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Dobby

''Look up'' [[Dobby]] ''or'' [[dobby]] ''in , the free dictionary.'' '''Dobby''' may refer to:

Fictional characters

House-elf from the Harry Potter series

Dobby is a male house-elf in J.K. Rowling's series, initially enslaved to the Malfoy family and known for his unwavering loyalty to Harry Potter, his habit of punishing himself by hitting his head or using objects when he believes he has disobeyed, and his fervent wish to achieve freedom from servitude. Bound by magic to serve his masters without pay or rights, Dobby represents the oppressed house-elf class in the , where elves are treated as property and must obey commands or suffer physical pain. His character highlights themes of exploitation and liberation, drawing brief inspiration from traditional spirits that perform domestic tasks. Dobby first appears in and the Chamber of Secrets (1998 book, 2002 film), where he visits at the Dursleys' home on his twelfth birthday, warning him against returning to to protect him from danger and destroying Mrs. Dursley's dinner party by levitating and smashing the pudding. Throughout the story, he reveals clues about the Chamber of Secrets plot by dropping a page, all while acting against his masters' orders at great personal cost. In a pivotal moment at the book's end (1993 timeline), tricks Lucius Malfoy into handing over a hidden in Tom Riddle's , unknowingly freeing Dobby as house-elves gain independence upon receiving clothing from their owners. Dobby's iconic declaration, "Dobby is free!", marks this turning point, symbolizing his escape from the Malfoys' cruelty. In subsequent books, Dobby transitions to a free elf working at under Dumbledore, where he befriends and assists in key events. In Harry Potter and the Order of the Phoenix (2003), he alerts to the Malfoy plot and helps recruit members for , using the Room of Requirement for their meetings. He also provides Gillyweed for the Triwizard Tournament in Harry Potter and the Goblet of Fire (2000), enabling 's underwater task. In Harry Potter and the Deathly Hallows (2007), Dobby plays a heroic role by apparating to Malfoy Manor to rescue , Ron, , , Garrick Ollivander, and Griphook; however, throws a knife that fatally wounds him during the escape to Shell Cottage. buries Dobby on the beach without using magic, engraving his grave with the epitaph "Here Lies Dobby, A Free Elf," honoring his sacrifice. Physically, Dobby is depicted as a short house-elf, about three feet tall, with enormous green eyes the size of balls, bat-like ears, a long pencil-thin nose, and sallow skin; while enslaved, he wears only a ragged pillowcase as clothing, but after freedom, he collects mismatched socks as gifts from . In the film adaptations, Dobby is portrayed through animation with voice acting by in Harry Potter and the Chamber of Secrets (2002) and Harry Potter and the Deathly Hallows – Part 1 (2010), capturing his high-pitched, earnest speech and expressive movements. Dobby's arc underscores the series' exploration of house-elf rights, directly inspiring Hermione Granger's Society for the Promotion of Elfish Welfare (S.P.E.W.) in and the Goblet of Fire, a campaign to abolish elf enslavement after witnessing Dobby's mistreatment and comparing it to plight. As a symbol of resistance against systemic oppression, Dobby's story resonates with themes of loyalty and , contributing to his enduring fan popularity through merchandise like sock replicas, , and quotes such as "Dobby never meant to offend!" that highlight his quirky, endearing personality. His death scene is often cited as one of the series' most emotional moments, emphasizing the cost of freedom and bravery in the fight against Voldemort.

Character from the Peep Show television series

Dobby, whose real name is , is a recurring character in the , portrayed by comedian and actress . She debuts in series 5 (2008) as an IT technician at the fictional JLB Credit, where she quickly becomes a romantic interest for the protagonist Corrigan. Described as a self-identified "IT grunt," Dobby embodies the show's awkward humor through her eccentric habits, such as carrying personal cheese to work, which notes during their first meeting in the office canteen. Her nickname derives from her real name and superficial resemblance to the house-elf character from the series, reflecting her quirky appearance and mannerisms. Dobby's personality is marked by optimism, vivacity, and a casual, geeky demeanor, often highlighted by her enthusiasm for video games like World of Warcraft. She is portrayed as kind and sharp-witted yet socially awkward, aligning with the series' exploration of misfits in everyday settings. Suttie, drawing from her background in musical comedy and character-driven stand-up, infused the role with relatable eccentricity, making Dobby a standout figure in the show's ensemble of flawed adults. In terms of relationships, Dobby forms a central romantic connection with Mark Corrigan (played by ), leading to awkward dates, a brief , and an eventual complicated by her ex-boyfriend (Mathew Baynton). She also interacts comically with Mark's flatmate Jeremy "Jez" Usbourne (), sparking a that underscores the protagonists' insecurities. Her office dynamics with colleagues, including tense encounters involving Simon, add layers to JLB Credit's dysfunctional environment. Key plot points include Dobby's initial encounter with in the canteen, where her cheese-sharing offer sparks their flirtation, followed by a charged meeting in the stationery cupboard that escalates their physical attraction. A subplot revolves around a love note she writes to , which influences his decisions amid personal turmoil. Dobby remains prominent through series 8 (2012), participating in office antics and 's proposal attempt, before leaving JLB for a job in at the season's end. She returns briefly in series 9 (2015) with a new American boyfriend and altered, more upbeat persona, prompting to reflect on their past. Dobby contributes to Peep Show's themes of loneliness, unrequited desire, and awkward office romances, serving as a foil to Mark's neuroses and enhancing the series' commentary on adult relationships. Fans often discuss her compatibility with Mark, viewing her as a rare positive influence in his life, while Suttie has noted the role's impact on her career, including unexpected "sex symbol" status despite Dobby's geeky traits.

People

Musicians

Highland Ralph Dobson (1942–2020), known professionally as Dobby Dobson and nicknamed "The Loving Pauper," was a pioneering Jamaican , and producer whose career spanned over five decades. Born in Kingston on July 5, 1942, Dobson began performing in the late , initially gaining prominence as part of the duo Chuck and Dobby with singer Josephs, recording hits like "Till the End of Time" for producers such as Duke Reid and . In the , he fronted group the Deltas and outfit the Sheiks, contributing to Jamaica's evolving music scene from to and . His solo breakthrough came with the 1967 classic "I'm a Loving Pauper," a signature track that showcased his smooth, emotive baritone and was later covered by artists including and UB40. Dobson's international success arrived with the 1971 single "Cry a Little," which topped Jamaican charts and gained traction abroad through versions by artists like Ken Boothe. In 1968, he co-founded the influential Techniques record label with partner Chuck Jackson, nurturing talents in the rocksteady and early reggae eras. He performed at major events like Reggae Sunsplash in the 1980s and produced the Meditations' debut album Message from the Meditations in 1978, further cementing his role in Jamaican music production. In recognition of his contributions to reggae and Jamaican culture, Dobson received the Order of Distinction (Officer class) from the Jamaican government in 2011. He died on July 21, 2020, in Coral Springs, Florida, from complications of COVID-19 at age 78. Rhyan Clapham, performing as DOBBY (born c. 1994), is a Filipino-Aboriginal Australian hip-hop artist, rapper, drummer, and producer from Sydney's Dharawal Country, known for blending personal storytelling with advocacy for Indigenous rights and environmental justice. Raised in Warilla, New South Wales, by a Filipino mother and Murrawarri father from Brewarrina, Clapham began rapping at age 12, using hip-hop as a tool for education and cultural expression before formalizing his skills as a drummer and composer. His debut EP Display of Power (2016) marked his entry into the Australian scene, followed by albums exploring themes of Indigenous identity, mental health, and resilience, including The Waiting Room (2021). Collaborations with groups like Hilltop Hoods have amplified his reach, while tracks such as the 2020 single "I Can't Breathe" supported the Black Lives Matter movement in Australia. DOBBY's music often incorporates traditional elements, as seen in his 2024 album Warrangu: River Story, which documents the Murray-Darling Basin's ecological and cultural struggles through elders' voices and , earning an Award for Best Album. Nominated multiple times at the Awards, including for Warrangu, he has used his platform for on Aboriginal rights and water justice issues as of 2025. Clapham's work emphasizes hip-hop's potential for , drawing from his to address systemic inequities. Steven "Dobby" Dawson (born February 24, 1952) is an English bass guitarist best known as a founding member of the band Saxon, contributing to the New Wave of British Heavy Metal (NWOBHM) movement in the late 1970s and early 1980s. Originally from , , Dawson co-formed the band in 1976 (initially as Son of a Bitch) alongside vocalist , guitarist , and others, providing the rhythmic foundation for their raw, energetic sound. He played on Saxon's seminal albums, including the self-titled debut (1978), (1980), (1980), and (1981), which helped establish the band as NWOBHM leaders with hits like "" and "Dallas 1-2-3." Dawson's tenure with Saxon ended in 1986 amid lineup changes, after which he formed Oliver/Dawson Saxon with ex-Saxon , releasing albums like Re-Union (1999) that revisited the band's classic style. His work, characterized by driving riffs and solid grooves, influenced heavy metal's evolution, though he later stepped back from major touring. In , Dawson was sentenced to six years in prison for child sex offenses dating to the , a unrelated to his musical legacy.

Other notable individuals

Dobby Gibson (born 1970) is an American poet born in , . He earned a B.A. from in 1993 and an M.F.A. from in 1997, initially studying fiction before switching to after a class with . His debut collection, Polar ( Books, 2005), won the Beatrice Hawley Award and was a finalist for the Book Award; subsequent works include Skirmish (Graywolf Press, 2009), also a Book Award finalist, It Becomes You (Graywolf Press, 2013), Little Glass Planet (Graywolf Press, 2019), and Hold Everything (Graywolf Press, 2024), for which he won the Prize in 2025. Gibson's often explores the natural world, memory, technology, and everyday epiphanies in contemporary American life. He has received fellowships from the and the McKnight Foundation. Doris Brin "Dobby" Walker Roberson (April 29, 1919–August 13, 2009) was an American labor lawyer and civil rights activist. Born in , , she graduated from UCLA in 1939 and from UC Berkeley's Boalt Hall School of Law in 1942 as the only woman in her class. In 1961, she co-founded the Oakland-based firm Treuhaft, Walker and Burnstein with and Albert Burnstein, specializing in representing unions, draft resisters, and political radicals, including members during the McCarthy era. The firm defended clients in high-profile cases, such as the 1951 trial of 14 Communists (convictions reversed by the U.S. in Yates v. United States, 1957) and journalist John W. Powell against sedition charges in 1959. Walker served as the first woman president of the in 1970 and was a key member of Angela Davis's defense team, contributing to Davis's acquittal on murder and kidnapping charges in 1972. A lifelong since the early 1940s, she advocated for , desegregation, and , later observing South Africa's Truth and Reconciliation Commission in 1996. She died of a stroke in at age 90.

Textiles and weaving

Dobby weave

The dobby weave is a produced on a dobby loom, characterized by small, repeating geometric or floral designs created by selectively controlling individual threads. This technique allows for intricate motifs, typically limited to up to 32 harnesses, distinguishing it from more complex jacquard weaving. Originating in the 1840s during the , the dobby weave emerged in as an advancement over traditional plain looms, enabling to produce patterned fabrics more efficiently without the need for full jacquard mechanisms. The name "dobby" derives from "draw boy," referring to the young assistants who manually controlled threads by pulling cords, with the dobby attachment serving as the device invented to simplify and replace this labor-intensive process; early adoption occurred in and later spread globally through innovations. Dobby weaves feature a textured surface with raised motifs that add depth and visual interest, often using materials like , , , or synthetics for a of , , and wrinkle . These fabrics exhibit good drape and slight stretch, with patterns such as dots, stripes, or checks that provide a subtle, minimalist aesthetic compared to bolder weaves. Common examples include dobby shirting for its lightweight feel and fabrics valued for everyday resilience. In production, warp threads are individually lifted or lowered using a dobby mechanism, such as punched tapes, bars, or modern electronic controls, to interlace with the weft and form the desired pattern. This process, which can incorporate yarns of varying colors for enhanced motifs, is followed by finishing steps like or to refine the fabric's appearance and performance. Contemporary methods often integrate for precision in pattern selection. Dobby weaves find widespread use in apparel such as dress shirts, polo shirts, blouses, and dresses due to their comfort and versatility across seasons. They are also popular in home textiles, including towels, curtains, tablecloths, and , where the textured supports both decorative and functional needs.

Dobby loom

The dobby loom is a shedding device, either as an attachment to a floor or as a standalone , designed to the lifting of individual or groups of threads to create patterned weaves without relying on treadles. It enables the of small, repeating geometric designs by automating the harness selection process, typically managing 12 to 40 heald shafts depending on the model. Unlike simpler looms, the dobby uses a series of levers, hooks, and connectors to raise or lower shafts precisely, allowing weavers to achieve intricate patterns that would be labor-intensive on manual setups. The dobby loom originated around 1843 in as a more accessible alternative to the complex Jacquard mechanism, simplifying pattern control through mechanical means like pegged bars or chains rather than extensive punched cards. During the , it transitioned from hand-operated versions to - or water-powered models, significantly contributing to the of figured s by reducing the need for skilled drawboys and enabling faster, factory-scale output. By the , dobby looms had become widespread in textile mills, bridging the gap between traditional handweaving and fully automated systems while supporting the era's economic shift toward industrialized fabric manufacturing. Key components of the dobby loom include the drive mechanism, which synchronizes heddle movement with the loom's ; the selection mechanism, often employing perforated wooden lags, metal bars with pegs, or early systems to encode ; and the or lifting framework, which connects selections to the harnesses for vertical motion. These elements work together to accommodate up to 40 , far exceeding the capabilities of basic setups. In operation, for each weft , the dobby reads the pattern input to engage specific hooks or levers, raising the corresponding to form the ; this process repeats cyclically, contrasting with looms limited to 8-10 shaft combinations due to foot-operated constraints, yet remaining less intricate than Jacquard systems designed for individualized control in expansive motifs. In contemporary applications as of 2025, dobby looms serve both artisanal handweaving, where weavers create custom patterns on compact models, and industrial small-batch production for specialized textiles requiring moderate complexity. Recent advancements incorporate electronic interfaces and (CAD) software, such as WeavePoint or Fiberworks, allowing direct pattern programming via laptops to eliminate manual lag adjustments and enable of designs. This digital integration has expanded their versatility, supporting sustainable practices in boutique manufacturing while maintaining the mechanical precision that defines the dobby system.

Mythology and folklore

Dobby as a household spirit

In , a dobby is defined as a small, elf-like household spirit that performs domestic chores secretly at night, rewarding tidy homes with assistance while punishing sloppiness through . This benevolent domestic is akin to the Scottish or , often attached to specific families or farms rather than places, and is known regionally by names such as dobby in and , dobbs in , or dobie in . The dobby is typically described as a short, ragged figure, sometimes with a long nose, embodying a kindly yet temperamental —helpful to children and servants but prone to pranks if offended or neglected. Etymologically, "dobby" derives from roots denoting an or , likely a form or variant of "Robin," as in Robin Goodfellow, a common alias for such sprites in northern English traditions. Behaviorally, the dobby sweeps floors, mends , and herds animals during the night, leaving small gifts like coins or food in appeased households; however, offering it —a of —causes it to vanish forever, much like lore. These spirits are fond of warmth near hearths but can become disruptive if cold or unappreciated, reflecting their as and tricksters. Dobbies appear in 19th-century folklore collections, such as William Henderson's Notes on the Folk-Lore of the Northern Counties of England and the Borders (1879), where they are classified among local sprites alongside brownies. They form the basis for protective charms like dobby stones—holed pebbles hung in homes or walls to ward off their mischief or external threats such as witches. Into the , beliefs in dobbies lingered as rural superstitions in , with accounts of their aid or hauntings reported as late as 1908 in , influencing later fantasy depictions of domestic elves.

Dobby in regional

In , particularly in , the "White Dobbie" emerges as a in 19th-century , manifesting as a pale, emaciated figure with a wan face and feverish eyes, often accompanied by a scraggy white bearing bloodshot eyes. This haunted the coastal farms and lonely roads of the district, from Bardsea to Rampside, appearing during stormy winter nights to signal or within a . Villagers reported it wandering silently, ignoring greetings, while dogs bayed in terror at its approach, and the accompanying hare would sometimes vanish into a or flee erratically, heightening the of doom. In , dobbies took on more malevolent traits as mischievous sprites or variants that targeted travelers, leaping onto the backs of horses to exhaust the animals and delay journeys through rural and dales. These entities, described in local traditions as squat, hairy imps with disproportionate strength, disrupted nighttime rides, causing riders to dismount in fear or exhaustion. To ward off such interference, residents employed "dobbie stones"—naturally holed pebbles hung at doorways or embedded in walls, believed to trap or repel the sprites through their perforations, a practice rooted in pre-industrial protective customs across the . Further south in the , around , "dobby" evolved into a term for a children's chasing akin to , where one player, designated the "dobby," pursues others across playgrounds or streets, tagging them to pass the role. This playful usage, documented in regional dialects since at least the early , carries folk etymological ties to the mischievous spirit's reputation for sudden, bounding pursuits, transforming the lore's prankster aspect into innocent recreation among youth. In , dobbies manifested as boggles or poltergeist-like entities causing domestic upheaval in old farmhouses and buildings, hurling objects, slamming doors, and mimicking voices to sow among inhabitants. 19th-century includes tales like the Ealinghearth Dobby, a said to haunt the lane near Newby Bridge, jumping on the backs of travelers and linked to a tragic in 1825; such stories often tie these entities to unresolved tragedies like murders or in the Lake District's isolated hamlets. Unlike more benign national archetypes, these regional dobbies emphasized disruption over aid, aligning with broader traditions of unrest. These localized dobby variants waned during England's industrialization in the 19th and early 20th centuries, as displaced rural oral traditions and steam-era developments eroded belief in such spirits amid growing and migration to factories. Yet, echoes persist in preserved collections and studies, linking dobbies to wider kin—imps and boggarts—without the domestic helpfulness seen elsewhere, underscoring their role as emblems of pre-modern unease.

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