Mythological Archetypal Criticism - Essay Example

21 July “The Horse-Dealer’s Daughter” – Mythological/Archetypal Criticism The novel by D.H. Lawrence that was assigned to us for mythological/archetypal criticism and analysis represents one of the expressions of that author’s grim and misogynic outlook that had already been manifested in his short treatise on the relationship between masculine and feminine principles, published under the title of “Nathaniel Hawthorne and the Scarlet Letter”. In “The Horse-Dealer’s Daughter”, Lawrence’s misogyny has an impact on the presentation of the characters of Ferguson and Mabel, which is done in the manner reminiscent of his interpretation of Hawthorne’s “Scarlet Letter”.

In “The Horse-Dealer’s Daughter”, the use of the third-person point of view is generally predicated on the author’s sense of detachment; Lawrence seems to have decided that it is far better to allow the readers themselves to interpret the vicissitudes of the storyline, rather than pass some judgments or at least to provide a characters’ background. This in itself makes the narration rather complicated, yet, at the same time enables the reader to better understand the motivations and aspirations of the characters in question.

Mabel’s brothers are depicted in the way that might be familiar to the readers of Lawrence’s “Nathaniel Hawthorne and the Scarlet Letter”. They are superficially strong and confident, looking disdainfully upon their apparently uncomely and awkward sister. Nonetheless, in the course of further narration it is revealed that they are indeed weak and, in the words of the author himself, ‘ineffectual’. Despite their boisterous appearance and haughtiness, they are in fact insecure and cannot even conceive how their situation may be ameliorated.

Their supposed association with ‘regal horses’ is a false one, as they are in fact closer to the dogs that try to snatch the food out of their table. The animal imagery, in general, plays a great role in the narrative. Just in the beginning of the story, the appearance of great draught-horses, with their servile readiness to follow their masters’ orders, is a direct parallel to the characters’ meek acceptance of their fate. The image of the dog (a ‘bull-dog’, in Mabel’s case) may, in its turn, be construed as a symbol for fear before the unknown fate.

It is characteristic that it is no longer associated with Mabel, as she is depicted to be more resolute in the late parts of the story. Nevertheless, it is the rebirth/resurrection mythological archetype that is most significant here. Mabel and Ferguson are spiritually reborn through their submersion into the mud waters that play the role of their new baptizing place. The attempt at suicide committed by Mabel is an expression of frequent archetype of divine sacrifice/suicide that is often found in numerous mythological tales across the world.

By saving Mabel from her fate, Ferguson unwittingly breaks this ritualistic event, which may serve as a metaphysical explanation for further unfolding of the plot. The water and earth archetypes that are used by Lawrence in his musing on the nature of women’s involvement with men (Lawrence 65) are, likewise, of potent mythological significance. Finally, it is necessary to draw some conclusions for the interpretation of Lawrence’s work in comparison with his earlier reflections on Hawthorne’s work.

Mabel is an archetypical seductress that dominates a spiritually pure but weak-willed man (in this case, that role is played by Ferguson). Her power is derived more from blood-knowledge than from mind-knowledge that is personified by the character of Ferguson. It is due to the latter’s spiritual weakness that, according to Lawrence, he is predestined to follow the character of Mabel. In total, ‘The Horse-Dealer’s Daughter” is a typical work by Lawrence, as it draws the readers’ attention to the issue of complex interplay between the feminine and masculine, rational and irrational.