D.H. Lawrence "The Horse Dealers Daughter"
Joselie Barbosa
Richard Kraskin
English 1102
23 February 2013
Starburst. It 's a Juicy Contradiction Much of D.H. Lawrence’s work is dramatically controversial in terms of sexual relationships. In his time, the English courts banned much of his work because of his “frank depiction of sexual relationships (Madden 693).” In the story “The Horse Dealers Daughter” is an example of what people think to be love but turns out as a contradiction. The story begins with the brothers and sister figuring out what they’re going to do now that the fortune is gone. Then, the sister made her decision to drown herself in the pond. But of course, the doctor (Jack Fergusson) saves her and when she wakes up she asks him, “Do you love me, then (Lawrence 140)?” He was shocked but then gave in and said “’Yes.’ The word cost him a painful effort (156).” She then she felt embarrassed and said, “I feel awful. I feel I’m horrible to you (187).” But in the end he tries to assure her by chanting, “No I want you, I want you (188).” Mabel had no place to go now that her father’s fortune had gone. She had three choices but only two were realistic to her. She would either have to be a nun or become a maid at one of her cousin’s house. She was always to herself, “But so long as there was money, the girl felt herself established, and brutally proud, reserved (95),” she never found the need for a husband until now that her money and pride is gone. In the beginning of the story when Dr. Fergusson enters the scene, he wasn’t even aware of her presence until he asks her, “Going to your sister’s, are you(75),” but she says no and doesn’t announce what she is going to do and leaves. Mabel knew that she didn’t want to live the rest of her life serving her sister or as a nun so she thought she should just put herself out of her misery, but when she woke after drowning herself, she finds herself nude with the Doctor. He saved her. When she realized what he did for her, she was convinced that the
Richard Kraskin
English 1102
23 February 2013
Starburst. It 's a Juicy Contradiction Much of D.H. Lawrence’s work is dramatically controversial in terms of sexual relationships. In his time, the English courts banned much of his work because of his “frank depiction of sexual relationships (Madden 693).” In the story “The Horse Dealers Daughter” is an example of what people think to be love but turns out as a contradiction. The story begins with the brothers and sister figuring out what they’re going to do now that the fortune is gone. Then, the sister made her decision to drown herself in the pond. But of course, the doctor (Jack Fergusson) saves her and when she wakes up she asks him, “Do you love me, then (Lawrence 140)?” He was shocked but then gave in and said “’Yes.’ The word cost him a painful effort (156).” She then she felt embarrassed and said, “I feel awful. I feel I’m horrible to you (187).” But in the end he tries to assure her by chanting, “No I want you, I want you (188).” Mabel had no place to go now that her father’s fortune had gone. She had three choices but only two were realistic to her. She would either have to be a nun or become a maid at one of her cousin’s house. She was always to herself, “But so long as there was money, the girl felt herself established, and brutally proud, reserved (95),” she never found the need for a husband until now that her money and pride is gone. In the beginning of the story when Dr. Fergusson enters the scene, he wasn’t even aware of her presence until he asks her, “Going to your sister’s, are you(75),” but she says no and doesn’t announce what she is going to do and leaves. Mabel knew that she didn’t want to live the rest of her life serving her sister or as a nun so she thought she should just put herself out of her misery, but when she woke after drowning herself, she finds herself nude with the Doctor. He saved her. When she realized what he did for her, she was convinced that the
Cited: Madden, Frank. “Exploring Literature: Writing and Arguing About Fiction, Poetry, Drama, and the Essay.” 5th ed. Pearson. 2012. 692-704. Print