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Comparing Passing in D.H. Lawrence's The Horse Dealer's Daughter and Katherine Mansfield's The Garden Party Assessing the movements of these short stories, death is a regnant motif in D.H. Lawrence's "The Horse Dealer's Daughter" and Katherine Mansfield's "The Garden Party." Death brings forth consciousness and it arouses the demand for an epiphany within the protagonists. To a lesser degree, passing creates tremors in the worlds of the antagonists. Death also creates the indifferences of the secondary characters more pronounced. Affecting the lives of their protagonists, the antagonists, and the secondary characters of both of these brief stories, passing plays an integral part in the themes of those functions. Lawrence's "The Horse Dealer's Daughter" was originally called "The Miracle," marking the protagonist's rebirth of love from passing. Mabel, a year-old spinster, is revived physically and spiritually after her submergence in the "dead chilly pond" (2337). For a decade, Mabel played housekeeper for the "ineffectual brothers" and she was not happy, the "sense of moneykept her joyful, confident"(2334). Following the departure of Mabel's father, the family's horse-dealing small business falls and Mabel becomes "dumb and persistent, [surviving] from day to day" (2335). Distant out of her brothers and getting no visitors aside from dealers and "rough men" (2334), Mabel concludes that her existence is like a barren area. Though Mabel finds herself that she "would constantly hold the keys of her own circumstance" (2335), she's already died a spiritual death -- a death that's represented by the imageries of this bare house and the "sloping, dank, winter-dark fields" (2334). Mabel doesn't have any hopes for.