"The Horse Dealer's Daughter"

Both Mabel and jak bring on adopted means of dealing with the "situations" of life which every last(predicate)ow them to remember that they are in control of what is happening to them and around them---until spang strikes. Again and again, with reference to Mabel and her family, Lawrence uses descriptions, style and symbolism to define suit in terms of their controlling adaptations to life. Mabel is essentially described in fauna terms, specifically comparing her to the horses on the deteriorating farm. Jack, on the other hand, is described in terms which show him as a man who gathers energy from dealing with the people in the town, moreover who keeps himself detached and in a position which owns him feel fantabulous to them at the same era. The differences in these characters are meant to depict the visible and mental approaches to life which ignite together as Mabel's sexual practice is unleashed later her near-drowning and as Jack is subsumed in that powerful animal sexuality.

The style Lawrence uses is generally straightforward and designed to match the unshakable and simple reality of Mabel and her family. The style becomes more feelingful and hard when Lawrence is writing about Jack. Lawrence at times uses much conference to show the lack of communication among the characters, and also uses both stuff and psychological description to strengthen the dialogue. Description and st

. . . swinging their bang-up rounded haunches sumptuously" (373). At the same time, the horses and brothers are described in terms which make clear that as physically strong as they all might be, they are all at the same time not in control of their situations. Lawrence writes of the "helplessness" of the family and the "stupid complaint" of one brother. Of the horses, he writes: "Every movement showed a massive, somnolent strength, and a stupidity which held them in subjection" (373). Again, the heart of these descriptions is Mabel's isolated sexuality, which will burst forth and draw in Jack in the concluding wave of physical and emotional love.

The specify tells himself he is treating her merely as a patient, but in fact his deeper, animal nature is awakened and can no foresighteder be imprisoned by his self-deception. Mabel, for the first time, after having tried to kill herself, after having been rescued by Jack, is at last able to simultaneously face her own great despair and fall in love.

Lawrence uses this horse symbolism to coiffure up a contrast with the reality of Jack, the doctor, who lives not in his body but in his head. Jack feels himself to be premium to his simple country patients, but in fact, as Lawrence points out, he "was slave to the countryside" (377). He hides from himself a fact which Lawrence makes clear to the reader---Jack has a mysterious and powerful attraction to Mabel. The love into which they will last fall could never have happened if Jack had not long before been primed for it. Jack denies he has ever thought of loving her before he rescues her from drowning, but the reader is make aware that he has long been obsessed with Mabel. Jack thinks of how he will miss the family, "the only company he cared for in the alien, ugly little town" (378). But we have seen how he only argues and trades insults with Mabel's brothers. It is not them, but Mabel whose "company" he cares for so much. He tries to convince himself that it is all the people i
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