“The Rocking-Horse Winner” belongs to the group of stories D. H. Lawrence wrote in the last years of his life. During this period, critics have noted, he abandoned the realism that characterizes his mid-career work, and turned toward a style of short story that more closely resembles the fable or folktale. In the words of Janice Hubbard Harris, in The Short Fiction of D. H. Lawrence,“The Rocking-Horse Winner” and other stories of the period, represent the “desire of a fierce and dying man to prophesy, sum up, access the world he is leaving rather than present or imitate it.” The story also presents several themes that held Lawrence’s attention throughout his career.

The style and tone of “The Rocking-Horse Winner” reveal immediately that this story comes from the world of fable and legend. The distant, solemn tone of the narrator: “There was a woman who was beautiful,” signals us that this is an old story. Quickly it becomes apparent that this is a quest narrative of some sort. The boy hero will try to win the love of the distant queen/mother. The object of the quest is to gain access to “the center of her heart [that] was a hard place that could not feel love, no, not for anybody.” The hero rides off, captures the treasure, and returns home to present the riches to his love. But the opening of the story is also foreboding, because “undercutting this fairy tale, however, is another, which forms a grotesque shadow, a nightmare counter to the wish-fulfillment narrative,” in Harris’s words. The quest is hopeless, Harris points out, because the mother can never be satisfied and “every success brings a new and greater trial.”

Given the stylized characterization and the symbolic landscape that Lawrence creates in “The Rocking-Horse Winner,” we can read the meaning of the story on several levels. In the first place, Lawrence seems to be offering a broad satire on rising consumerism in English culture. In particular, this story criticizes those who equate love with money, luck with happiness. The mother with her insatiable desire for material possessions believes that money will make her happy despite the obvious fact that so far it has not. For Lawrence she represents the futility of the new consumer culture in which luck and lucre mean the same thing. Paul, who learns from his mother to associate love with money, represents the desperate search for values in a cash culture. The force of Lawrence’s satire is directed at a society that is dominated by a quest for cash, and at those who buy into the deadly equation of love equals money.


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