Katherine Mansfield's Symbolic Technique in Bliss
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Transcript of Katherine Mansfield's Symbolic Technique in Bliss
KatherineMansfieldʼsSymbolicTechniqueinBliss 71
KatherineMansfieldʼsSymbolicTechniqueinBliss
MasamiSato
Introduction
ThereadersometimesfindscolourfuldescriptionsintheworkofKatherine
Mansfield (1888–1923), suchasAt the Bay (1921)andBank Holiday (1920).
Becauseof this,herworkshavesometimesbeencomparedtopaintingsand
calledthe literaryequivalentof Impressionistpaintings.However, incontrast,
thecoloursused in someworksare limitedandamonochromaticworld is
created inworkssuchasThe Child-Who-Was-Tired (1910)andThe Voyage
(1921).Thecolourswhichappeartherearemainlyblack,greyandwhite.
Whilereading,payingattentiontothecoloursused,thereaderwillnaturally
notice that they reflect, for example, the atmosphere, the charactersʼ
personalities,thestateoftheirminds,ortheendingofthestories.Thereforeit
canbesaidthattheintentionaluseofcolour,includingthetraditionalsymbolic
meaningisoneofKatherineMansfieldʼsmaintechniques.Thereisaparticular
work,Bliss (1918),whichhaselementsofboth thecolourfulworldand the
monochromaticworld.
InJanuaryin1918,duringtheFirstWorldWar,MansfieldleftforBandolin
thesouthofFrancetorecuperatefrompulmonarytuberculosis.Herhusband,
JohnMiddletonMurrycouldnotcomewithher,soshehadtospendalonely
timethereandherconditiontookaturn for theworse.However, inspiteof
thesehardships,shecompletedBlissonFebruary28th.Shewrotetohimjust
afterhavingfinishedit:
72
Itʼsthreeoʼclock;IʼvejustfinishedthisnewstoryBlissandamsendingit
toyou.ButthoughmyGod!Ihaveenjoyedwritingit.Iamanabsolute
ragfortherestofthedayandyoumustforgivenoletteratall.Iwill
writeatlengthtomorrow.1
WecangatherfromthisletterthatMansfielddevotedherselftothisstoryand
dasheditoffinaburstofenthusiasm.Inthisessay,pickingoutcertaincolours
whichMansfieldadoptsintothisstory,Iwillobservehowshefitsthemintothe
scene,referringtotheirsymbolism,andwilltakeupthecharacteristicsofthis
work.
I
TheheroineBerthaYoung is thirty, themotherofababy,andspendsa
prosperous lifewithherhusband,HarryYoung. She is sometimesalmost
overpoweredbyanextreme sense ofhappiness.Mansfielddescribes such
Berthausingheruniquemetaphor:
Whatcanyoudoifyouarethirtyand,turningthecornerofyourown
street,youareovercome,suddenly,byafeelingofbliss–absolutebliss!–
asthoughyouʼdsuddenlyswallowedabrightpieceofthatlateafternoon
sunand itburned inyourbosom,sendingouta littleshowerofsparks
intoeveryparticle,intoeveryfingerandtoe?2(69)
Thus,herextremesenseofhappinesswhichshecannotcontrolisdescribedin
animagewhichstronglyappealstothesenseofsightandtouchofthereaders.
However,whenthepassionistoostrong,itcouldburnoutsoon.Sunsetfollows
thelateafternoon.Fromthatpointofview,herfeelingatthisstagehintsthat
KatherineMansfieldʼsSymbolicTechniqueinBliss 73
herblissfullifewillnotlast.ApieceofsunswallowedintoBerthaʼsbodyburns
downeventoherfingersandtoes.Thismetaphorexpresses thestrengthof
herblissratherviolently,andthereadercan imaginehowbrimfulshe isof
happiness,butalso themetaphorhints thatherbliss couldbebroken into
pieces,perhapswith severeagony,painanddespair, and impresseson the
readerthetransienceofbliss,too.
Bertha,who isexcitedbybliss,entersadarkcooldiningroomaftershe
returnshome.Herbodycoolsdownforamoment,butsoongetshotagainand
sheevenhasa feelingthatsomethingwonderfulwillhappen,whichsuggests
she is rathersimple-minded,childishand immature.Sheputs fruit inablue
bowl andon aglassdish in thedarkdining room,whichgives a flowery
atmosphere to theplace. Sheboughtgrapesonly tosuit thecarpet,which
indicatesthatshehasasenseofbeauty,butitcouldbethesenseofsuperficial
beauty:
Therewere tangerines andapples stainedwith strawberrypink.
Someyellowpears,smoothassilk, somewhitegrapescoveredwitha
silverbloomandabigclusterofpurpleones.Theselastshehadbought
totoneinwiththenewdining-roomcarpet.Yes,thatdidsoundrather
far-fetchedandabsurd,butitwasreallywhyshehadboughtthem.She
had thought in theshop: “Imusthavesomepurpleones tobring the
carpetuptothetable.”(70)
Thus,her idea foradorningtheroomsuggestsher inclinationtoseenot the
substancebutonlythesurface,anditwarnsusofthefactthatshecouldnot
read her husbandʼsmind.Ultimately, she discovers his betrayal of their
marriage.
Finishingdishingupthe fruitsontheglassdishand inthebluebowl like
74
twopyramids,shelooksatthemfromacertaindistance,likeanartistdoesin
theprocessofaworkʼscompletion.Thesightisdescribedthus:thedarktable
seemedtomelt into thedusky lightandtheglassdishandthebluebowl to
float intheair. (70) Thepyramid-likearrayof fruitremindsusofabeautiful
still-lifepaintingagainstadarkbackgroundpaintedbyaDutchartist in the
17thcenturysuchasCornelisdeHeem,butinthiscase,thesightcouldhavea
negativeimplication:thefruitsaredishedupbeautifullywithgoodbalance,but
theylookasiftheyarefloatingintheair,soiftheylosetheirbalanceevena
little, the pyramidswill tumble and their artificial beautywill disappear
instantly.ThefragilityoverlapswithBerthaʼscase:atthebeginning,shefeels
greathappiness,but in theend, thehappiness iseasilyand instantlybroken
intopieces.Associatedwiththetransienceofbeautyandhappiness,thecluster
offruitalsopossiblyhintsthatwhileBerthaandHarryareapparentlyanideal
couple,actuallytheirrelationship is fragileandunstable.Fromtheseopening
scenes,thereadermeetingtheworkofKatherineMansfieldforthefirsttime
learnsthatsheisawriterwithapowerfulcommandofsymbolicimagery.
Ⅱ
In thegardenwhichBertha looks out over, still excitedby a thrill of
happiness, thereare somesymbolical objects.First, apear tree “in fullest,
richestbloom”(72)correlatestotheextremeofherbliss,butinthedescription
thatthetreestands“perfect,asthoughbecalmedagainstthe jade-greensky”
(72),anegativemeaningcanbe inferred: theshipcannotgo forwardwithout
thewindandcannothelpstayingatthesamespot,whichoverlapstheimages
ofdependenceandstagnation.Thereforethepeartreecouldhintthatalthough
Berthawill find out aboutHarryʼs faithlessness, shewill not leave him,
dependingonhimasever.Thus,whilethefertilityofthepeartreereflectsher
KatherineMansfieldʼsSymbolicTechniqueinBliss 75
bliss, the tree standing like a shipbecalmed corresponds to theunhappy
situationwhereshehastoreconcileherself tothesterilityof therelationship
betweenherhusbandandherself.Thusweseethatthepeartreehasrather
contraryimages.
Incontrast to the timidBertha,Mansfield sketchedacharacterwho is
conceitedandhypocritical:Rosemary in A Cup of Tea (1922). Outside the
antiqueshop,apoorgirlbegsher formoney foracupof tea,andRosemary
almostforciblyinvitesthegirltoherplace:
Hungrypeopleareeasilyled.Thefootmanheldthedoorofthecaropen,
andamomentlatertheywereskimmingthroughthedusk.
“There!”saidRosemary.Shehadafeelingoftriumphassheslipped
herhandthroughthevelvetstrap. Shecouldhavesaid,“NowIʼvegot
you,” asshegazedatthelittlecaptiveshehadnetted.(335)
Thepoorgirl isa“littlecaptive” forRosemary.Herkindness isnotpureand
she isonly intoxicatedbyhergooddeed. However,herhusbandʼscomment
aboutthegirl:“sheissoastonishinglypretty” issounexpectedandsurprising
forRosemary.Assoonasshehearsit,shegivesthegirlsomemoneysecretly
andgetsher to leave tokeepheraway fromhim,whichdemonstratesher
hypocrisy.
BerthameetsaladycalledPearlataclub,whoisHarryʼsmistress,andshe
is infatuatedbyher. MansfielddescribeshowBertha feels about certain
women:shealwaysdid fall in lovewithbeautifulwomenwhohadsomething
strangeabout them. (72) Pearl isa “find” forBertha,butwhenBerthafinds
herselfbetrayed,shecannottakeactionatonce likeRosemary. Thus, their
reactiontoanunexpectedincidentiscontrary:Rosemaryisactiveandquickly
getsridofanencumbrance,whileBertha ispassiveandcannot immediately
76
breakwiththeobstacle.However,theyhaveacommonpointintherelationship
withtheirhusbands. They look likean idealcouple,but in fact, theyarenot
bonded sincerely.Besides these stories,Mansfield dealswith thediscord
betweenwifeandhusbandinherotherworkstoo,suchasThe Stranger(1921),
The Escape (1920)andalso inThe Man without a Temperament (1920)which
reflectstherelationshipbetweenMansfieldandherhusband.
Goingbacktothegarden,besidesthepeartree,redandyellowtulipsarein
bloom: “redandyellowtulips,heavywith flowers, seemed to leanupon the
dusk.” (72)Thesymbolictraditionsofredandyellowtulipsarebothrelatedto
love,but in the languageof flowers theyarerathercontrary.Thered tulip
means‘adeclarationoflove,ʼ‘truelove,ʼor‘eternallove,ʼwhiletheyellowhasa
negativemeaningsuchas‘hopelesslove,ʼor ‘unrequitedlove.ʼTheyexactlyfit
toBerthaʼs love forHarry; she lovesandbelieves inhim,but in fact she is
betrayed. It is interestingthatMansfieldhaschosenthesecolourswhichcan
expressBerthaʼslovesymbolically.
Notonlythecoloursofthetulipsbutalsotheirheavyflowerscouldhintat
somethingominous: they reflectBerthaʼs excessive love forHarryandher
extremesenseofhappiness,andalsotheirlooksreflecttheburdenofherdistress
whenchancerevealshislove-affair.Wesometimeshangourheadswhenweare
shockedbyorverydisappointedwithbadthings,whichemulatestheheavytulip
flowersleaninguponthedusk.Thereisfurthersymbolicimageryinthetulips.
Whentheflowersarefinishing, theirpetalsopenwideandtheystarttohang
downonbentstems.TheprocesscansuggestthatBerthaʼslovehaspassedthe
peakwithoutbeingrewardedandisdescendingtotheend.
Besidestheflowers,thecatswhichappearinthegardenhaveaveryclear
symbolicmeaning.WhenBertha is looking at the garden immersed in
happiness,blackandgreycatsarecrossing it:Agreycat,dragging itsbelly,
crept across the lawn, and a black one, its shadow, trailed after. (72)
KatherineMansfieldʼsSymbolicTechniqueinBliss 77
Instinctivelyfeelingloathingforthosecats,sheshiversandsays,‘Whatcreepy
thingscatsare!ʼ(73)Thissceneinwhichtheblackcatisshadowingthegrey
cat obviously reflects the relationshipbetweenHarryandPearl, and their
appearanceportendsthatasinisterfuturewillcreepuponBerthaʼshappylife.
PearlFultonisoneoftheguestswhoareinvitedtodinneratBerthaʼshome
andappears“allinsilver,withasilverfilletbindingherpaleblondehair.” (75)
ItisobviousthatMansfieldintentionallygivesherasilverimage;silverwithout
brillianceturnstogrey,whichremindsusof thegreycat inthegarden,and
thecolour ispositionedbetweenblackwhichhintsofHarryandwhitewhich
hintsofBertha,whoidentifiesherselfwithapeartreewithfullwhiteblossoms
as‘asymbolofherownlifeʼ;furthermoreassheisnaïveandimmature,soher
symbolic colour canbewhite representing innocence, purity, immaturity,
naivetyandsimplicity.
HarrypretendstobebrusquewithPearlnottoletBerthanoticehisaffair
withherandevenmakesanironicaljokeabouther:“coldlikeallblondewoman
witha touch,perhaps,ofanaemiaof thebrain.” (72).Pearl isamature lady,
whileBerthaisratherimmature,whichmightbeoneofthereasonsHarryis
attracted toPearl. Butatanyrate, inaddition to the imageofablackcat
followingagreycat,he isanunfaithful, cunningman, soblack is justly the
colourforhim,withnegativeattributessuchasviceandfaithlessness.
Besidesthetulips,otherplantsalsohintatunhappiness inBerthaʼsfuture.
In awarm room, jonquils give off too strong a fragrance andBertha is
intoxicatedbythesenseofhappiness.It is interestingthat inthe languageof
flowers for jonquil, there is “awish for love to return,”whichmatchesher
feelingwhenshediscovers thatHarry ishavinganaffair. Droopingredand
yellowtulips, the flowersofapear tree in fullestbloomand the too-strong
scentofjonquilallhavetheimageofexcessincommonandtheycorrespondto
Berthaʼsextremesenseofhappiness.Furthermore,beyondtheirbeauty, they
78
aresooverpowering that thereadermay feeluneasyandalso feelanomen
thatsomethingsinistermighthappen. Wesometimesbecomeanxiouswhen
wearetoohappy:weareafraidthatthehappinesswillnotlastandsomething
badmighthappenaftergreatluckandhappiness.
Ⅲ
It isperfectlyclear thatMansfieldhas intentionallychosen thecolourof
theirclothestoreflectthepersonalitiesofBerthaandPearl.Aswehaveseen
before,Pearlwasallinsilver,whichisacompletelycontrarycolourtoredlike
a sparkwhich symbolizesBerthaʼs extremehappinessasdescribedat the
beginningofthisstory.Thecoloursilverconnotescalmnessandacoolsenseof
touch,soPearlapparentlyhasanimagewhichsuppressesBerthaʼspassion,but
infact,here,touchingPearlhasrathercontraryeffect:itstirsupBerthaʼsfiery
passioninsteadofrestrainingit,likethefirestirredupwithapoker.
“Comealong.”Andshe (Bertha)tookher (Pearlʼs)armandtheymoved
intothedining-room.
Whatwasthereinthetouchofthatcoolarmthatcouldfan—fan—
startblazing—blazingthefireofblissthatBerthadidnotknowwhatto
dowith?(75)
HerewealsocanseeoneofMansfieldʼs techniques: repetitionof the same
wordswith longdashes.Repeating “fan”and “blazing”conveys tousrather
rhythmicallytheimagethatBerthaʼsblissisgraduallyincreasing,appealingto
oursenseofsight,touchandevenhearing.
Berthaʼsclothing is ratheruniqueandher taste in fashion isuncommon.
Shewearsawhitedress,astringofjadebeads,greenshoesandstockings.As
KatherineMansfieldʼsSymbolicTechniqueinBliss 79
mentionedbefore,whiteisBerthaʼscolour,whichhintsatinnocence,purityand
immaturity. Moreover, sheregards thepear treewithwhite flowers ‘asa
symbolofherownlifeʼ (73),whichfurthersupportstheideathatwhiteisher
symboliccolour,whilegreen,whichhassymbolicvaluessuchasnature,peace,
hope,healingandrecoveryisthecolouroftrees.Besides,thedescriptionofthe
peartreestandingʻagainstthejade-greenskyʼ(72)canbeassociatedwithher
jadenecklace.ThusthecolourschemeofBerthaʼsattireoverlapsthepeartree.
Thepeartree in fullbloomhadbeenthesymbolofhappiness forBertha
beforeshefoundoutaboutHarryʼsaffair,soitcanbeguessedthatherdesire
toassimilatewithithadsubconsciouslyledhertothiskindoffashionforthat
particularnight.Moreover,whenshefeltthatshewastoohappy,“sheseemed
toseeonhereyelidsthelovelypeartreewithitswideopenblossoms…”(73).
Therefore,eventhoughshedoesnotactuallyseethepeartree,itseemsalways
to exist in her mind and influences Berthaʼs thoughts and actions
subconsciously insomeway,soherchoiceofclothesmustbeaffectedbythe
imageofthepeartree,butsheisjustnotawareofit.ItisironicalthatBertha
intheattirewhichmirrorsthepeartreeandhappiness, isgoingtobe ledto
themisfortuneoftheabruptandunexpecteddiscovery.
As for another technique,Mansfield gives the symbolic names to her
charactersinsomeworks.AsClareHansonandothercriticsmention,oneof
the typicalnames isBerthaʼs secondname “Young”,whichmatches toher
personality,thatis,immaturity,credulity,andchildishness.Anothersymbolical
nameis“Pearl.”Apearljewelgivesoffamodestsilver-whitebrilliancyandhas
anelegant,cool,calmandmysteriousbeauty,incontrastwiththedazzlingand
gorgeousgoldordiamonds,therefore“pearl”canbeasuitablenameforPearl
whoissophisticated,calmlybeautiful,andmysterious.Peoplecanhardlyguess
what is inhermind,whichmagnifieshermysteriousnatureand fascinates
themallthemore.
80
Ⅳ
WhenHarrypraisesBerthaʼssouffléatthedinnerwiththeguests,sheisso
pleased:shealmostcouldhaveweptwithchild-likepleasure.(76)Thus,wecan
seeher childishness inher reaction toHarryʼs admiration. Furthermore,
MansfielddescribeshowhappyBerthais:
Oh,whydid she feel so tender towards thewholeworld tonight?
Everythingwasgood—wasright.Allthathappenedseemedtofillagain
herbrimmingcupofbliss.(76)
Andthenshe imagines thesilverpear treestandingunder themoon inher
mind:
Andstill,inthebackofhermind,therewasthepeartree.Itwouldbe
silvernow,inthelightofpoordearEddieʼsmoon,silverasMissFulton,
whosat thereturninga tangerine inherslenderfingers thatwereso
palealightseemedtocomefromthem.(76)
Berthaonceidentifiedherselfwiththepeartree,buthereshecombinesitwith
Pearlwhosesymboliccolour issilver,and theyshare the imageof thepear
tree,butitmightbeexpectedthatthehappinesssymbolizedbythepeartree
willbetransferredtoPearl in theend. Inadditionto the imageof thepear
tree,Pearlhasanotherimage.Themetaphorthatalightseemstocomefrom
herpale fingerssuggests thatshesymbolicallyunifieswith themoonwhich
givesoffsilver light.Moreover,whenHarrysaystoPearl “Iadoreyou,”she
laysher“moonbeam”fingersonhischeeks…(80)Here,Mansfieldusestheword
KatherineMansfieldʼsSymbolicTechniqueinBliss 81
“moonbeam”forherfingers,whichletsusassociatePearlwiththeimageofthe
moon, too.Thus, itcanbe inferredthatPearl isrelatedtothepeartreeand
alsotothemoon.
BerthaisbeingmanipulatedbyPearlallthemoreasifshewasspellbound.
Pearlasksher,“ ‘Haveyouagarden?ʼsaidthecool,sleepyvoice.Thiswasso
exquisite onherpart that allBertha coulddowas to obey.” (77)Berthaʼs
reactionhintsthatPearlwillcontinuetodominateher.Toshowthegardento
Pearl,Bertha“crossedtheroom,pulled thecurtainsapart,andopenedthose
longwindows.”(77)Thissceneletsusimaginethatthecurtainisdrawnaside
onthestageandthegardenisshownasatableauframedbythewindow.
WhenPearlandBerthastandsidebysidelookingattheslender,flowering
tree,Berthahasanillusion:
Althoughitwassostill itseemed,liketheflameofacandle,tostretch
up,topoint,toquiverinthebrightair,togrowtallerandtallerasthey
gazed–almosttotouchtherimoftheround,silvermoon.
Howlongdidtheystandthere?Both,asitwere,caughtinthatcircle
of unearthly light, understandingeach otherperfectly, creatures of
anotherworld,andwonderingwhattheyweretodointhisonewithall
thisblissfultreasurethatburnedintheirbosomsanddropped,insilver
flowers,fromtheirhairandhands?(77)
ThepeartreewhichBerthaandPearlsymbolicallysharenowstretchesupward
and is about to reach the silvermoonwhich symbolizesPearl.This scene
impressesusthatPearlʼspowergetsstrongerandstronger,andwecanpicture
herpowerfantastically,forexample:ifthesharppointofthepeartreetouches
themoon,itwillexplodelikeaprickedballoonandatthesametimefinesilver
sparklingdustspoutfromitandveiltheworldallaround,whichisPearlʼsworld.
82
BesidessuggestingthatPearlbecomespowerful,thissceneseemstohave
anotherpotentialmeaning.Harryʼssymboliccolourisblack,butlaterMansfield
relateshimtosilver,too:hiscigaretteboxisthatcolour.It isquitesurethat
Mansfield intentionallychosesilver forhisbelongingstoassociatewithPearl
whoisalsohis.ThusHarryʼssymboliccolouralsocanbesilver,thereforethe
pear treewithwhite flowersapproaching themooncouldbenot only the
symbolofPearlbutalsoapartofHarry. Sothescenewherethepeartree,
whichreferstoHarrynow,growstallerandalmosttouchesthemoon(thatis,
Pearl)correspondsto thescenewheretheblackcat (Harry) is followingthe
greycat(Pearl)inthegarden.Bothsceneshavepossiblesexualconnotations;it
mightbesurmisedthatthemoonandthepeartree,andtheblackcatandthe
grey catwill eventually unify. Mansfield describes the image of their
relationshipverticallyintheformersceneandhorizontallyinthelatter.
TodeceiveBertha,hepretendstodislikePearlandcurtlyasksher ifshe
smokes,holdingoutthesilverbox.Sheanswers,“No,thankyou,Iwonʼtsmoke”.
Fromthewayshespeaks,Berthafeelscertainthattheydonotlikeeachother;
however,she isactuallywrong.She issoeasilydeceived,whichrevealsher
immaturity,naivetyandshallowness,anditispatheticthatshelooksclownish
forthecunningcouple,HarryandPearl.
Ⅴ
Whenpeopleareleaving,BerthaaccidentallywitnessestheintimacyofHarry
andPearl.Bertha,whowasintoxicatedwithblissuntilthen,suddenlyfallsinto
anabyssofdespair. The irony isamplified, justafter that,whenoneof the
guestscitesaphrasefromapoem: ʻ “Whymust itAlwaysbeTomatoSoup?”
Itʼssodeeplytrue,donʼtyoufeel? Tomatosoup issodreadfullyeternal. (̓80)
ThisphraseseemstoreflectHarryʼsennuitowardBertha,andsoundsasif it
KatherineMansfieldʼsSymbolicTechniqueinBliss 83
was acceptable to be unfaithful. Tomato soup can refer to Bertha and
‘dreadfullyeternalʼhintsthatshewillneverchangeherselfinfuture.Thereis
anotherreferencetotheredsoupduringdinner,inwhichPearlis“stirringthe
beautifulredsoupinthegreyplate” (75)whileBerthaisself-conceitedlyfeeling
unifiedwithPearl.SeeingthatredcolourisrelatedtoBerthainblissandgrey
isforPearl,thisscenelookslikePearlisplayingwithBerthaʼslife.Heraction
seemstoreflectherdominanceoverBertha.
WhenPearlleaves,shesaystoBertha“Good-bye.Thankyousomuch.”And
holdingherhandamomentlonger,shemurmurs“Yourlovelypeartree!”The
pear treewasonce the symbol ofBerthaʼs happiness andherself, butnot
anymore,soPearlʼswordsseemto imply,“Thankyousomuchforgivingme
yourHarryandyourpear tree, that ishappiness.Theyareallmine,now!”
Aftersheleaves,Berthasays:
“Yourlovelypeartree—peartree—peartree!”
Berthasimplyranovertothelongwindows.
“Oh,whatisgoingtohappennow?”shecried.
Butthepeartreewasaslovelyaseverandasfullofflowerandasstill.
(80)
Berthainastateofshockmightbejustrepeatingabsent-mindedlywhatPearl
murmured: “Your lovelypear tree!”and if so, “Your” isBerthaʼs.However,
acceptingthepoint that thepear tree isno longerBerthaʼssymbolbutnow
Pearlʼs, “Your”couldmeanPearlʼs. ThusBerthafinallyrealizesthatthepear
tree, that is,happinesshascompletelytransferred fromhertoPearl,andthe
repetitionof “thepear tree”reflectshowdeeplyshe isconfused,bewildered
andworriedaboutherfuture.
Thedescriptionintheabovequotation,thelastlineofthisstory,lookslikea
84
painting framedbythe longwindowandholdsaconfinedandunchangeable
image.Mansfielddoesnotgiveaclearendinghereandleavesitopentothe
reader,which isa styleshesometimesadopts inherworks.Thepear tree
standsstill in thetranquillityof thenightas if timestopped,whichsuggests
thatBerthaʼssituationcannotbechanged;hercry“What isgoingtohappen
now?” implies her anxiety about her future, her resignation and her
helplessness,andthispassiveutteranceshowsthatshewillhaveneither the
courage tostartanew lifenor theability tobe independent fromHarry. In
manystories it is thereaderwho is leftwiththequestion“What isgoingto
happennow?”butinthisworkthesymbolicnuancesenableustomakeguesses
thatBertha,overwhelmedbyincomprehensibledisaster,cannot.
Conclusion
Asseenat thebeginningof the story,Berthadisplays the fruits likea
pyramidinthebackgroundoftheduskofthediningroom.Thedisplayconsists
of colourful fruits,whichmirrorherbliss,while theduskhas theeffectof
increasing theirvividness, but alsohints that themisfortunewill steal up
behindher,andactually intheend,she isplungedintothedepthsofdespair;
hersadnessanduneasinessarefusedintothemonochromaticworldwovenby
thedarkness,thesilvermoonandthepeartreebloomingfullofwhiteflowers.
ThusMansfieldscatterssymbolicobjects,coloursandsceneshereandtherein
herworksinordertoreflectthestateofthecharactersʼmindsandforeshadow
whatistohappentothemandhowthestoryends.Eachtimewere-readthem,
weencounternewdiscoverieswhichwehadnotobservedbeforeandtheylet
usmakeanotherordeeper interpretation,orgiveusdifferent impressionsof
the entire story itself or its characters. Bliss is representative of these
elements inMansfieldʼsworkandthereaderscanenjoytheprofundityofher
KatherineMansfieldʼsSymbolicTechniqueinBliss 85
elaborateschemes.
Notes:
1 VincentOʼSullivanwithMargaretScott (ed.):The Collected Letters of Katherine
Mansfield 2(Oxford:OxfordUniversityPress,1987.)p.97
2 KatherineMansfield:The Collected Stories of Katherine Mansfield.(Hertfordshire:
WordsworthEditionsLimited,2006.)
Thepagenumberisfoundaftertheendofeachquotation.
Reference:
AntonyAlpers:The Life of Katherine Mansfield (London:JonathanCape,1980)
MarkGreenberg(ed.):Nature and Its Symbols (LosAngeles:GettyPublications,2004)
C.A.Hankin:Katherine Mansfield and Her Confessional Stories (London:Macmillan,
1983)
ClareHansonandAndrewGurr:Katherine Mansfield (London:Macmillan,1981)