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28 pages 56 minutes read

Katherine Mansfield

The Doll's House

Fiction | Short Story | Adult | Published in 1922

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Literary Devices

Imagery

Imagery creates a sensory experience for the reader, allowing them to envision themselves within the world of the text by describing what diegetic characters see, smell, hear, taste, and feel. Imagery also creates a more vivid sense of the characters’ interior worlds. Within “The Doll’s House,” Mansfield uses imagery to allow the reader to access the consciousness of the selected characters more easily, while also achieving a more objective visual scene that any individual character could access.

The doll’s house is described in great detail, and the vivid imagery seems to justify the girls’ fascination with it. Even when the house is described from Aunt Beryl’s less-than-totally-infatuated perspective, the other characters’ declarations about its enchanting physical features justify the hold it has over them.

Bucolic descriptions of the rural setting stand at odds with the tension of social divisions within the domestic space: “Dreamily they looked over the hay paddocks, past the creek, to the group of wattles where Logan's cows stood waiting to be milked” (12). This contrast in imagery emphasizes that the social divisions that dictate the plot are manmade.

Figurative Language

Figurative language includes imagery, similes, metaphors, and figures of speech that create more impactful engagement with the text. In “The Doll’s House,” Mansfield uses figurative language to enrich the inner and outer worlds of the characters, providing access to different characters’ emotions.

Figurative language also deepens the text’s thematic focus on class divisions. As working-class outcasts, the Kelvey sisters are compared to animals: They follow Kezia “like two little stray cats” (11), get chased by Aunt Beryl “as if they were chickens” (12), and are described by Aunt Beryl as “those little rats of Kelveys” (12).

Free Indirect Discourse

Free indirect discourse is a type of third-person narration. While most of “The Doll’s House” seems to be narrated by an omniscient, removed narrator, the narrative frequently merges with individuals’ consciousnesses, revealing the story through their perception and point of view. This allows the reader to gain a sense of variety in the characters’ interior worlds, which cannot be achieved in a strictly third-person narrative.

This rhetorical narrative technique enhances the theme of The Politics of Children, as well as their power, since the narrator dives into the consciousnesses of both children and adults without discriminating. It also provides both subjectivity and objectivity; the reader gains access to different characters’ interiorities, which affects and influences the reader’s interpretation of the events described. However, this technique provides more objectivity than if the narrative were told through a purely first-person technique or a limited omniscient third-person technique that was restricted to one character’s point of view. Through the alternation between perspectives, the reader views the world of “The Doll’s House” through several lenses.

Alliteration

Alliteration is a poetic sound device that juxtaposes similar sounds, repeating consonant sounds at the beginning of multiple words. It is closely related to assonance, repeated vowel sounds in multiple words, and it is a type of consonance, in which consonant sounds are repeated across words but not necessarily at the beginning of the words.

Typically, alliteration serves two purposes: creating euphonious, pleasant sounds that emphasize the pleasant scene described, or using satisfying sounds that stand at odds with and ironically describe something unpleasant. “Pat prized [the doll’s house] open with his penknife” (2) and “[t]hey brushed through the thick buttercups” (3) create pleasant sounds to describe pleasant scenes. However, the unpleasantness of the male classmates is underscored by describing them as “rude, rough little boys” (5). Else communicates with her sister through “a twitch, a tug” (11) on the back of her skirt; this intimate, pleasant description stands at odds with the sad circumstances that necessitate it.

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