Katherine Mansfield was one of many only a few writers in English to reach establishing a popularity totally on the idea of the brief story type. This text explores Mansfield’s brief story ‘Bliss’, illustrating particularly how the writer employs symbolic imagery as a method to satirize her characters. Mansfield is thought to be a literary modernist. In her writing she arrived at a singular prose type which utilized related imagery inside an built-in symbolic language. The ‘tall, slender, pear tree in fullest, richest bloom’ (p.177), is arguably the central picture of ‘Bliss’.
On this story Mansfield makes use of imagery as an efficient technique of satire. Noticed from Bertha’s perspective, the pretentious Mrs Norman Knight’s coat, adorned with a frieze of monkeys, seems to boost the girl’s simian look. This explicit picture is subsequently bolstered when Mrs Norman Knight is described as ‘crouched earlier than the fireplace in her banana skins’ (p.180). The recurrent picture of the moon can also be laughably alluded to with the ridiculous Eddie Warren’s ‘immense white silk scarf’ (p.179) and matching white socks.
Bertha is satirized by means of the colors of her outfit evoking the sooner description of the pear tree: ‘A white costume, a string of jade beads, inexperienced sneakers and stockings… She had considered this scheme hours earlier than she stood on the drawing-room window’ (p.178). Though imagery is regularly employed in aesthetic artwork, Mansfield is clearly utilizing it for instructive functions, as satire is basically seen as an instrumental gadget. By way of her advanced figurative associations, she is highlighting the naivety of Bertha and the absurd mediocrity of her visitors.
‘Bliss’ is expounded from an neutral perspective which invitations the reader to evaluate the characters with little to no authorial affect. It’s written within the third-person, though there are uncommon moments of second-person viewpoint, obvious in using the phrase ‘you’, deployed within the line: ‘What are you able to do in case you are thirty and, turning the nook of your individual road, you’re overcome, all of the sudden, by a sense of bliss’ (p.174). Mansfield’s alternative to handle the reader immediately right here serves to additional immerse them inside her narrative. ‘Bliss’ additionally launches into the story with little in the way in which of narrative exposition.
A serious attribute of the modernist brief story is that it discounted plot in favour of epiphany. Epiphany in literature is a profoundly dramatic scene the place a personality (or reader) is enlightened by means of some form of revelation. Mansfield knowingly employed it as the focus in lots of her tales, for instance, in ‘Bliss’ the entire narrative framework seems to operate as a construct as much as Bertha realising her husband is having an affair with Pearl Fulton: ‘His lips mentioned: “I am keen on you,” and Miss Fulton laid her moonbeam fingers on his cheeks and smiled her sleepy smile’ (p.85). This surprising revelation is consolidated by the truth that Bertha was below the phantasm she shared a profound friendship with Miss Fulton, obvious within the scene the place the 2 girls are admiring the pear tree: ‘How lengthy did they stand there? Each, because it had been, caught in that circle of unearthly mild, understanding one another completely’ (p.183).
Katherine Mansfield instrumentally employed imagery and symbolism as an efficient means to satirize the naivety and pretensions of her characters in ‘Bliss’.