Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Soňa Lysková Narrative Organisation, Personal Relationships and Individual Perception in Stories by Katherine Mansfield Bachelor’s Diploma Thesis Supervisor: Stephen Paul Hardy, Ph.D. 2014
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Masaryk University
Faculty of Arts
Department of English
and American Studies
English Language and Literature
Soňa Lysková
Narrative Organisation, Personal Relationships and Individual
Katherine Mansfield is a New Zealand modernist writer and the master of
the 20th century English short story. She was born in Wellington on 14 October
1888 as Kathleen Mansfield Beauchamp to her Australian parents Annie
Beauchamp and Harold Beauchamp – a successful businessman. Mansfield
perceived herself as the ugly duckling of the family and she eventually left New
Zealand in order to pursue a career of a writer. She changed her name and
moved to England, however, though she has left her life in New Zealand
behind, she does return to her childhood memories in many of her stories.
Mansfield lived a bohemian life, often struggling with money. In 1911, she met
John Middleton Murry, who later became her husband, and with whom she
pursued a relationship which some of her stories are influenced by.
In 1918, she was diagnosed with tuberculosis and even though she was
terminally ill, she still managed to write some of her best stories. The themes
Mansfield deals with in her stories are mainly love and disillusionment,
traditional roles of women and men in the society, social class and the thin line
between reality and imagery. Katherine Mansfield died in January 1923, leaving
behind several stories and poems which were later published by her husband
John Middleton Murry.
Among the conventional themes of Mansfield’s stories is the theme of
love and relationships – whether the focus is on the development of the
relationship itself or on the attitude men have towards women and vice versa.
Further, it is common for Mansfield’s stories to provide an insight into the
events through the protagonist’s way of perception. Therefore, the aim of the
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thesis is to examine the depiction of personal relationships in the stories by
Katherine Mansfield and the individual perception of the main characters,
predominantly in relation to the particular relationship. If present in the story,
the autobiographical features shall be also highlighted and analysed and to
support the potential evidence, the corresponding quotation from a biography
will be provided.
Furthermore, the thesis shall look at the unique narrative
techniques that are characteristic for Katherine Mansfield. Mansfield is the first
author to use the ‘stream of consciousness’1 which became typical of
modernists’ works. Mansfield frequently shifts the narrative perspectives in her
stories and she is closely associated with the use of free indirect discourse
which transitions between direct and indirect discourse which According to Julia
Van Gunsteren’s study of Mansfield’s narrative presentation Katherine Mansfield
and Literary Impressionism, free indirect discourse presents a “compromise
between direct discourse (dialogue) and indirect discourse”. She sees free
indirect discourse as a method, “which enables the narrator to hide behind his
leading character” (Gunsteren 107). Further, the examination of narrative
organization shall be based on Mieke Bal’s terminology and approach to the
study as presented in her book Narratology, Introduction to the Theory of
Narrative.
My approach is to look at three stories by Katherine Mansfield, where
each story is intentionally chosen from a different collection of stories in order
1 That is noted by Jeffrey Meyer’s in Katherine Mansfield: a Darker View: “Katherine was the first to use the ‘stream of consciousness’ technique that was later masterfully employed by
Virginia Woolf” (Meyers 157)
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to analyse stories, which were written years apart. The purpose of this is to
offer an insight into the development of the depiction of the relationships in the
stories. The stories are therefore in a chronological order.
The first chapter is dedicated to the analysis of ‘Something Childish, but
Very Natural’, which was written and first published in 1914 and republished in
the collection Something Childish and Other Stories after Mansfield’s death. The
depiction of the perception of the female character Edna shall be analysed with
a focus set on the development of her character in connection to the
relationship she pursues with Henry. Further, Henry’s perception and approach
to his relationship with Edna will be analysed and supported with quotes from
the story. Since the symbolism in ‘Something Childish, but Very Natural’ is
closely connected to the relationship between Henry and Edna and the
development of the relationship is often displayed by the imagery I decided to
devote a subchapter merely to the use of symbolism as a guide through Edna’s
transition in the story.
The second chapter examines the story ‘Bliss’, which was written in 1918
and published in the volume called Bliss, and Other Stories in late 1920. The
analysis researches the events through the perception of the female protagonist
– Bertha Young. Her perception of the relationship with her husband Harry and
with Pearl shall be examined. Similarly as in ‘Something Childish, but Very
Natural’ Mansfield uses imagery to introduce Bertha’s perception of herself and
perception of the other characters.
The third chapter looks at ‘A Cup of Tea’, a story written in 1922 and
published in the collection called The Dove's Nest and Other Stories. In spite of
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the fact, that this is the shortest story from those examined in the thesis, it
provides an interesting perspective on transience of how one’s perception of
herself or himself can change – such as the perception of Rosemary, which is
influenced and undermined by her husband Philip. Further, Philip’s attitude
towards Rosemary and his way of achieving power and control over the partner
in the relationship shall be considered.
Prior to analysing the stories, a brief summary of each story further
examined shall be provided:
‘Something Childish, but Very Natural’ is a story about a 17 years old
Henry, who meets a younger girl Edna one day on a train. Henry falls in love
with Edna and would like to engage in a physical relationship, however, Edna
acts restrained and keeps the relationship purely platonic. Through Henry’s
perception it is visible, that Edna’s character develops throughout the story and
eventually allows Henry to touch her. The transition between innocent
childhood and becoming an adolescent, who acknowledges the physical aspects
of a relationship, is a major theme in the story. Further the tension between
perception of reality and illusion is depicted.
‘Bliss’ presents a series of events concerning a dinner party. The story is
presented through the perception of Bertha Young, who has a loving husband
and everything a woman could possibly want. Bertha considers herself to be
happy, because she must be happy since she has everything one could wish
for. However, she does not desire her husband, until she starts to feel attracted
to another woman – Pearl Fulton, who is also invited to the dinner party. The
story questions the sexuality of the protagonist. As the evening progresses,
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Bertha finds out that her husband who seemed to dislike Pearl is actually
having an affair with her. Throughout the story, there are several hints, which
might indicate that Bertha knew about the affair and chose to ignore the truth
and decided to live in the state of bliss. However, from a different perspective
she could be seen as a naive wife believing in her husband.
‘A Cup of Tea’ follows the female protagonist Rosemary Fell, who is
presented as wealthy content woman. Rosemary is shopping at the Curzon
Street, when she sees a poor girl who asks her for the price of a cup of tea.
Rosemary decides to take her home and take care of her, because it would
make her feel like a heroin she knows from novels by Dostoevsky. At home, she
is approached by her husband, who does not appreciate the presence of the
poor girl and tries to persuade Rosemary to let the girl go. To have his way, he
states that the girl is really ‘pretty’ and ‘lovely’, which makes Rosemary feel
insecure. She obeys her husband and asks him, whether he considers her to be
pretty. In this story the theme of social class and materialism is depicted and
more importantly for the purpose of the thesis marriage, change of individual
perception and dominance of man over woman is also presented.
The main secondary sources, that were chosen to evaluate and support
the interpretation of Mansfield’s stories and the arguments in the thesis, are:
Mieke Bal’s Narratology, Introduction to the Theory of Narrative (1999), Claire
Tomalin’s Katherine Mansfield, A Secret Life (1988) and Jeffrey Meyers’
Katherine Mansfield: A Darker View (2002).
Narratology, Introduction to the Theory of Narrative by Mieke Bal was
chosen as a tool to assist with specifying the unique narrative techniques that
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are employed by Katherine Mansfield in her short modernist stories. Bal
presents the description of how the narrative text is constructed and further
she suggests to divide narrative texts into three levels – text, story and fabula
and assigns an agent for each level: text – ‘speaker’ (narrative agent), story –
‘character’ (‘focalizer’), fabula – ‘actor’.
Prior to analysing, it is fundamental to thoroughly examine the author’s
life and background to be able to decipher the various symbols and layers of
Mansfield’s stories, as some of them are closely connected to her life
experience. For this purpose two biographies were chosen:
Katherine Mansfield, A Secret Life by Claire Tomalin presents an outlook
on Katherine Mansfield’s life, closely following her steps from her birth to her
death. This biography describes Mansfield’s life from every aspect, commenting
on her relationships, sexual ambiguity, career and health conditions.
Katherine Mansfield: A Darker View by Jeffrey Meyers offers an insight
into Katherine Mansfield’s life from perspective of another writer, which is
important in order to eliminate the aspect of judgement.
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Chapter One: ‘Something Childish, but Very Natural’
1.1 Perception of Edna and The Development of Her
Relationship with Henry
Edna is the over sixteen years old female protagonist of the story. In this
particular story the female character is not the leader of the story or of the
relationship, however, she is equally important as the male character Henry.
The reader observes Edna through Henry’s subjective point of view as in the
story Mansfield does not give space to Edna’s inner unspoken emotions.
Apart from the conversations between Edna and Henry that are
concerning the relationship between them, the family relationships of Edna are
depicted in one concise paragraph:
“Mother and I are exactly alike. I haven’t a thing in common with my father;
he’s just... a little man in the city – but mother has got a wild blood in her and
she’s given it to me. She hates our life just as much as I do.” She paused and
frowned. “All the same, we don’t get on a bit together – that’s funny- isn’t it?
But I’m absolutely alone at home” (Something Childish, but Very Natural 138).
Edna sympathises with her own mother, even though she states that they do
not have a good relationship. The paragraph depicting the family bonds seems
like a parallel to Mansfield’s own attitude towards her family. As Tomalin states
Mansfield recalled that her own mother would say she had wanted to travel and
explore and not to settle just like she and Edna’s mother did: “If her own father
had not died, Katherine remembered her saying, she would have liked to have
become a traveller, an explorer even” (Tomalin 10). To the theme of isolation
as it is indicated by Edna’s point about being alone at home, there is a
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connection to Mansfield, who used to consider herself the ugly duckling or ‘the
odd man out of the family’ (14). Further she shares with Edna the antipathies
for her father and contempt for his occupation.
Edna is depicted as a shy girl, who blushes and feels embarrassed. When
she and Henry first meet in the train, she is presented by her short responses
that follow Henry’s questions and she does not initiate involving in new
conversation topics. Edna is not seeking start of a relationship with Henry and
at this point she does oppose Henry, when he says that life is wonderful: “I
don’t think so. But then I’ve been a fatalist for a long time now” (Something
Childish, but Very Natural 134). Nevertheless, when Edna gets to see Henry for
the second time, as they share their names and age, she fondly engages into a
conversation with him. At this point, their forming relationship is pure and
innocent and they both admit that neither of them had ever been in love:
“If only their bodies would not tremble so stupidly! Still half hidden by her hair,
Edna said: “Have you ever been in love before?”
“No, never! Have you?”
“Oh, never in all my life.” She shook her head. “I never even thought it
possible.” (136).
Despite the initial innocence of the relationship, there is also a first sign of
physicality, as their bodies – including Edna’s body – are said to tremble, which
is frequently used with a sexual connotation.
Furthermore, Edna seems to be longing for appreciation and being
complimented by Henry as she eventually shows Henry her hair and is
wondering whether he likes her hair or not, even though Henry told her that he
is fond of it: “I’d give anything to see your hair properly” (139).
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Edna seems to present herself in the relationship rather naively and like
being more of an accessory to Henry, as she does not discuss any significant
issues nor she has a well-read personality trait. She usually agrees with
Henry’s thoughts and maintains a submissive position, although, she keeps
away when it comes to physical contact with Henry:
“That’s all life is — something childish and very natural. Isn’t it?”
“Yes — yes,” she said eagerly. “That’s what I’ve always thought.”
“It’s people that make things so — silly. As long as you can keep away from
them you’re safe and you’re happy.”
“Oh, I’ve thought that for a long time.”
“Then you’re just like me,” said Henry. The wonder of that was so great that he
almost wanted to cry. Instead he said very solemnly: “I believe we’re the only
two people alive who think as we do. In fact, I’m sure of it. Nobody
understands me. I feel as though I were living in a world of strange beings —
do you?”
“Always.”
“We’ll be in that loathsome tunnel again in a minute,” said Henry. “Edna! can
I— just touch your hair?”
She drew back quickly. “Oh, no, please don’t,” and as they were going into the
dark she moved a little away from him. (140).
Edna is not presented as a dreamer as Henry and is more down to Earth
considering relationships and love. She lets him believe that their opinions and
thoughts are almost as of thoughts of one person. They agree on that to keep
people away from oneself is what one needs to do to be safe. Nevertheless,
Edna does keep distance from Henry although Henry is never acting reservedly
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and seeks the adventurous side of love connected with physical contact. When
it comes to admiration of her, she allows Henry to see her hair that he obsesses
and often comments about; however, she does not let him touch it. Henry’s
attempt to touch Edna only results in her distance. The distance is paralleled by
the dark of a tunnel, which makes her move away from him. This might
indicate that Edna realises her vulnerability and perceives herself still as just a
child that is not ready to make physical contact.
On the other hand, as it is presented later in the story, she supposedly
does not understand why she really keeps the distance:
“I do hate hurting you so. Every time you ask me to let – let you hold my hand
or –or kiss me I could kill myself for not doing it – for not letting you know. I
don´t know why I don’t even” (144).
Edna does realize that the physical aspect of the relationship is essential
for a functioning relationship and she does wonder, whether keeping her
distance might reason in Henry loving her less:
“Will it make you love me less?”
“Oh, no,” he said. “Nothing could – nothing on earth could do that” (145).
This might be interpreted as a thought of an innocent childish girl who fears
that her barriers could slowly chase Henry away. Though, from a different point
of view, it might be seen as an intentional and scheming question with the
intention of the girl to get the satisfaction by the expression of admiration and
imperishable love from her significant other.
Edna’s perception of the relationship with Henry develops throughout the
story very inconsistently like it is imitating varying thoughts going through
constant changes. At one moment she opens to Henry for instance when she
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shows him his hair, the very next moment she closes herself from Henry and
pushes him away by keeping a distance. For Edna, the relationship slowly
approaches its climax through the fantasy of them happily living together:
“Our bedroom is at the very top – that room with the two square windows.
When it is quiet we can hear the river flowing and the sound of the poplar trees
far, far away, rustling and flowing in our dreams, darling”
...
“If we’re going for a walk just take the cat and put inside the front door,” said
Henry, still pretending” (148).
Edna joins Henry’s fanciful idea of their future. Unlike before, she does fear the
fantasy and does not pull away from Henry, even though the idea is presented
in an obsessively detailed manner. However, when Edna is facing the reality as
Henry states that he really wants them to live together now – not just in the
future or in state of dreaming, she is the one who approaches the reality by
reminding Henry of the lack of money. In this case, it is again Edna who is
more rational and realistic than the dreamer Henry.
“Oh, she breathed, “I do love you. Hold me, Henry.” He put his arms round her,
and she leaned against him and looked into his eyes. “Hasn't it been terrible, all
to-day?“ said Edna. “I knew what was the matter and I've tried every way I
could to tell you that I wanted you to kiss me—that I'd quite got over the
feeling.” (155).
Following the fantasy, Edna eventually transitions into adulthood and intimate
maturity by accepting the physical aspect of the relationship. Her character
develops to the decision to explore the significance of combining the physicality
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with the emotional part of the relationship with Henry. This development of
Edna’s sexuality is also brought to attention of David Dowling:
“Ironically, we see even through Henry’s narrative that Edna grows up during
the story, becoming ready to acknowledge sexual desire – the symbol of reality,
and constant obstacle for romantic love stories” (Dowling 45).
However, in the end Edna leaves Henry alone in his living in a state of
dreaming.
1.2 Perception of Henry and His Relationship with Edna
Henry is the male protagonist in the story ‘Something Childish, but
Very Natural’, presumably inspired by John M. Murry, Katherine Mansfield’s
lover and later husband as it is observed by Ian A. Gordon in Writers and
Their Work: No.49 Katherine Mansfield (1955):
„Early 1914 saw the collapse of Murry’s Journals. During the year that
followed, Katherine Mansfield wrote two of her best stories to date,
Something Childish, but very Natural, a love-story which is evidently the
Murry’s love-in-a-cottage situation projected back to a couple of
youngsters…“ (Gordon 10).
Henry is a seventeen – nearly eighteen years old boy, whom Mansfield
ascribed a quality of looking particularly erudite: “Henry was a great fellow
for books.... the quantity with which he was on nodding terms was amazing”
(Something Childish, but Very Natural 129). This is a typical trait for a man
to be well-read and the one who is initiative of the age during which this
story was written. However, Henry is throughout the story presented as a
little foolish and idealistic young boy with rather naive expectations and
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demands on Edna. He is trying to pursue a relationship with her quite
persistently. He is a dreamer who has a tendency to give in to his fantasies
of the relationship with Edna. Henry seeks in Edna mostly physical
relationship and he is mainly focusing on her physical beauty and does not
seem to be interested in exploring her personality or past in that matter.
Henry is obsessed with Edna’s physical features, such as her hair which he
considers ‘the loveliest thing in the world’ and he often mentions her dreamy
smile. The only information about Edna that Henry seeks is her name and
how old she is, there are no further questions about what she possibly likes
or dislikes and no deeper interest in her is presented by Henry.
The motif of sexual tendencies of the male protagonist Henry seems to
also rise from Mansfield’s husband John M. Murry as it is examined in the article
by Jeffrey Meyers called ‘Murry's Cult of Mansfield’ which was published in the
Journal of Modern Literature. 7.1 (1979), where Meyers quotes Aldous Huxley:
“Huxley quite accurately perceives not only the falseness of the cult and Murry’s
pitiful exploitation of his grief, but also the emotional immaturity and childish
role-playing of both Katherine and Murry, and he describes the destructive
aspect of Murry’s “mystical” love in the metaphor of sexual perversion” (Meyers
18).
John M. Murry also wrote a poem after Katherine Mansfield’s death that
supports the idea which presents that he does perceive as a little child and the
relationship between them as being a relationship between two children, which
is quoted in Meyers’ article:
“For she was lonely; was she not a child
By royalty and wisdom, captive made
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Among unlovely men, beating her wild
Impetuous wings in anguish, and dismayed...
A child of other worlds, a perfect thing
Vouchsafed to justify this world’s imagining?...
A princess manifest, a child withouten stain.” (p.18).
The relationship between the two protagonists seems to be very innocent at
first, or ‘freshly naive’ as described by Dowling, who argues that with a close
reading of ‘Something Childish, but Very Natural’ one can discover the darkness
of the story as Henry is interested in Edna’s sexuality more than anything else
and he also suggests that he might previously took other girl to see his ‘dream
cottage’ before he went there with Edna (Dowling 45). This is the only fraction
of Henry’s past that is presented in the story and it induces the feature of
darkness. The fact that Henry used to go to this place is not as unsettling as
the fact, that the woman who remembers him supposes that Edna is his little
sister. On the other hand this might also signify that the women considers them
too young and innocent to be lovers, however given Henry’s obsession with
Edna’s physical features and his repetitive attempts to touch her indicates that
the first perception of the scene is more probable:
“You haven’t been here for a long spell,” said the women.
“No – the garden’s looking wonderful.”
“Fair,” said she. “Is this young lady your sister?”Henry nodded Yes, and took
some jam.
“There’s a likeness,” said the woman. She came down into the garden and
picked a head of white jonquils and handed it to Edna (Something Childish, but
Very Natural 154).
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Furthermore, the woman approaches Edna and gives her jonquils – flowers
which are believed to refer to desire for an affection to be returned, however
the meaning of the Latin name ‘juncus’ means ‘rush’. Both of these
interpretations are in harmony with Edna’s sudden change concerning the
physical contact: „I knew what was the matter and I've tried every way I could
to tell you that I wanted you to kiss me—that I'd quite got over the feeling.”
(156). The darkness of Henry’s actions was also previously projected in the
story by his reaction to Edna’s request of seeing the programme at the concert.
Henry shows Edna his dominance over her:
“Henry, give me the programme.”
“Here it is – you can read it with me. I’ll hold it for you.”
“No, let me have it.”
“Well, then, I’ll read it for you” (142).
Henry does not want to give the programme to Edna for her to read and insists
on reading it either with her or for her. This suggests that Henry depicts a man
with possessive and manipulative tendencies, hidden behind his passion for
Edna. However, his dominance and sexual desire for physical contact with Edna
often alternates with submissiveness displayed by Henry’s desperate feelings of
affection for her and willingness to take the blame: “Edna – stop – it’s all my
fault. I’m a fool – I’m a thundering idiot. I’ve spoiled your afternoon” (144).
Henry is obsessed with the idea of Edna and her being by his side that
throughout the story the reader finds him at several occasions having thoughts
about how he perceives being without her – the emotions which he feels when
he is not in Edna’s presence are described as a time of suffering. This is firstly
presented by his answer to the question about Saturday and Sunday which they
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spent apart: “But it’s been agony,” he said, smiling brilliantly – “agony” (137).
Furthermore, in the letter to Edna he states: “I do love you, Edna. But Sundays
without you are simply impossible” (141). This feeling of possessiveness
persists throughout the story till its near end:“The thing is,” said Henry, “how
am I going to wait until evening?” (156).
At the end of the story, Henry’s perception of the relationship in the
reality is overshadowed by the dreamy fantasy and as Dowling examines: “He
senses the inevitable conflict between the dream and the reality, and,
cherishing the dream too well, is paralysed” (Dowling 45).
1.3 Perception of the Relationship through the Use of
Symbolism
The story is uplifted by the theme of dreamy atmosphere that is set from
the beginning and is continuously projected throughout the story. This is
achieved mainly by the symbols and motifs that Mansfield inserted repetitively
into the individual passages:
“Sunlight darted through the glass roof of the station in long beams of blue and
gold; a little boy ran up and down carrying a tray of primroses; there was
something about the people – about the women especially – something idle and
yet eager. The most thrilling day of the Year, the first real day of Spring had
unclosed its warm delicious beauty even to London eyes” (Something Childish,
but Very Natural 128).
Mansfield used mainly features derived from nature such as flowers and colours
atypical for the particular objects, usually connected to light. In the passage
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above, Mansfield attains the depiction of the dreamy setting by using the colour
gold, which then continues to appear later in the story and induces dreams and
might give the reader an impression of mystique, by the floral motif of
primroses supported by the motive of Spring.
Furthermore, the dreamy atmosphere is evoked by Henry’s encountering
with a poem ‘Something Childish, but Very Natural’ written by Samuel Taylor
Coleridge (1772 – 1834) who was a member of the group of poets called Lake
Poets and who is connected to the literary movement known as Romanticism:
“Had I but two little wings,
And were a little feathery bird,
To you I'd fly, my dear,
But thoughts like these are idle things,
And I stay here.
But in my sleep to you I fly,
I'm always with you in my sleep,
The world is all one's own,
But then one wakes and where am I?
All, all alone.
Sleep stays not though a monarch bids,
So I love to wake at break of day,
For though my sleep be gone,
Yet while' tis dark one shuts one's lids,
And so, dreams on” (129).
“David Dowling notes in his article "Mansfield's SOMETHING CHILDISH BUT
VERY NATURAL.", Explicator 38.3 (1980): “The question is, then, why did
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Mansfield write such an ambiguous story as she did, instead of a strong
affirmation of the power of the Romantic imagination?” (Dowling 45).
The presence of Coleridge’s poem supports the dreamy atmosphere of
the story. The whole poem is presented in the story and its position is natural
and inherent, Mansfield gives the reader an opportunity to see the poem
through her own eyes and not to only encounter and perceive the poem
through Henry’s eyes. The introduction of the poem is captivating not only by
the meaning of the words but also of the particular sound of them: “...he
turned over the pages until a title struck his eye – Something Childish but very
Natural...” (Something Childish, but Very Natural 129). Furthermore, when
Henry is done with the poem, she chooses words with a mellow sound that
supports the dreamy tone of the story: “He could not have done with the little
poem” (130). It seems, that Mansfield meant for the poem to stand out from
the dreamy setting and leave the reader astonished by its story about lovers
who cannot be together in reality, but can enjoy each other’s presence in
dreams. The theme of the poem corresponds to the theme of reality and
fantasy in the story itself. However, Dowling further argues that:
“By choosing Coleridge’s poem, Mansfield alerts us to the fact that the story will
be about the romantic impulse. Unexpectedly, it turns out to be a sophisticated
critique of it rather than a demonstration of its value...” (Dowling 45).
This critique of the romantic value is indicated by the dark side of Henry and
the depiction of the garden, which becomes ‘full of shadows’ at the end of the
story instead of romantic reuniting with his lover.
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Additionally, Henry and Edna meet for the first time in a train – an object
which is moving through space, just as a relationship between two people
moves through time. The significance of the train might lie in the interpretation
as a parallel for the relationship between Henry and Edna. As the train slowly
starts to move and leaves the train station, the relationship is pursued and
while the train continues, Edna and Henry become closer, nevertheless, when
the train suddenly enters the dark tunnel, Edna pulls away from Henry.
As Gerardo Rodríguez Salas observes in Community in Twentieth-Century
Fiction (2013), Mansfield’s characters try to communicate, however, the
attempts to do so are not always successful and are therefore often supported
by symbolic imagery that are connected to the motif of nature – ‘mainly floral
motifs or light effects. This phenomenon is widely spread throughout the story.
Salas then states that the motifs of nature ‘either highlight a secrecy invariably
checking communication or a fictitious, transcendental communication in sharp
contrast with the faulty reality of lovers’ (Salas 69). In the story, Mansfield
focuses on the emotions of the characters and their gestures; however, she
does not delineate the surroundings and only occasionally material items
besides the flower symbols are mentioned, usually in a linkup to the gestures.
The selection of the particular flowers and colours is therefore not
coincidental. Edna’s hair is often depicted by the colour of gold, or marigold.
The symbolic meaning of the marigold colour is believed to be linked with grief,
cruelty and jealousy. Mansfield uses her hair as a physical feature that attracts
Henry the most, one could say that he is almost obsessed by it and focuses on
it his sexual intuition. Since Edna is very self-conscious and does not let Henry
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touch her nor does willingly present her hair, the colour of her hair as perceived
by Henry might imply his inner frame of mind:
“...She sat pressed against the window, her cheek and shoulder half hidden by
a long wave of marigold-coloured hair....” (Something Childish, but Very Natural
131).
“He tried to remember what it had felt like without Edna, but he could not get
back to those days. They were hidden by her; Edna, with the marigold hair and
strange, dreamy smile filled him up to the brim. He breathed her; he ate and
drank her” (151).
In both situations, where the colour marigold appears in the story, Henry longs
for Edna. In the first case, Henry is in Edna’s presence; however, he seems to
be struggling with pursuing a conversation with her. In the following case,
Henry’s obsession with Edna intensifies, though Henry is alone and therefore
the marigold can be again connected to his inner grieving for her.
Further the floral motif includes primroses which are used numerous
times and are believed to imply that one cannot live without someone, daisies –
flowers of children and innocence, the violet sent by Edna, which might imply
her faithfulness, jonquils which means desire for affection and roses. Roses in
particular stand for love; however in contrast with the other flowers roses do
not imply innocence but passion. Mansfield stressed that out by putting the
roses into Edna’s lap: “Only two tiny little roses.” He laid them in her lap”. The
presence of flowers might be interpreted as a metaphorical connection with the
relationship between Henry and Edna and mainly, it seems to support Edna’s
sexual transition in the story.
25
As opposed to the light Mansfield also uses the motif of darkness when
Edna mentions that she is a ‘fatalist’ and does not always think that life is
wonderful, the train is going through the tunnel and “They were shattering
through the dark” and again even the words Mansfield chooses imply an
unpleasant feeling. The darkness might be perceived as a back to reality
feature as Edna isolates herself from Henry, however when the light appeared
again “she moved towards his end of the carriage”.
1.4 Narrative Organisation in ‘Something Childish but Very
Natural’
‘Something Childish, but Very Natural’ was written by Katherine Mansfield
during her stay in Paris in 1914. According to Gerri Kimber, who follows
Katherine Mansfield during her visits to Paris, presents an argument in her book
Katherine Mansfield: The View from France (2008), which observes that Paris
influenced Mansfield by its new and fresh surroundings and stimulated her to
write more experimentally:
“During this month she wrote the story ‘Something Childish but Very Natural’,
the first of her stories to be written in France. It was much longer than any
story she had written up to that point and was her first attempt at writing in
‘episodes’. Her new situation had helped to turn her creative process in a
different direction and made her experimental both in scope and vision (Kimber
61).
Furthermore, as Claire Tomalin points out, a friend of Katherine Mansfield –
Beatrice Campbell describes that Katherine felt “cheerful” when she was in
26
Paris. Further, she remembers that Katherine would go “from café to café” or
would behave courageously like the time mentioned when she took her hat off
and put in on the rack next to the men’s hat, which would astonish the men
and made Katherine feel delighted (Tomalin 113). This influence can be
observed in the story, as it is compared to the following stories quite playful
both in narrative style2 and theme of young naive love. Nevertheless, the story
is not set in Paris. Mieke Bal notes:”events always occur somewhere, be it a
place that actually exists or an imaginary place” (Bal 7). Mansfield sets the story
to an actual place – London, however, except for the Charing Cross Road she
does not further specify the places Henry and Edna go to – the concert hall or
the village is just a concert hall and a village: “He looked at all in the Charing
Cross Road during lunch-time and at any odd time in London” (Something
Childish, but Very Natural 129). The use of unspecified places underlines the
dreamy atmosphere of the story and the tension between what is fantasy and
what is reality.
In the opening of the story, the narrator and the protagonist Henry are
introduced:” Whether he had forgotten what it felt like, or his head had really
grown bigger since the summer before, Henry could not decide” (128).
Furthermore, Mansfield also addresses the reader directly at the beginning of
the story:
2 Mansfield starts to experiment with the free indirect discourse and uses third person narrator
as opposed to the I-form in her previous stories: “He asserted the fact so vehemently that I had
not the courage to refute it. All eyes were suddenly turned upon me” (Germans at Meat 7). Patrick D. Morrow notes in his book Katherine Mansfield’s Fiction:”’Something Childish but Very
Natural’...is among those stories which mark a drastic change in KM’s method of fiction. Her works to that point, collected in In a German Pension (1911), are told in the I-form” (Morrow
20).
27
“By his clean neat handling of them and by his nice choice of phrase when
discussing them with one or another bookseller you would have thought that he
had taken his pap with a tome propped before his nurse's bosom. But you
would have been quite wrong” (129).
This technique engages the reader into the story and captures his or her
attention.
The male protagonist Henry is the focalizor and Edna is the object of
focalization. The reader is presented the story through Henry’s eyes and the
inner thoughts of Edna are never present. Henry’s thoughts are presented in
direct thoughts: ““I suppose she goes to some school in London,” thought
Henry” (131) or free direct thoughts:““She must think I'm mad,” he thought,
“dashing into a train without even a hat, and in the evening, too”” (130).
Further, Henry’s thoughts are predominantly presented in a form of free
indirect thought: “Why did he want to touch her so much and why did she
mind?” (142). Mansfield shifts between direct and indirect discourse throughout
the story as the story is presented by the third person – the narrator and shifts
to the direct speech of the protagonists. Bal notes that: “the focalization has a
strongly manipulative effect...the point is to keep sight of the difference
between spoken and unspoken words of the characters” (Bal 153). Therefore, if
Mansfield used more characters as a focalizor, the reader’s perception would be
more objective, however, since Henry is the only focalizor of the story, the
perception the reader gets is highly subjective.
The characters are also given voice through the letters that they send to
each other. The whole story is written in a subtle romantic tone, which is set
from the beginning by the use of Coleridge’s romantic poem called ‘Something
28
Childish, but Very Natural’, which was mentioned in the thesis earlier. Further,
the tone is set by the use of specific words and phrases such as: ‘dreamy
smile’, ‘the sun dance on the ceiling’, ‘the smile danced in her eyes’, ‘the words
flew’ or ‘as in a dream he saw the sky’.
Mansfield ends the story of the description of the background and
Henry’s reaction to the circumstances: “The garden became full of shadows—
they span a web of darkness over the cottage and the trees and Henry and the
telegram. But Henry did not move” (Something Childish, but Very Natural 158).
By the use of words ‘darkness’ and ‘shadows’ Mansfield creates a negative
feeling in contrast to the romantic vibe of the story from the beginning. It
possibly indicates the return to the reality as opposed to the dreamy
atmosphere. The last sentence where Henry is not moving and is still, is in
contrast with the opening, where Henry is in a train, which indicates movement.
The last sentence creates a complete opposite to the beginning of the story and
leaves the reader wondering, whether it was all just a dream or reality.
29
Chapter Two: ‘Bliss’
2.1 Perception of Bertha and Her Relationship with Pearl
and Harry
As opposed to ‘Something Childish, but Very Natural’ Mansfield’s ‘Bliss’
follows the female protagonist of the story – Bertha Young. The reader
therefore is presented the occurrences through Bertha’s perception and that
is the only way the reader gets observe her husband Harry. Bertha Young is
a 30 years old woman, who gives the first impression as a rather light-
minded person, who could be even seen as immature for her age as she is
described to have tendencies to: ”run instead of walk, to take dancing steps
on and off the pavement, to bowl a hoop, to throw something up in the air
and catch it again, or to stand still and laugh at—nothing—at nothing,
simply.?” (Bliss 116).
Bertha feels joy – ‘absolute bliss’, even though she is not sure why she feels
that way. The way Bertha perceives the so called bliss might be interpreted
as a sudden feeling of sexual energy – she has not only been acting
immaturely, but she was not fully aware of her own physicality:
“But in her bosom there was still that bright glowing place—that shower of
little sparks coming from it. It was almost unbearable. She hardly dared to
breathe for fear of fanning it higher, and yet she breathed deeply, deeply.
She....[was] waiting for something . . . divine to happen . . . that she knew
must happen . . . infallibly” (117).
Bertha’s perception of the feeling resembles the feeling of an aroused person –
the feeling of ‘glowing space’ with ‘sparks’, the feeling that this is ‘almost
30
unbearable’ yet there is a positive connotation to it. Further, she breaths
‘deeply, deeply’ and she even has ‘trembling lips’.
As the story progresses, the reader discovers, that Bertha has a baby
called little Bertha. Bertha loves her daughter; nevertheless, it does seem like a
rather superficial love triggered primarily by Little Bertha’s physical appearance
and her cuteness:
“"You're nice—you're very nice!" said she, kissing her warm baby."I'm fond of
you. I like you."
And, indeed, she loved Little B so much—her neck as she bent forward, her
exquisite toes as they shone transparent in the firelight” (120).
She does not seem to perceive the baby with a strong maternal instinct. She
even lets the nurse to have the upper hand and she does not dare to oppose
her when she questions the Nanny’s decisions in her mind. Through this scene
the reader may observe that Bertha is a caring person, however, she does not
involve deeply in the relationships and she keeps them superficial rather than
trying to approach her family closer, almost as she was intentionally keeping
distance – which might be either perceived as a result of her immaturity or it
might be an intentional way of closing herself from the outside world and the
possibility of being hurt. The more blissful Bertha thinks she feels on the inside
the more superficial are her relationships (with her own baby, husband and
even her friends) on the outside:
“Bertha wanted to ask if it wasn't rather dangerous to let her clutch at a
strange dog's ear. But she did not dare to. She stood watching them, her hands
by her side, like the poor little girl in front of the rich little girl with the doll”
(119).
31
Furthermore, her incapability of deep involvement with family – people could
presumably be most comfortable around – is depicted by the telephone
conversation with her husband Harry, when she is incompetent to engage in a
deep conversation to let him know about her feelings: “What had she to say?
She'd nothing to say. She only wanted to get in touch with him for a moment”
(120). It seems that Bertha might be trying to mask her insecurity – either
voluntarily or by not even realising that she is insecure.
Further, the guests that are expected for the dinner party are introduced
in the story including a woman of Bertha’s interest – Pearl Fulton. Pearl is
perceived by Bertha as a very mysterious person and she cannot really figure
her out, nor does she even know what she does as opposed to the other
guests, who are all presented to the reader on the basis of what they do. “They
had met at the club and Bertha had fallen in love with her, as she always did
fall in love with beautiful women who had something strange about them”
(121). Bertha loves Pearl and is said to have tendencies to fall in love with
enigmatic and beautiful woman, yet on the other hand she does not
acknowledge passion or desire for her own husband. The lesbian tendency of
Bertha reflects Mansfield’s own sexual acknowledgement, as she herself is
recognised as bisexual, which is observed by Tomalin in Mansfield’s journal
entries:
“If later entry in Katherine’s journal is to be believed, she had some experience
with Maata [her female classmate] during their schooldays that was sexually
disturbing; it seems to have been more than a matter of a schoolgirl crush, and
it became the germ of her awereness of her own bisexuality” (Tomalin 16).
32
Furthermore, Bertha has not been passionate in her marriage and is described
to be ‘so cold’ towards her husband, which suggests additional comparison to
Mansfield’s own relationship with Murry, where according to Tomalin:
“whatever sexual attraction there was in the first place seems to have drained
away pretty thoroughly, leaving Katherine at any rate, as a being desexed”
(225).
The reader knows what is happening on the inside of Bertha’s mind;
however, there is no focus on the actions that are concerning the outside.
Bertha seems to admire her husband and perceives him in an innocent way. On
the contrary, by the reaction of Harry to Pearl perceived through Bertha’s naive
mind, the reader might suggest that he is cruel and narrow-minded because of
his notes on Pearl: ‘dullish’, with ‘anaemia of the brain’ or ‘liver frozen’.
However, even though his constant unpleasant remarks about Pearl might seem
dubious to the reader, Bertha does not wonder or hesitate at all, her lightness
of mind which often boarders with possible intentional ignorance even causes
that she is amused by Harry’s comments. Patricia L. Moran questions in Word of
Mouth: Body Language in Katherine Mansfield and Virginia Woolf (1996):
“Does she suspect the affair between her husband and Pearl at the beginning
of the story, or does this knowledge take her by surprise at the end? Is her
sexual desire for her husband Harry genuine, or is it a defense against her
homoerotic feelings for Pearl? What does the pear tree represent? And what
exactly is “bliss?”” (Moran 41).
Bertha finds happiness in the little thing and she enjoys life by simply
living it. She does focus on being happy; however, she does not exactly state
what it is, that makes her feel this way: ““I’m too happy – too happy!” she
33
murmured” (Bliss 123). This might imply that Bertha does choose to feel
happy, even though the occurrences might be actually making her sad,
because it is nearly impossible to feel too happy, therefore it indicates that
there is a hidden aspect of sadness. Bertha feels happiness that stands on
the perception of presumable perfection. She feels happy because when she
lists all the things that she has, she assumes she must be happy, however,
there is no connection between perfection and happiness:
“Really—really—she had everything. She was young. Harry and she were as
much in love as ever, and they got on together splendidly and were really
good pals. She had an adorable baby. They didn't have to worry about
money. They had this absolutely satisfactory house and garden. And
friends...” (123).
She states the phenomena that make her happy but she does perceive them
as objects, she simply makes a list but does not connect them to the
feelings.
Bertha’s naïveté or possible acknowledgment of her husband´s affair
is questioned when he comes home and tells Bertha that he need five
minutes.
“Bertha couldn't help smiling; she knew how he loved doing things at high
pressure. What, after all, did an extra five minutes matter? But he would
pretend to himself that they mattered beyond measure. And then he would
make a great point of coming into the drawing-room, extravagantly cool and
collected” (126).
What does five minutes matter? It could be perceived as the fact that it is
usual to need some time to get ready after involving physically with a person
34
of desire. It might come to one’s mind that Harry has seen Pearl before the
dinner and therefore they both are late and whereas she is still prepping in
the taxi, Harry needs the extra five minutes to get ready. The fact that
Bertha ‘couldn’t stop smiling’ and that she does not simply state that Harry
does that but she states that Bertha knows might sign that she is aware of
her husband’s affair. Patricia L. Moran argues:
“The repetition [of the word ‘strange’] suggests repudiated knowledge:
Bertha associates the beautiful women with her husband and her bed, an
association she conceals with the ambiguity of “strange.” From this
perspective, it is possible to argue that Bertha stages the very scene of
discovery: she deliberately cultivates a friendship with Pearl Fulton” (Moran
42).
Attention is also constantly drawn to the mysteriousness of Pearl and
the fact that Bertha cannot figure her out, even though she usually guesses
one’s mood instantly, it is possible to argue that she does not feel
comfortable because she attends a dinner party which is hosted by her
secret lover’s wife. Therefore she might be unintentionally giving mixed
signals to Bertha. There is a high focus on Bertha’s perception of Pearl and
the attitude Bertha has towards her. Even though she feels attracted to
Pearl, she does not approach her but she waits for a sign from her:
“" I believe this does happen very, very rarely between women. Never
between men," thought Bertha. "But while I am making the coffee in the
drawing-room perhaps she will ' give a sign'
What she meant by that she did not know, and what would happen after
that she could not imagine" (Bliss 130).
35
Bertha dos not really know what the sign is supposed to be and she is not
sure, what she would do if the situation occurred, she questions her own
feelings and sexuality and it seems that the desire for Pearl also projects a
desire for her husband Harry. When Pearl asks about the garden, Bertha
considers it to be the sign she waited for:
““At that moment Miss Fulton" gave the sign."
"Have you a garden?" said the cool, sleepy voice” (131).
However, when Bertha and Pearl stay close together looking at the pear tree,
Bertha does not shows her desire or interest, she only focuses on the inner
state of her mind. Further, the fact that she later approaches her husband:
““She's wonderful, wonderful. And, besides, how can you feel so differently
about someone who means so much to me. I shall try to tell you when we
are in bed to-night what has been happening. What she and I have shared"”
(133).
This also displays that the desire for Pearl parallels with her desire for her
husband Harry, as she will try to share her feelings and experiences with him
and try to get a deeper relationship with him and presumably also strengthen
physical relationship: “For the first time in her life Bertha Young desired her
husband” (133).
Nevertheless, at the end of the dinner party as Harry helps Pearl with
the coat, Bertha happens to see the cruel reality, that her husband is having
an affair: ““His lips said:" I adore you," and Miss Fulton laid her moonbeam
fingers on his cheeks and smiled her sleepy smile” (136). However, Bertha
does not externally react, but again keeps the action to her inner mind: “"
36
Oh, what is going to happen now?" she cried. But the pear tree was as lovely
as ever and as full of flower and as still” (136).
The description of the tree in the last sentence of the story can be perceived
as a sign that Bertha does not realize the seriousness of the situation and is
struck by the moment of Epiphany or that she chooses to live in the state of
bliss, which might be regarded as sweet ignorance and not openly deal with
her husband’s disloyalty.
2.2 Symbolism and The Individual Perception of The Main
Characters
As it was in the case of ‘Something Childish, but Very Natural’, symbolism
in the story ‘Bliss’ represents a significant manner of comprehension, a certain
parallel for the protagonist’s individual perception. The very first thing that the
reader gets to learn about the female protagonist is her name – Bertha Young,
whose name might be taken as a literal description of Bertha’s immaturity:
“Although Bertha Young was thirty she still had moments like when she wanted
to run instead of walk, to take dancing steps on and off the pavement, to bowl
a hoop, to throw something up in the air and catch it again, or to stand still
laugh at – nothing – at nothing, simply” (Bliss 116).
As it is presented by the quote Mansfield emphasises that Bertha Young ‘still’
behaves immaturely in spite of her age. Further, her behaviour represents
certain light-mindedness, which connects Bertha to general lightness of her
being. From this perspective running, dancing and throwing things up in the air
induce the idea of floating in the air, which is interwoven with the subsequent
symbol, which might be also reflecting Bertha – the bowl of fruit:“...She stood
away from the table to get the effect—and it really was most curious. For the
dark table seemed to melt into the dusky light and the glass dish and the blue
bowl to float in the air” (118). The bowl is full of colourful fruits and is
described as floating in the air, which corresponds to Bertha’s characteristic as
depicted earlier. She is just like the bowl surrounded by the darkness of
civilization, which she herself considers ‘idiotic’ for setting for people right and
wrong. From another point of view, the darkness surrounding the bowl might
be interpreted as the dark truth that Bertha does not see or does not want to
admit. Furthermore, the bowl of fruit contains mixture of fruits, which can be
related to Bertha’s individual features. There are ‘tangerines and apples’, which
might be seen as a symbol for Bertha’s passion and sparks she feels, ‘yellow
pears’3, which might represent her feminine side or her attraction to other
women, ‘white grapes’ might be seen as a reflection of her lightness and
innocence. The grapes are described as having ‘silver bloom’ which is
connected to mysteriousness and last but not least, there are grapes of purple
colour, which is connected to individualism and extravagance, mystery and
excitement. All of those features mentioned above can be seen as a parallel to
Bertha, who herself is a combination of the individual phenomena. Bertha also
wears: “a white dress, a string of jade beads, green shoes and stockings”
(124). This again emphasises the white innocence, which in this case might be
seen in connection to naïveté and the green seems to connect to the
visualisation of Bertha as the pear tree:
3 The significance of the symbol of pears is closely connected to the pear tree, the relevance of
the pear tree will be further analysed in more detail
38
“At the far end, against the wall, there was a tall, slender pear tree in fullest,
richest bloom; it stood perfect, as though becalmed against the jade-green sky”
(122). “And she seemed to see on her eyelids the lovely pear tree with its wide
open blossoms as a symbol of her own life. Really—really—she had everything“
(123).
Bertha does see a parallel for her life in the green pear tree. The tree is in its
best condition with freshly grown petals, which as Bertha realizes, represents
her own life. The pear tree it is presumably because the shape of pear is a
symbol for typically feminine shape of body. Moran connects the imagery of the
pear tree to the Garden of Eden – the pear here not only substitutes for the
apple as a symbol of knowledge and evil but also appends the symbol of
femininity:
“That the fruit is a pear rather than an apple underscores the connection
between the quest for knowledge and the question of the female sexuality: not
only is the shape of pear evocative of female body, but the word “pear” visually
recalls “Pearl,” who, as Judith Neaman observes, plays the part of serpent with
her heavy-lidded eyes, cool skin and silvery dress” (Moran 41).
Further, throughout the story, there are several symbols that reflect desire and
passion Bertha feels. There is a connection between literal fire and fire that
Bertha feels inside:
” She went into the drawing-room and lighted the fire; then, picking up the
cushions...That made all the difference; the room came alive at once. As she
was about to throw the last one she surprised herself by suddenly hugging it to
her, passionately, passionately. But it did not put out the fire in her bosom. Oh,
on the contrary!” (Bliss 122).
39
In this paragraph, Mansfield draws attention to the contrast between literal fire,
which can be easily extinguished if it is desired, and the metaphorical fire,
which is uncontrollable for Bertha and instead of softening, can be only
intensified. Berta’s passion and state of bliss also seems to be depicted by the
tulips in her garden:
“Down below, in the garden beds, the red and yellow tulips, heavy with flowers,
seemed to lean upon the dusk. A grey cat, dragging its belly, crept across the
lawn, and a black one, its shadow, trailed after. The sight of them, so intent
and so quick, gave Bertha a curious shiver” (122).
The red tulips are considered a symbol representing ‘perfect love’ and the
yellow tulips are connected to sunshine, which again induces the fire and
passion. Nevertheless, the grey cat and black cat intervene and disturb the vibe
of positive colours depicting love and ardency. The grey cat could be seen as of
the same colour as moon, therefore representing Pearl4 and the black cat might
symbolize the darkness of the truth about her unfaithful husband.
Furthermore, there is the mysteriousness of Pearl Fulton, which is drawn
attention to several times throughout the story. The first time Pearl Fulton is
introduced she is forthwith connected with being an enigma as every other
guest but Pearl Fulton is represented by what he or she does. Besides the
substantial connotations between Pearl and moon such as the silver colour, and
her fingers described as moonbeams, Neaman also draws attention to the
complexion of details, that support the close connection between the symbol of
4 “And then Miss Fulton, all in silver, with a silver fillet binding her pale blond hair, came in smiling, her head a little on one side” (Bliss 127). Pearl Fulton is closely connected to the
mysterious silver colour.
40
moon and Pearl, in her article ‘Allusion, Image, and Associative Pattern: The
Answers in Mansfield's "Bliss"’(1986):
“However, Mansfield’s descriptions of Pearl emphasize not only Pearl’s lunar
qualities (she is dressed “all in silver with a silver filler binding her head” and
her fingers, “like moonbeams, are so slender that a pale light seemed to come
from them”) but also focus on the reader’s attention on her cool arm,” “heavy
eyelids” and “[mysterious] half smile.”” (Neaman 244).
The symbol of moon representing Pearl is used by Mansfield several times to
refer to the desire that Bertha feels for Pearl:
“And still, in the back of her mind, there was the pear tree. It would be silver
now, in the light of poor dear Eddie's moon, silver as Miss Fulton, who sat there
turning a tangerine in her slender fingers that were so pale a light seemed to
come from them” (Bliss 130).
In this paragraph Mansfield uses the imagery of the tree and the moon as a
parallel to Bertha’s lust for Pearl. The fact, that the pearl tree would be silver,
might represent that Bertha imagines the physical engagement with Pearl.
Furthermore, the tangerine Miss Fulton holds possibly indicates, that she is the
one who triggers the desire in Bertha, as the orange tangerine could be
comprehended as Bertha’s lust that is in her hands just like the tangerine.
“And the two women stood side by side looking at the slender, flowering
tree...almost to touch the rim of the round, silver moon” (131). As Bertha and
Pearl stand close to each other, for Bertha it feels like she almost touches the
moon. Bertha and Pearl do not touch nor does the moon touch the tree, though
it intensifies the desire.
41
2.3 Narrative Organization in ‘Bliss’
In the story ‘Bliss’ Mansfield opens the story in the middle of the action, which
immediately draws the attention of the reader:
“Although Bertha Young was thirty she still had moments like this when she
wanted to run instead of walk, to take dancing steps on and off the pavement,
to bowl a hoop, to throw something up in the air and catch it again, or to stand
still and laugh at—nothing—at nothing, simply. What can you do if you are
thirty and, turning the corner of your own street, you are overcome, suddenly,
by a feeling of bliss—absolute bliss!” (Bliss 116).
The reader is informed about the name and the age of the protagonist,
however, there are no further details about her traits, appearance or why she
feels the bliss – the reader is presented the emotions she feels, which is
connected to the mysteriousness of its reason. Wallace Martin in his book
Recent Theories of Narrative also comments on the mysteriousness of the name
of the story ‘Bliss’: “Though titles may prove to be apt summaries of the stories
after we have read them, they usually appear enigmatic when we begin. “Bliss”
– who feels it, in what circumstances, and with what results?” (Martin 163). The
name Mansfield chose, evokes curiosity and makes the reader wonder what
caused it. Further, Masnfield addresses the reader at the beginning of the story:
“What can you do if you are thirty and, turning the corner of your own street,
you are overcome, suddenly, by a feeling of bliss—absolute bliss !— as though
you'd suddenly swallowed a bright piece of that late afternoon sun and it
burned in your bosom…“ (Bliss 116).
42
This engages the reader into thinking about the concept of bliss even more. It
makes him or her question, what is appropriate for a thirty years old woman to
do and feel.
Furthermore, Mansfield uses symbols associated with the feeling of bliss
and lightness of Bertha. The symbols emphasize the warm atmosphere of the
bliss, when there is the description of Bertha’s bosom as ‘bright glowing place’
and association with ‘shower of little sparks’ and Bertha’s naivety and lightness
with the use of symbol of bowl which ‘float in the air’ (Bliss 116).
Mansfield uses third-person limited point of view. The narrator presents
the perception of only one of the characters and does not incorporate
observations of any other characters. In Bliss, Mansfield uses the narrative
techniques to present the limitedness of human mind and its perception.
Mansfield uses terms such as: ‘it seemed’, ‘as it were’ throughout the story
which show that Bertha is not sure about her own perception – whether she
imagines it (was it just a dream) or if it really is reality. The events are
therefore presented as Bertha thinks that they are. Mieke Bal presents
characterizes fabula as “a series of logically and chronologically related events
that are caused or experienced by the actors” (Bal 5). The reader perceives this
logic of events, as it is presented in the story and as the actors of the story
experience the events. The fabula determines which event the reader
encounters in which specific order. In ‘Bliss’ Mansfield lets the reader find out
about the affair in the very end of the story, even though there are certain
hints, which were analysed before, that might indicate that Bertha surmised
43
that from the beginning. Mansfield, however, presents the fabula in this
particular order, so that the reader finds out in the end.
44
Chapter Three: ‘A Cup of Tea’
3.1 Perception of Rosemary and of the Relationship with
Philip
Katherine Mansfield’s story ‘A Cup of Tea’ follows predominantly female
protagonist – similarly to the previous story ‘Bliss’ – a married rich woman
Rosemary Fell:
“She was young, brilliant and extremely modern, exquisitely well dressed,
amazingly well read in the newest of the new books, and her parties were the
most delicious mixture of the really important people and... artists—quaint
creatures, discoveries of hers, some of them too terrifying for words, but others
quite presentable and amusing” (A Cup of Tea 24).
The protagonists Rosemary Fell and her husband Philip might be based on
Mansfield’s own family experience and her perception of her parents in the
childhood, as her family was wealthy. It is probable, that Mansfield in this story
the reader is presented a satirical parallel to a life of her parents and the life,
which her father wanted for Katherine Mansfield herself. It is notable that the
description of Rosemary Fell is very similar to the one of Mansfield’s family in
Katherine Mansfield: A Secret Life:
“Katherine’s childhood was never penurious, and her father made money fast
and in large quantities from 1890 onwards...All this had a decisive effect on his
attitude towards his own wife and daughters. They were shaped, deliberately
and determinedly, into a mould of Victorian ladies whose activities are confined
to giving orders to servants, flower-arranging, party-giving, travel, tennis, a
little music, a little reading, a little French and German, a little hypochondria
and much choosing hats and camisole ribbons” (Tomalin 8,9).
45
The similarity is supported by the social class Mansfield’s family belonged to.
Mansfield was used to having servants around and was not limited by money.5
Her mother could host dinner parties, buy flowers to decorate the house – just
like Rosemary Fell. Further, the Mansfield women were able to spend time
enjoying a novel, which is also what Rosemary does in the story, because she
compares her experience to a novel: “It was like something out of a novel by
Dostoevsky” (28).
The character of Rosemary Fell is introduced by the narrator at the very
beginning of the story to the reader rather unconventionally: “Rosemary Fell
was not exactly beautiful. No, you couldn't have called her beautiful. Pretty?
Well, if you took her to pieces. .. But why be so cruel as to take anyone to
pieces?” (24). Timothy Sexton argues in his article ‘Irony in Katherine
Mansfield's A Cup of Tea’ that the very first description of Rosemary states the
presence of irony in the story: “The opening passage in Katherine Mansfield's
short story "A Cup of Tea" introduces the protagonist in a manner that will
serve to underscore the importance of irony to the tale” (Sexton).
“Rosemary has been married two years...And her husband absolutely adored
her” (A Cup of Tea 24). The first depiction of the relationship between
Rosemary and her husband is connected with a positive connotation. From this
description the reader could assume that in this relationship between the wife
and her husband there is no need for the insecurities.
5 The influence by her parents and her childhood is apparent also in other stories such as
‘Garden party’, where the protagonist also comes from a high class society. Mansfield depicts the family in a similarly but an interestingly different way, as the protagonist – as opposed to
not so conscious Rosemary – truly sympathizes with the poor: “Again, how curious, she seemed to be different from them all. To take scraps from their party. Would the poor woman really like
that?” (Garden Party 87).
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Though Rosemary is presented in a sympathetic way to the reader, she
has a high social status and is depicted as a profligate person, who is fond of
beautiful vain things and spends large amounts of money on flowers and
objects she is mesmerized by: “I want those and those and those. Give me four
bunches of those. And that jar of roses. Yes, I'll have all the roses in the jar.
No, no lilac. I hate lilac. It's got no shape." (25). Sexton examines in his article
‘Katherine Mansfield and Modernism in the Short Story’:
“It is not the fact that a character can easily afford an entire jar of roses that
has significance; it is that lilacs she rejects are a less impressive symbol of
status and bearing. Then there is the aesthetic quality associated with roses
and lilacs and those qualities are consistent with the deeply ironic tone the
story takes from the beginning. Roses are beautiful; lilacs at best merely
pretty.” (Sexton)
The significance of Rosemary’s choice of flowers as noted by Sexton indicates,
that Rosemary belongs to a certain social class and the influence it has on her
can be observed through the flowers she chooses. Rosemary lives in a certain
bubble of her own carefree life and does not realize that somebody might not
even have enough money to buy something to eat. Further, when Rosemary
encounters a poor girl in the street, who asks her for “price of cup of tea”, she
wonders, whether she does not have any money as if it was something
unbelievable and out of this world – the fact, that there are also people are not
in the same financial sphere and social class. Rosemary reacts naively and in a
slightly arrogant way:
“How extraordinary! Rosemary peered through the dusk, and the girl gazed
back at her. How more than extraordinary! And suddenly it seemed to
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Rosemary such an adventure. It was like something out of a novel by
Dostoevsky, this meeting in the dusk. Supposing she took the girl home?
Supposing she did do one of those things she was always reading about or
seeing on the stage, what would happen? It would be thrilling” (A Cup of Tea
28).
The fact that she invites a girl of a different status could be perceived as a pure
act of kindness, on the other hand, it might also by just from a whimsy, as she
goes on to compare this ‘adventure’ – which is a real misfortune for the poor
girl without money – to the adventures she reads about in the books. She does
not even consider the aspect of simply doing a good deed. Rosemary decides to
take the girl home, which eventually becomes the phenomenon that causes the
change in Rosemary’s perception of herself in the relationship with her
husband.
Rosemary’s husband Philip is depicted through the conversation with
Rosemary which begins by his reaction to her guest. Philip does not tolerate the
girl – introduced as Miss Smith in the house. He shows his dominance over
Rosemary, he does not allow her to have a cup of tea with Miss Smith. He does
not leave a space for negotiating: "But what on earth are you going to do with
her?" cried Philip... “My darling girl,” said Philip “you’re quite mad, you know. It
simply can't be done” (35). Philip, opposes: “”But," said Philip slowly, and he
cut the end of a cigar, "she's so astonishingly pretty."” (35).
Shaghayegh Ghandehari in his article ‘A Psychoanalysis and Reader-
Response Study of “A Cup of Tea”’ observes:
“One of the key words of the story proves to be "pretty" as it is repeated a few
times; changing the path of events; revealing how a women might feel jealous
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and insecure, and in what manners this issue becomes important for the very
first time; even though it had not been thought or noticed before. Actually the
word ‘pretty’ is used for the first time by Rosemary herself; though there is a
deep difference; she uses the word without particularly meaning it or thinking
about its significance” (Ghandehari 394).
Rosemary now perceives the girl as an object of her husband’s desire and
therefore decides to satisfy her husband’s wish: “I only wanted to tell you," said
she, and she leaned against the door again and looked at him with her dazzled
exotic gaze, "Miss Smith won't dine with us to-night" (A Cup of Tea 36). Even
though Rosemary wanted to help the poor girl, she gives preference to
maintain a harmonic relationship with her husband Philip and her preceding
good intention does not matter to her anymore. As a result of feeling insecure
and presumably jealous Rosemary reacts by enhancing her beauty with make-
up, she even wears pearls, though it is not a special occasion and she
manifestly tries to look her best: “Rosemary had just done her hair, darkened
her eyes a little, and put on her pearls. She put up her hands and touched
Philip's cheeks” (36). She does seek comfort from her husband and
reassurance that Philip indeed likes her. Rosemary represents an idea of how
an average woman is perceived – as someone who is concerned about her
appearance and beauty and someone who needs to be constantly admired and
reassured of the feelings of affection of the significant other. Rosemary
therefore asks her husband: “Do you like me?” (36). Nevertheless, even though
Philip answers that he likes her “awfully” and leans for a kiss; in her mind she is
not reassured and she continues to ask Philip: “am I pretty?” (36).
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3.2 Narrative Organisation in ‘A Cup of Tea’
As it was in the case of the previous stories Mansfield opens the story by
introducing both the narrator and the female protagonist:
„Rosemary Fell was not exactly beautiful. No, you couldn’t have called her
beautiful. Pretty? Well, if you took her to pieces… But why be so cruel as to
take anyone to pieces? She was young, brilliant, extremely modern, exquisitely
well dressed (A Cup of Tea 24).
Mansfield again uses third-person limited point of view - this time it is through
the observations of Rosemary Fell. Rosemary is the focalizor and through her
eye the reader perceives the objects of focalization, however, she is also the
object of focalization as Mansfield focuses on Rosemary’s change of perception
of herself in the story. Mansfield manages to engage the reader to the story at
the very beginning by the use of ‘you’ as if the reader was a part of it: “But if
Rosemary wanted to shop she would go to Paris as you and I would go to Bond
Street” (24). She also uses the shifts in narration that evokes the feeling that it
is the thoughts of the narrator that the reader encounters, even though they
are the thoughts of the protagonist - the focalizator:
“"Come, come upstairs," said Rosemary, longing to begin to be generous."
Come up to my room." And, besides, she wanted to spare this poor little thing
from being stared at by the servants; she decided as they mounted the stairs
she would not even ring for Jeanne, but take off her things by herself. The
great thing was to be natural!” (30).
Through the focalization the reader is provided the insight into Rosemary’s
perception and opinions and therefore her personality. The events are
presented in a chronological order. In the case of ‘A Cup of Tea’ the story takes
50
place first at the Curzon Street, which is fundamental for the story, as this is
the place where Rosemary meets the poor girl, who plays a significant role in
influencing Rosemary’s perception. Masnfield also sets the atmosphere of sad
rainy London: “Rain was falling, and with the rain it seemed the dark came too,
spinning down like ashes. There was a cold bitter taste in the air, and the new-
lighted lamps looked sad” (A Cup of Tea 27). This detailed description of the
background also serves as a parallel to the Rosemary’s encounter with the sad
reality when she sees a poor girl asking for money. The story then moves to a
different place – Rosemary’s house, which is where the climax of the story
occurs, when Rosemary’s previous actions are followed by its consequences –
the attitude of Rosemary’s husband.
Mansfield further uses the language to represent Rosemary’s social class
and her personality as opposed to the poor girl, whose use of double negative
is characteristic of dialects, such as London Cockney. This emphasizes the
distinction between the two characters. In contrary to the previous stories in ‘A
Cup of Tea’ there is no imagining or fantasy present.
Mansfield ends the story with Rosemary’s question for Philip: "Philip,"
she whispered, and she pressed his head against her bosom, "am I pretty ?"
(36). By ending with the question, she emphasizes Rosemary’s insecurity and
makes the reader contemplate about Philip’s intentions and Rosemary’s change
of perception.
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Conclusion
Each of the stories analysed above provides a different perception on
personal relationships and each story enables the reader to follow the story
from a perspective of the protagonist – either from a male perspective (Henry)
or from a perspective of a female (Bertha, Rosemary). Mansfield’s unique use of
free indirect discourse truly engages the reader into the story and provides the
feeling of being part of the story.
In the first chapter (‘Something Childish, but Very Natural) the
perception of both Henry and Edna was analysed and the development of their
relationship was thoroughly studied. Firstly, Edna’s point of view is analysed,
then the research moves on to Henry’s perception and further, the symbolism
in connection to the depiction of the relationship is examined. Edna is depicted
as an innocent young girl who becomes an object of Henry’s desire. Edna is still
just a child and is not completely sure of what she expects and desires in the
relationship. She is not ready to pursue the physical relationship with Henry at
first, however, later in the story a transition of Edna can be observed as she
eventually allows Henry to touch her. On the other hand, Henry, who at first
also seems as an innocent child, tries to pursue a physical relationship with
Edna and is rather obsessed with her physical features rather than her
character. Furthermore, in the subchapter dedicated to symbolism it is observed
that it represents an important part in connection to the transition of Edna. The
focus is predominantly on the use of flowers, which Mansfield uses in the story
to symbolize Edna’s current attitude towards Henry and the use of colours as
symbols is also considered.
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In the second chapter (‘Bliss’), Bertha’s perception and her relationship
with Pearl and Harry are studied. Mansfield draws attention to Bertha’s lesbian
sexual tendencies. It can be observed, that Bertha struggles to acknowledge
her sexual attraction to women, as she addresses her sexual desire triggered by
Pearl Fulton to her husband, whom she has been cold to during their marriage.
Further, Bertha’s perception of happiness or so called ‘bliss’ is examined.
Mansfield presents the ambiguity of the true happiness, as it might lay in the
sweet ignorance or on the contrary could be found in one’s naivety and
gullibility.
The third chapter is dedicated to the analysis of a story ‘A Cup of Tea’
with the main focus on how the female protagonist’s perception of herself
changes because of her husband. Rosemary is a married wealthy woman, who
has everything that she needs. The research follows her perception of herself
and of her relationship with her husband Harry. It is observed in the story that
Rosemary, who has no reason to doubt herself at the beginning of the story, is
made feel insecure by her husband, which results in Rosemary questioning her
husband’s interest in her and his perception of her. Mansfield also depicts the
dominance of the male character – Harry over the female character –
Rosemary.
Further, a certain development of Mansfield’s approach to the perception
of relationship in the three stories can be observed. The first story called
‘Something Childish, but Very Natural’ was written in 1914 and an influence of
her relationship with John Middleton Murry can be observed. The theme of the
story is based on the concept of innocence in love and first physical contact. It
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follows two children who fall in love for the first time and their development
into adolescence. As it was observed in the first chapter, Murry and Mansfield
looked at their own relationship as on a relationship of two children. ‘Bliss’ is a
story written in 1918 – the same year that Mansfield married Murry. In this
story Mansfield provides an insight into a marriage, which is functional and
perspective, however, there is no passion between the wife and husband and
moreover, the theme of sexual ambiguity is presented in the story. This
indicates the change in Mansfield’s perception of a relationship with her
husband. As it is noted in the second chapter, Mansfield also lost her desire for
Murry and had lesbian tendencies which seem to influence the theme of the
story ‘Bliss’. Furthermore, ‘A Cup of Tea’ is the latest form the stories analysed
in the thesis. The story was written in 1922, at that times Mansfield was already
terminally ill. The characters in the story seem to be based on Mansfield’s
childhood experience and her perception of her parents. The reason might be
her consciousness about her illness, which seems to result in turning back to
her childhood memories and reminiscing6.
Katharine Mansfield is besides Virginia Woolf one of the most recognized
authors of the modernist literature. Mansfield’s greatness goes hand in hand
with her constant dissatisfaction with her writing, which drove her to endeavour
to improve. Her own criticism is depicted in Margaret Willy’s Three Women
Diarists (1964), where Willy notes Mansfield’s approach to her work through her
own diaries:
6 This phenomenon is also observed by Meyers in Katherine Mansfield: A Darker View, where
she comments on her life in 1919-1921:”Katherine’s themes, which evolved directly from her personal experience, are those of a lonely, frightened and sensitive invalid who wants to escape
from oppressions of adult reality into the memories of childhood...” (Meyers 217).
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“Katherine Mansfield’s verdicts on her own work were quite uncompromising.
Her Journal reveals her as her own severest critic...Her ruthlessness about her
failures to achieve her intention, and her shrewd awareness of such faults as ‘a
pretty bad habit of spreading myself at times – of over-writing and
understating’, made her repeatedly wish to destroy all ‘false starts’ and begin
fresh. Single-minded in dedication to her art, she aspired not towards success
or fame but to ‘write better, more deeply, more largely’” (Willy 37).
However, even though she was often discontent with her writings, she was an
incredible inspiration to the great Virginia Woolf. Panthea Reid quotes in her
book Art and Affection: A Life of Virginia Woolf Woolf’s diary:
“When I began to write, it seemed to me there was no point in writing.
Katherine won’t read it. Katherine’s my rival no longer...And I was jealous of
her writing – the only writing I have ever been jealous of. (Reid 263).
That is only one of many proofs of how incredibly talented author Katherine
Mansfield was.
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Works Cited
Anderson, Walter E. "The Hidden Love Triangle in Mansfield's "Bliss"."
Twentieth Century Literature. Vol.28.No.4 397-404. Web. 21 Mar. 2014.
<http://www.jstor.org/stable/441250>.
Bal, Mieke. Narratology, Introduction to the Theory of Narrative. 2nd ed.
Toronto: U. of Toronto Pr. Inc., 1999. Print.
Dash, Bibhudutt. "The Enigma of Aberration: Critiquing Katherine Mansfield’s
Story “A Cup of Tea” and Maupassant’s “An Adventure in Paris"."
Language in India. 11. (2011): n. page. Web. 18 Mar. 2014.