The fatal attraction between lennie and george in of mice and men by john steinbeck
Loneliness is a significant factor in several characters' lives. But whereas nature is beneficent in Part I—skittering lizards, sitting rabbits, deep-lying crisp leaves—the animal symbolism of Part VI suggests the continuity of those impersonal biological processes which we have discussed previously. It is the boss. For the second time Lennie says he wants the beans with ketchup; for the second time George explains there is none, then complains about the burden the big man imposes on him. It is true that she bears no particular physical or mental brand. Black and white children can play together, perhaps even love each other, but black and white adults must of necessity hate each other. The characters are composites to a certain extent. Curley's wife enters the barn and tries to speak to Lennie, admitting that she is lonely and how her dreams of becoming a movie star are crushed, revealing her personality. A big cast-iron stove and a big table arc in the middle of the room. And even if we know, or think we know, what the ending will bring, the story is not completely the thing. George, still suspicious, looks under the mattress. Shoot for his guts.
They are outside, pitching horseshoes. We also know, without being directly informed, that this sense of superiority can be transcended only with great moral effort and difficulty, that it is a virulence probably shared by every white man on the ranch, to various degrees.
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He apologizes. He kneels by the pool and drinks, then sits on the bank, embracing his knees. Beyond this list of differences observable in the speech patterns of both men, certain similarities remain, largely involving equal misuse of tenses. Since the Negro had a hunchback, the worker was forbidden to use his feet in the fight—in the interest apparently of a sporting match. The old man goes through an elaborate series of assurances, all testifying to the extraordinary, even obsessively scrupulous cleanliness of the last inhabitant of the bunk. A shot sounds, and Carlson rolls over on his bunk. He then rushes out to the barn to see Slim.
At one point in this first section, when George asks the big man what he has in his pocket. Broken harness and tools of the trade hung on wall-pegs.
Steinbeck would seem to have taken some hints from the function of the classical Greek Chorus in the use of Candy. Like a good playwright, Steinbeck has introduced most of the important characters to the reader by the time this Part begins, and the narrative can now go forward a little more rapidly.
Each one is talking private thoughts aloud; each one is projecting nostalgia or hope or fear, but no exchange takes place. The door opens.
He then rushes out to the barn to see Slim. After being hired at a farm, the pair are confronted by Curley—The Boss's small, aggressive son with a Napoleon complex who dislikes larger men, and starts to target Lennie.
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Curley and Carlson look on, unable to comprehend the subdued mood of the two men. This is the reason why Of Mice and Men has an allegorical quality. He's in an insane asylum in California right now. But Lennie has fallen for her. Only Slim realizes what happened, and consolingly leads him away. In other words, a nineteenth century technique, they felt, would no longer serve to involve contemporary readers in the novel and its characters. For more information on choosing credible sources for your paper, check out this blog post.
Lennie excitedly asks George to have Slim give the big man one of the pups. Later on in Part III, however, an incident occurs which questions the constant capacity of any man—no matter how full of good-will—to adequately make decisions about the proper and improper uses of power, especially in an urgent situation.
Curley is the first one to cry out for vengeance.
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