The Differences between Rocking Horse Winner and The Chyrsanthemums

capital of Minnesota's ability to "know" the pleasant name is proof of the horse's sorcery. A nonher daimon is the house, which Paul hates because it whispers (7) tho to which he arrives obsessively attached as if it were a teras lover because only in the hated house does the rocking-horse demon work its magic. Another demon is intangible only if yet -- or for that very reason -- quite real: an absence seizure of love and a vulgar preoccupation with wealth and identify that is connected to the continual whispers about more than gold. Above all, on that point is the demon mother, an unnatural beast who thinks the fact that she did not call for and does not love her son is her very own midget secret. That demon is also a hypocrite; she resents being fated but also resents (and wants to conceal the social embarrassment of) having been in a "gambling family" (Lawrence 10).

The notion that the rocking horse bets luck to Paul and his family and in addition could be relied on by Bassett and Oscar to bring tangible rewards for all of them is preposterous, but the intense reality of Paul's cloistered demons makes his finding a welcoming psychological experience, however fantastical, that he basis claim as his own hardly more surprising than his ability to intuit his mother's contempt and to censor that knowledge in hope of gaining her love. The inanimate horse that becomes the object of arrested development is the maternal, receiving, even loving bosom that the natural mother is not, a vehicle of sentience and confide

The a few(prenominal) words they exchange include enzyme-linked-immunosorbent serologic assay's expression of a certain(p) envy at not having the freedom he has to touch off the open road. The peddler leans "confidentially" over the fence, but when Elisa tells him she has no work, his face takes on "an exaggerated sadness," and he cites his hard-luck day. Whereupon she is " recalcitrant" -- until he compliments her flowers and requests one for another customer up the road. Pleased and flattered, she prepares a potted mum for him, but not before "She tore off the battered hat and shake out her dark pretty hair. . . . [and] ran excitedly" (82) to get the pot. She sky-high explains "planting hands": "Everything goes right down into your fingertips. You watch your fingers work. . . .

They displume and pick the buds" (83).

nce, a haven from the dreaded whispering in a house that should be a haven but is not. The beneficence of the magic horse is no match for primary greed of the mother, who obsessively, in a most un-respectable manner, worships the demon capital the way Paul worships the horse. Thus her anxious "ecstasy" at the windfall: "Oh now, now-w! Now-w-w -- there must be more money! -- more than ever! More than ever!" (9). The fact that her square fortune is the result of her son's betting on long shots is a composite irony: For the mother, a favourable streak is not lucky enough. Despite a glimmer of maternal precaution for her dying son and her shock at seeing him rocking intensely on the horse, she who is not shy about asking for the safe amount of a windfall instead of annuity payments and can be expected to mourn Paul's loss mainly because the lucky streak is over. Oscar certainly expects so, which explains the point he makes (13), that Paul is go bad off dead if a rocking-horse and not mother is the gist of life, closes the story.

Then the peddler shows up. Only after the brief visualise has run its course does the import of Elisa's initial observation of him become clear. She sees that he is "full of the broodi
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