Class Differences in Katherine Mansfield’s Short Stories

Katherine Mansfield’s short stories reveal a nuanced and often critical view of the social
hierarchies and class divisions prevalent in early twentieth-century society. In her stories,
Mansfield subtly interrogates class difference through characterisation, setting, and voice.
Rather than offering overt social critique, she presents class as a deeply embedded structure
that shapes identity, behaviour, and emotional life. Her modernist technique—marked by
shifts in consciousness, ambiguity, and understatement—allows her to expose the unspoken
tensions and internal contradictions that class distinctions produce.
In The Garden Party, Mansfield most directly addresses the divide between social classes. The
Sheridan family, comfortably situated in the upper-middle class, prepare to host a lavish
garden party in their estate. Their affluence is rendered through the story’s rich imagery—
“cream puffs,” “marvelous hats,” and “green baize doors”—all contributing to a world of
abundance and refinement. This privileged world is juxtaposed with the news of a working-
class man’s death in the nearby cottages. Laura, the protagonist, is momentarily troubled by
the idea of continuing the party in light of the tragedy. She says, “Mother, a man’s been killed,”
hoping to provoke empathy. However, her concern is quickly dismissed, and her moral
awakening is muted by the seduction of class comforts, notably symbolised by the hat her
mother gives her.
Mansfield uses this incident to highlight the casual indifference of the upper class to the
suffering of the lower class. Even when Laura visits the dead man’s home, her response is
aestheticized rather than political. She is struck by the beauty of his corpse and the
peacefulness of death, but she cannot translate her experience into coherent moral insight.
Her final words—“Isn’t life—” followed by a dash—suggest the limits of her understanding,
shaped as it is by the insulated world of privilege. Class difference, in The Garden Party, is
portrayed not only as economic but as a barrier to empathy and awareness.
In The Daughters of the Late Colonel, class is explored in a different register. Josephine and
Constantia are not wealthy socialites like the Sheridans, but members of the genteel middle
class, whose fading status is marked by their stifled existence. Their father, a retired colonel,
represents the authority of Empire and class hierarchy, and his dominance continues even
after his death. The sisters’ awkwardness in dealing with practical matters—disposing of his
possessions, interacting with the cook, or attending church—reveals their social fragility. They
occupy a class position that is not secure but anxious, defined by dependence and hesitation.
Their interactions with lower-class figures, such as the cook Kate, are marked by discomfort
and uncertainty. Kate’s assertiveness contrasts with the sisters’ indecision, subtly
undermining the hierarchical expectations of servitude. Mansfield thereby destabilises rigid
class roles and exposes the emotional and psychological toll of maintaining them. The sisters'
inability to speak freely, their fragmented thoughts, and their lapses into silence reflect the
inner damage inflicted by a life spent upholding inherited class values.
The Canary presents a more understated but poignant portrayal of class. The unnamed
narrator lives alone and reminisces about her pet bird with a mix of affection and quiet
despair. Her modest circumstances are hinted at through sparse details—the simplicity of her
room, the small joys of companionship, and the absence of any human connection. Her
economic condition is not explicitly stated, but the tone and imagery suggest a lower-middle
or working-class existence, marked by emotional and material deprivation. The canary, with
its cheerful song, symbolises a brief respite from loneliness and monotony, and its death leaves
the narrator in a silence that mirrors the broader social invisibility of her class.
In all three stories, Mansfield deftly uses class not as a blunt social category, but as a complex
psychological and emotional landscape. Through understated irony, fragmented interiority,
and subtle symbolism, she reveals how class shapes not only material conditions but also
consciousness, relationships, and the capacity for self-expression. Her stories resist
didacticism, instead inviting readers to perceive the quiet, often painful effects of entrenched
class distinctions on the inner lives of individuals.

Katherine Mansfield masterfully weaves subtle yet incisive portrayals of class differences
into the fabric of her short stories. Through nuanced characterisation, contrasting settings,
and carefully chosen details, she illuminates the social and economic divides prevalent in her
time.
In ‘The Garden Party’, the theme of class difference is central to the narrative. The Sheridan
family, with their grand house, extensive garden, and elaborate plans for a lavish party,
represent the privileged upper class.5 Their lives are characterised by an abundance of
resources and a certain detachment from the hardships faced by those less fortunate. 6 This is
evident in their casual discussion of the unfortunate accident in the working-class
neighbourhood below their property. While Laura is initially sensitive to the tragedy and
suggests cancelling the party, her family, particularly her mother, dismisses her concerns with
an almost callous disregard for the suffering of others. Mrs. Sheridan’s gesture of sending the
leftover food to the bereaved family, though intended as an act of kindness, ultimately
underscores the social divide, highlighting the Sheridan’s’ position of plenty and the other
family’s need. Laura’s brief visit to the humble cottage reveals the stark contrast between the
two worlds. The cramped living conditions and the raw grief of the working-class family stand
in stark opposition to the Sheridan’s’ carefree existence.10 This encounter forces Laura to
confront, albeit briefly, the reality of a social stratum far removed from her own, revealing the
chasm that separates the classes.
‘The Canary’ offers a more implicit commentary on class. The narrator, an elderly woman
living alone, likely belongs to the middle class. While her financial situation is not explicitly
detailed, the fact that she could afford a pet canary and seems to live comfortably in her own
home suggests a level of economic stability. The simplicity of her life and the sentimental value
she places on the canary hint at a certain solitude, possibly characteristic of a middle-class
widow in that era. The story does not explicitly contrast her with other social classes, but the
focus on her personal, somewhat isolated existence can be seen as a subtle reflection of the
social structures that often separated individuals based on their economic standing. Her
emotional connection to the bird becomes a significant aspect of her life, perhaps highlighting
a lack of deeper human connection, which might be more prevalent in certain social strata.
In ‘The Daughters of the Late Colonel’, Mansfield subtly portrays the strained circumstances of
the two sisters, Josephine and Constantia, who represent a class in decline or a genteel
poverty. While they once enjoyed a higher social standing due to their father’s position, their
current existence is marked by a sense of financial constraint and social isolation. Their
interactions with their working-class servant, Kate, highlight the subtle power dynamics and
the economic disparities between them. Kate performs the household chores and attends to
the sisters' needs, indicating their reliance on her labour. However, the sisters often treat her
with a certain detachment, maintaining a social distance that reflects their perceived higher
status, even in their reduced circumstances. The discussions surrounding their father's will
and the distribution of his meagre estate further underscore their precarious financial
situation. The fact that they struggle with basic decisions and seem ill-equipped to manage
their affairs without the structure provided by their father suggests a life lived within the
confines of their social class, perhaps without the practical skills necessary to navigate a
changing world. The story subtly critiques a social system that leaves women like Josephine
and Constantia vulnerable and ill-prepared for independent lives once their male protectors
are gone.
Through these stories, Mansfield demonstrates her keen observational skills and her ability to
portray the pervasive influence of class distinctions without resorting to overt social
commentary. Instead, she focuses on the individual experiences and subtle interactions that
reveal the underlying social and economic structures shaping her characters’ lives. Whether
it's the overt contrast in ‘The Garden Party’, the implied social standing in ‘The Canary’, or the
depiction of declining gentility in ‘The Daughters of the Late Colonel’, Mansfield’s work
provides a nuanced and insightful glimpse into the class-conscious society of her time.