The document discusses analyzing function words in literary texts using text mining techniques. It notes that while function words are typically ignored in text mining as "stop words", they make up about 50% of tokens in a text and play an important grammatical and syntactic role. It questions whether function words should also be considered meaningless from a semantic and literary perspective, and presents analysis of frequency profiles of function words in characters from Charles Dickens' Christmas Books to argue they may provide insights.
The specific Dubai prayer timings can change daily, depending on the position of the sun. Fajr: Dawn, before sunrise. Dhuhr: Midday, after the sun has reached its zenith. Asr: the late part of the afternoon. Maghrib: just after sunset. Isha: between sunset and midnight.
Source: http://prayertimesdubai.net/
The specific Dubai prayer timings can change daily, depending on the position of the sun. Fajr: Dawn, before sunrise. Dhuhr: Midday, after the sun has reached its zenith. Asr: the late part of the afternoon. Maghrib: just after sunset. Isha: between sunset and midnight.
Source: http://prayertimesdubai.net/
From Stress to Success How Oakland's Corporate Wellness Programs are Cultivat...Kitchen on Fire
Discover how Oakland's innovative corporate wellness initiatives are transforming workplace culture, nurturing the well-being of employees, and fostering a thriving environment. From comprehensive mental health support to flexible work arrangements and holistic wellness workshops, these programs are empowering individuals to navigate stress effectively, leading to increased productivity, satisfaction, and overall success.
What Makes Candle Making The Ultimate Bachelorette CelebrationWick & Pour
The above-discussed factors are the reason behind an increasing number of millennials opting for candle making events to celebrate their bachelorette. If you are in search of any theme for your bachelorette then do opt for a candle making session to make your celebration memorable for everyone involved.
Johnny Depp Long Hair: A Signature Look Through the Yearsgreendigital
Johnny Depp, synonymous with eclectic roles and unparalleled acting prowess. has also been a significant figure in fashion and style. Johnny Depp long hair is a distinctive trademark among the various elements that define his unique persona. This article delves into the evolution, impact. and cultural significance of Johnny Depp long hair. exploring how it has contributed to his iconic status.
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Introduction
Johnny Depp is an actor known for his chameleon-like ability to transform into a wide range of characters. from the eccentric Captain Jack Sparrow in "Pirates of the Caribbean" to the introspective Edward Scissorhands. His long hair is one constant throughout his evolving roles and public appearances. Johnny Depp long hair is not a style choice but a significant aspect of his identity. contributing to his allure and mystique. This article explores the journey and significance of Johnny Depp long hair. highlighting how it has become integral to his brand.
The Early Years: A Budding Star with Signature Locks
1980s: The Rise of a Young Heartthrob
Johnny Depp's journey in Hollywood began in the 1980s. with his breakout role in the television series "21 Jump Street." During this time, his hair was short, but it was already clear that Depp had a penchant for unique and edgy styles. By the decade's end, Depp started experimenting with longer hair. setting the stage for a lifelong signature.
1990s: From Heartthrob to Icon
The 1990s were transformative for Johnny Depp his career and personal style. Films like "Edward Scissorhands" (1990) and "Benny & Joon" (1993) saw Depp sporting various hair lengths and styles. But, his long, unkempt hair in "What's Eating Gilbert Grape" (1993) began to draw significant attention. This period marked the beginning of Johnny Depp long hair. which became a defining feature of his image.
The Iconic Roles: Hair as a Character Element
Edward Scissorhands (1990)
In "Edward Scissorhands," Johnny Depp's character had a wild and mane that complemented his ethereal and misunderstood persona. This role showcased how long hair Johnny Depp could enhance a character's depth and mystery.
Captain Jack Sparrow: The Pirate with Flowing Locks
One of Johnny Depp's iconic roles is Captain Jack Sparrow from the "Pirates of the Caribbean" series. Sparrow's long, dreadlocked hair symbolised his rebellious and unpredictable nature. The character's look, complete with beads and trinkets woven into his hair. was a collaboration between Depp and the film's costume designers. This style became iconic and influenced fashion trends and Halloween costumes worldwide.
Other Memorable Characters
Depp's long hair has also been featured in other roles, such as Ichabod Crane in "Sleepy Hollow" (1999). and Roux in "Chocolat" (2000). In these films, his hair added a layer of authenticity and depth to his characters. proving that Johnny Depp with long hair is more than a style—it's a storytelling tool.
Off-Screen Influenc
La transidentité, un sujet qui fractionne les FrançaisIpsos France
Ipsos, l’une des principales sociétés mondiales d’études de marché dévoile les résultats de son étude Ipsos Global Advisor “Pride 2024”. De ses débuts aux Etats-Unis et désormais dans de très nombreux pays, le mois de juin est traditionnellement consacré aux « Marches des Fiertés » et à des événements festifs autour du concept de Pride. A cette occasion, Ipsos a réalisé une enquête dans vingt-six pays dressant plusieurs constats. Les clivages des opinions entre générations s’accentuent tandis que le soutien à des mesures sociétales et d’inclusion en faveur des LGBT+ notamment transgenres continue de s’effriter.
Is your favorite ring slipping and sliding on your finger? You're not alone. Must Read this Guide on What To Do If Your Ring Is Too Big as shared by the experts of Andrews Jewelers.
4. Marley was dead: to begin with. There is no doubt whatever
about that. The register of his burial was signed by the
clergyman, the clerk, the undertaker, and the chief mourner.
Scrooge signed it. And Scrooge's name was good upon 'Change,
for anything he chose to put his hand to.
Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own knowledge,
what there is particularly dead about a door-nail. I might have
been inclined, myself, to regard a coffin-nail as the deadest piece
of ironmongery in the trade. But the wisdom of our ancestors is
in the simile; and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to repeat,
emphatically, that Marley was as dead as a door-nail.
4
5. Marley was dead: to begin with. There is no doubt whatever
about that. The register of his burial was signed by the
clergyman, the clerk, the undertaker, and the chief mourner.
Scrooge signed it. And Scrooge's name was good upon 'Change,
for anything he chose to put his hand to.
Old Marley was as dead as a door-nail.
Mind! I don't mean to say that I know, of my own knowledge,
what there is particularly dead about a door-nail. I might have
been inclined, myself, to regard a coffin-nail as the deadest piece
of ironmongery in the trade. But the wisdom of our ancestors is
in the simile; and my unhallowed hands shall not disturb it, or the
Country's done for. You will therefore permit me to repeat,
emphatically, that Marley was as dead as a door-nail.
—Charles Dickens, A Christmas Carol (1843) 5
6. Function words(機能語)
the, of, and, in, to, I, you, . . .
l 高頻度で生起する単語
l 頻度上位60項目のトークン数はテクストの総トークン数
(総語数)の約50%をカバー
l テクストマイニングでも通常は stop words(ゴミ)として
排除(無視)される項目。いわんや,文学批評で取り上げ
られることなど殆ど無い。
6
7. Function words(機能語)
the, of, and, in, to, I, you, . . .
l 高頻度で生起する単語
l 頻度上位60項目のトークン数はテクストの総トークン数
(総語数)の約50%をカバー
l テクストマイニングでも通常は stop words(ゴミ)として
排除(無視)される項目。いわんや,文学批評で取り上げ
られることなど殆ど無い。
7
8. Function words(機能語)
the, of, and, in, to, I, you, . . .
l 高頻度で生起する単語
l 頻度上位60項目のトークン数はテクストの総トークン数
(総語数)の約50%をカバー
l テクストマイニングでも通常は stop words(ゴミ)として
排除(無視)される項目。いわんや,文学批評で取り上げ
られることなど殆ど無い。
8
9. Function words(機能語)
the, of, and, in, to, I, you, . . .
l 高頻度で生起する単語
l 頻度上位60項目のトークン数はテクストの総トークン数
(総語数)の約50%をカバー
l テクストマイニングでも通常は stop words(ゴミ)として
排除(無視)される項目。いわんや,文学批評で取り上げ
られることなど殆ど無い。これらの語はテクスト中で統
語的,文法的に存在するが,意味的,文学的には空気の
ような無標のものでしかない。
9
12. Table 1. Christmas Booksを構成する五作品
Abbrev. Title Date Total of tokens Tokens in dialogue
Carol A Christmas Carol 1843 28,420 7,917
Chimes The Chimes 1844 30,805 13,240
Cricket The Cricket on the Hearth 1845 31,832 11,627
Battle The Battle of Life 1846 29,598 13,325
Haunted The Haunted Man 1848 33,949 15,559
11
17. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
-6.0 É
Ghost
É
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 16
18. 0.3
not
do
are you it
0.2
what know all I
there how dear
come if was
she
0.1 that(d) am had
good very her
me
they never
to(i) at
PC 2 (11.84%)
will(md) been so(a.d.)
here we have when
is one for
0 can
that(c)
or would
your but
a to(p)
him
on(p) be has he
-0.1 as
and
my
of
with Frequency
no(det)
-0.2 the
this his
0 20 40
in
-0.3
-0.3 -0.2 -0.1 0 0.1 0.2 0.3
PC 1 (15.03%)
Fig. 2 Christmas Booksの高頻度語60タイプの相互関係 17
19. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
-6.0 É
Ghost
É
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 18
20. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
É Male characters
-6.0 É
Ghost
É X FEMALE CHARACTERS
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 19
21. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
É Male characters
-6.0 É
Ghost
É X FEMALE CHARACTERS
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 19
22. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
É Male characters
-6.0 É
Ghost
É X FEMALE CHARACTERS
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 20
23. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOT É
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
Dominant ÉÉ Submissive
-2.0 Warden Will
É
支配的 Dr Jeddler 順良
威圧的 献身的
-4.0
強権的 自己犠牲的
É Male characters
-6.0 É
Ghost
É X FEMALE CHARACTERS
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 20
24. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
É Male characters
-6.0 É
Ghost
É X FEMALE CHARACTERS
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 21
25. 6.0
対話的
口語的
4.0 庶民的 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0 独白的
衒学的
‘モンスター’ É Male characters
-6.0 É
Ghost
É X FEMALE CHARACTERS
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 21
36. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
É Male characters
-6.0 É
Ghost
É X FEMALE CHARACTERS
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1
Principal component scores for the 24 major characters:
based on the 30 most common word-types in the corpus 32
37. 6.0
Interpersonal,
vernacular
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOT É
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
É Male characters
-6.0 É
Monologic, Ghost
É X FEMALE CHARACTERS
Latinate Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
Dominant PC 1 (15.04%) Submissive
Fig. 1
Principal component scores for the 24 major characters:
based on the 30 most common word-types in the corpus 32
38. 0.3
not
do
are you it
0.2
what know all I
there how dear
come if was
she
0.1 that(d) am had
good very her
me
they never
to(i) at
PC 2 (11.84%)
will(md) been so(a.d.)
here we have when
is one for
0 can
that(c)
or would
your but
a to(p)
him
on(p) be has he
-0.1 as
and
my
of
with Frequency
no(det)
-0.2 the
this his
0 20 40
in
-0.3
-0.3 -0.2 -0.1 0 0.1 0.2 0.3
PC 1 (15.03%)
Fig. 2 Principal Components Analysis of the 30 most common word-types in the
language of dialogue: based on the 24 major characters 33
39. 0.3
not
Interpersonal, do
vernacular are you it
0.2
what know all I
there how dear
come if was
she
0.1 that(d) am had
good very her
me
they never
to(i) at
PC 2 (11.84%)
will(md) been so(a.d.)
here we have when
is one for
0 can
that(c)
or would
your but
a to(p)
him
on(p) be has he
-0.1 as
and
my
of
with Frequency
no(det)
Monologic, -0.2 the
Latinate this his
0 20 40
in
-0.3
-0.3 -0.2 -0.1 0 0.1 0.2 0.3
Dominant PC 1 (15.03%)
Submissive
Fig. 2 Principal Components Analysis of the 30 most common word-types in the
language of dialogue: based on the 24 major characters 33
40. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
É Male characters
-6.0 É
Ghost
É X FEMALE CHARACTERS
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 34
41. 6.0
4.0 X
É Mrs TETTERBY
Tackleton X
Tetterby
É
CLEMENCY
2.0 ÉÉ Toby
Scrooge XDOTÉ
É Caleb
Alderman MEGX É
PC 2 (11.84%)
0.0 É John X
William É MARION
É Alfred
Redlaw É X XMILLY
Snitchey É Philip BERTHA
ÉÉ
-2.0 Warden Will
É
Dr Jeddler
-4.0
É Male characters
-6.0 É
Ghost
É X FEMALE CHARACTERS
Sir Joseph
-8.0
-8.0 -6.0 -4.0 -2.0 0.0 2.0 4.0 6.0 8.0
PC 1 (15.04%)
Fig. 1 Christmas Booksの主要登場人物24人の相互関係:高頻度語60タイプを変数として 34
42. 3.0
Tackleton Tetterby
Alderman É É
2.0 Scrooge Mrs TETTERBY
É
É X
BERTHA
1.0 Redlaw Caleb DOT X
PC 2 (9.78%)
X MARION
É É X CLEMENCY X
0.0 Toby É Will John MILLY
É
Warden É Alfred ÉÉ MEG X
William É X
-1.0 Philip É
Dr Jeddler Snitchey É Male characters
-2.0 É É
Ghost
Sir Joseph É É X FEMALE CHARACTERS
-3.0
-6.0 -4.0 -2.0 0.0 2.0 4.0 6.0
PC 1 (33.44%)
Fig. 3
言語と性差:21項目の性差マーカーの生起頻度に基づく
35
43. 0.6
Frequency/1,000
you
0.5
0 20 40
0.4
will(md)
0.3 me
0.2 what dear
good had
PC 2 (9.8%)
how never
0.1 so(a.d.)
was
0 when
is
him
-0.1 that(c)
of would
-0.2
a
-0.3 the
he and
-0.4
-0.4 -0.3 -0.2 -0.1 0 0.1 0.2 0.3 0.4
PC 1 (33.4%)
Fig. 4
Gender-oriented Difference in idiolects: Word plot for
the 21 most common ‘marker’ words in the corpus
36
44. 140
E Male Characters
X FEMALE CHARACTERS Scrooge#4
H
120 H Scrooge in 5 Parts
Scrooge#5
H
100
Sir Joseph Scrooge#3
Alderman E H
E
Scrooge#2
H Caleb
E
PC 3 (12.97%)
80 Dr Jeddler Tackleton
E EGhost
E
E Redlaw
Toby E
William E
MILLY X
Scrooge#1 Will E X BERTHA
H
60 Alfred
Tetterby EE EJohn
Snitchey X MEG Warden
E
E X DOT
40 X
CLEMENCY MRS TETTERBY
X
Philip
E
20
MARION
X
0
-60 -40 -20 0 20 40 60 80
PC 2 (16.22%)
Fig. 5
A Christmas Carol における Scrooge 改心の軌跡:
頻度上位 20 タイプの生起頻度行列に基づく主成分分析の結果 37
45. 140
E Male Characters
X FEMALE CHARACTERS Scrooge#4
H
120 H Scrooge in 5 Parts
Scrooge#5
H
100
Sir Joseph Scrooge#3
Alderman E H
E
Scrooge#2
H Caleb
E
PC 3 (12.97%)
80 Dr Jeddler Tackleton
E EGhost
E
E Redlaw
Dominant William
Toby
E X
E Submissive
Scrooge#1 MILLY
支配的 H
Will E X BERTHA 順良
60 Alfred
威圧的 Tetterby EE EJohn 献身的
Snitchey X MEG Warden
強権的 E X DOT
E
自己犠牲的
40 X
CLEMENCY MRS TETTERBY
X
Philip
E
20
MARION
X
0
-60 -40 -20 0 20 40 60 80
PC 2 (16.22%)
Fig. 5
A Christmas Carol における Scrooge 改心の軌跡:
頻度上位 20 タイプの生起頻度行列に基づく主成分分析の結果 37
46. Important thematic contrasts like those between
social superiors and social inferiors, callousness versus
sympathy, cynicism versus family love and fellow
feeling, and so on, are underscored by the
differentiation of idiolects or the variation within a
single idiolect.
38
47. Among the words lying to the LEFT in Fig 1 and
characterise the idiolects of characters demonstrating
dominance and habits of command, the first person
pronoun you seems to play the most significant role,
and other words, such as are and will, function in
relation to you or, to put it in another way, they are in
frequent co-occurrence with you.
39
48. (1)A marked recourse to you know
‘It’s my place to give advice, you know, because I’m a
Justice. You know I’m a Justice, don’t you?’ (Chimes:
172)
‘You will come to the wedding? We are in the same
boat, you know’ (Cricket: 43).
40
49. (2) Assertive statements using you
‘What right have you to be merry? what reason have you to
be merry? You’re poor enough.’ (Scrooge, Carol: 48); ‘After you
are married, you’ll quarrel with your husband, and come to be
a distressed wife. You may think not: but you will, because I tell
you so’ (Alderman, Chimes: 172).
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50. (3) Impolite vocatives:
Tackleton addresses John with ‘you dog!’ (Cricket: 45), Edward
with ‘you vagabond’ (113), and Alderman Cute calls Richard ‘you
dull dog’ (Chimes: 173), and ‘you silly fellow’ (173).
These vocatives stand in marked contrast with more intimate
vocatives, like ‘my dear’ or ‘my darling’ to which gentle and
tender-hearted characters, such as Toby, Caleb, John, Philip, and
so on, frequently resort. The differences in the use of vocatives
indicate, with concise expressiveness, the relationships between
the characters as well as their attitude to each other.
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51. (4) The sarcastic or taunting use of ‘you’.
This type of usage frequently appears in Scrooge’s idiolect
before he is haunted by the ghosts: (in the scene where his
nephew invites Scrooge to the Christmas dinner)
‘What LEFT have you to be merry? what reason have you to
be merry? You’re poor enough.’ (Carol: 48);
in The Chimes it is often seen in the Alderman’s relentless
bantering of Meg:
‘After you are married, you’ll quarrel with your husband, and
come to be a distressed wife. You may think not: but you will,
because I tell you so’ (Chimes: 172).
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