Abstract
At the very end of ‘The Daughters of the Late Colonel’, Constantia, one of the middle-aged spinster protagonists reflects:
She remembered the times she had come in here, crept out of bed in her nightgown when the moon was full, and lain on the floor with her arms outstretched, as though she was crucified. Why? The big pale moon had made her do it. […] She remembered too how, whenever they were at the seaside, she had gone off by herself and got as close to the sea as she could, and sung some-thing, something she had made up, while she gazed all over that restless water. […] It was only when she came out of the tunnel into the moonlight or by the sea or into a thunderstorm that she really felt herself. What did it mean? What was it she was always wanting? What did it all lead to? Now? Now? (2/282)
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Notes
Vincent O’Sullivan, ‘Signing Off: Katherine Mansfield’s Last Year’, in Gerri Kimber and Janet Wilson, eds, Celebrating Katherine Mansfield: A Centenary Volume of Essays (Basingstoke: Palgrave Macmillan, 2011), pp. 13–27 (p. 14).
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© 2015 Gerri Kimber
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Kimber, G. (2015). Sun, Moon and Sea Imagery. In: Katherine Mansfield and the Art of the Short Story. Palgrave Macmillan, London. https://doi.org/10.1057/9781137483881_13
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DOI: https://doi.org/10.1057/9781137483881_13
Publisher Name: Palgrave Macmillan, London
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