Narra ve technique It is a recoun ng of the horrific movement of his death, a er suddenly opening one of his eyes.

Sec on
Katherine Mansfield is one of the most versa le of modern English authors who has structured and
developed the short story into a complex and intricate narra ve art. Ahead of Joyce and Woolf, she
had introduced experimental modes of narra on such as the interior monologue or the steam of
consciousness technique in an unostenta ous manner in her short stories. The hallmarks of her
narra ve art are strewn all over her perfectly cra ed short stories. These dis nc ve features include a
polyphony of voices, a fluidity of perspec ve, me shi s, the curious trick of involving the reader in
the narra ve, a concentra on on an epiphanic moment and descrip ve vividness, achieved through
mime c accuracy and mimicry. Ian A. Gordon has rightly commented that she had “ the same kind of
direc ve inclusiveness on the art of the short story as Joyce had on the novel. A er Joyce or Katherine
Mansfield, neither the novel nor the short story can ever be quiet the same thing”
The first person narra ve in ‘ The Canary’ is a reverie in a loosely structured stream of consciousness
technique. Most of the Paragraphs begin with punctua onal dots, indica ng the slow but random
thought of the middle aged solitary protagonist a emp ng to grapple with loses and loneliness. Her
narra ve is a form of reminiscence in which the reader seems to be introduced ‘ in medias res ‘ by the
protagonist’s direct second person address, “ You see that big nail to the sight of the front door : I can
scarcely look at it even now, yet I could not bare to take it out.” The story proceeds to the confessional
mode in which an in macy is established between the reader and the narrator, allowing the former to
intrude into the privacy of her reminiscence. Referring to her canary, that has long died, she men ons,
“ you cannot imagine how wonderfully he sang. It was not like the singing of other canaries. “
Imagining that the reader may feel this to be her exaggera on, she clarifies, “ and that isn’t just my
fancy. O en, from the window, I used to see people stop at the gate to listen…” When she men ons
that she previously loved the evening star, she is immediately cau ous about a ra onal reader’s
cynicism and thus asks, “ does that sound foolish?”. While dwindling in the grey world of memories,
bearing the grief of the death of her dear pet, the she narrator\protagonist dwell on the unhappiness
of her life, sharing her view with the reader sta ng, “ I must confess, there does seem to me something
sad in life.”
In “ The Garden Party” Mansfield begins with the unique strategy, within the omniscient narra ve
technique, of including the reader within the narra ve perspec ve as if the former has the prior
knowledge of the situa on depicted. In an introduc on to the Penguin collected short stories of
Mansfield, Ali smith men ons that she likes to drop a reader into the middle of things as if we simply
know the story. “The omniscient narrator, who is observing and repor ng, seems to draw the reader
into a par cipa on in the ac on. This can be felt in ‘ The Garden Party’ when the author narrates , “
And a er all the weather was ideal. They could not have had a more perfect day for a garden party if
they had ordered it.” The narrator seems to assume the readers’ foreknowledge about the characters,
that acts as an an cipatory hint.
At the beginning of ‘The Daughter’s of the Late Colonel’ too the narrator implies as if the reader is
already familiar with the events and characters- “ The week a er was one of the busiest weeks of their
lives .” She intricates experiment with me shi s in the narra ve which is purely demonstrated in the
story. The different shi s in me are held together in the narra ve through associa ve links at the
beginning with a focus on the “ week a er “the death of Colonel Pinner, engaging his daughters,
Josephine and Constan a, in the difficulty of se ling down into an inexperienced life in the absence of
their father. In the same sec on, there is a me shi with a remembrance of the past in the line “ years
ago, when they had stayed awake at night, talking, their beds had simply heaved.” The sudden shi in
me is caused by an inexplicable impulse to laugh, which is also inappropriate during their present
bereavement. In the third sec on of the story, there is a return to the me when the Colonel was alive.
six provides a vivid account of two mornings a er the colonel’s burial, when his frightened and
in midated daughters dared to enter his room and rummaged through his personal belongings. The
shi s in me in the narra ve enable the narrator to achieve a detachment from the characters so that
the ironical juxtaposi on of death and comicality lands to the story , an absurd sense of humor. In the
same me, in the concluding sec on, the man at a hotel who had possibly wri en a roman c note to
Constan a, makes the two sisters dwell in a world of amorous fancy that is never fulfilled. Thus
accentuates the emp ness and melancholy of their present lives.
An interes ng, aspect of Katherine Mansfield’s art is vivid mimicry and mime c exac tude that renders
anima on to nature and inanimate forms and exaggerates human features and ac ons. In the
beginning of “The Garden Party” there is a following reference: “As for the roses, you could not help
feeling they understood that roses are the only flowers that impress people at garden par es; the
only flowers that everybody is certain of knowing. Hundreds, yes, literally hundreds, had come out
in a single night; the green bushes bowed down as though they had been visited by archangels.”
This excerpt from Katherine Mansfield's "The Garden Party" u lizes figura ve language to establish a
se ng rife with social commentary. The roses are personified, imbued with the "understanding" that
their sole purpose is to impress guests at a garden party. This underscores the emphasis on
appearances and societal expecta ons within the narra ve. The sheer abundance of roses,
emphasized by the hyperbolic "hundreds, yes, literally hundreds," reinforces a sense of manufactured
perfec on. Further irony is layered through the religious imagery of the "green bushes bowed down
as though they had been visited by archangels." This seemingly sacred event is juxtaposed with the
triviality of a garden party, highligh ng the superficiality at play. Through these techniques, Mansfield
achieves a mul -layered effect. On the surface, the descrip on establishes a vibrant and me culously
prepared se ng. It reveals a cri que of social climbing and the priori za on of outward beauty over
any intrinsic value and foreshadows the poten al tension between the characters' desires and the
pressures of social conformity that will unfold within the story.
Certainly. In Katherine Mansfield's short story "The Daughters of the Late Colonel," the seemingly
incidental detail of the sparrows chirping outside the window takes on a deeper significance when
compared to the protagonist Josephine's repressed yearning. The sparrows, fli ng freely and
"cheeping very so ly, as though they were talking secrets," represent a life unburdened by societal
expecta ons or the weight of grief. Their freedom acts as a stark contrast to the confines experienced
by Josephine and her sister Constan a. The sisters are portrayed as trapped in a web of mourning
rituals and the demands of upholding their deceased father's memory. Josephine likely harbours a
yearning for a life with more personal expression and autonomy, a life that transcends the limita ons
imposed by their current situa on. The sparrows, with their inherent freedom and liveliness, serve as
a powerful symbol juxtaposed against Josephine's repressed desires. Their presence acts as a constant,
silent reminder of a life outside the s fling rou nes and expecta ons that constrain her. This unspoken
yearning is further emphasized by her arguments with Constan a, which, while seemingly trivial, may
be a socially acceptable outlet for her frustra ons.
Katherine Mansfield ‘s short stories have achieved permanent renown and recogni on not only for her
sensi ve depic on of ordinary people. The variety of narra ve devices with which she enriches her
stories has le a permanent impact on English fic on a er her.

Imagery in The Garden Party
Katherine Mansfield is considered to be one of the best of the modern short story writers, not only
because of her thorough treatment of the lives of both elites and commoners but her inimitable style.
According to Jan A. Gordon, "One of her greatest achievements is "the crea on of a prose style that
could borrow from poetry but nevertheless remain prose". The most conspicuous aspect of her style
is the interconnected web of images and symbols woven by her into the structure of the short story,
expanding the connota ons of each narra ve to mul ple layers.
As Mansfield’s "The Garden Party' addresses the class-based socio-economic reali es. Her imagery in
the story has been sharply polarized between the sprawling mansion and well- maintained lawns of
the Sheridan's on a high ground, represen ng their affluent, elite lives and the "hollow" of "deep
shade"" at the "very "bo om steep rise" full of "mean li le co ages", painted "chocolate brown",
signifying the u er sordidness of the working-class life. The upper-class garden party is an image that
refers to the leisurely preoccupa ons of a monied class, engaged in an intense pursuit of materialis c
pleasure in ritual of community gathering. It herself had observed, in a le er to Middleton Murray,
that she had tried to convey in the story "the diversity of life and how we try to fit in everything, Death
included”. In this sense the experience of the protagonist, Laura Sheridan, is an allegory of ini a on
through ordeal into the unpleasant reali es of life. It brings about her matura on from naïve
exhilara on to adjustment to the grim & inevitability of death.
The world of the Sheridan's is a perfect image of well-structured ar fice of beauty, elegance and
propriety, reflected in the "windless, warm” weather and "a sky without a cloud. The power of
prosperity is indicated with subtle irony in Mansfield’s comment that the "ideal" weather seemed as
if they had ordered it”. It is a make-believe idyll where hundreds of roses seem to have blossomed in
a single night, and the green bushes "bowed down as though they had been visited by arch-angels. It
comprises the Lily-Lawns, the tennis-court and the "lovely" karaka trees with their "broad gleaming.
leaves " and "clusters of yellow fruit." Prosperity materializes every with and whim of the Sheridans as
indicated by the arrival of the maid-to-order marquee the tray full of pots of pink lilies and cream puffs
from Godbers. By contrast the poverty-stricken deprived lives of the workers has been depicted by the
images of the Lean “cabbage stalks”, “sick hens” and “tomato cars” in their small garden patches: From
their chimneys only "li le rags and shreds of smoke" emerged unlike "the great silvery plumes that
uncurled from the Sheridan's chimney”.
velvet ribbon symbolize her mourning heart. Mansfield also indicates the close sibling bond between
Laura and Laurie by referring to both their hats, though the la er's is only an official one. In contrast
to Mrs. Sheridan's patronizing philanthropy expressed through the image of the basket of le overs,
Laura’s compassion for the bereaved family is genuine.
Laura's visit to the house of the dead on the one hand, allegorizes the archetype of a descent to Hades,
and on the other, a psychological metaphor for an ini a on, through ordeal, to maturity. The lane that
she visits is smoky and dark". She hears "a low hum "emerging from the co ages and, in a flicker of
light, she observes a shadow, crab-like" moving across a window. She finds herself in a "wretched li le
low kitchen", dimly lit by a "smoky lamp.” The implied birth imagery appearing twice is the expressions
"passage" and gloomy passage", prepares the reader for Laura's final emergence into the bedroom
where the dead carter has been kept.
Laura's roman cized percep on of the dead cast an aura of enigma around it. Laura no ces, "There
lay a young man, fast asleep — sleeping so soundly, so deeply that he was far, far away… Oh, so remote,
so peaceful. He was dreaming. The descrip on bears a remarkable similarity to some of Mansfield’s
autobiographical entries in her Journal about her departed brother, Leslie Beauchamp. Like Mansfield,
for Laura too, the only way of accep ng, assimila ng and reconciling herself to the brutal truth of
death is to perceive it as eternal dreaming or a tranquil resigna on a er the chao c strife of life.
Adam J. Sorkin in "Katherine Mansfield's The Garden Party: style and social occasion also traces in the
images of the story an inverted fairy tale archetype. Laura, the equivalent of the fairytale princess,
finds her dream-prince, unexpectedly in the working-class whose stallion has shied at a trac on
engine, a symbol of the industrial exploita on of the worker. In a gender role reversal. Laura's beloved
is the sleeping beauty, never to wake again. Consequently she returns to her familiar world but is
unable to narrate her experience to Laurie. She only men ons with the tears that " It was simply
marvelous, expec ng her brother to understand her intui vely.
Katherine Mansfield’s images lend several levels of associa on and significance to her stories. They
also make her stories memorable as the recurring pa erns of images, keep. lingering in our minds.

The first blurring of class barriers occurs in the story with Laura's sen mentalized democra c response
to the workers who arrive to set up the marquee . Their staves, rolls of canvas, big footbags and the
"chock chock” of their wooden hammers are images that establish the pragma c reality of their
livelihood. However, Laura roman cizes them by no cing the "dark blue” eyes of the tallest of the
workers, his unexpected sensi vity to nature when he pinches "a sprig of lavender” and enjoys its
fragrance and their amiable smiles. To strike a of affinity with their hand-to-mouth existence, Laura ·
even eats her bread and bu er in front of them, feeling “just like a work-girl.”

The sha ering of Laura's illusion of a perfect world of pleasure and delight and her recogni on of the
transience of life is also ini ated by a worker. It is Godber’s deliverer of cream puffs who reports the
death of Sco , a young class neighborhood. Unlike the class-conscious percep on of her mother and
sisters, Meg and Jose, Laura's sensi vity humanis c empathy and openness to new experience have
been suggested by Mansfield's imagis c iden fica on of Laura with the "Canna Lilies" big pink flowers,
wide open, radiant almost frighteningly alive on bright crimson stems. While her pleas to her family
for stopping the party fail, her wearing of the hat imagis cally indicates the new role that she is to play.
While the gold daisies on its brim reflect her elite sophis ca on, its black colour and its long black
Imagery in The Daughters of the Late Colonel
Katherine Mansfield is considered to be one of the best of the modern short story writers, not only
because of her thorough treatment of the lives of both elites and commoners but her inimitable style.
According to Jan A. Gordon, "One of her greatest achievements is "the crea on of a prose style that
could borrow from poetry but nevertheless remain prose". The most conspicuous aspect of her style
is the interconnected web of images and symbols woven by her into the structure of the short story,
expanding the connota ons of each narra ve to mul ple layers.
In "The daughters of the late Colonel' Mansfield’s imagery evokes the appropriate atmosphere to
convey the colossal authorita ve presence of the dictatorial Colonel Pinner in the minds of his
daughters, Constan a and Josephine, ever a er his death. In a narra ve nged with wi y irony and
switching back and forth in me, the Colonel’s sudden opening of his single eye before his death to
glaze at his daughters is an uncanny image indica ng how they are unable to break free from the fear
of his ever-vigilant eye over them. Having grown up to their middle age without any confidence, self-
sufficiency personal iden ty or opinion due to their father's domineering nature, conveyed by the
image of "the image of his thumping s ck, they are unable to free themselves from their dependance
on him, nor derive any meaning from life without him. Thus, the images depic ng their departed father
are charged with frenzied energy and anima on while those depic ng them are mostly pale and
debilitated. Their life without their father is like the "blank" marge without jam or with bi er
marmalade. Whatever slight variety of colour they may have been associated with, such as Josephine’s
dark red slippers" and "dressing gown or Constan a’s "indefinite green ones; they are reduced to the
monochrome of the black colour of mourning. Their spontaneity and vivacity had been silenced by
their father's excessive strictness like the organ-grinder's music.
The most terrifying proposi on for Constan a and Josephine is to enter their father’s room, “ Go
through father’s things and se le about them!" Though, when they enter the room the prevailing
images of whiteness and coldness such as the shut "Blinds", the cloth over the mirror, the sheet
covering the bed and the huge fan of white paper that filled the fireplace suggests his absence, his
belongings become the iconic indicators of his presence. They feel him almost palpably in the drawers
full of his "handkerchiefs and neck es", "Shirts and pyjamas and "suits. They fear that he is watching
them, hidden away - just behind the door handle - ready to spring” Out of despera on, when
Constan a lock the Colonel's wardrobe, she feels she has confined her father's spirit", "amongst his
overcoats". The sisters are also unable to easily give away some of his belongings, like his hat and his
watch as stamped with the mark of his personality.
For the two sisters, a remembrance of Berry's Fondness for meringues is an occasion for nostalgia.
However, Gril unaware of his father's preferences, exudes a filial indifference in not knowing his
father's liking for meringues, this vehement asser on, on a second thought, Father's most frigh ully
meringues u erly preten ous. This is followed by the embarrassing scene of the aunts coaxing their
nephew to say something to their almost deaf ailing father, on Josephine's sugges on and
Constan ne’s assistance Cyril manages to convey to the Colonel his father's liking for the dessert. The
Colonel, however dismisses it with sarcas c words, “ What an extraordinary thing to come all this way
here to tell me!". This signifies to tolerate any kind of individualized specialty in his children.
princess" bossing over them, while they are like two docile "tabbies" before her, afraid even to ask
here to put the jug of boiling water on the tray.
Thein preoccupa on with the remote and the distant indicates their inability to grapple with the
immediate pragma c reali es. This is suggested by the image of Camels on the horizon that Constan a
contemplates about and Josephine's imagining of the colonial image of the Indian runner", " a black
man in white linen drawers” running with "a large brown paper parcel in his hands", a ny "black
man", "glistening like an ant”. Only occasionally there is a surfacing of Constan a's repressed longing
for the vibrancy and vitality of life that the shas missed through the images of the moon and the sea.
Her fondness for the statue of Buddha, with an enigma c smile, signifies her failed a empt to
transcend earthly yearnings and reach sublime wisdom. Josephine's heart, on the contrary, con nues
to chirp like the li le, young sparrows though "weak and forlorn.”
Katherine Mansfield’s images lend several levels of associa on and significance to her stories. They
also make her stories memorable as the recurring pa erns of images, keep. lingering in our minds.
Imagery in The Canary
Katherine Mansfield is considered to be one of the best of the modern short story writers, not only
because of her thorough treatment of the lives of both elites and commoners but her inimitable style.
According to Jan A. Gordon, "One of her greatest achievements is "the crea on of a prose style that
could borrow from poetry but nevertheless remain prose". The most conspicuous aspect of her style
is the interconnected web of images and symbols woven by her into the structure of the short story,
expanding the connota ons of each narra ve to mul ple layers.
"The Canary" deals with the theme of reconcilia on with loss, is predominated by the image of the
chirpy-song that is deeply embedded in the memory of anonymous middle aged protagonist. Lonely
and alienated from humans suggested by the nickname of the "scarecrow” with which her three
borders refer to her, she had previously projected here repressed and unfulfilled upon the “evening
star”. Ironically, Venus, the evening star, symbolizes, beauty, youth and love all that she lacked.
However, she had deeply a ached to the Canary, far more than the star, as it was responsive and
vivacious. The caged bird, is an image of her alter ego, represen ng her own vibrancy and passion that
had never been expressed. This is indicated by u erances like "how he and I shared each other's lives”
and "I am perfectly certain, he understood and appreciated every item of this li le performance.",
referring to her caring for the bird. The "big nail" outside her front door on which the cage was
previously hung, has been removed by her. It is only an image of nostalgia but also the pain of loss
from which she has never recovered.
Katherine Mansfield’s images lend several levels of associa on and significance to her stories. They
also make her stories memorable as the recurring pa erns of images, keep. lingering in our minds.

In their father's absence the Colonel's daughters are easily in midated by their subordinates: A er
invi ng Nurse Andrews, out of gravity, to be their guest a er their father's death, they realize their
mistake. Andrews turns the common bread and bu er breakfast into a feast by overloading herself
with immense extra helpings of bu ah. Even their domes c, the "proud young Kate" is "an enchanted

Mother Answer Imagery from life. The contrast between the lively imagery associated with their father and the pale, debilitated
imagery depic ng the sisters highlights their diminished existence. Their life is as bland as a "blank"
Katherine Mansfield is considered to be one of the best of the modern short story writers, not only
slice of bread without jam, and any slight hint of color in their lives, like Josephine’s dark red slippers
because of her thorough treatment of the lives of both elites and commoners but her inimitable style.
or Constan a’s green ones, is overshadowed by the black of mourning. Their father's excessive
According to Jan A. Gordon, "One of her greatest achievements is "the crea on of a prose style that
strictness silenced their spontaneity and vivacity, akin to the s fling of music from an organ-grinder.
could borrow from poetry but nevertheless remain prose". The most conspicuous aspect of her style
is the interconnected web of images and symbols woven by her into the structure of the short story, The most daun ng task for Constan a and Josephine is entering their father's room to sort through
expanding the connota ons of each narra ve to mul ple layers. his belongings. The cold, white imagery of the room—the shut blinds, the cloth over the mirror, the
sheet covering the bed, and the huge fan of white paper in the fireplace—emphasizes his absence.
Katherine Mansfield's "The Garden Party" cri cally examines the class-based socio-economic reali es
However, his belongings, like his handkerchiefs, neck es, shirts, pyjamas, and suits, become tangible
of her me, using vivid imagery to highlight the stark differences between the affluent Sheridans and
reminders of his presence, making them feel watched and judged even in his absence. Constan a's act
their impoverished neighbors. The Sheridans' world is portrayed through the opulence of their
of locking his wardrobe symbolizes a fu le a empt to confine his spirit. The sisters' difficulty in par ng
mansion, well-maintained lawns, and the idyllic se ng of their garden party, symbolizing their elite
with his possessions, such as his hat and watch, further underscores their con nued subjuga on to his
status and materialis c pleasures. In contrast, the working-class life is depicted with images of
influence.
dilapidated co ages and sparse gardens, emphasizing the stark disparity in living condi ons.
The sisters' nostalgia is exemplified in their remembrance of Berry's fondness for meringues. This
The protagonist, Laura Sheridan, undergoes a journey of matura on and self-awareness through her
memory contrasts sharply with Cyril's indifference to his father's preferences, highligh ng the
interac ons and observa ons. Ini ally, she naively roman cizes the working-class men who come to
genera onal gap and differing percep ons of the Colonel. Cyril's awkward a empt to convey his
set up the marquee for the garden party, viewing them with sen mentalized empathy. This momentary
father's liking for the dessert to the ailing Colonel, who dismisses it sarcas cally, reflects the Colonel's
connec on represents the first blurring of class barriers in the story. Laura's percep on begins to shi
intolerance for individual expression among his children. In their father's absence, the sisters are easily
further when she learns about the death of a young working-class man named Sco from Godber's
in midated by their subordinates. Invi ng Nurse Andrews as a guest a er their father's death proves
delivery man. This news starkly contrasts with the frivolous nature of the garden party and serves as a
a mistake, as she turns their simple breakfast into a feast for herself. Even their domes c help, the
catalyst for Laura's deeper understanding of life's grim reali es.
"proud young Kate," commands authority over them, reducing them to docile "tabbies" afraid to assert
Mansfield uses Laura's experiences to illustrate the protagonist's transi on from innocence to a more themselves.
complex awareness of life's duali es, including death. Laura's a empts to stop the party and her
Their preoccupa on with distant, abstract ideas, such as Constan a's contempla on of camels on the
symbolic wearing of a hat with both gold daisies and black ribbons reflect her internal conflict and
horizon and Josephine's colonial fantasy of an Indian runner, indicates their inability to address
emerging maturity. Her family's dismissal of her concerns highlights the persistent class consciousness
immediate prac cal reali es. Occasionally, Constan a's repressed longing for life’s vibrancy surfaces
and insensi vity of the upper class. The story's climax occurs with Laura's visit to Sco 's home, which
through images of the moon and the sea, while her fondness for a Buddha statue with an enigma c
serves as an allegory for her psychological and emo onal ini a on into adulthood. The dark, smoky
smile signifies a failed a empt to a ain sublime wisdom. Josephine's heart, however, con nues to
lane leading to the house and the dimly lit kitchen set a somber tone, contras ng sharply with the
chirp weakly, like forlorn sparrows, underscoring her lingering, subdued vitality amidst their
bright, ar ficial world of the Sheridans. Laura's percep on of Sco 's peaceful, almost ethereal
constrained existence.
appearance in death allows her to reconcile with the harsh truth of mortality, mirroring Mansfield's
own reflec ons on death and the loss of her brother. "The Canary" deals with the theme of reconcilia on with loss, is predominated by the image of the
chirpy-song that is deeply embedded in the memory of anonymous middle aged protagonist. Lonely
In her explora on of these themes, Mansfield also inverts tradi onal fairy tale archetypes. Laura, akin
and alienated from humans suggested by the nickname of the "scarecrow” with which her three
to a fairytale princess, finds an unexpected connec on with the working-class "prince" who will never
borders refer to her, she had previously projected here repressed and unfulfilled upon the “evening
awaken, reversing typical gender roles. This encounter leaves Laura profoundly changed, unable to
star”. Ironically, Venus, the evening star, symbolizes, beauty, youth and love all that she lacked.
ar culate her experience fully to her brother Laurie, yet expec ng him to understand the profound
However, she had deeply a ached to the Canary, far more than the star, as it was responsive and
shi in her perspec ve. Mansfield's story thus delves deeply into the complexi es of social class, the
vivacious. The caged bird, is an image of her alter ego, represen ng her own vibrancy and passion that
superficiality of the upper class, and the inevitable confronta on with mortality, using Laura's journey
had never been expressed. This is indicated by u erances like "how he and I shared each other's lives”
as a poignant explora on of these themes.
and "I am perfectly certain, he understood and appreciated every item of this li le performance.",
In Katherine Mansfield's "The Daughters of the Late Colonel," imagery vividly evokes the las ng referring to her caring for the bird. The "big nail" outside her front door on which the cage was
authority of Colonel Pinner in the lives of his daughters, Constan a and Josephine, even a er his death. previously hung, has been removed by her. It is only an image of nostalgia but also the pain of loss
The narra ve, rich with wi y irony and temporal shi s, captures the Colonel's imposing presence, from which she has never recovered.
par cularly through the eerie image of his single eye opening before his death, symbolizing the
Katherine Mansfield’s images lend several levels of associa on and significance to her stories. They
inescapable fear he ins lled in his daughters. Their lack of confidence, personal iden ty, and self-
also make her stories memorable as the recurring pa erns of images, keep. lingering in our minds.
sufficiency, a result of their father's domineering nature, is encapsulated by the recurring image of his
thumping s ck. Without him, they remain dependent and direc onless, unable to derive meaning
Title “ The Daughter’s of the Late Colonel”
Katherine Mansfield competently cra ed short story, , The Daughters of the hate colonel', focuses
a en on on the problema c inter genera onal rela onship between the departed colonel and his two
daughters, Constan a and Josephine.. The tle of the story indicates the oblitera ons of the personal
iden es the two middle-aged women. It refers to them only by their father’s iden ty. This implica on
is significant for the readers’ understanding of the domineering influence of the colonel’s towering
personality that had repressed the emo onal and psychological development of his daughters. It had
destroyed their freedom and spontaneity throughout their childhood and youth. In the story Mansfield
suggest the irony that though the Colonel is now dead, the dark shadow of his presence con nues to
impair the choices and ac ons of his daughters.
Though Katherine Mansfield’s father, Harold Beauchamp had been amiable to his family members, he
was unbelievably severe in his business ma ers. The author projects her father’s professional
relentlessness into the personal life of the Colonel. Like many high ranking military professionals, the
Colonel has extended his excessive disciplinary ins nct, developed by military experience, to the
domain of his personal life . His treatment of his daughters was almost like that of his subordinate
soldiers, compelling them into obeying his commands and wishes on all occasions. Consequently
Constan a and Josephine had never experienced the joys of growth.
The narrator recounts Constan a and Josephine’s regret about having missed the delights of
adolescence and growth. The Colonel’s quarrelsome nature had antagonized his “ Anglo- Indian
friends” when he had been posted in India. The narrator observes that they had never met a single
man, except clergymen. The colonel’s oblivion and irresponsibility about the marital futures of his
daughters are suggested as he had never compensated for the absence of their mother, to have
conveyed to them any idea about roman c or emo onal rela onships. Due to their father’s excessive
vigilance, they could not cherish any memory of sweet love in youth.
Katherine Mansfield conveys the colossal authorita ve presence of the dictatorial Colonel Pinner in
the minds of the Constan a and Josephine even a er his death through a manipula ve use of the me
frame in the story. The narra ve, rich with wi y irony and temporal shi s, captures the Colonel's
imposing presence, par cularly through the eerie image of his single eye opening before his death,
symbolizing the inescapable fear he ins lled in his daughters. Their lack of confidence, personal
iden ty, and self-sufficiency, a result of their father's domineering nature, is encapsulated by the
recurring image of his thumping s ck. Thus the departed father has been associated with images of
frenzied energy and anima on which those depic ng the daughters are mostly pale.
The most daun ng task for Constan a and Josephine is entering their father's room to sort through
his belongings. They struggle to sort their deceased father's belongings, feeling judged by his lingering
presence. Constan a's act of locking his wardrobe symbolizes a fu le a empt to confine his spirit. The
sisters' difficulty in par ng with his possessions, such as his hat and watch, further underscores their
con nued subjuga on to his influence. Their focus on distant fantasies and inability to address the task
reveals their emo onal paralysis. While Constan a yearns for a more vibrant life, Josephine's subdued
spirit reflects their shared struggle.
Mansfield has effec vely captured the detrimental impact of the rela onship between a dictatorial
father and his two submissive daughters. The image of death that prevails over the tle and the
thema c concern of the plot conveys the morbid influence of an uncaring parent on the en re lives of
his children.
The final scene, where Laura returns to the party, tears streaming down her face, is deliberately
ambiguous. Are her tears for Mr. Sco and his family? Or perhaps an overflow of dawning social
awareness? This ambiguity allows for mul ple interpreta ons but signifies a transforma on in Laura.
The naive girl solely focused on the success of a party is gone.
"The Garden Party" is a powerful story that u lizes a decep vely simple event to delve into complex
social and moral issues. Through Laura's journey, Mansfield compels readers to confront the reali es
of privilege, class disparity, and the inevitability of death. The story serves as a meless reminder of
the importance of empathy and the necessity to acknowledge the struggles of those less fortunate.
CLASS MORALITY\ TITLE GARDEN PARTY
Katherine Mansfield's "The Garden Party" transcends its seemingly simplis c narra ve. Beneath the
idyllic se ng of a me culously planned social gathering lies a profound explora on of class disparity,
the intrusion of mortality, and the burgeoning of social awareness. Through Laura, the youngest
daughter of the Sheridan family, Mansfield cra s a compelling portrait of a world where frivolity
collides with tragedy, forcing characters to confront their own privilege and grapple with the harsh
reali es of life.
The story unfolds on a canvas of idyllic beauty. Perfect weather bathes the Sheridans' garden,
me culously landscaped and burs ng with blooms. Prepara ons for a grand garden party, a symbol of
their social standing and comfortable existence, are in full swing. This ini al image of carefree luxury
establishes the stage for the impending disrup on.
News of a death in the neighboring house sha ers the Sheridans' idyllic world. Mr. Sco , a man from
a lower social class, has died. The proximity of his grieving family, residing in a modest dwelling
adjacent to the expansive Sheridan garden, underscores the stark contrast between their lives. Laura's
ini al reac on embodies the sheltered world she inhabits. Her primary concern is the poten al
disrup on to the party, reflec ng her limited exposure to hardship and her inability to empathize with
the working class. Mrs. Sheridan's pragma c response, priori zing the party's success despite
acknowledging the tragedy, reveals the hollowness of their social circle, where appearances trump
genuine human connec on.
As prepara ons con nue, Laura exhibits internal conflict. A vague sense of unease and a desire to help
– evident in her offer to deliver sandwiches (quickly dismissed by her mother) – mark the beginnings
of her burgeoning social consciousness. This internal struggle signifies a pivotal moment in which Laura
begins to ques on the long-held assump ons underpinning her privileged existence.
The arrival of the delivery men carrying equipment further emphasizes the social divide. Their working-
class background is accentuated through their physical appearance and direct communica on,
contras ng sharply with the Sheridans' refined manners. This encounter disrupts the comfortable
bubble Laura and her family inhabit. The spectre of death serves as a constant reminder throughout
their prepara ons. Imagery, such as the persistent black cat and the mournful cries from the
neighboring house, reinforces the theme of mortality and life's fragility, crea ng a stark contrast to the
carefree atmosphere the Sheridans strive to maintain.
The revela on of Mr. Sco 's profession as a builder adds another layer of complexity. He is the very
individual responsible for maintaining the physical comfort and social standing the Sheridans enjoy.
This blurs the lines between their worlds, forcing them to confront their dependence on the working
class.Further disrup ng the narra ve is the arrival of an enigma c young man described as having
"eyes...dark and full of slumber." He embodies a contras ng way of life, seemingly unburdened by
societal conven ons. His flee ng but significant encounter with Laura plants a seed of doubt in her
mind about the life she leads.
Throughout the party itself, Laura remains increasingly detached. The cha er and merriment seem
hollow in the face of the tragedy next door. A growing awareness of the superficiality of her world and
the ar ficiality of their social interac ons begins to take root.The turning point arrives when Laura
encounters the young man again. His revela on of the harsh reality – a suicide driven by financial
hardship – sha ers Laura's illusions about the working class and the world she inhabits. This encounter
compels her to acknowledge the vast distance between her life of privilege and the struggles of those
who make it possible.
TITLE CANARY
Katherine Mansfield's "The Canary" transcends the seemingly mundane chronicle of a woman and her
deceased pet bird. Instead, it blossoms into a poignant explora on of profound loneliness, the solace
found in unexpected companionship, and the enduring human capacity for resilience in the face of
loss. Through the unnamed narrator's introspec ve monologue, Mansfield cra s a powerful
medita on on the human condi on, u lizing a seemingly insignificant object – a canary – to illuminate
universal themes of connec on, grief, and the delicate dance between mourning and moving forward.
The narrator inhabits a world marked by a palpable isola on. Her interac ons with the nameless
lodgers residing in her boarding house are limited and emo onally distant. The terse statement, "they
wouldn't understand," underscores this sense of emo onal detachment. It is within this context that
the arrival of the canary becomes a pivotal event.
Mansfield employs vivid imagery to elevate the canary from a mere pet to a cherished companion. His
song is described as "not like the singing of other canaries," sugges ng a unique quality that resonates
deeply with the narrator. Details like his "li le fluffs of feathers" and the way he "used to look at me
sideways with his bright eye" personalize the bird, transforming him into a confidante with whom the
narrator shares a silent bond. The canary becomes a potent symbol of a life force missing in the
narrator's existence. Prior to his arrival, she sought solace in the "evening star," hin ng at a yearning
for a roman c connec on or a more passionate life that has long since faded. The vibrant song of the
canary fills this void, offering a subs tute for a human connec on that may no longer be a ainable.
The story's emo onal core lies in the devasta ng loss of the bird. The details surrounding his demise
are deliberately le unspoken, amplifying the raw grief experienced by the narrator. The stark image
of the canary "lying on his back, with his eye dim and his claws wrung," depicts a picture of vulnerability
and ex nguished life. The word "wrung" evokes a sense of struggle, sugges ng the bird may have
fought for survival, making his passing all the more tragic. Following the loss, the narrator grapples
with the profound emo onal vacancy le behind. She acknowledges the societal expecta on to "get
over it" and expresses a gra tude for her "cheerful disposi on," sugges ng a conscious effort to
maintain a facade. However, beneath this forced cheerfulness lies a deep emo onal wound. The line,
"something seemed to die in me. My heart felt hollow, as if it was his cage," powerfully captures the
devasta ng impact of the bird's absence.
Despite the overwhelming grief, the story concludes with a subtle note of resilience. The narrator
acknowledges the inevitability of moving on, but also the lingering emp ness: "I shall get over it. Of
course I must. One can get over anything in me." The final sentence, "They are quite right. I thank my
God I have a cheerful disposi on," feels nged with a hint of irony. While she might appear cheerful
on the surface, there's an unspoken acknowledgment that the loss has le an indelible mark on her
soul.
"The Canary" transcends the specific narra ve of a woman and her pet. It becomes a universal
medita on on the human condi on – the yearning for connec on, the pain of loss, and the delicate
balance between grief and the will to move on. The vibrant song of the canary represents the beauty
and fragility of life itself. His death serves as a stark reminder of mortality and the impermanence of
all things. However, the narrator's con nued existence, however nged with sadness, reflects the
human spirit's ability to endure even the most profound loss.
By masterfully weaving a story that u lizes a seemingly insignificant object, Mansfield compels us to
confront the complexi es of human connec on and loss. "The Canary," in its brevity, packs an
emo onal punch far exceeding its word count, leaving a las ng impression on the reader long a er
the final line is read.
Beginning of DAUGHTERS
Katherine Mansfield's "The Daughters of the Late Colonel" eschews a conven onal narra ve structure,
plunging us directly into the emo onal turmoil of the bereaved sisters, Constan a and Josephine. The
opening lines func on not merely as an introduc on to characters, but as a masterfully cra ed
microcosm of their grief and the prac cali es of naviga ng their altered reality.
The seemingly innocuous first sentence, "The week a er was one of the busiest weeks of their lives,"
establishes the passage of me since the Colonel's death. Yet, a deeper meaning lurks beneath the
surface. The "busyness" transcends the realm of physical tasks; it becomes a coping mechanism, a way
to channel the emo onal upheaval caused by their father's absence. This is further underscored by
the following sentence: "Even when they went to bed it was only their bodies that lay down and
rested; their minds went on, thinking things out, talking things over, wondering, deciding, trying
to remember where..." Here, Mansfield paints a picture of restless minds in perpetual mo on, even
during sleep. The tasks – "thinking things out," "deciding, trying to remember where" – represent the
prac cali es of loss. However, the emo onal undercurrent is undeniable – "talking things over,"
"wondering" – hin ng at unspoken anxie es and a struggle to process their grief. The use of an
unfinished sentence with trailing ellipses leaves the reader with a sense of the overwhelming nature
of their situa on.
The exchange between the sisters in bed further reveals the complexi es of their rela onship and their
emo onal state. Constan a's seemingly innocuous ques on regarding their father's top hat, "Do you
think father would mind if we gave his top-hat to the porter?" evokes a sharp reac on from Josephine.
This ini al disagreement foreshadows poten al conflicts as they navigate their new life without their
father's domineering presence.
However, the line that truly encapsulates the essence of their emo onal state comes shortly a er. The
narrator observes, "And suddenly, for one awful moment, she nearly giggled. Not, of course, because
it was in the least like giggling. It must have been habit. Years ago, when the Colonel was alive, and
they used to talk at night... their beds had simply heaved." This insigh ul observa on offers a window
into the sisters' past and their rela onship with their father. The near-giggle is a physical manifesta on
of a repressed emo onal response – perhaps nervous energy or even a suppressed desire for freedom.
The men on of their beds "heaving" with laughter in the past stands in stark contrast to the present
silence. The Colonel's presence, while domineering, likely filled their lives with a certain level of
anima on. His absence has created a void, leaving them emo onally adri .
The final lines of the opening sec on reinforce the sense of uncertainty and paralysis. Constan a asks,
"Do you think we ought to have our dressing-gowns dyed black as well?" This ques on highlights their
struggle with societal expecta ons of mourning. While seemingly mundane, the issue of mourning
a re becomes symbolic of the larger ques on of how to move forward without their father.
Josephine's final retort, "We shall have to be very careful," serves as a closing note that leaves the
reader pondering the challenges that lie ahead for the sisters. Will they be able to navigate the
prac cali es of their new life? How will they cope with the emo onal void le by their father's
absence? The opening lines of "The Daughters of the Late Colonel" masterfully set the stage for a story
that delves into themes of grief, libera on, and the complexi es of sisterhood.
Beginning THE CANARY
Katherine Mansfield's "The Canary" opens with a decep ve simplicity that belies a profound depth.
The unnamed narrator's introspec ve observa ons establish a world of profound isola on and a
yearning for connec on that permeates the en re story. Through carefully cra ed language and
masterful deployment of symbolism, Mansfield sets the stage for the transforma ve arrival of the
canary and the subsequent explora on of loss and resilience.
The story commences with a stark acknowledgment of the narrator's emo onal disconnec on from
her lodgers. The statement, "They wouldn't understand," reveals a fundamental sense of aliena on
beyond the immediate context. The narrator remains unnamed, highligh ng her invisibility within the
social sphere. This deliberate anonymity, however, allows readers to project themselves onto her,
fostering empathy as we enter her lonely world.
Mansfield u lizes the seemingly mundane details of daily life to paint a picture of emo onal
barrenness. The narrator describes her rou ne through tasks like cleaning, cooking, and tending to the
flowers – ac vi es devoid of joy or fulfillment. Her statement, "Flowers respond wonderfully, but they
don't sympathise," underscores this emo onal vacancy. Nature, a tradi onal source of solace, offers
the narrator only a muted response to her yearning for connec on.
Despite the drudgery of her daily rou ne, the narrator reveals a hidden wellspring of longing. Her past
solace in the "evening star" hints at a desire for beauty, mystery, and perhaps even roman c
connec on. This yearning suggests a dimension of the narrator's life that has faded, leaving behind a
sense of emp ness.Mansfield employs masterful understatement to amplify the narrator's emo onal
state. Phrases like "a feeling of Sunday a ernoon quietness" and "a kind of blankness" evoke a sense
of emo onal stasis and a yearning for something to disrupt the monotony of her existence. The lack
of vibrant details or vivid descrip ons further emphasizes the emo onal flatness that defines her world
before the arrival of the canary.
By contras ng the narrator's isola on with the promise of companionship, the beginning of the story
sets the stage for the transforma ve arrival of the canary. The line, "but then the canary came,"
introduces a vibrant counterpoint to the narrator's muted existence. This juxtaposi on serves as a
powerful symbol of hope and the poten al for change.The story's opening can also be interpreted as
a blank canvas upon which the experience with the canary will be painted. The narrator's emo onal
barrenness becomes the stage where the bird's vibrant presence and subsequent loss will unfold. This
creates a sense of an cipa on, promp ng readers to wonder how the canary will impact the narrator's
life and how she will grapple with its inevitable death.
While the story focuses on the experiences of a single woman, the themes explored in the opening
resonate with a universal human yearning for connec on and a desire to escape from loneliness. The
narrator's isola on could reflect the plight of women in a patriarchal society, confined to domes c
spheres devoid of emo onal fulfillment. It can also represent the universal experience of solitude that
anyone can encounter at some point in life.
The opening of "The Canary" transcends a mere descrip on of daily ac vi es. Instead, it u lizes subtle
details and evoca ve imagery to establish a context in which the arrival of the canary becomes a pivotal
moment, offering the narrator a source of connec on and se ng the stage for a powerful explora on
of loss, resilience, and the human capacity for finding solace in unexpected places.
ENDING of DAUGHTERS
Katherine Mansfield's "The Daughters of the Late Colonel" concludes not with a bang, but with a
lingering echo of unresolved emo ons. This ambiguity, far from being a weakness, serves as the story's
crowning achievement. By refusing to offer a clear-cut resolu on, Mansfield compels readers to delve
deeper into the emo onal landscape of the Pinner sisters, Constan a and Josephine, and grapple with
The story's final scene depicts the sisters engaged in the seemingly mundane task of sor ng through
their deceased father's belongings. Yet, this seemingly ordinary act becomes a potent symbol of their
emo onal paralysis. The physical presence of the Colonel's clothes – his handkerchiefs, neck es, and
suits – becomes a constant reminder of his controlling influence. The act of locking his wardrobe, a
fu le a empt to confine his spirit, underscores their inability to truly move on from his shadow.
Further highligh ng their emo onal detachment from the present, Constan a and Josephine resort to
fantas cal daydreams. Constan a seeks solace in the image of camels on the horizon, a distant and
abstract escape from the immediate confines of their reality. Josephine, meanwhile, indulges in a
colonial fantasy of an Indian runner, further emphasizing their emo onal disconnect with the task at
hand. These imagina ve diversions reveal their resistance to confront the prac cal and emo onal
complexi es of sor ng through their past.
Despite the pervading sense of stagna on, the story's ending offers subtle hints of the sisters' yearning
for a more vibrant life. Constan a's contempla on of the moon and the sea evokes a desire for
freedom and a connec on with the natural world, a world far removed from the s fling confines of
their home. The enigma c smile of the Buddha statue she holds could represent a longing for spiritual
solace or a recogni on of the limita ons of human understanding in the face of loss.
Josephine's heart, described as chirping "like sparrows," becomes a par cularly poignant image. While
faint, it suggests a subdued spirit struggling to emerge from beneath the weight of their father's legacy
and their own emo onal constraints. This image hints at the possibility of a nascent resilience, a flicker
of life force yearning for expression.
The ending could depict a permanent state of emo onal paralysis. The sisters' condi oning by their
domineering father might be so ingrained that they are unable to break free and embrace
independence. Alterna vely, the glimpses of yearning and the imagery of the moon, the sea, and the
sparrows could suggest a poten al for growth. Perhaps the sisters are beginning to recognize their
emo onal repression and might find the inner strength to forge a new path forward. The story can also
be interpreted as a social commentary on the limita ons placed upon women during the Victorian era.
The sisters' inability to take decisive ac on could reflect the societal constraints that confined them to
a life of domes city and emo onal dependence. Regardless of the interpreta on, the ending leaves us
with a profound sense of empathy for the Pinner sisters. Despite their flaws and emo onal repression,
they are undeniably human, grappling with the complexi es of grief, the struggle for self-discovery,
and the daun ng task of forging their own iden es in the absence of their father's controlling
presence.
"The Daughters of the Late Colonel" concludes not with a defini ve answer, but with a lingering
ques on mark. This ambiguity is not a weakness, but a testament to Mansfield's masterful storytelling.
By refusing to offer a clear-cut resolu on, she compels us to engage with the characters' emo onal
complexi es and contemplate themes of las ng relevance – naviga ng grief, escaping the past, and
the enduring human capacity for resilience and the yearning for a brighter future.
ENDING THE CANARY
The concluding passage of Katherine Mansfield's "The Canary" eschews a defini ve resolu on, instead
op ng for a nuanced explora on of grief and the enduring echoes of loss. This deliberate ambiguity
elevates the story beyond a singular narra ve, transforming it into a medita on on the universality of
mourning and the complexi es of human resilience.
The final lines, spoken by the unnamed narrator, reveal a surface acceptance of her loss: "I shall get
over it. Of course I must. One can get over anything in me. And people always say I have a cheerful
disposi on. They are quite right. I thank my God I have a cheerful disposi on." A closer examina on,
however, reveals a subtle dissonance between these words and the narrator's true emo onal state.
The repe on of "get over it" feels almost mechanical, a forced mantra recited out of societal
obliga on rather than genuine catharsis. The men on of her "cheerful disposi on" carries a similar
weight, masking a deeper emo onal truth. While she might project a façade of posi vity, the hollow
echo within remains unaddressed.
This emo onal dissonance is further emphasized by the powerful metaphor of the empty heart.
Likening it to the "hollow" cage of the deceased canary, Mansfield underscores the enduring impact
of loss. The cage, once a symbol of vibrant life and companionship, now stands as a stark reminder of
absence and the enduring power of memory. The bird's song, once a source of joy, might now echo in
the narrator's mind as a bi ersweet reminder of what is lost.
Despite the overwhelming sense of grief, the ending isn't en rely devoid of hope. The narrator
acknowledges the inevitability of moving forward, hin ng at a poten al for resilience. The use of the
word "God" is intriguing. While it might simply be a cultural marker, it could also suggest a yearning
for some form of solace, perhaps a spiritual one, to navigate the difficult path ahead.
The brilliance of Mansfield's ending lies in its ambiguity. It resists a singular interpreta on, allowing for
mul ple possibili es. The ending could portray an individual trapped in a cycle of grief. The narrator's
forced cheerfulness might mask a deeper depression, sugges ng she might never truly recover from
the loss. Alterna vely, the ending could depict the first tenta ve steps towards healing. The narrator
acknowledges the pain but also the necessity of moving on with life. Time, she suggests, might offer a
form of solace, allowing her to find a way to live with the loss. The story might also be interpreted as
a testament to the enduring power of memory. The bird's song might live on in her mind, a bi ersweet
reminder of a me filled with joy and companionship. Regardless of the interpreta on, the ending
evokes a profound sense of empathy for the narrator. Her experience resonates with readers who have
encountered loss in their own lives. The story becomes a testament to the universal human experience
of mourning, the complex emo ons that accompany loss, and the delicate balance between holding
onto cherished memories and finding the strength to move forward.
Mansfield's ending in "The Canary" transcends a neatly ed conclusion. It lingers as a poignant echo
of loss and resilience. This ambiguity allows the story to transcend the confines of a single character's
experience. It becomes a medita on on the enduring power of memory, the universality of grief, and
the human capacity to find a way forward, even in the face of profound loss.