In the stories "Prelude" and "At the Bay," Katherine Mansfield diverges from her usual approach by not anchoring the narrative to a single perspective. These tales unfold in a series of episodes, with the focus shifting among various characters. Although nearly every character experiences a moment of insight, the narratives delve most deeply into the lives of Stanley, Linda Burnell, and Beryl Fairfield.

Linda Burnell is expected to be the leading woman in her family. As the wife of a prominent businessman and a mother, she has, however, relinquished the management of her home and the upbringing of her children to her own mother. Her connection with Stanley is marked by a sense of distance. At times, her sister seems to fulfill the role of Stanley's spouse more than Linda does. Beryl engages in nightly cribbage games with Stanley and flirts with him, while Linda remains absorbed in her dreams. Linda is introspective about her emotions, acknowledging her emotional detachment from her children. The experience of giving birth and her fear of future pregnancies have left her emotionally exhausted, unable to show affection to her children. When she reflects on her feelings for Stanley, she perceives them as "sharp and defined, one as true as the other. And there was this other, this hatred, just as real as the rest."

Beryl Fairfield finds herself in a different situation. Unlike Linda, Beryl is single and lacks prospects for marriage. While Linda feels constrained by her role as Stanley's wife, Beryl is troubled by the uncertainty and ambiguity of being an unmarried woman. Both stories conclude with Beryl alone in her room, contemplating her identity and future. In "Prelude," she attempts to see her true self in a mirror but only perceives Beryl playing a part. In "At the Bay," late at night, she fantasizes about being in a lover's embrace, but when Harry Kember, a local womanizer, calls to her from the garden, she ventures out only to flee, appalled by the stark reality of her fantasies.

Stanley Burnell, the primary male figure in the predominantly female household, appears more constrained than the women. His happiness seems to hinge on their moods, and his imagination is limited to immediate, practical matters. In "Prelude," when he considers joining a church, he envisions himself reciting, "When thou didst overcome the Sharpness of Death Thou didst open the Kingdom of Heaven to all Believers," yet his focus drifts to the brass-edged card on the pew, bearing his name and family's. Clearly, the church service's words have left no lasting impact on Stanley's mind or heart.