,” said Ron, grin
Mfeet and strode past the class, his black robes billow
Mfeet. He raised his wand, ready, but — “Here!” shoute
Mfeet very cold. Ten minutes later, he came to the foo
Mfeet... Then, without warning, his Mhead hit something
Mfeet was coming down the staircase. Harry leapt behind
Mfeet move toward the bar, pause, then turn and walk ri
Mfeet were dangling a foot from the ground. “All the s
Mfeet. “Why?” “It will need to be checked for jinxes,”
Mfeet and faced the packing case once more. “Ready?” s
Mfeet—though for how much longer, he wasn't sure — “Ri
Mfeet. Rage such as he had not felt since his last nigh
Mfeet at the last moment. There was nothing brave about
Mfeet reappeared on the ladder. “How'd it go?” Harry a
Mfeet thundering along ahead and his shouts at Crooksha
Mfeet. As the dog sprang back toward them he pushed Har
Mfeet again. He heard Hermione shriek with pain and fa
Mfeet. “Expelliarmus!” Lupin shouted. Harry's wand fl
Mfeet so that Crookshanks fell to the floor, and embrac
Mfeet. “You might have been wearing your father's old
Mfeet. Harry felt as though he'd received a huge electr
Mfeet and slammed into the wall, then slid down it to t
Mfeet; Ron put his weight gingerly on the Mleg and didn
Mfeet dangling. Lupin picked up the Invisibility Cloak
Mfeet, and everything came into focus again — He was s
Mfeet. “I'm going to see him,” he said to Ron and Herm
Mfeet as Snape and Yaxley sped toward the front door, w
Mfeet, he advanced on his uncle, not pointing at the TV
Mfeet and turned to Harry. “As Dedalus probably told yo
Mfeet and rammed Hedwig’s cage between his Mknees. He w
Mfeet slammed onto hard ground and he fell onto his Mha
Mfeet. “Harry? You are the real Harry? What happened? W
Mfeet. A horrible, half-sucking, half-moaning sound cam
Mfeet for a moment, then said, “Right then, well, that’
170
uted Scrimgeour, standing up: Harry jumped to his
” he said, draining his goblet and getting to his
ndo!” The severed ropes fell away. Ron got to his
up goat charming like Aberforth… Harry got to his
ned up when he was really young and then got cold
e elf and tried to hug him. At once he was on his
o that for us?” As Kreacher nodded and got to his
the kid and run off with us?” Lupin sprang to his
was coming from, but it had propelled him to his
pathetic, Ron uncertain. Harry looked down at his
hin air right beside his chair. He hurried to his
the cubicle, just in time to see a pair of booted
h he appeared to be standing in water, his shoes,
at Harry was forced to stoop to make sure his big
Ministry of Magic and the Wizarding world at his
see you -” “Shut up!” said Harry, leaping to his
rsed in memories of his greatest loss, and at his
rated. The usual tightness engulfed them; Harry’s
emed simply to drift toward him. He jumped to his
He set off in pursuit. Snow crunched beneath his
of the pool, he felt for the blade with his numb
get up. Shivering violently, he staggered to his
his Mnose noisily on his sleeve. Harry got to his
back and walked back to Ron, who clambered to his
and he became engrossed in a tuft of grass at his
the blackthorn wand levitate small stones at his
” With another glance at the window he got to his
old him that Xenophilius had been blasted off his
“The name’s Taboo!” Ron bellowed, leaping to his
ino peacock. He stumbled and was dragged onto his
growled Greyback. Harry was nearly thrown off his
shaped eyes were wide; he was trembling from his
he dropped Bellatrix’s wand onto the floor at his
elled, “Stupefy!” The werewolf was lifted off his
e kitchen, looking frightened; Bill jumped to his
clining yet another goblet of wine. He got to his
Mfeet too. Scrimgeour limped toward Harry and jabbed hi
Mfeet again, “is the point of being an international Qu
Mfeet, shaking his Marms to regain feeling in them. Har
Mfeet and scanned the floor: Perhaps the rest of the le
Mfeet and tried to leave - so they killed him.” “That f
Mfeet, cringing away from her, quite obviously repulsed
Mfeet, Harry had a sudden inspiration. He pulled out Ha
Mfeet: His chair toppled over backward, and he glared a
Mfeet too. Lupin looked as though Harry had hit him. “I
Mfeet, thinking of his father. Would James have backed
Mfeet as Kreacher disentangled himself and, bowing low
Mfeet climbing into the toilet next door. He looked lef
Mfeet, and robes remained quite dry. He reached up, pul
Mfeet were hidden. Panic pulsed in the pit of his Mstom
Mfeet, was he far away, intent on the pursuit of an obj
Mfeet and holding up both Mhands. “Shut up now!” Hermio
Mfeet the great snake slithered over broken china and g
Mfeet parted company with the snowy ground, then slamme
Mfeet, his voice frozen in his throat, and raised Hermi
Mfeet, but the doe made no noise as she passed through
Mfeet. He only wanted to dive once. Harry put off the m
Mfeet. There before him stood Ron, fully dressed but dr
Mfeet again and walked to where Ron’s enormous rucksack
Mfeet as Harry approached, Meyes bloodshot but otherwis
Mfeet, which he prodded with his Mtoe, “he must’ve know
Mfeet; but his magic still seemed clumsier and less pow
Mfeet, picked up the tray, and headed for the spiral st
Mfeet and fallen backward down the spiral stairs. Half
Mfeet as a loud crack sounded outside the tent. “I told
Mfeet by Greyback; now he was staggering along sideways
Mfeet as the Snatchers forced the prisoners to swivel a
Mfeet to the tips of his Mears. He was back in the home
Mfeet, Ron did the same with Wormtail’s. Both raised th
Mfeet by the triple spell, flew up to the ceiling and t
Mfeet, his wand pointing at the door; Harry, Ron, and H
Mfeet and pulled his travelling cloak back around himse
171
Perfect,” she said, bending down to check Harry’s
e compressing darkness, and seconds later Harry’s
ief’s Downfall!” said Griphook, clambering to his
Slipping on the hot metal, Harry struggled to his
happily lain down and slept, he staggered to his
cle of wizards faced him, and on the floor at his
ers are, and the last one,” he was already on his
Hogwarts it is?” asked Ron, now scrambling to his
. CHAPTER TWENTY-EIGHT THE MISSING MIRROR Harry’s
ther’s. At last he cleared his throat, got to his
the rotting floorboards were ripped apart at his
ted, “Crucio!” The Death Eater was lifted off his
s as the enormous bearded figure clambered to his
loodlust under their arms. Harry staggered to his
fter that fire?” asked Ron, but he too got to his
e marble banisters and struggled to return to his
e spoke so close to them that Harry jumped on his
ry dived. He fell headlong into sunlight, and his
welcome in her voice, but Snape had jumped to his
millimeter. Voldemort seemed to be getting to his
hem all. “It is over! Set him down, Hagrid, at my
g down at Neville, who was struggling back to his
s robes, swunt it over himself, and sprang to his
and the snake’s body thudded to the ground at his
ry slid the Cloak up over himself, and got to his
he had Mhands the size of trash can lids, and his
. "Now wait jus' one second!" He had leapt to his
ewspaper held in its beak. Harry scrambled to his
— yes, they did, yes," said Hagrid, shuffling his
thin, and gangling, with freckles, big Mhands and
Harry, who hadn't had any breakfast, leapt to his
emed ages ago. Albus Dumbledore had gotten to his
disappeared, and Professor Dumbledore got to his
extraordinary number of accidents even with both
l out of his Mhand. Harry and Ron jumped to their
said only too clearly that he wanted to keep his
Mfeet. “I can’t see a thing. Let’s go.” Harry turned on
Mfeet found pavement and he opened his Meyes on Charing
Mfeet and looking back at the deluge onto the tracks, w
Mfeet and knew that the only way out was through. “Stup
Mfeet, drew out his wand, and started casting the usual
Mfeet knelt a small, quaking figure. “What did you say
Mfeet, “Is at Hogwarts. I knew it. I knew it.” “What?”
Mfeet too. “No, he was concentrating on warning Snape,
Mfeet touched the road. He saw the achingly familiar Ho
Mfeet, walked around the little table, and approached t
Mfeet, a disinterred golden box lay open and empty besi
Mfeet. He writhed through the air like a drowning man,
Mfeet “What the -?” “Harry, yer here! Yer here!” Hagrid
Mfeet when the Headless Hunt had passed and looked arou
Mfeet, rubbing his Mchest and looking left and right. “
Mfeet. Then, with a bright white flash and a crack, a c
Mfeet, the flask gripped tightly in his Mhands, thinkin
Mfeet found warm ground. When he straightened up, he sa
Mfeet. “Who’s spying now?” he shouted. “What d’you want
Mfeet. Various Death Eaters were hurrying away from him
Mfeet, where he belongs!” Harry felt himself lowered on
Mfeet, unarmed and unproctected, standing in the no-man
Mfeet, as Neville moved too. In one swift, fluid motin,
Mfeet - Hidden beneath the Invisibilty Cloak, Harry cas
Mfeet. Now he could move through the Hall without inter
Mfeet in their leather boots were like baby dolphins. I
Mfeet. In his anger he seemed to fill the whole hut. Th
Mfeet, so happy he felt as though a large balloon was s
Mfeet. "I've still got the pieces, though," he added br
Mfeet, and a long Mnose. "Yes," said Harry. "The thing
Mfeet, but Ron's Mears went pink again and he muttered
Mfeet. He was beaming at the students, his Marms opened
Mfeet again. The hall fell silent. "Ahern — just a few
Mfeet on the ground. Hermione Granger was almost as ner
Mfeet. They were half hoping for a reason to fight Malf
Mfeet on the ground. Madam Hooch then showed them how t
172
McGonagall was running toward them. He got to his
"Don't leave me!" said Neville, scrambling to his
hat made the whole room tremble. Harry got to his
ir tree blocking the corridor ahead. Two enormous
ell. "It is! Look down!" Harry looked down at his
no one else. just as Ron started moaning that his
e. Neville's Mlegs sprang apart and he got to his
suddenly drained from his Mface --he leapt to his
ll right?" said the centaur, pulling Harry to his
fy... never... but - Harry suddenly jumped to his
e king took off his crown and threw it at Harry's
s binding Harry fell off. Harry got slowly to his
and Quirrell lunged, knocking Harry clean off his
stop him from doing a curse. Harry jumped to his
Mfeet, trembling. "Never — in all my time at Hogwarts Mfeet, "I don't want to stay here alone, the Bloody Bar
Mfeet. He was shaking and out of breath. Ron was standi
Mfeet sticking out at the bottom and a loud puffing sou
Mfeet, but they were gone. He dashed to the mirror. Sur
Mfeet were dead with cold, Harry spotted the suit of ar
Mfeet, trembling. "What happened?" Hermione asked him,
Mfeet and ran to the window. "What's the matter?" "Some
Mfeet. "Yes — thank you — what was that?" The centaur d
Mfeet. "Where're you going?" said Ron sleepily. "I've j
Mfeet. They had won. The chessmen parted and bowed, lea
Mfeet. "Come here," Quirrell repeated. "Look in the mir
Mfeet' landing on top of him, both Mhands around Harry'
Mfeet, caught Quirrell by the arm, and hung on as tight
MALE FINGER(S)/FINGERED/FINGERNAIL(S)/FINGERTIPS
and while we're on the subject”—he pointed a fat
d any luck with Black yet?” Harry asked. Fudge's
e book tried to bite, but Hagrid ran a giant fore
gsmeade,” said Fred, tracing one of them with his
traced the secret passage to Honeydukes with his
the Order of Merlin, First Class, and Pettigrew's
if I lose the case, Buckbeak —” Hagrid drew his
o keep a straight Mface. “Let the scar on Goyle's
t hole?” “Ask him!” said Ron, pointing a shaking
pin. “The biggest bit of Peter they found was his
g at Black, and Harry saw that he used his middle
he's a rat —” “— Pettigrew's front paw, I mean,
Then he tramped across to the bathroom to run his
d to admit to himself that this jagged cut in his
mulch, experienced a stabbing pain in the fourth
… A flash of brightest blue. Harry froze, his cut
es now. Tha’ one was my idea.” He pointed a thick
ed up just in time to see Hagrid slamming a thick
le. “Thanks,” said Harry, reaching out to place a
ed into nothingness, spinning uncontrollably, his
Mfinger threateningly at Harry—”we need to get a few thin
Mfinger slipped on the silver fastenings of his cloak. “
Mfinger down its spine, and the book shivered, and then f
Mfinger. “There are seven in all. Now, Filch knows about
Mfinger. Then, quite suddenly, as though following order
Mfinger in a box. That was the biggest bit of him they co
Mfinger swiftly across his throat, then gave a great wail
Mfinger stand as a lasting tribute to his memory. Oh, com
Mfinger at the back of Sir Cadogan's picture. “Ask him if
Mfinger.” “Look, Scabbers probably had a fight with anot
Mfinger, because his index was missing. “He killed Lily a
Mfinger, he cut it off —” “— Pettigrew attacked Ron, it
Mfinger under the tap. It was stupid, pointless, irritati
Mfinger would have defeated him. He had never learned how
Mfinger of his right Mhand, and withdrawn it to see a lot
Mfinger slipping on the jagged edge of the mirror again.
Mfinger at a purple button near the speedometer. “Please
Mfinger into a green button near the fuel gauge. A wall,
Mfinger on it, ready to leave. “Wait a moment,” said Hagr
Mfinger glued to the Portkey as he and Hagrid hurtled awa
173
ing how he vos finished. But this” - he pointed a Mfinger at Xenophilius - “this is his symbol, I recognize
k, but this is different. Hermione,” Ron jabbed a Mfinger at a copy of the Daily Prophet dated ten days pre
on, illustrating the movement with his free index Mfinger, “right to my Mchest, and then - it just went str
Peverell.” “Exactly!” said Xenophilius, his fore Mfinger raised pedantically. “The sign of the Death Hallo
foul in Harry’s Mnostrils as he pressed a filthy Mfinger to the taught scar. “Don’t touch it!” Harry yelle
the Dark Lord comes now!” Lucius froze, his index Mfinger hovering over his own Mark. Bellatrix strode out
im harder into the ground, and he was terrified a Mfinger or an Meyelid might twitch. “You,” said Voldemort
f him, stroking Nagini’s head with a single white Mfinger. He closed his Meyes again. “No!” “No!” “Harry! H
ning scar on Harry’s Mforehead with a long, white Mfinger. "I'm sorry to say I sold the wand that did it,"
. That's it." He measured Harry from Mshoulder to Mfinger, then Mwrist to Melbow, Mshoulder to floor, Mknee
rrible yell. Scabbers the rat was hanging off his Mfinger, sharp little teeth sunk deep into Goyle's Mknuck
e of them, then saw the whiteness of his own long-Mfingered Mhand against the door. He knocked. He felt a mou
Harry followed, gliding toward her, and his long-Mfingered Mhand had drawn his wand. “Where is he?” “Das wei
and cold, his wand held in front of him by a long-Mfingered white Mhand. The man at whom he was pointing was
air. He could see the edge of a table, and a long-Mfingered white Mhand toying with a wand. Then Snape spoke,
- Ron held up his right Mhand to show two missing fingernails: Hermione raised her Feyebrows coldly - “and I c
Harry, but Hermione ignored him. “Imagine losing fingernails, Harry! That really puts our sufferings into per
rapped in gold, and his first ever birthday card. MFingers trembling slightly, he opened the envelope. Two p
, and then into a small parlour. Tom clicked his Mfingers, a fire burst into life in the grate, and he bowe
se felt warmth spread suddenly to the tips of his Mfingers and Mtoes. “We'll be at Hogwarts in ten minutes,
thrown off; the glossy feathers slipped under his Mfingers and he didn't dare get a stronger grip; instead o
e. “Yeah, they're great!” said Ron, crossing his Mfingers under the table. “Er—how are the flobberworms?”
l grasping his wand and just managed to close his Mfingers over the small, struggling Snitch. Madam Hooch's
ed as though each was trying to break the other's Mfingers. “Mount your brooms!” said Madam Hooch. “Three..
is fist, beating its wings hopelessly against his Mfingers. Then Wood was speeding toward him, half-blinded
late—the rat had slipped between Ron's clutching Mfingers, hit the ground, and scampered away. In one boun
’s Marm was so tight he was losing feeling in-his Mfingers. He raised his Meyebrows at her; she nodded again
by inches; Harry felt the shrunken Marm under his Mfingers twisting madly, but he clung on, his other Mhand
t “No,” he hissed, “I've waited too long —” The Mfingers tightened, Harry choked, his glasses askew. Then
. “Come on, all of you,” he said. He clicked his Mfingers, and the ends of the cords that bound Lupin flew
We had Black cornered and he slipped through our Mfingers yet again! All it needs now is for the story of t
yes, they'll have to go,” said Fudge, running his Mfingers distractedly through his Mhair. “Never dreamed th
ooked at Harry, and he was constantly flexing his Mfingers, as though itching to place them around Harry's t
ting happily in his Mhand, had nibbled one of his Mfingers in what it seemed to think was an affectionate wa
mort stroked the creature absently with long thin Mfingers, still looking at Lucius Malfoy. “Why do the Malf
om him; he picked it up and turned it over in his Mfingers, thinking, thinking of Dumbledore and the lies wi
174
ke Mface gleaming out of the blackness, his white
feel, Georgie?” whispered Mrs. Weasley. George’s
tor to Ron, who took it and turned it over in the
, into Harry’s palm. Nothing happened. As Harry’s
is pulse quickened as he raised the Snitch in his
ll, holding the miraculous paper in his nerveless
sier way,” said Hermione, as Harry wiped his inky
She passed it to Harry, who turned it over in his
gain, he tried to prise the locket apart with his
silence. Without realizing it, he was digging his
of his Mface to see whether he could make out his
prospect was so deeply uninviting. With fumbling
ottom and reached out, groping for the sword. His
he scrabbled at the strangling chain, his frozen
over Ron and the real Harry, who had snatched his
ng the blackthorn wand he so disliked over in his
Invisibility Cloak and was running it through his
was busy undoing the pouch around his Mneck, his
nful Mface, which felt unrecognizable beneath his
” Harry choked, attempting to prise off the metal
aved your life? You owe me, Wormtail!” The silver
m Harry’s Mface to something else. His own silver
her he and Harry tried to pull the crushing metal
head smiled, surveying Harry over the tips of his
ed Meyes, rolling it between his knobble-knuckled
e elf had known where to come to rescue them. His
Ron, holding out his Mhand. Travers extended two
m in living memory? In living memory… Beneath his
ut from the thing that had just fragmented in his
ort dropped his gaze once more to the wand in his
ued to stand there, twirling the wand between his
again as he slid the Elder Wand through his white
at he felt as he saw Snape’s white Mface, and the
require a different kind of bravery. He felt his
time to leave the air… The Snitch. His nerveless
t. Slowly he drew the Elder Wand between his long
Mfingers raising his wand again - Hagrid let out a bellow
Mfingers groped for the side of his Mhead. “Saintlike,” he
Mfingers looking stunned. “That is a valuable object,” sai
Mfingers closed around the Snitch, its tired wings flutter
Mfingers. “I wasn’t going to try too hard in front of Scri
Mfingers while inside him a kind of quiet eruptions sent j
Mfingers on his jeans. She raised her wand and said, “Acci
Mfingers. The thing looked perfect, pristine. He remembere
Mfingers, then attempted the charm Hermione had used to op
Mfingers into his Marms as if he were trying to resist phy
Mfingers when it happened. A bright silver light appeared
Mfingers Harry started to remove his many layers of clothi
Mfingers closed around the hilt; he pulled it upward. Then
Mfingers unable to loosen it, and now little lights were p
Mfingers away from the locket as it burned, suddenly, whit
Mfingers. “There’s no such thing, Harry!” “You said there
Mfingers, the cloth supple as water, light as air. He had
Mfingers shaking hard. “Read it,” he told her, pushing his
Mfingers, tight, swollen, and puffy as though he had suffe
Mfingers. “After I saved your life? You owe me, Wormtail!”
Mfingers slackened. Harry had not expected it: He wrenched
Mfingers were moving inexorably toward his own Mthroat. “N
Mfingers from around Wormtail’s Mthroat, but it was no use
Mfingers, pressed together as if in prayer. You gave Ron t
Mfingers, flexing it slightly. “Walnut and dragon heartstr
Mfingers moved absentmindedly to the little pouch still st
Mfingers and shook Ron’s Mhand as though frightened of dir
Mfingers, Harry’s Meyes flew open again. He leapt up from
Mfingers. “It must have been Fiendfyre!” whimpered Hermion
Mfingers. It troubled him… and those things that troubled
Mfingers, staring at it. “It is the only way, Nagini,” he
Mfingers, staring at Snape. “Why did both the wands I have
Mfingers trying to staunch the bloody wound at his Mneck.
Mfingers trembling slightly and made an effort to control
Mfingers fumbled for a moment with the pouch at his Mneck
Mfingers. “My Lord -” Bellatrix had spoken: She sat closes
175
Resurrection Stone slipped from between his numb
and phoenix wand and felt a sudden warmth in his
this was some stupid new fashion. He drummed his
htly squashed box. Harry opened it with trembling
Yeh don' know... yeh don' know..." Hagrid ran his
rry took the wand. He felt a sudden warmth in his
turn. He was pale green by now. Harry crossed his
ofessor McGonagall -— " he ticked them off on his
nd to stroke the dragon's head. It snapped at his
going to kill you tonight." Quirrell snapped his
gone, and saw him hunched in pain, looking at his
... “Prongs, “he whispered. But as his trembling
f through the hole until he was hanging on by his
Mfingers, and out of the corner of his Meyes he saw his pa
Mfingers, as though wand and Mhand were rejoicing at their
Mfingers on the steering wheel and his Meyes fell on a hud
Mfingers. Inside was a large, sticky chocolate cake with H
Mfingers through his Mhair, fixing Harry with a bewildered
Mfingers. He raised the wand above his Mhead, brought it s
Mfingers under the table and a second later the hat had sh
Mfingers, "Professor Quirrell — an' Dumbledore himself did
Mfingers, showing pointed fangs. "Bless him, look, he know
Mfingers. Ropes sprang out of thin air and wrapped themsel
Mfingers — they were blistering before his Meyes. "Seize h
Mfingertips stretched toward the creature, it vanished. Har
Mfingertips. Then he looked up at Ron and said, "If anything
MALE FIST(S)/FISTFUL
t seemed unable to face it, and merely closed his
this...” He strode across to his fire, seized a
yes, they’re arguing,” said Snape. He picked up a
ing. Without magic!” He was breathing deeply, his
out of them, running toward the Willow. Harry's
was half sobbing as he pounded the walls with his
ack his courage. He was glaring at Hagrid and his
r the scuffles and yelps coming from the whirl of
then, try and hit me!" said Neville, raising his
with a tuft of bright turquoise Mhair, waving fat
who stood facing him, his empty Mhands curled in
Mfist and began swinging it backward and forward like a
Mfistful of glittering powder from a jar on the fireplace,
Mfistful of leaves and began tearing them apart, apparentl
Mfists clenched. “Why couldn't Black have hidden in Snap
Mfists clenched as they watched Snape skid to a halt nex
Mfists, and Harry in utter desperation seized Hagrid’s p
Mfists were clenched. "Now, you listen here, boy," he sn
Mfists that was Neville, Crabbe, and Goyle. Up in the ai
Mfists. "I'm ready!" Harry turned to Hermione. "Do somet
Mfists at the camera. “I was a fool!” Percy roared, so l
Mfists. “So what if I am?” said Neville loudly. “You sho
MALE FOOT
entirely wizarding village, and he had never set
his slow voice. “I'd blow meself up before I set
eathers out, he won' like that...” Harry put his
ng Crookshanks down the spiral staircase with his
words, “Mount Your brooms.,, He pulled his right
out his Mleg. Crabbe stumbled—and his huge, flat
t; Ron's Mleg had broken, and a moment later, his
and Harry gave her a Fleg up. Then he placed his
Mfoot there. But how on earth was he going to persuade
Mfoot in that place. Serves him right, mind you ...afte
Mfoot on the top of Buckbeak’s wing and hoisted himself
Mfoot. “Leave Scabbers alone.” The noise of the storm
Mfoot out of the mud with a squelch and swung it over h
Mfoot caught the hem of Harry's cloak. Harry felt a gre
Mfoot vanished from sight. “Harry—we've got to go for
Mfoot on one of the lower branches of the bush and clim
176
s; she had dropped The Monster of Monsters on his
pes flew from his wand-tip and bound Ron Mhead to
d. He turned over the darker Death Eater with his
her Fhead, and Ron, who was shaking from Mhead to
ierce creature, but saw that the object was Ron’s
d to avoid another shower of broken glass and his
entally nudged one of the fallen goblets with his
dragon had not realized that it was free: Harry’s
e and Flitwick, those model pupils, had never set
the tiny crack between crate and wall, watching a
e, and the reason he was able to keep putting one
y's first-ever television set, which he'd put his
one end and twice he dropped it painfully on his
Mfoot. The book had broken free from its restraining be
Mfoot - the waitress screamed and ran for the door - Ha
Mfoot; the man’s Meyes moved rapidly between Harry, Ron
Mfoot, patting her clumsily on the Fshoulder and saying
Mfoot. Looking around, Harry saw that they and Hermione
Mfoot slipped on a pencil-like something - his wand - H
Mfoot, and twenty more exploded into being while Ron ho
Mfoot found the crook of its hind leg and he pulled him
Mfoot in that particular place, but he, Harry, had stra
Mfoot in a black boot trembling on the floor. “Harry!”
Mfoot in front of the other. His body and mind felt odd
Mfoot through when his favorite program had been cancel
Mfoot. "Want a Mhand?" It was one of the red-haired twi
MALE FOREARM(S)
tting down and laying a Fhand on Hagrid's massive
he raised his wand: The force of the bite to his
ld also see the half healed puncture marks to his
ney had already given him scars to his Mchest and
forearm. “I'm sure you can prove Buckbeak is safe.” “Won
forearm sent the wand spinning up toward the ceiling; its
forearm. “Where’ve you put the Horcrux?” “In my bag. I th
forearm to join those on his Mhand and Mforehead, but nev
MALE FOREHEAD(S)
behind his glasses were bright green, and on his
same attack with nothing more than a scar on his
arry saw Stan's Meyes move to the scar on Harry's
tered, pushing back Harry's Mhair and feeling his
“My turn...” Ron peered into Harry's teacup, his
a lot of people staring avidly at the scar on his
poor little thing, with a great slash across his
o the air. Harry felt his Mhair fly back off his
pboard,” Hagrid said, sitting down and wiping his
“This house!” shrieked Uncle Vernon, the vein his
till seemed remote as stars. Then the scar on his
and wet was trickling down his chin and from his
missing Mtooth had been regrown. The scar on his
alking about?” “I can’t stay here.” He rubbed his
out at its overgrown plants, rubbing his pounding
Mforehead, clearly visible through his Mhair, was a thin sc
Mforehead, where Voldemort's curse, instead of killing him,
Mforehead. “Woss that on your 'ead?” said Stan abruptly.
Mforehead. “He won't be the last one who collapses. Yes, he
Mforehead wrinkled with effort. “There's a blob a bit like
Mforehead. “I—I've got to go to the library, got to get som
Mforehead, an' his parents dead... an' Sirius Black turns u
Mforehead; his nerves left him in the thrill of the flight;
Mforehead on his sleeve. Harry glanced at Ron, who looked b
Mforehead starting to pulse. “Our house! House prices are s
Mforehead burned like fire: as a Death Eater appeared on ei
Mforehead. He crawled out of the pond and stumbled toward t
Mforehead was still throbbing. “Hagrid?” He opened his Meye
Mforehead; it was prickling again, he had not hurt like thi
Mforehead and thinking of Dumbledore. Dumbledore would have
177
, the pain in his scar peaked. As he clutched his
Oh, of course,” said Ron, clapping a Mhand to his
his head under his tiny wing. The scar on Harry’s
I? You were the one saying it.” Harry rubbed his
de. “Nightmare, Muriel is,” said Ron, mopping his
, a person without a lightning-shaped scar on his
alming breath, then pointed her wand at Dolohov’s
ing himself. He fell to the ground and banged his
ne laughed, pain shot through the scar on Harry’s
were streaked with silver and a great overhanging
ight - “Harry!” He opened his Meyes, panting, his
nted in stone, a happy baby without a scar on his
Mchest and forearm to join those on his Mhand and
at his Mnose slid straight to the scar on Harry’s
r, which was stretched tight across his distended
y at his misshapen features. “What’s that on your
to me,” said Lucius. His gray eyes raked Harry’s
would suffice to take him there. The pain in his
twise at Harry, and the lightning scar on Harry’s
nding over his sister and smacking himself on the
ndow. “Professor!” Harry shouted his Mhand on his
Mforehead and closed his Meyes, a voice screamed inside his
Mforehead. “I forgot we’ll be hunting down Voldemort in a m
Mforehead was prickling. “You were muttering in your sleep.
Mforehead, thinking. He had a vague idea he had heard the n
Mforehead on his sleeve. “She used to come for Christmas ev
Mforehead… “Do you, William Arthur, take Fleur Isabelle…?”
Mforehead and said, “Obliviate.” At once, Dolohov’s Meyes b
Mforehead on the floor. “Stop him - stop him!” Hermione cri
Mforehead. His Mhand jumped to it. He saw Hermione’s Feyes
Mforehead shadowed his glinting Meyes, putting Harry in the
Mforehead throbbing. He had passed out against the side of
Mforehead… “C’mon,” said Harry, when he had looked his fill
Mforehead, but never, until this moment, had he felt himsel
Mforehead. “Would it be okay if we came in?” asked Harry. “
Mforehead, burned savagely. More clearly than he could make
Mforehead, Vernon?” he asked softly, his breath foul in Har
Mforehead. “There’s something there,” he whispered. “it cou
Mforehead pierced him, and the weight of the goblin bore do
Mforehead prickled, but he ignored it, refusing to acknowle
Mforehead with his fist, “We haven’t got him, and they’ve g
Mforehead, He could see the Inferi-filled lake sliding bene
, fast: Then his hood slipped and they saw a high
egun to throb and pulse: Pain was building in his
against the door frame for a moment and wiped his
entmindedly and touched the lightning scar on his
asleep. Under a tuft of jet-black Mhair over his
ut his own appearance was a very thin scar on his
ng flash of green light and a burning pain on his
reminds me," said Hagrid, clapping a Mhand to his
o it. Never wondered how you got that mark on yer
Ollivander touched the lightning scar on Harry’s
u really got — you know..." He pointed at Harry’s
a sharp, hot pain shot across the scar on Harry’s
ted, leaning against the cold wall and wiping his
ing on the scar that stood out, livid, on Harry’s
Mforehead and streaked Mhair - “Hello, Minister!” bellowed
Mforehead, and he could feel that controlled sense of fury
Mforehead with the back of his Mhand. He looked like an old
Mforehead. “I know he will.” The scar had not pained Harry
Mforehead they could see a curiously shaped cut, like a bol
Mforehead that was shaped like a bolt of lightning. He had
Mforehead. This, he supposed, was the crash, though he coul
Mforehead with enough force to knock over a cart horse, and
mforehead? That was no ordinary cut. That's what yeh get wh
Mforehead with a long, white Mfinger. "I'm sorry to say I s
Mforehead. Harry pulled back his fringe to show the lightni
Mforehead. "Ouch!" Harry clapped a Mhand to his Mhead. "Wha
Mforehead. Neville was bent double, wheezing and splutterin
Mforehead. "You are the Potter boy," he said. "You had bett
178
could, trying to ignore the stabbing pains in his Mforehead, which had been bothering him ever since his trip
re's no need to worry yet." Harry was rubbing his Mforehead. "I wish I knew what this means!" he burst out an
MALE HAIR(S)/HAIRCUT/HAIRED/HAIRLESS
wn a few inches over the last year. His jet-black
and on his Mforehead, clearly visible through his
ge to the fez perched jauntily on top of his neat
he state of him, the filthy layabout! Look at his
shot a nasty look sideways at Harry, whose untidy
said Aunt Petunia, smoothing Dudley's thick blond
to welcome their guest. “Do something about your
arry couldn't see the point of trying to make his
?” Dudley came waddling down the hall, his blond
y. “Nothing,” said Harry quickly, flattening his
otograph of a sunken-Mfaced man with long, matted
sed his Mhand automatically and tried to make his
“Ah, there's Penelope!” said Percy, smoothing his
nd exhausted. Though quite young, his light brown
and a very thick Mneck; Goyle had short, bristly
ound a school, she muttered, pushing back Harry's
ho was a tiny little wizard with a shock of white
great energy. He had several feet of long silver
ing the tankard away. Hagrid came back, his long
leasant smile from beneath his long, greasy black
ed the room, a long, wailing shriek that made the
his Mface to his Mknees, his Mhands gripping his
him from the inside. A sudden breeze ruffled his
ather waving up at him, beaming, the untidy black
over me... like a skeleton, with loads of filthy
erked forward as the mud hit him; his silverblond
staring wildly around, Malfoy trying to wipe his
essor Snape good day, and advises him to wash his
ourteen brooms rose into the air. Harry felt his
d the door behind them. A mass of filthy, matted
to hear were made by me.” He pushed his greying
e floor, a trickle of blood oozing from under his
Mhair, however, was just as it always had been—stubborn
Mhair, was a thin scar, shaped like a bolt of lightning
Mhair, his horn-rimmed glasses flashing in the Egyptian
Mhair!” He shot a nasty look sideways at Harry, whose
Mhair had always been a source of great annoyance to Un
Mhair. “Mummy's bought him a lovely new bow tie.” Uncl
Mhair!” Aunt Petunia snapped as he reached the hall. H
Mhair lie flat. Aunt Marge loved criticizing him, so th
Mhair plastered flat to his fat Mhead, a bow tie just v
Mhair over his scar. If the Ministry of Magic was looki
Mhair blinked slowly at Harry from the front page. He l
Mhair lie flat “You're fighting a losing battle there,
Mhair and going Pink again. Ginny caught Harry’s Meye,
Mhair was flecked with grey. “Who d'you reckon he is?”
Mhair and long, gorilla-ish Marms. “Well, look who it
Mhair and feeling his Mforehead. “He won't be the last
Mhair, was carrying an ancient hat and a three-legged s
Mhair and Mbeard, half-moon spectacles, and an extremel
Mhair and Mbeard sopping wet, wiping the water out of h
Mhair. “Change roots with Malfoy, Weasley.” “But, sir
Mhair on Harry’s Mhead stand on end—'Riddikulus!” shout
Mhair. Fred grabbed his Mshoulder and shook it roughly.
Mhair. The door of the Three Broomsticks had opened aga
Mhair Harry had inherited standing up in all directions
Mhair ...holding this great long knife, must've been tw
Mhair was suddenly dripping in muck. “What the —?” Ro
Mhair clean. “What was that? 'Who did that?” “Very ha
Mhair, the slimeball.” Harry waited for the blow to fa
Mhair fly back off his Mforehead; his nerves left him i
Mhair hung to his Melbows. If Meyes hadn't been shining
Mhair out of his Meyes, thought for a moment then said,
Mhair. He had been knocked out. Harry looked around. B
179
ler than Harry and Hermione. His thin, colourless
. “Thank you! You see, Remus? I have never hurt a
th would have seen you die too, without turning a
castle and tell someone,” said Harry, pushing his
im, bending over a bed. Harry squinted. Ron's red
ge, running his Mfingers distractedly through his
bald and broad-Mshouldered; Hagrid, with his wild
g, with his droopy beady hound’s Meyes and matted
f I don’t cooperate, you need me to give you some
re’s no chance at all of us getting a bit of your
d looked away at once. “So, Potter - some of your
hed up to the top of his Mhead, grabbed a hank of
raight in here, if you please.” Harry dropped the
ward; Ron, Fred, and George were shrinking; their
hrough the air fast, his Meyes watering slightly,
ult. He had consented to the plan, given them his
atching socks, and Harry attempted to flatten his
… ozzerwise you might find you ’ave a leetle less
r, instantly recognizable by his mane of grizzled
lie, now Mum’s asleep, sneaking off to regrow his
. “Arthur told us you were the one with the curly
. Slightly cross-eyed, with Mshoulderlength white
r the look of a badtempered flamingo. “… and your
ive?” he added with a glance at Harry’s red curly
zard sitting alone at a table. His cloud of white
re, Harry recognized his father, his untidy black
the middle of the front row: He had the same dark
maturely lined Mface, framed in thick but graying
hild -” Lupin actually seized handfuls of his own
ungus stank of stale sweat and tobacco smoke. His
he tried to pass off the movement by brushing his
. Keen on his job, though, isn’t he? Chuck us the
” asked the new Minister of Magic. His long black
’s Mshoulders. Dumbledore, now with Melbow-length
re had a gleeful, wild look about him. His golden
between Cattermole and himself in appearance, his
Mhair was unkempt and there was a large bald patch on t
Mhair of Harry’s Mhead! Why should I?” “I'll tell you
Mhair. You heard him. His own stinking skin meant more
Mhair out of his Meyes, trying to think straight. “Come
Mhair was visible beneath Madam Pomfrey's Farm. Harry
Mhair. “Never dreamed they'd attempt to administer the
Mhair and Mbeard, standing hunchbacked to avoid hitting
Mhair. Harry’s Mheart seemed to expand and glow at the
Mhair.” “Well, that’s the plan scuppered,” said George.
Mhair unless you cooperate.” “Yeah, thirteen of us agai
Mhair, if you please.” Harry glanced at Ron, who grimac
Mhair, and pulled. “Good,” said Moody, limping forward
Mhair into the mudlike liquid. The moment it made conta
Mhair was darkening, Hermione’s and Fleur’s appearing t
Mhair whipped back off his Mface. Around him brooms wer
Mhair… “The Portkey,” he said, remembering all of a sud
Mhair. Once they had all been deemed smart enough, they
Mhair zan you would like…”), chocolates from the Delaco
Mhair. The two newcomers marched across the yard toward
Mhair,” said Ron nervously. “All the same, we should ge
Mhair. Sorry about last night,” she added in a whisper
Mhair the texture of candyfloss, he wore a cap whose ta
Mhair’s much too long, Ronald, for a moment I thought y
Mhair. “Cousin.” Harry muttered, but Krum was not reall
Mhair made him look rather like an aged dandelion clock
Mhair stuck up at the back like Harry’s, and he too wor
Mhair and slightly haughty look of his brother, though
Mhair, and wished that he could return a different answ
Mhair; he looked quite deranged. “My kind don’t usually
Mhair was matted and his robes stained. “Kreacher apolo
Mhair out of his Meyes. “Well, if all three of us go we
Mhair and the potion, then.” Within two minutes, Ron st
Mhair and Mbeard were streaked with silver and a great
Mhair, had grown a tiny wispy Mbeard that recalled the
Mhair fell in curls to his Mshoulders. Harry wondered w
Mhair turning redder and redder as his Mface drained of
180
d that had rushed to his Mhead. He had pure-white
rched, like a giant bird, a young man with golden
e was a statue of three people: a man with untidy
Ron, fully dressed but drenched to the skin, his
e a stained nightshirt. His long white candyfloss
er two prisoners!” Someone yanked Harry up by the
ter!” said Greyback, seizing a fistful of Harry’s
Mface a pale and pointed blur beneath white-blond
y feature distorted by Hermione’s jinx. His black
sa and Draco, of the streak of red that was Ron’s
re they had finished their first course, his long
-faced, wrapped in a traveling cloak, his graying
like Dora, but she thinks he is like me. Not much
Harry thought because he knew him so well. Ron’s
k: A tall, thin wizard with a crown of bushy gray
over the rattling of the cart on the tracks: His
One hand holding tightly to a fistful of Harry’s
: trying to see past the long, stringy, wire-gray
was, who was limping along, looking excited. His
to a real tunnel was revealed. And out of it, his
ude of his crimes, forgotten how his greasy black
o saw a tiny baby with a tuft of bright turquoise
ard them, and Harry saw Aberforth again, his gray
entioned how to stop it, really,” said Ron, whose
lipped and they saw a high Mforehead and streaked
head, so close he felt the force of them blow his
ing them from behind a clump of bushes. His black
nitely,” said Snape, and even with his poorly cut
He looked a little mad, with his straggling black
wearing the clothes in which he had died, and his
in was younger too, and much less shabby, and his
o emanate from the heart of the forest lifted the
old headmaster’s Mface. Dumbledore’s long silver
ck through the forest. Branches caught at Harry’s
d son, a dark coat buttoned up to his throat. His
thin, and very old, judging by the silver of his
Mhair and a thick, bushy Mbeard: a trussed-up Father Ch
Mhair. In the split second that the lantern’s light ill
Mhair and glasses, a woman with long Fhair and a kind,
Mhair plastered to his Mface, the sword of Gryffindor i
Mhair was dirty and unkempt. Xenophilius had been posit
Mhair, dragged him a short way, pushed him down into a
Mhair; Harry could feel his long yellow nails scratchin
Mhair. Greyback forced the prisoners to turn again so a
Mhair reached his Mshoulders and there was a dark shado
Mhair, and a blur of flying silver, as Bellatrix’s knif
Mhair tangled by the wind. “Everything’s fine,” he told
Mhair windswept. He straightened up, looked around the
Mhair. It looked black when he was born, but I swear it
Mhair was now long and wavy; he had a thick brown Mbear
Mhair and a long, sharp Mnose was striding toward them.
Mhair flew behind him as they swerved between stalactit
Mhair, to make sure he did not fall into the heaving se
Mhair beard. He wore spectacles. Behind the dirty lense
Mhair was longer than Harry had ever seen it. He appear
Mhair overgrown, his Mface cut, his robes ripped, clamb
Mhair hung in curtains around his thin Mface, how his b
Mhair, waving fat Mfists at the camera. “I was a fool!”
Mhair flying as he led a small group of students past.
Mhair, like Hermione’s, was singed, and whose Mface was
Mhair - “Hello, Minister!” bellowed Percy, sending a ne
Mhair. “Let’s move, NOW!” Pushing Hermione ahead of him
Mhair was overlong and his clothes were so mismatched t
Mhair and his odd clothes, he struck an oddly impressiv
Mhair flying around him. “I - I come with a warning - n
Mhair was untidy and ruffled, and his glasses were a li
Mhair was thicker and darker. He looked happy to be bac
Mhair at Harry’s brow. He knew that they would not tell
Mhair and Mbeard, the piercingly blue Meyes behind half
Mhair and robes, but he lay quiescent, his Mmouth lolli
Mhair was receding somewhat, which emphasized the point
Mhair and beard, which were both long enough to tuck in
181
llowed, and so wild — long tangles of bushy black Mhair and Mbeard hid most of his Mface, he had Mhands t
baby boy, fast asleep. Under a tuft of jet-black Mhair over his Mforehead they could see a curiously sha
as. Harry had a thin Mface, knobbly Mknees, black Mhair, and bright green Meyes. He wore round glasses he
n as Harry was turning over the bacon. "Comb your Mhair!" he barked, by way of a morning greeting. About
lass put together, but it made no difference, his Mhair simply grew that way --all over the place. Harry
Mneck, small, watery blue Meyes, and thick blond Mhair that lay smoothly on his thick, fat Mhead. Aunt P
s father. 'Atta boy, Dudley!" He ruffled Dudley's Mhair. At that moment the telephone rang and Aunt Petun
had taken a pair of kitchen scissors and cut his Mhair so short he was almost bald except for his fringe
xt morning, however, he had gotten up to find his Mhair exactly as it had been before Aunt Petunia had sh
lmost completely hidden by a long, shaggy mane of Mhair and a wild, tangled Mbeard, but you could make ou
Meyes, glinting like black beetles under all the Mhair. The giant squeezed his way into the hut, stoopin
don' know..." Hagrid ran his Mfingers through his Mhair, fixing Harry with a bewildered stare. "Yeh don'
ho was talking to four boys, all with flaming red Mhair. Each of them was pushing a trunk like Harry's in
artment. "Thanks," said Harry, pushing his sweaty Mhair out of his Meyes. "What's that?" said one of the
es, had a long, crooked Mnose, and flowing silver Mhair, Mbeard, and Mmoustache. Underneath the picture w
ay that again," Ron said, his Mface as red as his Mhair. "Oh, you're going to fight us, are you?" Malfoy
udged Mnose. Harry nervously tried to flatten his Mhair. "I shall return when we are ready for you," said
lead, Harry got into line behind a boy with sandy Mhair, with Ron behind him, and they walked out of the
Chocolate Frog on the train. Dumbledore's silver Mhair was the only thing in the whole hall that shone a
urban, was talking to a teacher with greasy black Mhair, a hooked Mnose, and sallow skin. It happened ver
ook." "Where?" "Next to the tall kid with the red Mhair." "Wearing the glasses?" "Did you see his Mface?"
ound and up, up he soared; air rushed through his Mhair, and his robes whipped out behind him -and in a r
put his Marm around her. He wore glasses, and his Mhair was very untidy. It stuck up at the back, just as
musclely; Crabbe was taller, with a pudding-bowl Mhaircut and a very thick Mneck; Goyle had short, bristly
rinning identically; Bill, badly scarred and long-Mhaired; Mr. Weasley, kind-Mfaced, balding, his spectacle
arer, however, his Mface shone through the gloom, Mhairless, snakelike, with slits for Mnostrils and gleaming
l across the classroom, illuminating Lupin's grey Mhairs and the lines on his young Mface. “Dementors are
rguments. Time’s wearing on. I want a few of your Mhairs, boy, now.” “But this is mad, there’s no need -”
, Ottery St. Catchpole, from whom Fred had stolen Mhairs using a Summoning Charm. The plan was to introduc
n, and in the cavern was a great black lake…” The Mhairs on the back of Harry’s Mneck stood up. Kreacher’s
d not even notice as Hermione yanked a handful of Mhairs from the top of his Mhead. “Oh dear!” she said, a
Invisibility Cloak, “and we’ll be back with some Mhairs for you.” He had to wait ten minutes, but it seem
Hermione said, passing Harry several curly black Mhairs, “but he’s gone home with a dreadful nosebleed! H
stain on it that looked horribly like blood. The Mhairs on the back of Harry's Mneck prickled. Maybe he w
182
MALE HAND(S)/HANDFUL(S)/HANDED
t over his Mhead like a tent, a flashlight in one
r and lower. For a split second he hesitated, his
mp on his bedside table, gripped it firmly in one
eized the rest of the wrapping paper in his other
toward it. “Ouch!” The book snapped shut on his
at his wand, which he was still clutching in his
n, but almost immediately stood up once more, his
is trunk and he tripped. His wand flew out of his
. One of the knees in his jeans was torn, and the
d his money bag, and shoved some gold into Stan's
said a voice. Before Harry could turn, he felt a
Come 'ere I” Harry looked up at the owner of the
ghtly. “So, I'll say good-bye.” He held out his
rry.” And with a last smile and shake of Harry’s
was probably just a stray dog...” He raised his
ermione, slapping the small red bottle into Ron’s
hout looking at him. Percy, however, held out his
id George, pushing Fred aside and seizing Harry’s
s. It was spinning very fast in the palm of Ron’s
y, illuminated by the shivering flames in Lupin's
atching. Harry felt very sick; when he put up his
shivered, and then fell open and lay quiet in his
. “Hippogriffs!” Hagrid roared happily, waving a
dentally beheading a dead caterpillar because his
ited. Snape picked up Trevor the toad in his left
he village, so don't forget!” Neville put up his
notes. “You notice the lantern dangling from his
self lately,” said Hagrid, stroking Fang with one
, a freshly unwrapped pair of maroon socks in his
“I can't believe this,” Harry muttered, running a
d within ten seconds had caught it tightly in his
g up at him. He didn't stop to think. Plunging a
ahead— he was nearly there. He stretched out the
from Mhead to fluffy slippered Mtoes, raised his
small they could have sat in the palm of Harry’s
Mhand and a large leather-bound book (A History of Magi
Mhand on the window latch, wondering whether to slam it
Mhand, and raised it over his Mhead, ready to strike. T
Mhand and pulled. And out fell—a book. Harry just had
Mhand and then flapped past him, still scuttling on its
Mhand. If he was already expelled (his Mheart was. now
Mhand clenched on his wand. He had sensed rather than h
Mhand as he flung out an Marm to break his fall, and he
Mhand he had thrown out to break his fall was bleeding.
Mhand. He and Stan then lifted his trunk, with Hedwig's
Mhand on his Mshoulder. At the same time, Stan shouted,
Mhand on his Mshoulder and felt a bucketful of ice casc
Mhand and Harry, shaking it, had a sudden idea. “Er—Mi
Mhand, Fudge left the room. Tom now moved forward, beam
Mhand automatically and tried to make his Mhair lie fla
Mhand. “And stop worrying, Crookshanks will be sleeping
Mhand solemnly as though he and Harry had never met and
Mhand in turn. “Absolutely spiffing.” Percy scowled.
Mhand and glowing brilliantly. “Is that a Sneakoscope?
Mhand, was a cloaked figure that towered to the ceiling
Mhand to push his glasses back on, he felt cold sweat o
Mhand. “Oh, how silly we've all been!” Malfoy sneered.
Mhand at them. “Beau'iful, aren' they?” Harry could so
Mhand was shaking in anger. “To try to get Hagrid fired
Mhand and dipped a small spoon into Neville's potion, w
Mhand. “Please, Professor, I—I think I've lost “Your
Mhand? Hops ahead -people follow the light—then —” The
Mhand and mopping his Mface with the other. “Worried ab
Mhand. “Dunno...” Harry ripped the parcel open and ga
Mhand along the Firebolt, while Ron sank onto Harry's b
Mhand. The team cheered madly. Harry let the Snitch go
Mhand down the neck of his robes, he whipped out his wa
Mhand still grasping his wand and just managed to close
Mhand slowly into the air. CHAPTER FOURTEEN SNAPE'S G
Mhand. Then they visited Zonko's, which was so packed
183
llucinations,” snarled Snape, and he bent down, a
he said. “Why don't I just—throw this away?” His
od approached each other and grasped each other's
nd was roaring in his Mears; he stretched out his
way and — “YES!” He pulled out of his dive, his
ry this time, no tears had splattered it, yet his
he trees an'—an' smell fresh air— before Hagrid's
nd flailing, trying to sink his Mteeth into Ron’s
“Scabbers, keep still,” Ron hissed, clamping his
time in his life, he wanted his wand back in his
here was a blinding flash as the wands in Black's
ingers twisting madly, but he clung on, his other
ry part of Black it could find. But Black's free
t of pain; Ron had thrown himself on Black's wand
d Harry, his voice shaking slightly, but his wand
shouted. Harry's wand flew once more out of his
ve at all. Then, very slowly, he raised his empty
The Professor walked to Black's side, seized his
and sank onto it, his Mface hidden in one shaking
se I know how to work it,” said Lupin, waving his
ing under it...,” said Lupin, waving an impatient
ld I see him, please?” Ron hesitated, then put a
s!” snarled Black, trying to throw Lupin off. One
mad,” said Black hoarsely. He reached out a bony
so,,, said Lupin, holding Scabbers tightly in one
ettigrew shrilly, pointing at Ron with his maimed
htness, somebody welcoming it back... raising his
, it wasn't Sirius —” But Dumbledore held up his
rd the creature, it vanished. Harry stood there,
ming—Macnair's gone to get them.” Black placed a
“Ouch!” The tiny owl, now hooting happily in his
oss station. It was still clutched tightly in his
at the envelope Harry was still clutching in his
ansfer the boy -” Voldemort held up a large white
iefly on his Mwrist. At her touch, Malfoy put his
s?” “Of course, my Lord,” said Lucius Malfoy. His
Mhand on each arm of Harry's chair, so that their Mface
Mhand moved toward the fire. “No!” Harry said quickly.
Mhand very tightly; it looked as though each was trying
Mhand, but suddenly, the Firebolt was slowing down — H
Mhand in the air, and the stadium exploded. Harry soare
Mhand seemed to have shaken so much as he wrote that it
Mhand trembled so violently that the milk jug slipped f
Mhand. “Scabbers, it's me, you idiot, it's Ron,” Ron h
Mhand over his Mchest. The rat was wriggling madly. Ron
Mhand, not to defend himself, but to attack... to kill.
Mhand sent a jet of sparks into the air that missed Har
Mhand punching every part of Black it could find. But
Mhand had found Harry's Mthroat “No,” he hissed, “I've
Mhand and Harry heard a faint clatter — He fought free
Mhand quite steady. Black stared up at him out of thos
Mhand; so did the two Hermione was holding. Lupin caugh
Mhand and pointed straight at Ron. Mystified, Harry gla
Mhand, pulled him to his Mfeet so that Crookshanks fell
Mhand. Crookshanks leapt up beside him and stepped onto
Mhand impatiently. “I helped write it. I'm Moony—that w
Mhand again. “The point is, even if you're wearing an I
Mhand inside his robes. Scabbers emerged, thrashing des
Mhand was still clawing the air as it tried to reach Sc
Mhand and stroked Crookshanks's fluffy head. “He's the
Mhand and his wand in the other. “On the count of three
Mhand. “Thank you! You see, Remus? I have never hurt a
Mhand to pat it... someone who looked strangely familia
Mhand to stem the flood of explanations. “It is your t
Mhand still outstretched. Then, with a great leap of hi
Mhand on either side of the window frame and heaved his
Mhand, had nibbled one of his Mfingers in what it seeme
Mhand as he, Ron, and Hermione stepped back through the
Mhand. “If it's another form for me to sign, you've got
Mhand, and Yaxley subsided at once, watching resentfull
Mhand into his robes, withdrew a wand, and passed it al
Mhand shook as he wiped sweat from his upper Mlip. “We
184
rt, stroking the snake’s snout with his wand-free
EMORANDUM Harry was bleeding. Clutching his right
idea of a clever booby trap. Keeping his bleeding
aped the fragments of cup together with the other
er fit. Minutes previously, Harry had plunged his
stabbing pain in the fourth Mfinger of his right
nd, to his last hour, as willing to stretch out a
” He swung his right Marm upward to shake Harry’s
ing up at her son. Dudley raised a large, hamlike
ff. Harry -” He tripped forward and wrung Harry’s
” “Farwell, Harry,” said Hestia also clasping his
with magic. Then Dudley held out his large, pink
e you, Harry.” “Yea…” said Harry, taking Dudley’s
time yeh was on it, Harry, I could fit yeh in one
” yelled Hagrid, and Harry saw him slam his whole
is seat - “I’m comin’, Harry, I’m comin’!” A huge
wand acted of its own accord. He felt it drag his
gon-fire button. He punched it with his wand-free
ldemort -” “Easy, now,” said Ted Tonks, placing a
hind Hagrid. “You!” he shouted, and he thrust his
eturn to the Dursleys. Hagrid reached out a great
Tonks, Mad-Eye, and Mundungus? “Harry, give us a
the back steps into the dark yard, Ginny took his
d you where Voldemort was, but my wand spun in my
es!” “Please… I beg you…” And Harry saw the white
tly that the faint scars on the back of his right
rm -” “Fleur said his wand was blasted out of his
Horcruxes.” “Oh, of course,” said Ron, clapping a
e resultant knot took several minutes to untie by
Cannons posters bright blue. “I’d do your fly by
l thing in the world, Ginny, the feel of her, one
ne caught up with them. “Ron -” But Ron held up a
n suit. Although Lupin smiled as he shook Harry’s
,” said Hagrid with a wave of a dustbin-lid-sized
- hey! Charlie!” Charlie approached, running his
rimgeour did not seem to be listening. He put his
Mhand. Draco shook his Mhead jerkily. Now that the woma
Mhand in his left and swearing under his breath, he sho
Mhand elevated, Harry scraped the fragments of cup toge
Mhand and threw them into the already crammed bin just
Mhand into this mulch, experienced a stabbing pain in t
Mhand, and withdrawn it to see a lot of blood. He now p
Mhand to a small boy with dragon pox as he was on the d
Mhand, but at the last moment seemed unable to face it,
Mhand to point at Harry. “Why isn’t he coming with us?
Mhand with both of his own. “- good luck. I hope we mee
Mhand. “Our thoughts go with you.” “I hope everything’s
Mhand. “Blimey, Dudley,” said Harry over Aunt Petunia’s
Mhand and shaking it. “Maybe. Take care, Big D.” Dudley
Mhand!” Harry could not help but feel a little humiliat
Mhand onto the purple button beside the speedometer. Wi
Mhand seized the back of Harry’s robes and hoisted him
Mhand around like some great magnet, saw a spurt of gol
Mhand and the bike shot more flames into the air, hurtl
Mhand on Harry’s Mshoulder and pushing him back against
Mhand into his pocket, but it was empty. “Your wand’s h
Mhand and patted him painfully on the Mshoulder. “Never
Mhand!” called Hagrid hoarsely from the door, in which
Mhand. Kingsley was striding backward and forward, glan
Mhand and found him and shot a spell at him, and it was
Mhand raise its wand and felt Voldemort’s surge of vici
Mhand stood out, white against his skin: I must not tel
Mhand,” said Harry. “Well, all right, if you want him t
Mhand to his Mforehead. “I forgot we’ll be hunting down
Mhand) and, purely for the pleasure of it, turned the o
Mhand, though,” Ron advised Harry, sniggering when Harr
Mhand at her Fback and one in her long, sweet-smelling
Mhand to silence her. “She was really cut up when you e
Mhand, Harry thought he looked rather unhappy. It was a
Mhand. “An’ there’s Charlie! Always liked him - hey! Ch
Mhand slightly ruefully over his new, brutally short ha
Mhand inside his cloak and drew out a drawstring pouch
185
ow could he avoid taking the Snitch with his bare
new he had no option but to obey. He held out his
eck. “Xenophilius Lovegood,” he said, extending a
nded for life.” The tufty-haired wizard waved his
him into the wall and he felt his wand leave his
ers, shook out books, stood on a chair to run his
It was a pompous little sign, neatly lettered by
d, panting, a minute later, his wand ready in his
ce to Voldemort. But by suggesting that you had a
ne Hermione’s my cousin -” Hermione covered Ron’s
ione’s Ffaces. The scars on the back of his right
stolen copy of the Daily Prophet clutched in his
n shot through the scar on Harry’s Mforehead. His
then saw the whiteness of his own long-Mfingered
Fhead: She was trying to close the door. A white
lowed, gliding toward her, and his long-Mfingered
! He move! I know not, I know not!” He raised his
hing behind but the bag Ron had snatched from his
et, but again, the scars on the back of his right
moments later, during which Harry waited with his
source of the trouble and saw Harry’s disembodied
anded, seized the tiny beaded bag, and thrust his
r fault! If anything, it was mine…” Harry put his
nd held in front of him by a long-Mfingered white
he instant they arrived, Hermione dropped Harry’s
w how he was feeling, because she reached for his
from the stained glass hit the snow. Keeping his
under the snow with them. Hermione had taken his
ic and you can’t repair the damage?” He slipped a
g; Harry felt the heat of it sear the back of his
it open, but James Potter did not hear. His white
old him off!” Hold him off, without a wand in his
rs to his Mchest and forearm to join those on his
ken and useless objects to take any more. Harry’s
Disapparation and Apparation. He had just held a
thing had brushed him as he dived, and raised his
Mhand in front of the Minister? “You don’t say anything
Mhand, and Scrimgeour leaned forward again and place th
Mhand to Harry, “my daughter and I live just over the h
Mhand high over the heads of Bill and Fleur and a showe
Mhand as the Cloak slipped off him. “Petrificus Totalus
Mhand over the top of the wardrobe, and crawled under t
Mhand the sort of thing that Percy Weasley might have s
Mhand. “What’s up? If it’s massive spiders again I want
Mhand in the old hero’s death, Voldemort has not only s
Mhand with hers and squeezed it. “Thank you, Ron, but I
Mhand seemed to be tingling again. CHAPTER TWELVE MAGIC
Mhand. The usual low whisper of “Severus Snape” greeted
Mhand jumped to it. He saw Hermione’s Feyes narrow, and
Mhand against the door. He knocked. He felt a mounting
Mhand held it steady, prevented her shutting him out… “
Mhand had drawn his wand. “Where is he?” “Das weiff ich
Mhand. She screamed. Two young children came running in
Mhand as he went and some flying chunks of vomit. “Urgh
Mhand seemed to tingle as he examined it. Then the youn
Mhand upon the doorknob, there came a loud bang and a g
Mhand and wand pointing at him. He tried to draw his ow
Mhand inside it. At once, object after object began pre
Mhand in his pocket and drew out Mad-Eye’s Meye. Hermio
Mhand. The man at whom he was pointing was suspended up
Mhand and walked away from him, finally sitting down on
Mhand and took the lead for the first time, pulling him
Mhand closed tightly on the wand in his jacket pocket,
Mhand again and was gripping it tightly. He could not l
Mhand from beneath the Cloak and grasped the snowy and
Mhand. Glass cut his Mcheek as, pulling Hermione with h
Mhand pulled out the wand beneath his cloak and pointed
Mhand!… He laughed before casting the curse… “Avada Ked
Mhand and Mforehead, but never, until this moment, had
Mhand brushed the old Snitch through the mokeskin and f
Mhand in front of his Mface to see whether he could mak
Mhand to free himself. It was not weed: The chain of th
186
r’s identity. All he could do was raise a shaking
ered to his Mface, the sword of Gryffindor in one
Harry. The Horcrux was still swinging from Ron’s
ed snow from the rock’s surface, and held out his
standing there with the sword held slackly in his
o his pocket, knelt down beside Ron, and placed a
. Splinched myself again” - Ron held up his right
d right outside the window.” Ron raised his empty
p.” “You were right,” said Harry, holding out his
. “Those in favor of going to see Lovegood -” His
Hello, Mr. Lovegood,” said Harry, holding out his
, Harry Potter.” Xenophilius did not take Harry’s
r to recall the dead, and turned it thrice in his
d Ron. “Master,” said Xenophilius, waving an airy
Hermione drew their wands. Xenophilius froze his
, Ron grab my Fshoulder.” Harry held out his left
- “I was about to call him!” said Lucius, and his
wand Marm and forced it upwards. Harry slapped a
He wrenched himself free, astonished, keeping his
e: He seemed just as shocked as Harry at what his
pered Ron, tugging Wormtail’s wand from his other
ut pausing to think, Harry tried to drag back the
ashio!” said Ron, pointing the wand at the silver
rry looked back down at Dobby. He stretched out a
shorter of the two, which felt friendlier in his
Is it possible?” Ollivander held out a trembling
uld be scared to violate his tomb? The spiderlike
ing on. “All I am saying,” said Bill, setting his
Dragomir?” “ ’Ow you?” said Ron, holding out his
nd. Travers extended two Mfingers and shook Ron’s
had the beaded bag, and hurriedly thrust his own
rd the sound of the Clankers. “Make him press his
found an object that made his Mheart skip and his
lling treasure, and the sword flew out of Harry’s
,” said Ron, wiping his Mmouth on the back of his
re, will you? Thanks a lot.” Neville held out his
Mhand to his Mthroat and feel the place where the locke
Mhand and the Horcrux dangling from its broken chain in
Mhand. The locket was twitching slightly. Harry knew th
Mhand for the Horcrux. When Ron offered the sword, howe
Mhand, looking down at the shattered remains of the loc
Mhand cautiously on his Mshoulder. He took it as a good
Mhand to show two missing fingernails: Hermione raised
Mhand and pointed in front of him, his Meyes focused on
Mhand. “Mine’s broken.” “You’re kidding?” Ron said, but
Mhand flew into the air before Hermione’s. Her Flips qu
Mhand, “I’m Harry, Harry Potter.” Xenophilius did not t
Mhand, although the Meye that was not pointing inward a
Mhand. To his amazement and his delight, the figure of
Mhand. “Conqueror. Vanquisher. Whichever term you prefe
Mhand about to enter his pocket. At that moment the pri
Mhand. Ron vanished beneath the Cloak. The printing pre
Mhand actually closed upon Bellatrix’s Fwrist, preventi
Mhand to his Mmouth, muffling his voice. Silently they
Mhand over Wormtail’s Mmouth. He saw the ratlike man’s
Mhand had done, at the tiny, merciful impulse it had be
Mhand. Wandless, helpless, Pettigrew’s pupils dilated i
Mhand, but there was no stopping it. The silver tool th
Mhand, but nothing happened; Pettigrew dropped to his M
Mhand and pulled the sharp blade from the elf’s body, t
Mhand, and pointed it at the rock. Slowly, under his mu
Mhand, and Harry placed the two barely connected halves
Mhand swooped and pulled the wand from Dumbledore’s gra
Mhand on the door back into the sitting room, “is to be
Mhand. Travers extended two Mfingers and shook Ron’s Mh
Mhand as though frightened of dirtying himself. So what
Mhand under his jacket to make sure he had not lost the
Mhand to the door!” Griphook urged Harry, who turned hi
Mhand tremble. “It’s there, it’s up there!” Ron and Her
Mhand. “Get it!” Harry yelled, fighting the pain of the
Mhand. Hermione looked across the lake to the far bank
Mhand to Hermione and helped her to climb up onto the m
187
s on the run. She sent me a letter,” he clapped a
’s getting a bit annoyed,” said Fred, raising his
ole in the window. “Professor!” Harry shouted his
,” Dean called as he passed, holding out his free
n’t say fairer than that,” said Fred, holding his
scoloured tiara. He had already stretched out his
out of the way, knocking Malfoy’s wand out of his
ded. “Expelliarmus!” Goyle’s wand flew out of his
it was no good. Goyle was too heavy and Malfoy’s
midair and fade, and his own wand trembled in his
forced the bundle of slippery cloth into his free
e the edge of a table, and a long-Mfingered white
vanish, leaving them fixed, blank, and empty. The
ning on the spot, his wand gripped tightly in his
d to his Mknees and his wand had flown out of his
ind the desk, apparently semiconscious. His right
antations, pointing his wand at the Mwrist of the
d at the Mwrist of the Mhand, while with his left
we can hope for; I have trapped the curse in one
being -” Dumbledore raised his blackened, useless
to say more on the subject of Dumbledore’s cursed
has happened tonight,” he indicated his withered
ut the spell, intended for the Death Eater’s wand
ment and wiped his Mforehead with the back of his
he metal shell broke open. He lowered his shaking
closed his Meyes and turned the stone over in his
oody but otherwise unharmed. Voldemort raised his
. “Not,” said Dumbledore. “But…” Harry raised his
sessor of the Hallows.” Dumbledore patted Harry’s
mort over the tumult. “Harry Potter is dead by my
through the half light and landed in Voldemort’s
all. It’s backfired on you, Riddle.” Voldemort’s
re Dumbledore died, someone who never even laid a
sn’t it?” whispered Harry. “Does the wand in your
skill of the Seeker, caught the wand in his free
ding curse, and Harry stood with two wands in his
Mhand to the breast pocket of his robes, “telling me sh
Mhand in answer to several cries of greeting. “He wants
Mhand on his Mforehead, He could see the Inferi-filled
Mhand, she took it and followed him back up the stairs.
Mhand out to Percy. Mrs. Weasley burst into tears,. She
Mhand, though he remained few feet away, when a voice b
Mhand; it rolled out of sight beneath a mountain of bro
Mhand and disappeared into the bulwark of objects besid
Mhand, covered in sweat, slid instantly out of Harry’s
Mhand, and he almost welcomed the oncoming oblivion, th
Mhand. With difficulty he dragged it over himself, murm
Mhand toying with a wand. Then Snape spoke, and Harry’s
Mhand holding Harry thudded to the floor, and Snape mov
Mhand, waiting for something or for someone… His fear i
Mhand. “Don’t kill me!” “That was not my intention.” An
Mhand dangled over the side, blackened and burned. Snap
Mhand, while with his left Mhand he tipped a goblet ful
Mhand he tipped a goblet full of thick golden potion do
Mhand for the time being -” Dumbledore raised his black
Mhand, and examined it with the expression of one being
Mhand, but the other held it up in polite refusal to di
Mhand, “we can be sure that it will happen within a yea
Mhand, missed and hit George instead - And next, Snape
Mhand. He looked like an old man. Then he set off on th
Mhand, raised Draco’s wand beneath the Cloak, and murmu
Mhand three times. He knew it had happened, because he
Mhand to silence her, and she did not speak another wor
Mhand instinctively toward the lightning scar. It did n
Mhand, and Harry looked up at the old man and smiled; h
Mhand, and no man alive can threaten me now! Watch! Cru
Mhand. He shook the mildewed object by its pointed end
Mhand was trembling on the Elder Wand, and Harry grippe
Mhand on it. The new master removed the wand from Dumbl
Mhand know its last master was Disarmed? Because if it
Mhand as Voldemort fell backward, Marms splayed, the sl
Mhand, staring down at his enemy’s shell. One shivering
188
sudden warmth in his Mfingers, as though wand and
e autumn air. The train rounded a corner. Harry’s
red Ginny. As Harry looked at her, he lowered his
inside his blankets without waking up. One small
n a very long purple coat had actually shaken his
here was no stamp. Turning the envelope over, his
e envelope, when it was jerked sharply out of his
ed Uncle Vernon, shaking the letter open with one
g for breath, with Harry's letter clutched in his
grab for the letter but Uncle Vernon knocked his
and Grounds at Hogwarts." He held out an enormous
of tea and wiped his Mmouth with the back of his
, do math and stuff." But Hagrid simply waved his
ime yeh read yer letter." Harry stretched out his
orgons, that reminds me," said Hagrid, clapping a
gwarts business," said Hagrid, clapping his great
ehind the bar, rushed toward Harry and seized his
I'm just so proud." "Always wanted to shake your
," stammered Professor Quirrell, grasping Harry’s
y. Come on, Harry." Doris Crockford shook Harry’s
a bit, but Mr. Ollivander snatched it out of his
ice he dropped it painfully on his Mfoot. "Want a
n't listening, she was looking at the wand in his
rong sort. I can help you there." He held out his
cheer yet. Percy the Prefect got up and shook his
car on Harry’s Mforehead. "Ouch!" Harry clapped a
ffindor table, snatched the Remembrall out of his
F everyone shouted. Harry's broom jumped into his
screams of people watching — he stretched out his
g back to his Mlegs. "He caught that thing in his
looking disapprovingly at the package in Harry’s
the third floor," Harry said, but Ron held up his
its nose, and Harry's wand had still been in his
as now dangling from it, holding on with only one
toward the ground when the crowd saw him clap his
ours — coughed — and something gold fell into his
Mhand were rejoicing at their reunion. “I’m putting the
Mhand was still raised in farewell. “He’ll be alright,”
Mhand absentmindedly and touched the lightning scar on
Mhand closed on the letter beside him and he slept on,
Mhand in the street the other day and then walked away
Mhand trembling, Harry saw a purple wax seal bearing a
Mhand by Uncle Vernon. "That's mine!" said Harry, tryin
Mhand and glancing at it. His Mface went from red to gr
Mhand. "Go to your cupboard — I mean, your bedroom," he
Mhand out of the way. The woman stared. "I'll take them
Mhand and shook Harry's whole Marm. "What about that te
Mhand. "Call me Hagrid," he said, "everyone does. An' l
Mhand and said, "About our world, I mean. Your world. M
Mhand at last to take the yellowish envelope, addressed
Mhand to his Mforehead with enough force to knock over
Mhand on Harry's Mshoulder and making Harry's Mknees bu
Mhand, tears in his Meyes. "Welcome back, Mr. Potter, w
Mhand — I'm all of a flutter." "Delighted, Mr. Potter,
Mhand, "c-can't t-tell you how p-pleased I am to meet y
Mhand one last time, and Hagrid led them through the ba
Mhand almost at once. "Maple and phoenix feather. Seven
Mhand?" It was one of the red-haired twins he'd followe
Mhand. "Oh, are you doing magic? Let's see it, then." S
Mhand to shake Harry's, but Harry didn't take it. "I th
Mhand vigorously, while the Weasley twins yelled, "We g
Mhand to his Mhead. "What is it?" asked Percy. "N-nothi
Mhand. Harry and Ron jumped to their Mfeet. They were h
Mhand at once, but it was one of the few that did. Herm
Mhand — a foot from the ground he caught it, just in ti
Mhand after a fifty-foot dive," Professor McGonagall to
Mhand. "I thought you weren't speaking to us?" said Har
Mhand. "Can you smell something?" Harry sniffed and a f
Mhand when he'd jumped — it had gone straight up one of
Mhand. "Did something happen to it when Flint blocked h
Mhand to his Mmouth as though he was about to be sick —
Mhand. "I've got the Snitch!" he shouted, waving it abo
189
n was smiling at him and waving. He reached out a
Marm raised in triumph, the Snitch clasped in his
hite-Mfaced and tight-Mlipped — then Harry felt a
he beautiful?" Hagrid murmured. He reached out a
the crate. "It bit me!" he said, showing them his
re was a hitch. By the next morning, Ron's bitten
Ron in a terrible state in bed. "It's not just my
ching noise, pinned it against the stone with one
Harry ran to the door, the key struggling in his
ht twice. "Ready?" Harry asked the other two, his
smen." He walked up to a black knight and put his
t later, the reflection smiled at him. It put its
HIM!" and the next second, Harry felt Quirrell's
e done!" screeched Voldemort. Quirrell raised his
ds...." Hagrid wiped his Mnose on the back of his
Harry just one more point. Dumbledore raised his
eys were still fast asleep, Harry got down on his
Harry tried to concentrate on his food, but his
here was a deafening BANG, and Harry threw up his
Ern darkly. Stan swivelled in his Marmchair, his
. “Right then, Neville,” said Stan, clapping his
manager pressed Unfogging the Future into Harry’s
hope you're well?” said Percy pompously, shaking
trollishly. “I heard your father finally got his
red in the Mface and staring down at his enormous
nd the ends of all of these were held in the vast
, and inky black. “So,” said Hagrid, rubbing his
y their unused ingredients and went to wash their
lfoy mean?” Harry muttered to Ron as he stuck his
y had a crazy urge to knock the goblet out of his
. The Captains walked up to each other and shook
in the topmost, empty row of seats. Harry's numb
himself.” Harry put his Mface to his Mknees, his
as more than willing; the wind was fierce and his
.. Oh, Harry, you'd be Playing right into Black's
d continued to sob, and waved one of his gigantic
Mhand and felt the air behind him. If she was really th
Mhand. The stands erupted; it had to be a record, no on
Mhand on his Mshoulder and looked up into Dumbledore's
Mhand to stroke the dragon's head. It snapped at his Mf
Mhand, which was wrapped in a bloody handkerchief. "I'm
Mhand had swollen to twice its usual size. He didn't kn
Mhand," he whispered, "although that feels like it's ab
Mhand. Ron and Hermione's cheers echoed around the high
Mhand. He rammed it into the lock and turned — it worke
Mhand on the door handle. They nodded. He pulled the do
Mhand out to touch the knight's horse. At once, the sto
Mhand into its pocket and pulled out a blood-red stone.
Mhand close on his Mwrist. At once, a needle-sharp pain
Mhand to perform a deadly curse, but Harry, by instinct
Mhand and said, "That reminds me. I've got yeh a presen
Mhand. The room gradually fell silent. "There are all k
Mhands and Mknees and reached toward it. “Ouch!” The b
Mhands shook and his Mface was starting to burn with ang
Mhands to shield his Meyes against a sudden blinding lig
Mhands on the back, the better to look at Harry. “Black
Mhands, where abouts in London?” “Diagon Alley,” said H
Mhands. “Anything else?” he said. “Yes,” said Harry, t
Mhands. It was rather like being introduced to the mayor
Mhands on some gold this summer, Weasley,” said Malfoy.
Mhands, his wide grin hidden in the tangle of his black
Mhands of Hagrid, who came jogging into the paddock behi
Mhands together and beaming around, “if yeh wan' ter com
Mhands and ladles in the stone basin in the corner. “Wh
Mhands under the icy jet that poured from the gargoyle's
Mhands. “Professor Snape's very interested in the Dark
Mhands; Diggory smiled at Wood but Wood no, looked as th
Mhands slipped on the broom handle and his Nimbus droppe
Mhands gripping his Mhair. Fred grabbed his Mshoulder an
Mhands were freezing, so they crossed the road, and in a
Mhands if you went looking for him. Your mum and dad wou
Mhands, inviting Harry to read on. However, we must reg
190
s of pain and rage. Scabbers was huddled in Ron’s
e tin of High-Finish Polish still clutched in his
anything to do with nerves. “Wood, Davies, shake
Mhands,” Madam Hooch said briskly, and Wood shook
, Harry looked back. Snape was running one of his
en started to climb, fast as he could, his sweaty
, all too aware of his sweaty Mface and his muddy
Harry followed him downstairs, trying to wipe his
parchment. Nothing happened. Harry clenched his
.. ages—ago...” “Well!” said Lupin, clapping his
sick of her flinching every time she looked at my
the rest of them were enormous. “Captains, shake
er at Warrington, knocking the Quaffle Out of his
as level — Harry threw himself forward, took both
lly you, Harry...” Harry sank his Mhead into his
than tears. “Wan' some tea?” he said. His great
eaving wide bald patches, and he writhed in Ron’s
but Scabbers was back in his pocket; he had both
ack didn't raise the wands in time—one of Harry’s
ting, his white Mface now tinged with green, both
ghtly under Ron's bitten, scratched, and bleeding
gely, still watching Scabbers struggling in Ron’s
he ends of the cords that bound Lupin flew to his
ng to say he broke out of Azkaban just to get his
out where he was?” Black put one of his clawlike
here Scabbers had been, cringing and wringing his
e shuffled forward on his Mknees, grovelling, his
one pulled her robes out of Pettigrew's clutching
arry,” whispered Pettigrew, shuffling toward him,
” “Get off me,” Harry spat, throwing Pettigrew's
hing. Hair was sprouting visibly on his Mface and
ack into a man. He was crouched on all fours, his
s he walked. A large bottle was swinging from his
abbed the cloak and held it up. “Get your filthy
nk slightly so that he and Dumbledore could shake
e. I want a word!” Harry strolled downstairs, his
Mhands. It had been a while since Harry had seen him out
Mhands. Ron, however, rounded on Hermione. “What did yo
Mhands,” Madam Hooch said briskly, and Wood shook Mhands
Mhands with the Ravenclaw Captain. “Mount your brooms..
Mhands over the one-Feyed witch's Fhead, examining it cl
Mhands slipping on the sides of the chute. He reached th
Mhands, which he quickly hid in his pockets. “Come with
Mhands clean on the inside of his robes without Snape no
Mhands to stop them from shaking. “Show yourself!” Snap
Mhands together and looking around cheerfully. “That see
Mhands.” “Good day to you!” said the familiar, misty vo
Mhands!” said Madam Hooch. Flint and Wood approached ea
Mhands; Alicia seized it and put it through the Slytheri
Mhands off his broom. He knocked Malfoy's Marm out of th
Mhands, thinking. “If we only had the Invisibility Cloa
Mhands were shaking as he reached for the kettle. “Wher
Mhands as though desperate to free himself “It's okay,
Mhands held tight over the quivering lump. “Ron—come on
Mhands fastened over his wasted Mwrist, forcing the wand
Mhands clutching his broken Mleg. Black was sprawled at
Mhands. “All right, then,” Black said, without taking h
Mhands. “Everyone thought Sirius killed Peter,” said Lu
Mhands. “I'll drag the werewolf. Perhaps the dementors w
Mhands on Scabbers? I mean...” He looked up at Harry and
Mhands inside his robes and took out a crumpled piece of
Mhands. Crookshanks was spitting and snarling on the bed
Mhands clasped in front of him as though praying. “Siri
Mhands and backed away against the wall, looking horrifi
Mhands outstretched. “Harry, James wouldn't have wanted
Mhands off him in disgust. “I'm not doing this for you.
Mhands, which were curling into clawed paws. Crookshank
Mhands over his Mhead. 'Nooo,” he moaned. 'Nooo... plea
Mhands. “See?” Hermione whispered. “See what would have
Mhands off it,” Harry snarled under his breath. “Shh!”
Mhands. Then, with a final nod to Harry and a swift smil
Mhands deep in his pants pockets. When he searched the l
191
t remember what they are, ask your son!” Dudley’s
furtive, guilty look at Lupin before placing his
ris of metal and leather that surrounded him; his
eet slammed onto hard ground and he fell onto his
sed. Harry, who had no grudge against Krum, shook
are you?” Krum asked. “Barny Weasley.” They shook
ould have destroyed Aberforth in a duel with both
l the last vestiges of Polyjuice leaving him, his
de it: Bolting the door behind him with trembling
alizing that nobody was listening. Ron was on his
aw him coming out of Kreacher’s cupboard with his
est. “Shoes off, if you please, Master Harry, and
bustling to the table with a large tureen in his
ed close to his Mface. He pushed himself onto his
to the ground before Harry, out of whose startled
d Harry, leaping to his Mfeet and holding up both
, I can hear someone!” He was listening hard, his
, and after the treatment I have received at your
repeated, and he advanced with the picture in his
p and narrow; Harry was half tempted to place his
cio Wand…” But nothing happened and he needed his
running across the fetid bedroom, his long white
lintered apart completely. Harry took it into his
ge before him. She tugged the book out of Harry’s
d just saved Harry’s life. Ron looked down at his
on the rock. Ron raised the sword in his shaking
oked as though ready to wrestle it out of Harry’s
nd a slight rattle from the tray as Xenophilius’s
r. He was turning the Snitch over and over in his
e could feel his Mface swelling rapidly under his
cked, Greyback, I can’t - blimey!” He whipped his
u lost your wand, Lucius! How dare you! Take your
barely conscious. He took one of the wandmaker’s
n did the same with Wormtail’s. Both raised their
l flew in all directions; Draco doubled over, his
ing to wash,” Harry told Bill looking down at his
Mhands jerked upward to tower his Mmouth. With his paren
Mhands on each side of her waist. Hagrid kicked the moto
Mhands sank into inches of muddy water as he tried to st
Mhands and Mknees in the yard of the Burrow. He heard sc
Mhands; then feeling that it would be prudent to remove
Mhands. “You, Barny - you know this man Lovegood well?”
Mhands tied behind his Mback. Muriel swigged yet more ch
Mhands returning to their usual length and shape. He pul
Mhands, he grasped his pounding Mhead and fell to the fl
Mhands and Mknees, searching under the wardrobe. Harry l
Mhands full of Kreacher’s treasures. Kreacher told the s
Mhands washed before dinner,” croaked Kreacher, seizing
Mhands, and ladled out soup into pristine bowls, whistli
Mhands and Mknees, ready to face some small, fierce crea
Mhands a tent peg soared, to land with a final thud at t
Mhands. “Shut up now!” Hermione looked outraged. “How ca
Mhands still raised, warning them not to talk. Then, ove
Mhands, I can assure you that I will not be making a ret
Mhands as the flames burst into life in the fireplace. B
Mhands on stout Bathilda’s backside to ensure that she d
Mhands to try to force the snake from him as it coiled i
Mhands clutching at the windowsill as he glimpsed the ba
Mhands as though it was a living thing that had suffered
Mhands, looking a little alarmed by his expression, and
Mhands. He seemed momentarily surprised to see the thing
Mhands: The point dangled over the frantically swiveling
Mhands and he reacted instinctively. “Protego!” The invi
Mhands shook. “I don’t think Luna’s been here for weeks.
Mhands, half expecting it to break open, to reveal the R
Mhands as heavy footfalls surrounded him. “Get up, vermi
Mhands away in fright. The iron was contorting, twisting
Mhands off me!” “This is nothing to do with you, you did
Mhands in his own, then held out the other to Luna and D
Mhands to Mshoulder height. “Good!” she leered. “Draco,
Mhands covering his bloody Mface. As Ron ran to pull Her
Mhands still covered with mud and Dobby’s blood. “Then I
192
Hogwarts to those who ask for it. Harry dried his
ver the horizon. Then he looked down at his clean
er Meyes seemed vast in their sunken sockets. The
oked Mnose: He felt amused derision. Dumbledore’s
own. Then Griphook relinquished him, clapped his
ade his farewells, hugging the women and grasping
down and the goblin clambered onto his Mback, his
nt. The old goblin behind the counter clapped his
arther north. “No idea,” Harry bellowed back. His
finally, who was sitting watching the skin on his
st in contemplation of his own knotted and veined
concealing them. He put the map away, pressed his
“Harry! My dear boy!” Nick made to grasp Harry’s
lopsided upon the bust. If he could just get his
thing vibrate violently, then break apart in his
extinguishing his wandlight, and continued on his
njured from thin air, was thrust into his shaking
ed on his Mfeet, the flask gripped tightly in his
m here on my own account!” Snape was wringing his
een him in life. He loped with an easy grace, his
rt, who stood with his Mhead bowed, and his white
escape the Mbody he was a