The conflict in William and Isabel’s marriage is a microcosm exploring broader tensions between old values and new values, a common concern in Modernist literature. William embodies traditional ideals, while Isabel embraces modern aesthetics and cynicism. Through Isabel and her friends, Katherine Mansfield critiques the idea that modernity and newness are inherently progressive or good and argues that some aspects of traditional life are worth keeping. 

William’s preference for tradition is represented through his musings on their old house, which Isabel despised but he loved. He creates a cozy image of this home—“[a] little white house with blue curtains and a window-box of petunias” (3)—and he boasts about it to visitors. Though Isabel calls it a “poky little hole” and complains that it is too small for their growing family (3), his memories of domestic chaos are tinged with nostalgia. The children play happily and their toys are scattered everywhere, creating a loving scene that contrasts with their new house in the country, where the children are notably absent. His fond descriptions of the boys using household objects as toys contrast sharply with their new playthings, which are described only by their countries of origin.