I.

Introduction

Katherine Mansfield, a notable New Zealand-born English modernist short story author, is

celebrated for her innovative use of narrative techniques, which often incorporate poetic

imagery, and her focus on the psychological conflict existing inside her characters' inner

lives (Encyclopædia Britannica, n.d). Among her most recognized works, “The Garden

Party” explores class hierarchy and social awareness. The story contrasts the Sheridan

family's lavish party with the harsh realities of their working-class neighbors, especially

when Laura, the main character, knows about the death of a laborer. Even though the

characters are not directly linked to any specific historical period, the narrative is

profoundly influenced by the socioeconomic pressures resulting from post-World War I,

which shape the themes present in Mansfield's works (SuperSummary, n.d).

This paper analyzes two themes of “The Garden Party”: aestheticism and class

consciousness. These themes encourage readers to think about the intricate connection

between privilege, aesthetics, and the brutalities of humanity by emphasizing Laura's

emotional struggle as she battles her growing awareness of social injustices and reveals the

shallowness of Sheridan's extravagant lifestyles during the party.

II. Analysis of The Garden Party (1922) by Katherine Mansfield and her writing

career

1. The author and her career

Katherine Mansfield (Katherine Mansfield Beauchamp Murry), well-known as a British

modernist writer, was born in Wellington (New Zealand) on October 14th, 1888. At the

age of 19, she left her hometown to express herself in England as a writer, and after her

time at Queen’s College, she was determined to make a career from her writing

(Encyclopædia Britannica., n.d.). Mansfield’s personal life was full of sadness and illness,

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especially when her soldier brother who died in World War I in 1915 deeply affected her.

In 1923, she struggled with tuberculosis and finally claimed her life when she was only 34.

Regarding her writing career, Mansfield’s writing is best known for the Modernist short

stories. In her lifetime, she published 3 collections that contain several meaningful short

stories: In a German Pension (1911), Bliss and Other Stories (1920), and The Garden

Party and Other Stories (1922), Katherine Mansfield Society. (n.d.). She also published

poetry and reviews in literary journals. Her first collection in 1911 reflects her

disappointment with society at that time, and with the publication of “Bliss and Other

Stories” (1920) and “The Garden Party and Other Stories” (1922), her writing talent was

uncovered and her reputation increased. These two collections include her most famous

works such as “The Garden Party”, “Bliss”, and “The Daughters of the Late Colonel”.

Mansfield’s writing style is mainly subtlety and psychological depth with a modernist

approach. Due to a keen eye for each small detail of life, Mansfield’s stories focus on the

ordinary moments of daily life which are full of imagery, metaphors, and symbols

(LitPriest, n.d.). Besides, her unique stream-of-consciousness technique captures the

protagonist's raw and unrefined inner thoughts, revealing their deepest desires, fears, and

memories. As a result, this offers the readers distinctive insight into the characters'

spiritual world and deeply explores their thoughts and feelings (Kaplan, 2019).

Although her life is short, Mansfield's works have had a significant effect on worldwide

literature. “The Garden Party" (1922) has been much praised as a masterpiece. Walker

(1957) noted that "The most frequently anthologized of Katherine Mansfield's work, 'The

Garden Party,' has long enjoyed a reputation for near perfection in the art of the short

story"

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2. Plot summary

Katherine Mansfield’s “The Garden Party” centers around Laura Sheridan, a young girl

from an upper-class family in New Zealand, when her family prepares to host an afternoon

garden party. This year, Mrs. Sheridan, assigns Laura, “the artistic one,” to oversee four

workmen who come to put up the marquee. Laura is astonished by their friendliness and

lack of pretense which is not the same as the formality of her social class. She

communicates with them warmly and momentarily imagines life as a working-class girl.

However, Laura’s mood changes as she is informed that Scott, a working-class neighbor,

has a fatal accident nearby. Deeply empathetic, she asks her mother to consider canceling

the party to show respect for the grieving family. Unfortunately, her mother, a

domineering socialite, turns down her suggestion, arguing that it would be unnecessary.

Instead, Mrs. Sheridan distracts Laura by giving her an elaborate new hat, which

temporarily restores Laura’s excitement about the party.

After the party, Mrs. Sheridan insists that Laura has to take leftover food to the Scotts.

Though initially hesitant and self-conscious about her elegant attire, the young daughter

eventually agrees to deliver the basket. On the way to the Scotts’ house, there is a sudden

realization hit of the stark contrast between her own bright life and the gritty one of the

poor. At that moment, she considers going back since her expensive clothes make her feel

out of place. However, she perseveres.

Having arrived at a small, dark cottage, Laura meets the widow’s sister who brings her

inside to Scott’s wife, Em Scott. The crying widow is bewildered by Laura’s sudden

appearance but still thanks her for coming. Despite the young girl’s intention to leave, she

then follows Em’s sister to the room where Scott’s body lies under a sheet.

When looking at the deceased’s face, Laura is struck by the remote and peaceful

expression on his face which is far from the social convention. After showing empathy for

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the Scotts, Laura runs out of the house and encounters her brother, Laurie, on the road

outside. She starts to cry while trying to articulate her feelings about the marvelous

experience, but Laurie’s response is vague, leaving the depth of Laura’s realization open

to interpretation.

3. Analysis of the main themes of The Garden Party

Theme is the central element of a story which is the message that the author wants to

convey to readers. According to Morner and Rausch (1991), this abstract concept is

“indirectly expressed through recurrent images, actions, characters, and symbols, which

must be inferred by the reader of the spectator” (p.223). Therefore, recognizing themes is a

crucial step in understanding a narrative. In “ The Garden Party”, aestheticism - privilege

and class consciousness are two main themes that are visible and consistently woven

throughout the story.

a. Aestheticism and Privilege

The theme of aestheticism is initially reflected in Katherine Mansfield's vivid description

of nature. The weather is described as ideal—calm, warm, and cloudless, with the blue sky

“veiled with a haze of light gold” (p.59). In the Sheridans’ garden which becomes the

picturesque backdrop for the party, the daisies are shining between the grass and the dark

flat rosettes, the rose that “everybody is certain of knowing” fully bloomed, and “the green

bushes bowed down as though they had been visited by archangels” (p.59). Furthermore,

Laura’s observation of the karaka trees as “proud, solitary, lifting their leaves and fruits to

the sun in a kind of silent splendor” (p.62) evokes the imagery of the “Garden of Eden”.

In the story, Mansfield skillfully employs symbolism to explore aestheticism, with the

marquee and the hat. The marquee set up for the garden party serves more than just a

practical structure; it symbolizes the family’s affluence and aspiration to impress the

guests. As a decorative element, this work of art enhances the overall party aesthetic.

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Besides, Laura's mother's elegant black hat reflects the beauty statement of humans,

particularly the Victorian upper class. This fashionable accessory also implies the personal

aesthetic tastes and identity of the protagonist, Laura. Her admiration for her reflection in

the mirror, a “charming girl in the mirror, in her black hat trimmed with gold daisies, and

a long black velvet ribbon” (p.74) highlights her transition from girlhood to womanhood

and her evolving sense of beauty and self-awareness.

Mansfields also brings about the full contrast between the flashy appearance of the

Sheridans and the gardens of the working-class’s cottages. The Sheridan family

meticulously maintains their garden as a visually appealing space, with ideal conditions

for a garden party. In contrast, the cottages of the lower class are described as “the greatest

possible eyesore” (p.71), with gardens full of “cabbage stalks, sick hens, and tomato

cans.” Even a simple act of smoke from the chimneys can be an aspect of the distinction

between the rich and poor through the writer’s excellent description, “poverty-stricken”,

“little rags and shreds of smoke” in opposition to the “great silvery plumes that uncurled

from the Sheridans' chimneys” (p.71). These descriptions further emphasize the

significant divide between wealth and poverty and illustrate the harsh realities of poverty.

Despite its allure, aestheticism negatively allows the upper class to disconnect from the

rest of society (Ullah et al., 2023). For example, Laura’s admiration for her hat makes her

momentarily disregard the tragic death of her miserable neighbor, Mr Scott. As an upper-

class status symbol, the hat shadows Laura’s innate sympathy. Meanwhile, Mrs. Sherian

manipulates Laura by suggesting that it is “not sympathetic” to spoil everyone’s fun by

being “extravagant” (p.73). This highlights the upper class's obsession with their aesthetic

ideals and social status, where keeping up appearances and following social norms is more

important than showing empathy or recognizing the struggles of others.

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Another consequence of being obsessed with maintaining appearances is insincerity and

superficiality. This is evident in how the garden party is presented as little more than a

display, with the guests’ joy seeming performative rather than experiencing real feelings.

For instance, Kitty Maitland - the only named guest - was more concerned with the band's

appearance than their actual music (Ullah et al., 2023).

Although Laura tries to empathize with the working class, she ends up aestheticizing the

dead body of Mr. Scott who was “sleeping soundly”, “dreaming”, “wonderful” and

“beautiful”(p.81). This reveals Laura's understanding of happiness, where she alone has

succeeded in neutralizing death by transforming it into a peaceful sleep. Therefore, she can

find a way to overcome her inconvenient sympathies for those who are less fortunate than

herself (Atkinson, 2013). To rephrase it, by romanticizing Scott’s body as being at peace,

Laura can enjoy her class privileges without feeling the discomfort or guilt she

experienced earlier in the day ( Shaup, 2015).

b. Class Consciousness

In “The Garden Party”, Katherine Mansfield examined the theme of class consciousness,

specifically focusing on the psychological and emotional complexities of the young

protagonist, Laura Sheridan. While Mansfield describes the world of the Sheridans to

demonstrate social distinction and a chase for material possessions (Rakib, 2023), Laura

stands in contrast as she undergoes a fundamental transformation awakening to class

consciousness.

A key aspect of Laura's character is her conflicted attitude toward the societal norms and

class divisions that define her world. As a member of the upper-class Sheridan family, she

is eager to participate in the grand garden party and attempts to mimic her mother's voice

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and manners while talking to lower-class people: ‘“Good morning," she said, copying her

mother's voice. But that sounded so fearfully affected that she was ashamed and

stammered like a little girl, "Oh—er—have you come—is it about the marquee?”’ (p.59).

Although how Laura speaks to the working men reflects her certain level of authority and

privilege over them, the fact that she stammers like a little girl further emphasizes her

discomfort and lack of confidence in her class identity (Ullah et al., 2023).

As she becomes more relaxed and friendly, she begins to see the working men as “friendly

and self-assured” and even gives a compliment “How charming the workers were!” (p.

59), in contrast to her privileged background and family's disdainful attitude toward people

of lower socioeconomic status. Still, her idealization falters when one of the men speaks

informally, saying, "You want to put it somewhere where it'll give you a bang slap in the

eye if you follow me." (p. 60). This moment reflects Laura’s deeply rooted class biases as

well as her limited understanding of the workers’ reality.

As she notices small details such as the tall man’s enjoyment of the lavender scent, she

begins to see them as more human and relatable. Laura's wanting to have workmen as

friends instead of " the silly boys she danced with and who came to Sunday night supper”

(p.62) highlights the societal expectations placed on her as a gendered member of the

upper class. That also challenges her preconceptions and makes her question the societal

structures that separate people based on their class and gender.

Laura’s awareness of social inequality becomes evident through her brief rebellion against

her family’s dismissive attitude towards the working class after the death of Mr. Scott. She

suggests canceling the garden party because of the tragedy, but her mother turns it down,

saying, "People like that don’t expect sacrifices from us" (p. 73). Her response summarizes

how the Sheridans regard the working class as an inferior class who deserves no such

7
privilege or respect. While the social structure and the distance between the Sheridans and

the Scotts exist, Laura’s suggestion to cancel the party is an attempt to bridge that divide.

Yet, it is met with indifference and dismissal from her family which reinforces her sense

of powerlessness in the face of ingrained class structures.

Recognizing social inequalities can be challenging, and addressing the divide between the

upper and lower classes is often even harder, especially when one’s life may be

comfortable and in a cushioned world away from struggles (Giddens et al., 2017). This

insight into Laura’s momentary burst of empathy makes her class consciousness bud, but

it had been short-lived since her mother's influence and the allure of the party’s luxuries.

Mrs. Sheridan quickly diverts Laura’s attention to a pretty hat, saying, “My child, the hat

is yours. It's made for you.” (p. 72). Here, Mansfield had used the hat as a symbol of

wealth and vanity which pulls Laura back into the world of her family’s superficiality and

away from her concerns for the Scotts. This highlights how class distinctions are

reinforced through material possessions (Ullah et al., 2023).

The turning point occurs when Laura visits the Scotts’ home, she is forced to confront the

stark realities of life and death and the significant gap between the upper and lower

classes. Her description of their home as “little and dark, no little carpet” (p. 77)

demonstrates the stark difference between her luxury world and their simple existence.

Whereas she certainly feels out of place in her party attire, her discomfort stems also from

facing the poverty her upbringing has shielded her from. The Scotts’ environment is

described as “dark, shadowy, mundane” (p. 77), a stark contrast to the color and vibrancy

of the Sheridan’s estate. However, Laura still romanticizes the dead body’s peaceful

expression, interpreting it as “It was simply marvelous” (p. 81). This reveals that her

8
empathy remains superficial and aestheticized, more focused on appearances than genuine

understanding.

Encountering the dead body of the man is a hard experience, she is overwhelmed by

sadness, confusion, and emptiness. As she encounters her brother after she rushes out of

the Scotts' house, Laura feels speechless to describe and make sense of her experience

inside the house:

Laurie put his arm around her shoulder. "Don't cry," he said in his warm, loving voice.

"Was it awful?" "No," sobbed Laura. "It was simply marvelous. However, Laurie—" She

stopped, she looked at her brother. "Isn't life," she stammered, "isn't life—" But she

couldn't explain what life was. No matter. He quite understood. "Isn't it, darling?" said

Laurie. (p. 82)

Her statement "Isn't life, isn't life-" is an expression of her confusion and realization of the

inequality and injustice in the society she lives in. However, it implies a positive change in

her consciousness, as she questions her values, beliefs, and place in the world.

III. Conclusion

To sum up, Mansfield successfully captured the beauty and luxurious world of the upper

class during the Sheridans’ party by using the lively description of nature, creating the

exquisite setting symbolizing their privileges. She also draws inspiration from two objects,

the hat, and the marquee, as metaphors for the Sheridan’s family wealth and aesthetic

ideals. These symbols not only emphasize their social status but also highlight their

detachment from the realities of the working class. At the same time, the author also

illustrates how Laura’s views on social class significantly shifted throughout the party, as

she experienced moments of empathy and awareness that contrast sharply with her

family’s values after encountering the death of a neighbor who belongs to the lower class.

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Despite struggling with disagreement from her family as well as feelings of self-doubt,

Laura finally decides to follow her own conscience and act with compassion. This story

underscores that true moral integrity often requires individuals to challenge social norms

and question inherited beliefs. Ultimately, Mansfield encourages us to reflect on our

values and the importance of understanding the experiences of others, reminding us that

genuine awareness of social disparities can lead to personal growth and a deeper

connection with humanity. Just like Stephen R. Covey (2020) states: “We do not see the

world as it is; we see it as we are.”

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