2
229
29
An
An H
Historical
i
s
t
o
r
i
c
a
lI
Introduction
n
t
r
o
d
u
c
t
i
o
nt
tooo
offM
Mice
icea
and
ndM
Men
en
a
and
nda
a D
Discussion
i
s
c
u
s
s
i
o
no
offi
its
t
sM
ajorT
hemes
Major
Themes
R
Robert
obert M
Mark
ark
A B
Brief
Historical
Introduction
A
r
i
e
fH
i
s
t
o
r
i
c
a
lI
n
t
r
o
d
u
c
t
i
o
n
J
John
ohnS
Steinbeck
t
e
i
n
b
e
c
kw
wrote
roteO
OffM
Mice
icea
and
ndM
Men
enm
midway
idwayt
through
h
r
o
u
g
ht
the
h
e1930s,
1
9
3
0
s，t
the
h
em
most
ostc
creative
r
e
a
t
i
v
e
decade
offh
his
career.
.D
During
uringt
the
h
et
time
i
m
eh
heew
was
asb
becoming
ecomingi
increasingly
n
c
r
e
a
s
i
n
g
l
yc
concerned
o
n
c
e
r
n
e
da
about
b
o
u
t
d
e
c
a
d
eo
i
sc
a
r
e
er
c
u
r
r
e
n
ts
o
c
i
a
la
nde
conomicp
roblemsi
a
l
i
f
o
r
n
i
a，a
current
social
and
economic
problems
innC
California,
and
ndh
heep
published
u
b
l
i
s
h
e
dt
three
h
r
e
es
successive
u
c
c
e
s
s
i
v
e
n
novels
o
v
e
l
sa
about
b
o
u
tf
armw
orkers，e
farm
workers,
each
achd
distinctive
i
s
t
i
n
c
t
i
v
ei
innt
tone
o
n
ea
and
ndc
conception.
o
n
c
e
p
t
i
o
n
.
0
011M
Mice
icea
and
ηdMe
Men
nw
was
asa
ad
deliberate
e
l
i
b
e
r
a
t
ec
change
hangef
from
romh
his
i
sp
previous
r
e
v
i
o
u
sb
book,
ook，I
InnD
Dubious
u
b
i
o
u
ss
Battle
a
t
t
l
e
(
(1936),
1
9
3
6
)，a
anni
imaginative
m
a
g
i
n
a
t
i
v
ei
interpretation
n
t
e
r
p
r
e
t
a
t
i
o
no
offa
a c
contemporary
ontemporaryf
farm
arms
strike.
t
r
i
k
e
.I
Innt
the
h
en
new
ewp
project
r
o
j
e
c
t
set
out
toow
work
within
a n
narrow
framework
,c
concentrating
o
n
c
e
n
t
r
a
t
i
n
go
onna
a s
small
m
a
l
ln
number
umbero
off
h
hees
e
to
u
tt
orkw
i
t
h
i
na
arrowf
ramework，
c
h
a
r
a
c
t
e
r
si
a
r
e
f
u
l
l
yd
e
t
a
i
l
e
ds
e
t
t
i
n
g
s，t
characters
innc
carefully
detailed
settings,
telling
e
l
l
i
n
gh
his
i
ss
story
t
o
r
ya
asse
economically
c
o
n
o
m
i
c
a
l
l
ya
and
ndd
dramatir
a
m
a
t
i
c
cally
a
l
lya
assp
possible.
o
s
s
i
b
l
e.H
x
p
l
a
i
n
e
dt
h
a
th
ast
e
a
c
h
i
n
gh
i
m
s
e
l
ft
r
i
t
ef
o
rt
h
et
h
e
a
t
r
e，a
Heee
explained
that
heew
was
teaching
himself
toow
write
for
the
theatre,
and
nd
i
innf
a
c
th
oond
i
dt
r
a
n
s
l
a
t
et
h
en
o
v
e
li
n
t
oa
l
a
y
.
fact
hees
soon
did
translate
the
novel
into
a p
play.
T
hes
u
b
j
e
c
tw
asl
e
s
sc
o
n
t
r
o
v
e
r
s
i
a
lt
h
a
nt
h
a
to
i
sp
r
e
v
i
o
u
sb
ook.H
asw
r
i
t
i
n
g
The
subject
was
less
controversial
than
that
offh
his
previous
book.
Heew
was
writing
a
b
o
u
tp
e
o
p
l
ew
how
erei
s
o
l
a
t
e
di
h
es
o
c
i
e
t
yo
h
e
i
rt
i
m
e，w
about
people
who
were
isolated
innt
the
society
offt
their
time,
who
hob
belonged
e
l
o
n
g
e
dt
tooa
ag
group
roupt
that
h
a
t
w
asf
a
s
td
i
s
a
p
p
e
a
r
i
n
gf
romt
h
eA
mericans
c
e
n
e
.O
nlya
h
o
r
tt
i
m
eb
e
f
o
r
e，t
was
fast
disappearing
from
the
American
scene.
Only
as
short
time
before,
thousands
h
o
u
s
a
n
d
so
off
itinerant
single
men
had
roamed
the
Western
states
following
the
harvests.
Their
labor
i
t
i
n
e
r
a
n
ts
i
n
g
l
em
enh
adr
oamedt
h
eW
esterns
t
a
t
e
sf
o
l
l
o
w
i
n
gt
h
eh
a
r
v
e
s
t
s
.T
h
e
i
rl
a
b
o
r
w
ase
s
s
e
n
t
i
a
lt
h
es
u
c
c
e
s
so
h
eb
onanzag
r
a
i
ng
rowinge
n
t
e
r
p
r
i
s
e
st
h
a
th
adb
een
was
essential
toot
the
success
offt
the
bonanza
graingrowing
enterprises
that
had
been
s
t
a
r
t
e
di
h
es
e
c
o
n
dh
a
l
fo
h
en
i
n
e
t
e
e
n
t
hc
e
n
t
u
r
ya
ndh
adp
r
o
l
i
f
e
r
a
t
e
ds
a
p
i
d
l
yt
h
a
t
started
innt
the
second
half
offt
the
nineteenth
century
and
had
proliferated
soor
rapidly
that
b
h
ey
e
a
r1900
1
9
0
0s
ome125,000
1
2
5，
byyt
the
year
some
0
0
0t
threshers
h
r
e
s
h
e
r
sw
were
erem
migrating
i
g
r
a
t
i
n
ga
along
l
o
n
ga
a “
"belt"
b
e
l
t
"t
that
h
a
te
extended
x
t
e
n
d
e
d
Texas
north
tooS
Saskatchewan
and
Manitoba,
and
ndf
from
rom
f
from
romt
the
h
eB
Brazos
razosB
Bottoms
ottomsi
innT
exasn
o
r
t
ht
askatchewana
ndM
anitoba，a
M
Minnesota
innesotaw
west
estt
toot
the
h
es
t
a
t
eo
a
s
h
i
n
g
t
o
n
.M
anyo
hemt
r
a
v
e
l
e
db
a
i
l，
state
offW
Washington.
Many
offt
them
traveled
byyr
rail
,a
arriving
r
r
i
v
i
n
gi
inn
t
the
h
ef
fields
i
e
l
d
si
mptyb
o
x
c
a
r
st
h
a
tw
erel
a
t
e
ru
s
e
dt
r
a
n
s
p
o
r
tt
h
eg
r
a
i
n.
I
h
ee
a
r
l
yy
e
a
r
s
inne
empty
boxcars
that
were
later
used
toot
transport
the
grain.
Innt
the
early
years
t
h
e
yw
erep
a
i
da
v
e
r
a
g
ew
ageo
2.
5
0t
3
.
0
0a
ayp
l
u
sr
ooma
ndb
o
a
r
d
.T
he“
they
were
paid
anna
average
wage
off$
$2.50
too$
$3.00
ad
day
plus
room
and
board.
The
"room"
room"
was
frequently
at
tent:
living
conditions
were
spartan.
But
wages
rose
attt
the
time
offt
the
w
asf
r
e
q
u
e
n
t
l
ya
e
n
t
:l
i
v
i
n
gc
o
n
d
i
t
i
o
n
sw
eres
p
a
r
t
a
n.B
utw
agesr
o
s
ea
h
et
i
m
eo
h
e
F
i
r
s
tWo
r
l
dW
arw
hent
h
ep
r
i
c
eo
heatw
ash
i
g
h，p
First
orld
War
when
the
price
offw
wheat
was
high,
partly
a
r
t
l
yt
through
h
r
o
u
g
ht
the
h
ea
action
c
t
i
o
no
offt
the
h
e
I
Industrial
n
d
u
s
t
r
i
a
lW
orkerso
h
eW
orld，w
Workers
offt
the
World,
which
hiche
established
s
t
a
b
l
i
s
h
e
da
anne
eighti
g
h
th
hundredundredm
mile
i
l
ep
picket
i
c
k
e
tl
line
i
n
e
across
the
Great
Plains
states.
a
c
r
o
s
st
h
eG
r
e
a
tP
l
a
i
n
ss
t
a
t
e
s.
hereg
grain
r
a
i
nw
was
ast
the
h
ec
chief
h
i
e
ff
farm
armc
commodity
ommodityi
innt
the
h
e1870s
1
8
7
0
sa
and
nd1880s
1
8
8
0
s
InnC
California,
where
I
a
l
i
f
o
r
n
i
a，w
b
before
e
f
o
r
et
the
h
ea
advent
d
v
e
n
to
offi
r
r
i
g
a
t
e
dc
u
l
t
u
r
e，s
irrigated
culture,
some
omeo
offt
the
h
ee
early
a
r
l
yh
harvesters
a
r
v
e
s
t
e
r
sw
were
ered
disappointed
i
s
a
p
p
o
i
n
t
e
d
hierarchy
they
were
m
miners
i
n
e
r
sr
returning
e
t
u
r
n
i
n
gf
from
romt
the
h
eg
goldfields.
o
l
d
f
i
e
l
d
s.I
Innt
the
h
es
social
o
c
i
a
la
and
ndo
occupational
c
c
u
p
a
t
i
o
n
a
lh
i
e
r
a
r
c
h
yt
h
e
yw
ere
onna
al
level
considerably
below
the
mule
drivers
who,
like
Steinbeck's
o
e
v
e
lc
o
n
s
i
d
e
r
a
b
l
yb
elowt
h
em
uled
r
i
v
e
r
sw
ho，l
i
k
eS
t
e
i
n
b
e
c
k
'
sc
character
h
a
r
a
c
t
e
rS
Slim,
lim，w
were
ere
v
valued
a
l
u
e
df
for
o
rt
h
e
i
rs
k
i
l
a
n
d
l
i
n
ga
anya
w
e
n
t
ya
n
i
m
a
l
s“
their
ski
llli
innh
handling
assm
many
asst
twenty
animals
"with
w
i
t
ha
as
single
i
n
g
l
el
line"
i
n
e and who
were generally employed permanently on the ranches.
2
230
30
S
Steinbeck's
t
e
i
n
b
e
c
k'
sr
recognition
e
c
o
g
n
i
t
i
o
no
offt
the
h
es
status
t
a
t
u
so
offt
the
h
em
mule
uled
driver
r
i
v
e
re
epitomizes
p
i
t
o
m
i
z
e
sh
his
i
sr
re-creation
e
c
r
e
a
t
i
o
no
off
a
a w
orkingc
u
l
t
u
r
et
h
a
tw
asu
n
d
e
r
g
o
i
n
ga
i
s
t
o
r
i
cc
hangee
vena
rotea
b
o
u
ti
t
.1
working
culture
that
was
undergoing
a h
historic
change
even
assh
heew
wrote
about
it.
Inn
1
9
3
8，t
1938,
the
h
ey
year
ear 0
Of1 M
Mice
i
c
ea
and
nd M
Men
en w
was
as p
published,
u
b
l
i
s
h
e
d，a
about
b
o
u
th
half
a
l
ft
the
h
en
nation's
a
t
i
o
n
'
sg
grain
r
a
i
nw
was
as
harvested
byym
mechanical
combines
that
enabled
5m
men
tood
doot
the
work
that
had
been
done
h
a
r
v
e
s
t
e
db
e
c
h
a
n
i
c
a
lc
ombinest
h
a
te
n
a
b
l
e
d5
ent
h
ew
orkt
h
a
th
adb
eend
one
formerly
byy3
350.
The
single
farm
workers
who
traveled
byyb
bus,
were
ered
disappearing.
i
s
a
p
p
e
a
r
i
n
g.
T
They
hey
f
o
r
m
e
r
l
yb
5
0
.T
hes
i
n
g
l
ef
armw
orkersw
hot
r
a
v
e
l
e
db
u
s，w
were
being
replaced
byy w
whole
families
migrating
inn c
cars,
like
i
ke t
the
h
eJ
Joad
oad f
family
a
m
i
l
yi
inn
w
ere b
e
i
n
gr
e
p
l
a
c
e
db
hole f
a
m
i
l
i
e
sm
i
g
r
a
t
i
n
gi
a
r
s，l
S
t
e
i
n
b
e
c
k
'
sn
e
x
tn
o
v
e
l，T
Steinbeck's
next
novel,
The
h
eG
Grapes
r
a
p
e
s0
of
1Wrath.
W
r
a
t
h
.
T
The
hep
physical
h
y
s
i
c
a
lb
background
ackgroundf
for
o
rO
OffM
Mice
icea
and
ndM
Men
enc
came
amef
from
romS
Steinbeck's
t
e
i
n
b
e
c
k
'
so
own
wne
early
a
r
l
y
y
e
a
r
si
a
l
i
f
o
r
n
i
aa
g
r
i
c
u
l
t
u
r
a
lv
a
l
l
e
y
.O
u
t
s
i
d
eh
i
sn
a
t
i
v
ec
i
t
yo
a
l
i
n
a
s，e
years
inna
a C
California
agricultural
valley.
Outside
his
native
city
offS
Salinas,
eighty
i
g
h
t
ym
miles
i
l
e
s
San
Francisco,
hees
spent
p
e
n
th
his
i
sh
high
i
g
hs
school
c
h
o
o
ls
summers
ummersw
work
orki
ing
ngt
the
h
ef
fields
i
e
l
d
sa
and
ndo
orchards
r
c
h
a
r
d
s
s
south
o
u
t
ho
offS
anF
r
a
n
c
i
s
c
o，h
offa
annu
uncle's
ranch,
and
ndd
dropping
r
o
p
p
i
n
go
out
u
to
offc
college
o
l
l
e
g
eo
one
ney
year
e
a
rh
heew
worked
orkeda
assa
ab
bindlestiff
i
n
d
l
e
s
t
i
f
f(
(like
li
k
e
o
n
c
l
e
'
sr
a
n
c
h，a
G
George
eorgea
and
ndL
Lenny)
e
n
n
y
)w
where
hereh
heeg
a
t
h
e
r
e
dv
a
l
u
a
b
l
ei
m
p
r
e
s
s
i
o
n
sa
ndf
i
r
s
th
andk
nowledgeo
gathered
valuable
impressions
and
first
hand
knowledge
off
t
h
e
i
rl
i
v
e
sa
ndl
i
v
e
l
i
h
o
o
d
lives
and
livelihood.
their
B
Basic
a
s
i
cT
Themes
hemesa
and
ndB
Biblical
i
b
l
i
c
a
lA
Allegory
l
l
e
g
o
r
yo
offt
the
h
eS
Story
tory
0
Of1M
Mice
i
c
ea
and
ndM
Men
eni
issa
a s
short
h
o
r
tn
novel
o
v
e
li
inns
six
i
xs
scenes
c
e
n
e
sp
presented
r
e
s
e
n
t
e
di
innd
descriptione
s
c
r
i
p
t
i
o
nd
dialoguei
a
l
o
g
u
eform
that
approximates
stage
drama
inni
its
effect.
The
time
scheme
runs
from
a
action
c
t
i
o
nf
ormt
h
a
ta
pproximatess
t
a
g
ed
ramai
t
se
f
f
e
c
t
.T
het
i
m
es
chemer
u
n
sf
rom
T
hursdaye
v
e
n
i
n
gt
h
r
o
u
g
hS
undaye
v
e
n
i
n
g
e
x
a
c
t
l
yt
h
r
e
ed
a
y
si
e
q
u
e
n
c
e
.M
osto
h
e
Thursday
evening
through
Sunday
evening-exactly
three
days
inns
sequence.
Most
offt
the
c
characters
h
a
r
a
c
t
e
r
sa
are
r
eu
unskilled
n
s
k
i
l
l
e
dm
migratory
igratoryw
workers
orkersa
and
ndS
Steinbeck
t
e
i
n
b
e
c
kf
focuses
o
c
u
s
e
so
onnt
two
wos
such
u
c
hl
laborers
a
b
o
r
e
r
s
who
dream
offo
one
day
saving
uppe
enough
money
toob
buy
a s
small
farm
offt
their
own.
One
w
hod
reamo
ned
ays
a
v
i
n
gu
noughm
oneyt
uya
m
a
l
lf
armo
h
e
i
ro
w
n
.O
ne
offt
these
issG
George
Milton,
small
m
a
l
lo
offs
stature,
t
a
t
u
r
e，c
clever,
l
e
v
e
r，s
sensitive,
e
n
s
i
t
i
v
e，c
compassionate;
ompassionate;t
the
h
eo
other
t
h
e
ri
iss
o
h
e
s
ei
eorgeM
i
l
t
o
n，s
L
Lennie
e
n
n
i
eS
Small,
mall，w
who
isso
oversized,
mentally
ho i
v
e
r
s
i
z
e
d，m
e
n
t
a
l
lyr
retarded,
e
t
a
r
d
e
d，e
enormously
normouslys
strong,
t
r
o
n
g，a
and
ndp
prone
r
o
n
et
too
g
getting
e
t
t
i
n
gi
into
n
t
os
serious
e
r
i
o
u
st
trouble.
r
o
u
b
l
e
.E
Early
a
r
l
yi
innt
the
h
es
story
t
o
r
yt
the
h
ep
prospect
r
os
p
e
c
to
offt
their
h
e
i
re
ever
v
e
rr
realizing
e
a
l
i
z
i
n
gt
their
h
e
i
r
dream
seems
remote,
but
u
ta
asst
the
h
ea
action
c
t
i
o
nd
develops
e
v
e
l
o
p
s(
(they
t
h
e
ym
meet
eeta
ac
crippled
r
i
p
p
l
e
db
bunkhouse
unkhousew
worker,
orker，
d
reams
eemsr
emote，b
C
Candy,
andy，w
who
how
wants
antst
toog
gooi
innw
with
i
t
ht
them
hemo
onnt
the
h
es
scheme,
cheme，a
and
ndw
who
ho0
offers
妊e
r
st
tooc
chip
h
i
pi
innh
his
i
sl
life
i
f
e
s
savings),
a
v
i
n
g
s
)，t
the
probability
offf
fulfillment
increases.
Ifft
h
ep
r
o
b
a
b
i
l
i
t
yo
u
l
f
i
l
l
m
e
n
ti
n
c
r
e
a
s
e
s
.1
the
h
et
three
h
r
e
eh
homeless
omelessm
migrants
i
g
r
a
n
t
sp
pool
o
o
lt
their
h
e
i
r
s
a
l
a
r
i
e
sa
h
ee
ndo
h
ec
u
r
r
e
n
tm
onth，t
salaries
attt
the
end
offt
the
current
month,
they
h
e
yc
can
anq
quit
u
i
tt
their
h
e
i
rj
jobs
o
b
sa
and
ndm
move
oveo
onnt
toot
their
h
e
i
r
hicha
assS
Steinbeck
t
e
i
n
b
e
c
ke
emphasizes
mphasizesr
repeatedly,
e
p
e
a
t
e
d
l
y，i
issa
a p
place
l
a
c
eo
offa
abundance
bundancea
and
nda
a r
refuge
e
f
u
g
e
f
farm,
arm，w
which
f
romt
h
eh
a
r
d
s
h
i
p
so
i
f
e
.T
heirp
l
a
nt
i
n
da
l
a
c
eo
h
e
i
ro
wni
t
r
a
i
g
h
to
u
to
h
e
from
the
hardships
offl
life.
Their
plan
toof
find
a p
place
offt
their
own
isss
straight
out
offt
the
A
American
mericanD
Dream.
ream.T
They
heys
set
e
td
down
ownt
the
h
ed
details
e
t
a
i
l
si
inna
a k
kind
i
n
do
offl
litany
i
t
a
nyw
which
hichG
George
eorger
recites
e
c
i
t
e
s
w
while
h
i
l
eL
Lennie
e
n
n
i
ec
chimes
himesi
innw
with
i
t
ht
the
h
ec
chorus.
h
o
r
u
s.T
They
heyr
repeat
e
p
e
a
tt
the
h
ec
comforting
o
m
f
o
r
t
i
n
gw
words
ordsf
from
romt
time
i
m
et
too
t
time
i
m
el
like
i
k
ea
anni
incantation
n
c
a
n
t
a
t
i
o
nt
toow
ward
ard0
off
任t
trouble
r
o
u
b
l
ea
and
ndr
rekindle
e
k
i
n
d
l
eh
hope.
o
p
e
.1
Innt
the
h
el
last
a
s
ts
scene-a
c
e
n
e
af
final
i
n
a
l
i
irony
r
o
ny i
inna
a w
orkc
ompoundedo
r
o
n
i
e
sG
eorge，i
work
compounded
offi
ironiesGeorge,
inno
order
r
d
e
rt
tooc
calm
alm L
Lennie,
e
n
n
i
e，u
utters
t
t
e
r
st
the
h
e
f
familiar
a
m
i
l
i
a
rr
refrain,
e
f
r
a
i
n，w
which
hichb
becomes
ecomesa
anne
epitaph
p
i
t
a
p
hf
for
o
rh
his
i
sf
friend;
r
i
e
n
d
;t
their
h
e
i
rb
best
e
s
tl
laid
a
i
dp
plans
l
a
n
sh
having
a
v
i
n
g
g
gone
onea
astray.
s
t
r
a
y
.1
Id
discuss
i
s
c
u
s
st
the
h
et
theme
hemeo
offf
finding
i
n
d
i
n
ga
ah
home,
ome，a
ap
place
l
a
c
eo
offo
one's
n
e
'
so
own
wnl
later
a
t
e
ro
onni
innt
this
h
i
s
p
paper.
a
p
e
r
1
Innt
h
ef
i
r
s
ts
c
e
n
eb
h
er
i
v
e
rh
n
t
r
o
d
u
c
e
st
h
em
utee
v
i
d
e
n
c
eo
h
ep
a
s
t
:t
h
ea
s
h
the
first
scene
byyt
the
river
heei
introduces
the
mute
evidence
offt
the
past:
the
ash
p
i
l
el
e
f
tb
r
e
v
i
o
u
sc
campers
ampersa
and
ndt
the
h
et
tree
r
e
el
limb
i
m
bo
overhanging
v
e
r
h
a
n
g
i
n
gt
the
h
ew
water,
ater，w
worn
orns
smooth
moothb
byy
pile
left
byyp
previous
t
rampsw
hoh
avec
omet
h
e
r
eo
v
e
rt
h
ey
e
a
r
st
u
n
g
l
eu
makec
a
m
p
)
.L
i
n
k
i
n
gt
h
ep
a
s
t
tramps
who
have
come
there
over
the
years
tooj
jungle
upp(
(make
camp).
Linking
the
past
H
Historical
i
s
t
o
r
i
c
a
lB
Background
a
c
k
g
r
o
u
n
da
and
n
dM
Major
a
j
o
rT
Themes
he
m
e
s0
01
/ Mi
Mice
c
e仰and
dMe
Men
n
2
231
31
w
with
i
t
ht
the
h
ep
present,
r
e
s
e
n
t，G
George
eorgea
and
ndL
Lennie
e
n
n
i
em
make
aket
their
h
e
i
re
entrance
n
t
r
a
n
c
ei
innt
the
h
et
tradition
r
a
d
i
t
i
o
no
offb
bindle
i
n
d
l
es
stiffs,
t
i
f
f
s，
c
carrying
a
r
r
y
i
n
gb
blankets
l
a
n
k
e
t
so
onnt
their
h
e
i
rb
backs.
a
c
k
s
.T
The
hes
story
t
o
r
yt
then
h
e
nm
moves
ovesi
into
n
t
ot
the
h
eo
opening
p
e
n
i
n
gd
dialogue,
i
a
l
o
g
u
e，
j
justly
u
s
t
l
y
f
famous
amousi
innA
American
mericanL
Literature,
i
t
e
r
a
t
u
r
e，t
through
h
r
o
u
g
hw
which
hichw
weec
come
omet
took
know
nowa
and
ndb
believe
e
l
i
e
v
ei
innt
the
h
e
touching
partnership
offt
the
moronic
giant
and
his
gruff
protector.
t
o
u
c
h
i
n
gp
a
r
t
n
e
r
s
h
i
po
h
em
oronicg
i
a
n
ta
ndh
i
sg
r
u
f
fp
r
o
t
e
c
t
o
r
The
next
scene
attt
the
ranch
opens
with
ad
description
offt
the
empty
bunkhouse
with
T
hen
e
x
ts
c
e
n
ea
h
er
ancho
p
e
n
sw
i
t
ha
e
s
c
r
i
p
t
i
o
no
h
ee
mptyb
unkhousew
i
t
h
its
tiers
offb
beds,
each
achw
with
i
t
ha
anna
apple
p
p
l
eb
box
oxn
nailed
a
i
l
e
dt
toot
the
h
ew
wall
a
l
lt
tooh
hold
o
l
dt
the
h
em
meager
eagerp
possessions
o
s
s
e
s
s
i
o
n
s
i
t
st
i
e
r
so
e
d
s，e
o
offm
men
enw
who
hot
traveled
r
a
v
e
l
e
dl
light.
i
g
h
t
.T
The
hep
place
l
a
c
ei
issn
not
o
tp
particularly
a
r
t
i
c
u
l
a
r
l
yc
clean.
1e
a
n
.F
Flies
l
i
e
sd
dart
a
r
tt
through
h
r
o
u
g
ht
the
h
e
m
oteso
u
s
ts
t
i
r
r
e
du
h
ep
ushb
roomo
andy，t
motes
offd
dust
stirred
uppb
byyt
the
push
broom
offC
Candy,
the
h
eo
old
l
ds
swam
wamp
per
er;
;a
a c
can
ano
offb
bug
ug
p
powder
owders
suggests
u
g
g
e
s
t
sl
lice
i
c
eo
orrb
bedbugs
edbugsi
innt
the
h
em
mattress
a
t
t
r
e
s
st
ticking.
i
c
k
i
n
g.T
This
h
i
sd
description
e
s
c
r
i
p
t
i
o
na
amplifies
m
p
l
i
f
i
e
st
the
h
e
desire
offt
the
men
toof
find
a h
home
offt
their
own,
one
nef
free
r
e
ef
from
romt
the
h
ef
filth
i
l
t
ha
and
ndi
infestation
n
f
e
s
t
a
t
i
o
no
off
d
e
s
i
r
eo
h
em
ent
i
n
da
omeo
h
e
i
ro
wn，o
t
h
eb
unkhouse，f
the
bunkhouse,
free
r
e
ea
also
l
s
of
from
romt
the
h
et
transient
r
a
n
s
i
e
n
tn
nature
a
t
u
r
eo
offa
ab
bunkhouse,
unkhouse，f
filled
i
l
l
e
dw
with
i
t
ha
anonymous
nonymous
m
enm
erelyp
a
s
s
i
n
gt
h
r
o
u
g
h.T
hec
h
a
r
a
c
t
e
r
sw
hoc
omei
n
eb
nec
r
e
a
t
et
h
es
o
c
i
a
l
men
merely
passing
through.
The
characters
who
come
inno
one
byyo
one
create
the
social
d
i
m
e
n
s
i
o
no
h
ep
l
a
c
e
.
dimension
offt
the
place.
T
This
hisr
rough
oughl
lodging
o
d
g
i
n
gi
innw
which
hichn
nothing
o
t
h
i
n
gh
has
asb
been
eenp
provided
r
o
v
i
d
e
db
beyond
eyondt
the
h
eb
bare
a
r
en
necessities
e
c
e
s
s
i
t
i
e
s
issg
governed
byyt
i
overnedb
h
eh
a
r
s
hc
odeo
h
em
enw
hol
i
v
et
h
e
r
ef
o
ra
eek，o
the
harsh
code
offt
the
men
who
live
there
for
aw
week,
orrm
month
ontho
orry
year.
e
a
r
It
I
ti
iss a
a s
society
o
c
i
e
t
yi
intolerant
n
t
o
l
e
r
a
n
to
offw
weakness
eaknesso
orrd
difference.
i
f
f
e
r
e
n
c
e
.O
Old
ldC
Candy,
andy，h
helpless
e
l
p
l
e
s
st
toos
stop
t
o
pt
the
h
e
s
shooting
h
o
o
t
i
n
go
offh
his
i
so
old
l
dd
dog,
og，k
knows
nowsh
heet
too
o
ow
will
i
l
lo
one
ned
day
ayb
beeb
banished
a
n
i
s
h
e
dw
when
henh
he's
e
'
sn
nool
longer
o
n
g
e
ru
useful.
s
e
f
u
l
T
hek
i
l
l
i
n
go
andy'
so
l
dd
ogi
i
g
n
i
f
i
c
a
n
te
p
i
s
o
d
ew
hicha
n
t
i
c
i
p
a
t
e
sG
e
o
r
g
e
'
sm
ercy
The
killing
offC
Candy's
old
dog
issa
as
significant
episode
which
anticipates
George's
mercy
k
killing
i
l
l
i
n
go
offL
Lennie
e
n
n
i
ea
attt
the
h
ec
conclusion.
on
c
1u
s
i
o
n
.“
"I1o
ought
u
g
h
tt
tooh
have
aves
shot
h
o
tt
that
h
a
td
dog
ogm
myself,"
y
s
e
l
f，
"s
says
a
y
sC
Candy
andy
l
later.
a
t
er
"I1s
shouldn't
ought
tooo
offl
let
noos
."
h
o
u
l
d
n'
to
u
g
h
tt
e
tn
stranger
t
r
a
n
g
e
rs
shoot
h
o
o
tmy
my d
dog.
og “
"George
Georges
shoots
h
o
o
t
sL
Lennie
e
n
n
i
eo
out
u
t
o
offc
compassion
ompassiona
and
ndt
the
h
ek
knowledge
nowledget
that
h
a
tC
Curly
u
r
l
ya
and
ndh
his
i
sp
posse
o
s
s
ew
would
ouldh
have
avee
either
i
t
h
e
rd
done
onet
the
h
e
s
same
amei
inna
a m
more
oreb
brutal
r
u
t
a
lf
fashion
a
s
h
i
o
no
orre
else
l
s
eh
have
aveh
him
im t
thrown
hrown i
inn a
anni
insane
n
s
a
n
ea
asylum
sylumt
toob
bee
i
n
c
a
r
c
e
r
a
t
e
df
o
rt
h
er
e
s
to
i
sl
i
f
e
.
incarcerated
for
the
rest
offh
his
life.
C
rooks，t
the
h
eb
black
l
a
c
ks
stable
t
a
b
l
eh
hand,
and，i
isse
excluded
xc
1udede
except
x
c
e
p
to
onnC
Christmas
h
r
i
s
t
m
a
sw
when
hent
the
h
eb
boss
o
s
sb
brings
r
i
n
g
s
Crooks,
entire
crew.
The
rest
offt
the
year
Crooks
plays
horsehoes
i
inna
a g
gallon
a
l
l
o
no
offw
whiskey
hiskeyf
for
o
rt
the
h
ee
n
t
i
r
ec
r
e
w
.T
her
e
s
to
h
ey
e
a
rC
rooksp
l
a
y
sh
o
r
s
e
h
o
e
s
outside
with
o
u
t
s
i
d
ew
i
t
ht
the
h
eo
others,
t
h
e
r
s，b
but
u
tw
when
hent
they
h
e
yc
come
omei
indoors
n
d
o
o
r
st
toos
sleep,
l
e
e
p，h
heeg
goes
o
e
s0
off
任a
alone
l
o
n
et
tooh
his
i
sb
bed
ed
the
harness
room
offt
the
barn.
i
innt
h
eh
a
r
n
e
s
sr
oomo
h
eb
arn.
W
omena
r
en
o
tw
e1
Women
are
not
welcome
comei
innt
the
h
em
male
alee
enclave.
nc
1a
v
e
.C
Curley's
u
r
l
e
y'
sw
wife,
i
f，
巴 w
wandering
anderinga
around
roundt
the
h
e
ranch
inna
a w
wistful
quest
for
some
kind
offh
human
contact,
isss
stereotyped
t
e
r
e
o
t
y
p
e
db
byyt
the
h
em
men,
en，
r
a
n
c
hi
i
s
t
f
u
lq
u
e
s
tf
o
rs
omek
i
n
do
umanc
o
n
t
a
c
t，i
w
whose
hosee
experience
x
p
e
r
i
e
n
c
eo
offw
women
omenc
comes
omesf
from
rom“
"old
o
l
dS
Suzy"
uzy"a
and
ndh
her
e
rg
girls
i
r
l
si
innt
town.
o
w
n
.C
Curley's
u
r
l
e
y
'
sw
wife
i
f
e
(
(in
int
the
h
en
novel
o
v
e
ls
she
h
eh
has
asn
nooo
other
t
h
e
rn
name)
ame)g
goes
oesa
along
l
o
n
gw
with
i
t
ht
the
h
et
typecasting
y
p
e
c
a
s
t
i
n
gb
byyp
playing
l
a
y
i
n
gt
the
h
ev
vamp,
amp，
inflaming
her
jealous
husband,
who , as the son of the boss, is as powerful as he is vicious.
i
n
f
t
a
m
i
n
gh
e
rj
e
a
l
o
u
sh
u
It is on this explosive situation that the plot turns. Lennie, sensing trouble too complicated for a simple mind to unravel, begs to leave after George tells him that Curly's wife
is "poison" and "jail bait. "
Steinbeck had a different view of her, as he explained in a letter to the actress who
played the role in the Broadway production of the play. Curley's wife acts seductively
because she "knows instinctively that if she is to be noticed at all, it will be because
someone finds her sexually attractive." But her pose is deceptive. "Her moral training
2
232
32
w
was
asm
most
ostr
rigid."
i
g
i
d
.
"S
She
hew
was
asa
av
virgin
i
r
g
i
nu
until
n
t
i
lh
her
e
rm
marriage
arriagea
and
ndh
had
adh
had
adn
noos
sexual
e
x
u
a
le
experience
x
p
e
r
i
e
n
c
e
o
outside
u
t
s
i
d
eh
her
e
ru
unfulfilling
n
f
u
l
f
i
l
l
i
n
gu
union
n
i
o
nw
with
i
t
hC
Curley.
u
r
l
e
y
.S
She
heh
had
adg
grown
rownu
upp“
"in
i
na
anna
atmosphere
tmosphereo
offf
fighting
i
g
h
t
i
n
g
a
and
nds
suspicion"
u
s
p
i
c
i
o
n
"a
and
ndh
adl
e
a
r
n
e
dt
ardt
o
v
e
rh
e
rf
r
i
g
h
t.
uts
h
ei
u
n
d
a
m
e
n
t
a
l
l
y
had
learned
toob
beeh
hard
tooc
cover
her
fright
.B
But
she
issf
fundamentally
a
n
i
c
e，k
i
n
dg
i
r
l
"w
hoh
has
asa
a n
natural
a
t
u
r
a
lt
trustfulness
r
u
s
t
f
u
l
n
e
s
s.
.....
.
.
.
.If
I
fa
anyone-a
nyone-am
man
ano
orra
aw
womanoman-e
ever
ver
a “
"nice,
kind
girl"
who
g
aveh
e
ra
r
e
a
k
t
r
e
a
t
e
dh
e
rl
i
k
ea
e
r
s
o
n
s
h
ew
ouldb
l
a
v
et
h
a
tp
e
r
s
o
n.
"
gave
her
ab
break-treated
her
like
a p
person-she
would
beea
a s
slave
toot
that
person."
S
t
e
i
n
b
e
c
kc
a
p
t
u
r
e
dt
h
i
sa
s
p
e
c
to
e
rc
h
a
r
a
c
t
e
ri
e
rf
i
n
a
ls
c
e
n
ew
i
t
hL
e
n
n
i
e.1
h
e
Steinbeck
captured
this
aspect
offh
her
character
innh
her
final
scene
with
Lennie.
Innt
the
p
r
e
s
e
n
c
eo
h
i
sc
h
i
l
d
l
i
k
em
ans
h
ed
r
o
p
sh
e
rd
e
f
e
n
s
e
sa
nde
x
p
r
e
s
s
e
sh
e
rr
e
a
lf
e
e
l
i
n
g
s.
H
er
presence
offt
this
childlike
man
she
drops
her
defenses
and
expresses
her
real
feelings.
Her
r
rambling
amblingm
monologue
onologueo
offb
blighted
l
i
g
h
t
e
dh
hopes
opesa
and
ndt
tawdry
awdryf
fantasies
a
n
t
a
s
i
e
si
is,
s，i
inne
effect,
f
f
e
c
t，a
al
last
a
s
tc
confession.
o
n
f
e
s
s
i
o
n.
S
Steinbeck
t
e
i
n
b
e
c
kh
has
a
sp
r
e
p
a
r
e
dh
i
sr
e
a
d
e
r
sf
o
rt
h
es
h
o
c
k
i
n
gc
limaxo
h
en
o
v
e
lt
h
r
o
u
g
hh
i
s
prepared
his
readers
for
the
shocking
climax
offt
the
novel
through
his
p
o
r
t
r
a
i
to
e
n
n
i
e
.H
ighth
avec
r
e
a
t
e
da
a
r
i
c
a
t
u
r
ei
h
em
entald
e
f
e
c
t
i
v
ew
ho
portrait
offL
Lennie.
Heem
might
have
created
a c
caricature
innt
the
mental
defective
who
c
r
u
s
h
e
ss
o
f
tc
r
e
a
t
u
r
e
si
i
sp
o
w
e
r
f
u
lh
a
n
d
s
.H
adw
orkedw
i
t
ha
e
a
ll
i
f
eL
e
n
n
i
e，h
crushes
soft
creatures
innh
his
powerful
hands.
Heeh
had
worked
with
ar
reallife
Lennie,
hee
t
told
o
l
dr
e
p
o
r
t
e
r
sw
henh
asw
r
i
t
i
n
gt
h
es
t
a
g
ev
e
r
s
i
o
no
icea
ndM
en“
reporters
when
heew
was
writing
the
stage
version
offO
OffM
Mice
and
Men.
"He
Hed
didn't
i
d
n
'
tk
kill
i
l
l
lH
Heek
killed
i
l
l
e
da
ar
ranch
anchf
foreman
oreman.
.G
Got
ots
sore
o
r
eb
because
e
c
a
u
s
et
the
h
eb
boss
o
s
sh
had
adf
fired
i
r
e
dh
his
i
sp
pal
a
la
and
nds
stuck
t
u
c
k
a
ag
girl.
i
r.
a
i
t
c
h
f
o
r
kr
i
g
h
tt
h
r
o
u
g
hh
i
ss
t
o
m
a
c
h
.
"T
hef
i
c
t
i
o
n
a
lL
e
n
n
i
ei
a
s
s
i
v
ea
ndn
o
n
v
i
o
l
e
nt
a p
pitchfork
right
through
his
stomach."
The
fictional
Lennie
issp
passive
and
non-violent.
.
Would
heeb
beec
capable
offa
a m
W
ouldh
a
p
a
b
l
eo
murderous
urderousr
rage
a
g
ei
iffG
George
eorgew
was
ast
threatened?
h
r
e
a
t
e
n
e
d
?P
Perhaps.
e
r
h
a
p
s
.It
I
ti
iss
t
h
r
o
u
g
hh
i
sc
o
n
n
e
c
t
i
o
nw
i
t
hh
i
si
n
t
e
l
l
i
g
e
n
tp
a
r
t
n
e
rt
h
a
th
ecomesa
r
e
d
i
b
l
ec
h
a
r
a
c
t
e
r
through
his
connection
with
his
intelligent
partner
that
heeb
becomes
ac
credible
character.
Innt
the
opening
scene
Steinbeck
establishes
the
dynamics
offt
their
relationship,
innw
which
hich
1
h
eo
p
e
n
i
n
gs
c
e
n
eS
t
e
i
n
b
e
c
ke
s
t
a
b
l
i
s
h
e
st
h
ed
ynamicso
h
e
i
rr
e
l
a
t
i
o
n
s
h
i
p，i
G
George's
e
o
r
g
e
'
se
x
a
s
p
e
r
a
t
e
db
o
s
s
i
n
go
e
n
n
i
ea
p
p
e
a
r
sa
ormo
r
o
t
e
c
t
i
v
e
n
e
s
st
h
a
tm
asks
exasperated
bossing
offL
Lennie
appears
assa
af
form
offp
protectiveness
that
masks
t
h
e
i
rm
utuald
ependence
their
mutual
dependence.
D
i
s
c
u
s
s
i
o
no
heB
a
s
i
cT
hemesi
icea
ndM
en
offt
the
Basic
Themes
innO
OffM
Mice
and
Men
Discussion
T
het
i
t
l
eo
h
es
t
o
r
yh
asa
w
o
f
o
l
da
p
p
l
i
c
a
t
i
o
na
nds
i
g
n
i
f
i
c
a
n
c
e
.F
i
r
s
t，i
The
title
offt
the
story
has
a t
two-fold
application
and
significance.
First,
ittr
refers
e
f
e
r
st
too
n
naturalistic
a
t
u
r
a
l
i
s
t
i
cd
details
e
t
a
i
l
sw
within
i
t
h
i
nt
the
h
et
texture
e
x
t
u
r
eo
offt
the
h
en
novella
o
v
e
l
l
a
:
: L
Lennie
e
n
n
i
el
likes
i
k
e
st
tooc
catch
a
t
c
hm
mice
icea
and
nd
stroke
their
fur
with
his
fingers.
This
issa
ap
particularly
important
point
for
two
reasons:
s
t
r
o
k
et
h
e
i
rf
u
rw
i
t
hh
i
sf
i
n
g
e
r
s
.T
hisi
a
r
t
i
c
u
l
a
r
lyi
m
p
o
r
t
a
n
tp
o
i
n
tf
o
rt
wor
e
a
s
o
n
s:
itte
establishes
Lennie's
fatal
weakness
for
stroking
soft
things
and,
since
i
n
c
eh
heei
invariably
n
v
a
r
i
a
b
l
y
i
s
t
a
b
l
i
s
h
e
sL
e
n
n
i
e
'
sf
a
t
a
lw
eaknessf
o
rs
t
r
o
k
i
n
gs
o
f
tt
h
i
n
g
sa
nd，s
k
kills
i
l
l
st
h
em
iceh
e
t
t
i
n
g，i
the
mice
heei
issp
petting,
ittf
foreshadows
oreshadowsh
his
i
sd
deadly
e
a
d
l
ye
encounter
n
c
o
u
n
t
e
rw
with
i
t
hC
Curley's
u
r
l
e
y
'
sw
wife.
i
f
e.
h
et
i
t
l
ei
is,
s，o
offc
course,
o
u
r
s
e，a
a f
fragment
ragmentf
from
romt
the
h
ep
poem
oemb
byyR
Robert
obertB
Burns,
urns，w
which
hichg
gives
i
v
e
s
S
Second,
econd，t
the
title
human
endeavor
orrt
the
vanity
offh
human
wishes.
e
emphasis
mphasist
toot
the
h
ei
idea
d
e
ao
offt
the
h
ef
futility
u
t
i
l
i
t
yo
offh
umane
ndeavoro
h
ev
a
n
i
t
yo
umanw
i
s
h
e
s
.
Loneliness
issa
ar
recurrent
theme
innn
novel,
articulated
r
t
i
c
u
l
a
t
e
di
innG
George's
eorge'
ss
speech
p
e
e
c
ht
that
h
a
tb
begins
e
g
i
n
s::
L
o
n
e
l
i
n
e
s
si
e
c
u
r
r
e
n
tt
hemei
o
v
e
l，a
“
"Guys
Guysl
like
i
k
eu
us,
s，t
that
h
a
tw
work
orko
onnt
the
h
er
ranches,
a
n
c
h
e
s，a
are
r
et
the
h
el
loneliest
o
n
e
l
i
e
s
tg
guys
uysi
innt
the
h
ew
world.
orld.
T
They
heyg
got
o
tn
noo
f
family.
a
m
i
l
y.T
heyd
on'
tb
e
l
o
n
gn
l
a
c
e
.
"
They
don't
belong
noop
place."
“
"But
Butn
not
o
tu
us,"
s，
"L
Lennie
e
n
n
i
er
replies.
e
p
l
i
e
s
."
"And
Andw
why.
hy.
B
Because
e
c
a
u
s
e
.
.
....b
because
e
c
a
u
s
e1
Ig
got
o
ty
you
out
tool
look
o
o
ka
after
f
t
e
rm
me,
e，
and
you
a
ndy
oug
got
o
tm
meet
tool
look
o
o
ka
after
f
t
e
ry
you,
ou，a
and
ndt
that's
h
at
'sw
why.
h
y
.
"
"
the
light
offi
its
mythic
and
allegorical
implications,
OffM
Mice
icea
and
ndM
Men
eni
issa
a
V
Viewed
iewedi
innt
h
el
i
g
h
to
t
sm
ythica
nda
l
l
e
g
o
r
i
c
a
li
m
p
l
i
c
a
t
i
o
n
s，O
s
story
t
o
r
ya
about
b
o
u
tt
the
h
en
nature
a
t
u
r
eo
offm
man's
an'sf
fate
a
t
ei
inna
a f
fallen
a
l
l
e
nw
world
orld，
,w
with
i
t
hp
particular
a
r
t
i
c
u
l
a
re
emphasis
mphasiso
onnt
the
h
e
q
u
e
s
t
i
o
n
:I
and
e
s
t
i
n
e
dt
i
v
ea
l
o
n
e，a
question:
Issm
man
destined
tool
live
alone,
as
solitary
o
l
i
t
a
r
yw
wanderer
anderero
onnt
the
h
ef
face
a
c
eo
offt
the
h
ee
earth,
a
r
t
h，o
orr
i
issi
ittt
the
h
ef
fate
a
t
eo
offm
man
ant
tooc
care
a
r
ef
for
o
rm
man,
an，t
toog
gooh
his
i
sw
way
ayi
innc
companionship
ompanionshipw
with
i
t
ha
another?
n
o
t
h
e
r?T
This
h
i
s
i
isst
the
h
es
same
amet
theme
hemet
that
h
a
to
occurs
c
c
u
r
si
innt
the
h
eO
Old
ldT
Testament
estamento
offt
the
h
eb
bible,
i
b
l
e，a
asse
early
a
r
l
ya
assc
chapter
h
a
p
t
e
r4
4o
off
G
Genesis,
e
n
e
s
i
s，i
immediately
m
m
e
d
i
a
t
e
l
yf
following
o
l
l
o
w
i
n
gt
the
h
eC
Creation
r
e
a
t
i
o
na
and
nd E
Expulsion.
x
p
u
l
s
i
o
n.1
Inn e
effect,
f
f
e
c
t，t
the
h
eq
question
u
e
s
t
i
o
n
H
Historical
is
t
o
r
i
c
a
l8
Background
a
c
kg
r
o
u
n
da
and
n
dM
Major
a
j
o
rT
Themes
he
me
s0
01
/ Mi
Mice
c
ea
an.d
n
.d Me
Men
n
233
2
33
S
Steinbeck
t
e
i
n
b
e
c
kp
poses
o
s
e
si
isst
the
h
es
same
ame q
question
l
l
e
s
t
i
o
nC
Cain
ainp
poses
o
s
e
st
too t
the
h
eL
Lord:
ord: “
"Am
A m1
I my
my b
brother's
r
o
t
h
e
r'
s
k
keeper
e
e
p
e
r?
?""T
This
hist
theme
hemei
isso
offc
course
O
l
l
r
s
er
reenacted
e
e
n
a
c
t
e
di
inng
great
r
e
a
td
detail
e
t
a
i
ll
later
a
t
e
ro
onni
innS
Steinbeck's
t
e
i
n
b
e
c
k
'
sc
classic
1a
s
s
i
c
E
East
a
s
t0
of
1E
Eden.
d
e
n
.A
All
l
lt
the
h
ew
while
h
i
l
eS
Steinbeck
t
e
i
n
b
e
c
kd
develops
e
v
e
l
o
p
st
the
h
ea
affectionate
任e
c
t
i
o
n
a
t
es
symbiosis
y
m
b
i
o
s
i
so
offG
George
eorgea
and
nd
L
Lennie,
e
n
n
i
e，s
showing
their
brotherly
mutual
concern
and
faithful
companionship,
heee
empha
howingt
h
e
i
rb
r
o
t
h
e
r
l
ym
l
l
t
l
l
a
lc
o
n
c
e
r
na
ndf
a
i
t
h
f
l
l
lc
ompanionship，h
mphasizes
through
the
voices
and
opinions
offt
the
other
ranch
hands
how
s
i
z
e
st
h
r
o
l
l
g
ht
h
ev
o
i
c
e
sa
ndo
p
i
n
i
o
n
so
h
eo
t
h
e
rr
a
n
c
hh
andsh
owr
a
r
ea
ndd
i
f
f
e
r
e
n
t
rare
and
different
t
h
e
i
rc
amaraderiei
s
.1
o
n
t
r
a
s
tt
h
e
s
et
wo，t
their
camaraderie
is.
Innc
contrast
toot
these
two,
the
h
eo
other
t
h
e
rm
men
ena
are
r
es
solitary
o
l
i
t
a
r
ys
souls
O
l
l
l
sw
without
i
t
h
o
l
l
t
f
friends
r
i
e
n
d
so
o
m
p
a
n
i
o
n
s
.W
hent
h
e
yg
e
tp
a
i
dt
h
e
yg
h
et
owno
o
l
e
d
a
dt
p
e
n
dt
h
e
i
r
orrc
companions.
When
they
get
paid
they
goot
toot
the
town
offS
Soledad
toos
spend
their
m
oneyo
r
i
n
k
i
n
g，g
money
onnd
drinking,
gambling
and
whoring.
amblinga
ndw
h
o
r
i
n
g
.It
I
ti
issc
certainly
e
r
t
a
i
n
l
yn
nooc
coincidence
o
i
n
c
i
d
e
n
c
et
that
h
a
tS
Soledad
o
l
e
d
a
d
m
means
eanss
solitude
o
l
i
t
l
l
d
ei
innS
Spanish.
p
a
n
i
s
h.
S
Steinbeck's
t
e
i
n
b
e
c
k
'
st
r
e
a
t
m
e
n
to
h
i
st
hemei
n
t
i
r
e
l
yf
r
e
ef
roma
e
n
s
eo
o
n
t
r
i
v
a
n
c
e，a
treatment
offt
this
theme
isse
entirely
free
from
as
sense
offc
contrivance,
all
l
l
t
the
h
ed
details
e
t
a
i
l
si
inn0
Of
1m
mice
i
c
ea
and
ndMe
Men
ns
seem
eemn
natural
a
t
l
l
r
ali
innt
the
h
ec
context
o
n
t
e
x
ta
and
ndo
organically
r
g
a
n
i
c
a
l
l
yr
related
e
l
a
t
e
dt
too
t
the
h
ew
hole;b
l
l
tn
o
t
et
h
a
ti
d
d
i
t
i
o
nt
r
e
s
e
n
t
i
n
gL
e
n
n
i
ea
ndG
eorgea
en，w
whole;
but
note
that
inna
addition
toop
presenting
Lennie
and
George
assm
men,
who
hol
like
i
k
e
t
the
h
ec
cursed
l
l
r
s
e
dC
Cain,
a
i
n，t
till
the
soil
and
derive
noob
benefits
from
their
labor,
heea
also
manages
too
i
l
lt
h
es
o
i
la
ndd
e
r
i
v
en
e
n
e
f
i
t
sf
romt
h
e
i
rl
a
b
o
r，h
l
s
om
anagest
have
them
onnt
the
"run"
when
they
h
avet
hemo
h
e“
r
u
n
"w
hent
h
e
ya
are
r
ei
introduced
n
t
r
o
d
l
l
c
e
di
innt
the
h
ef
first
i
r
s
ts
scene
c
e
n
e-t
this
h
i
sn
nood
doubt
O
l
l
b
tt
tooh
have
ave
h
his
i
sc
h
a
r
a
c
t
e
r
sc
o
r
r
e
s
p
o
n
da
characters
correspond
assc
closely
10
s
e
l
ya
assp
possible
o
s
s
i
b
l
et
toot
the
h
eb
biblical
i
b
l
i
c
a
lp
passage:
a
s
s
a
g
e:
“"aaf
fugitive
l
l
g
i
t
i
v
ea
and
nd
a
a v
vagabond
agabonds
shalt
h
a
l
tt
thou
h
o
l
lb
be
e
.
.
"
....
"
T
h
ec
a
l
a
m
i
t
yo
o
m
e
l
e
s
s
n
e
s
sa
nde
conomicf
l
l
t
i
l
i
t
yS
t
e
i
n
b
e
c
kl
a
t
e
ra
d
d
st
h
e
Toot
the
calamity
offh
homelessness
and
economic
futility
Steinbeck
later
adds
the
p
s
y
c
h
o
l
o
g
i
c
a
ls
O
l
l
lc
o
r
r
l
l
p
t
i
o
nt
h
a
ti
h
ec
o
n
s
e
q
l
l
e
n
c
eo
o
l
i
t
a
r
ye
x
i
s
t
e
n
c
e
.1
c
e
n
e3
psychological
soul
corruption
that
isst
the
consequence
offs
solitary
existence.
Inns
scene
3
G
eorget
e
l
l
sS
l
i
m，t
h
em
l
ll
ed
r
i
v
e
ro
h
er
ranch:
a
n
c
h:
“"I1s
seen
e
e
nt
the
h
eg
guys
l
l
y
st
that
h
a
tg
gooa
around
r
o
l
l
n
do
onnt
the
h
e
George
tells
Slim,
the
mule
driver
onnt
the
r
ranches
a
n
c
h
e
sa
alone.
l
o
n
e
.T
heyd
o
n
'
th
aven
l
l
n
.A
f
t
e
ra
o
n
gt
i
m
et
h
e
yg
e
tm
ean."A
ndS
lima
g
r
e
e
s
They
don't
have
noof
fun.
After
al
long
time
they
get
mean."
And
Slim
agrees
w
i
t
hG
eorge
with
George.
A
gain，i
Again,
inns
scene
c
e
n
e4
4,，t
the
h
eN
Negro
egros
stable
t
a
b
l
eb
buck
l
l
c
kC
Crooks
rookst
tells
e
l
l
sL
Lennie
e
n
n
i
e::“
"A
Ag
guy
l
l
yn
needs
e
e
d
ss
someo
m
e
near
him
...
A
guy
goes
nuts
iffh
heea
ain't
got
nobody.
Don't
make
nood
difference
r
e
n
c
e
b
body
ody-t
toob
been
e
a
rh
i
m
.
.
.
Ag
l
l
yg
o
e
sn
l
l
t
si
i
n
'
tg
o
tn
o
b
o
d
y
.D
o
n
'
tm
aken
i仔e
w
who
hot
the
h
eg
guy
l
l
yi
is,
s，l
long's
heew
with
you.
It
tell
ya,
It
tell
yaaa
ag
guy
o
n
g
'
sh
i
t
hy
O
l
l.1
e
l
ly
a，1
e
l
ly
l
l
yg
gets
e
t
st
too
o
ol
lonely
o
n
e
l
ya
and
ndh
heeg
gets
e
t
s
s
i
c
k
."
sick."
T
hisi
t
e
i
n
b
e
c
k'
sp
o
r
t
r
a
i
to
a
i
ni
h
em
odernw
orld，o
This
issS
Steinbeck's
portrait
offC
Cain
innt
the
modern
world,
orrM
Man
anA
Alone,
lone，w
whose
hosef
fate
a
t
e
i
e
v
e
r
et
h
a
th
ayf
e
e
lc
o
m
p
e
l
l
e
dt
c
h
ot
h
ew
ordso
a
i
nt
h
eL
ord:
isss
soos
severe
that
heem
may
feel
compelled
tooe
echo
the
words
offC
Cain
toot
the
Lord:
“"My
My
p
punishment
l
l
n
i
s
h
m
e
n
ti
issm
more
oret
h
a
n1
anb
ear
than
Ic
can
bear."
.
"1
Inn0
Of
1M
Mice
i
c
ea
and
ndMe
MennS
Steinbeck
t
e
i
n
b
e
c
kg
gives
i
v
e
sl
us
IS t
the
h
ec
case
a
s
e
h
history
i
s
t
o
r
yo
offt
two
wos
simple
i
m
p
l
em
o
r
t
a
l
sw
hot
r
yt
s
c
a
p
et
h
e
i
rh
o
m
e
l
e
s
s
n
e
s
sa
ndt
h
e
i
re
conomic
mortals
who
try
tooe
escape
their
homelessness
and
their
economic
a
ndp
s
y
c
h
o
l
o
g
i
c
al
e
s
p
a
i
rw
hichB
i
b
l
i
c
a
ls
c
r
i
p
t
u
r
ee
mbodiesi
h
ec
u
r
s
eo
a
i
n
.A
h
e
and
psychologica
ld
despair
which
Biblical
scripture
embodies
innt
the
curse
offC
Cain.
Attt
the
s
amet
i
m
eS
t
e
i
n
b
e
c
ka
d
v
a
n
c
e
st
h
es
l
l
r
f
a
c
ep
l
o
t，
same
time
Steinbeck
advances
the
surface
plot,
h
heei
issb
busy
l
l
s
yd
developing
e
v
e
l
o
p
i
n
gt
the
h
ea
allegorical
l
l
e
g
o
r
i
c
a
ll
level
e
v
e
l
o
offh
his
i
ss
t
o
r
yb
l
l
g
g
e
s
t
i
n
gt
h
a
tt
h
ea
t
t
i
t
l
l
d
eo
a
i
n(
story
byys
suggesting
that
the
attitude
offC
Cain
(I
Ik
know
nown
not:
o
t
:Am
Am 1
I my
my b
brother's
r
o
t
h
e
r'
s
k
keeper
e
e
p
e
r?
?")
"
)h
has
a
sb
become
ecomel
universal.
In
i
v
e
r
s
a.
lE
Even
vent
the
h
es
sympathetic
y
m
p
a
t
h
e
t
i
ca
and
ndl
understanding
In
d
e
r
s
t
a
n
d
i
n
gS
Slim
l
i
me
expresses
x
p
r
e
s
s
e
s
s
some
omew
wonder
ondera
h
eL
e
n
n
i
eG
eorgef
r
a
t
e
r
n
i
t
y“
attt
the
LennieGeorge
fraternity.
"Ain't
A
i
n
'
tm
many
anyg
guys
uyst
travel
r
a
v
e
la
around
roundt
together,"
o
g
e
t
h
e
r，
"
Slim
S
l
i
ms
says
a
y
si
inns
scene
c
e
n
e2
2..“
"I1d
don't
o
n
'
tk
know
noww
why.
hy.M
Maybe
aybee
ever'body
v
e
r
'
b
o
d
yi
innt
the
h
ew
whole
holed
damned
amnedw
world
o
r
l
di
iss
s
c
a
r
e
do
acho
t
h
e
r目
scared
offe
each
other."
"T
This
h
i
st
too
o
o，
,a
assS
Steinbeck
t
e
i
n
b
e
c
ki
interprets
n
t
e
r
p
r
e
t
st
the
h
eb
biblical
i
b
l
i
c
a
ls
story,
t
o
r
y，i
issa
a p
part
a
r
to
off
C
Cain"s
a
i
n
"
sc
u
r
s
e
:d
i
s
t
r
u
s
t
. L
a
t
e
ro
n，i
curse:
distrust.
Later
on,
inn o
order
r
d
e
rt
too g
give
i
v
et
the
h
et
theme
heme o
off a
aloneness
l
o
n
e
n
e
s
sa
another
n
o
t
h
e
r
d
i
m
e
n
s
i
o
n，S
dimension,
Steinbeck
t
e
i
n
b
e
c
ks
stresses
t
r
e
s
s
e
st
the
h
es
solitude
o
l
i
t
u
d
eo
offC
Crooks
rooksa
and
ndC
Curley's
u
r
l
e
y
'
sw
wife,
i
f
e，b
both
o
t
ho
offw
whom
hom
e
x
p
r
e
s
sa
r
a
v
i
n
gf
o
rc
ompanya
nd“
express
a c
craving
for
company
and
"someone
someonet
toot
talk
a
l
kt
to.
o
.
"
"
2
234
34
Notwithstanding
the
fact
that
they
are
obviously
swimming
against
the
current,
N
o
t
w
i
t
h
s
t
a
n
d
i
n
gt
h
ef
a
c
tt
h
a
tt
h
e
ya
r
eo
b
v
i
o
u
s
l
ys
wimminga
g
a
i
n
s
tt
h
ec
u
r
r
e
n
t，
L
e
n
n
i
ea
ndG
eorgec
o
n
t
i
n
u
et
toor
reaffirm
e
a
f
f
i
r
mt
their
h
e
i
rs
solidarity
o
l
i
d
a
r
i
t
ya
all
l
la
along,
l
o
n
g，
r
right
i
g
h
tu
uppt
tooa
and
ndi
including
n
c
l
u
d
i
n
g
Lennie
and
George
continue
t
h
el
a
s
tm
omentso
e
n
n
i
e
'
sl
i
f
ei
c
e
n
e6
ere，a
the
last
moments
offL
Lennie's
life
inns
scene
6.. H
Here,
a b
big
i
gr
rabbit,
a
b
b
i
t，w
which
hichL
Lennie
e
n
n
i
ei
innh
his
i
s
d
disturbed
i
s
t
u
r
b
e
ds
t
a
t
eo
indh
ash
a
l
l
u
c
i
n
a
t
e
d，t
state
offm
mind
has
hallucinated,
tells
e
l
l
st
the
h
eh
half-wit
a
l
f
w
i
tf
fugitive
u
g
i
t
i
v
et
that
h
a
tG
George
eorgei
isss
sick
i
c
ko
off
h
him
ima
and
ndi
issg
going
o
i
n
gt
toog
gooa
away
waya
and
ndl
leave
e
a
v
eh
him.
i
m
.“
"He
Hew
won't!"
on'
t
!
"L
Lennie
e
n
n
i
ec
cries.
r
i
e
s
.“
"He
Hew
won't
o
n
'
td
doo
that.
I k
know
George.
Me a
an'
him
travels
together."
.
"A
Actually
c
t
u
a
l
l
yS
Steinbeck's
t
e
i
n
b
e
c
k
'
s
n
nothing
o
t
h
i
n
gl
like
i
k
et
h
a
t
.1
nowG
e
o
r
g
e
.Me
n
'h
imt
r
a
v
e
l
st
o
g
e
t
h
er
n
novella
o
v
e
l
l
aa
advances
dvanc
esa
and
ndd
develops,
e
v
e
l
o
p
s，e
ebbs
b
b
sa
and
ndf
flows,
l
o
w
s，a
around
roundt
the
h
eb
basic
a
s
i
ci
image
mageo
offt
the
h
eL
Lenniee
n
n
i
e
the
characters
react
tooi
itti
inno
one
way
orra
another
asst
the
G
George
eorger
relationship.
e
l
a
t
i
o
n
s
h
i
p
.A
Almost
lmosta
all
l
lo
offt
h
ec
h
a
r
a
c
t
e
r
sr
e
a
c
tt
n
ew
ayo
n
o
t
h
e
ra
h
e
successive
scenes
unfold.
Inns
scenes
s
u
c
c
e
s
s
i
v
es
c
e
n
e
su
n
f
o
l
d
.1
c
e
n
e
s 1,
1
，2
2 a
and
nd 3
3,，d
despite
e
s
p
i
t
et
the
h
ed
discouraging
i
s
c
o
u
r
a
g
i
n
go
opinions
p
i
n
i
o
n
so
off
o
outsiders,
u
t
s
i
d
e
r
s，t
the
companionship
h
ec
ompanionshipr
remains
emainsi
intact
n
t
a
c
ta
and
ndu
unthreatened.
n
t
h
r
e
a
t
e
n
e
d
.M
Midway
idwayi
into
n
t
os
scene
c
e
n
e3
3t
the
h
e
partnership
undergoes
augmentation
when
Candy
issa
admitted
into
the
scheme
toob
buy
the
p
a
r
t
n
e
r
s
h
i
pu
n
d
e
r
g
o
e
sa
ugmentationw
henC
andyi
d
m
i
t
t
e
di
n
t
ot
h
es
chemet
uyt
h
e
little
farm.
Late
inns
scene
4 C
Crooks
offers
任e
r
sh
himself
i
m
s
e
l
fa
assa
another
n
o
t
h
e
rc
candidate
a
n
d
i
d
a
t
ef
for
o
rt
the
h
ef
fellowship
e
l
l
o
w
s
h
i
p
l
i
t
t
l
ef
a
r
m
.L
at
ei
c
e
n
e4
rooks0
o
offs
soul
o
u
lb
r
o
t
h
e
r
sa
ndd
reamers.T
hisi
h
eh
i
g
hp
o
i
n
to
ptimisma
e
g
a
r
d
st
h
em
ain
brothers
and
dreamers.
This
isst
the
high
point
offo
optimism
assr
regards
the
main
t
hemeo
h
es
t
o
r
y
;t
h
i
si
h
em
omentw
hena
o
s
s
i
b
l
er
e
v
e
r
s
a
lo
h
ec
u
r
s
eo
ain
theme
offt
the
story;
this
isst
the
moment
when
a p
possible
reversal
offt
the
curse
offC
Cain
seems
most
likely,
assS
Steinbeck
t
e
i
n
b
e
c
ks
suggests
u
g
g
e
s
t
st
that
h
a
tt
the
h
ea
answer
nswert
toot
the
h
eL
Lord's
o
r
d
'
sq
question
u
e
s
t
i
o
nm
might
ightb
be,
e，
s
eemsm
ostl
i
k
e
l
y，a
"Yes,
I am
“
Yes，1
am my
my b
brother's
r
o
t
h
e
r
'
sk
keeper."
eeper
."If
I
fw
weea
arrive
r
r
i
v
ea
attt
this
h
i
sp
point
o
i
n
tw
with
i
t
ha
any
nyc
comprehension
omprehensiono
offt
the
h
e
author's
purposes,
weef
find
i
n
do
ourselves
u
r
s
e
l
v
e
sb
brought
r
o
u
g
h
tu
upps
short
h
o
r
tb
byyt
the
h
ei
idea:
d
e
a:w
what
hati
ifft
this
h
i
sL
Lenniee
n
n
i
ea
u
t
h
o
r
'
sp
u
r
p
o
s
e
s，w
G
George-Candy-Crooks
eorge-CandyCrooksf
fraternity
r
a
t
e
r
n
i
t
yw
were
eret
toob
become
ecomeu
universal?
n
i
v
e
r
s
a
l?
B
But
utl
later
a
t
e
ri
innt
the
h
es
same
ames
scene,
c
e
n
e，t
the
h
ee
entrance
n
t
r
a
n
c
eo
offC
Curley's
u
r
l
e
y
'
sw
wife
i
f
es
signals
i
g
n
a
l
st
the
h
et
turning
u
r
n
i
n
gp
point
o
i
n
t
asst
the
prospects
for
the
idea
offb
brotherhood-as-a-reality
begin
toof
fade
and
darken.
Ass
a
h
ep
r
o
s
p
e
c
t
sf
o
rt
h
ei
d
e
ao
r
o
t
h
e
r
h
o
o
d
a
s
a
r
e
a
l
i
t
yb
e
g
i
nt
a
d
ea
ndd
a
r
k
e
n
.A
throughout
t
h
r
o
u
g
h
o
u
tt
the
h
es
story
t
o
r
ys
she
h
er
represents
e
p
r
e
s
e
n
t
sa
a f
force
o
r
c
et
that
h
a
td
destroys
e
s
t
r
o
y
sm
men
ena
and
nda
attt
the
h
es
same
amet
time
i
m
e
i
invites
n
v
i
t
e
sm
men
ent
tood
destroy
e
s
t
r
o
yh
her,
e
r，a
asss
she
h
ew
will
i
l
lf
finally
i
n
a
l
l
yi
inns
scene
c
e
n
e5
5o
offer
f
f
e
rh
herself
e
r
s
e
l
fa
assa
a t
temptation
e
m
p
t
a
t
i
o
n
which
Lennie
cannot
resist,
sooi
inns
scene
4C
Curley's
wife
sows
the
seeds
that
eventually
w
hichL
e
n
n
i
ec
a
n
n
o
tr
e
s
i
s
t，s
c
e
n
e4
u
r
l
e
y
'
sw
i
f
es
owst
h
es
e
e
d
st
h
a
te
v
e
n
t
u
a
l
l
y
d
i
s
r
u
p
tt
h
ef
e
l
l
o
w
s
h
i
p
.E
Entering
n
t
e
r
i
n
gi
into
n
t
ot
the
h
ed
discussion
i
s
c
u
s
s
i
o
ni
innC
Crook's
r
o
o
k
'
sr
room
oomi
innt
the
h
es
stable,
t
a
b
l
e，s
she
h
e
disrupt
the
fellowship.
i
insults
n
s
u
l
t
sC
Crooks,
rooks，C
Candy
and
Lennie,
laughs
andya
ndL
e
n
n
i
e，l
a
u
g
h
sa
attt
their
h
e
i
rd
dream
reamf
farm,
arm，a
and
ndt
threatens
h
r
e
a
t
e
n
st
tooi
invent
n
v
e
n
tt
the
h
e
k
i
n
do
c
c
u
s
a
t
i
o
nt
h
a
tw
i
l
lg
e
tC
rooksl
y
n
c
h
e
d.C
rooks，r
kind
offa
accusation
that
will
get
Crooks
lynched.
Crooks,
reminded
emindedo
offh
his
i
sp
position
o
s
i
t
i
o
no
off
i
impotence
mpotencei
inna
aw
white
h
i
t
em
an'
ss
o
c
i
e
t
y，i
man's
society,
immediately
mmediate
l
yw
withdraws
ithdrawsh
his
i
so
offer
f
f
e
rt
toop
participate
a
r
t
i
c
i
p
a
t
ei
innt
the
h
e
George-Lennie-Candy
farming
enterprise.
But
Crooks's
withdrawal
while
extremely
G
eorge-Lennie-Candy f
arming e
n
t
e
r
p
r
i
s
e
.B
ut C
r
o
o
k
s
'
sw
ithdrawal w
h
i
l
ee
x
t
r
e
m
e
l
y
effective
任e
c
t
i
v
ea
asss
social
o
c
i
a
lc
criticism,
r
i
t
i
c
i
s
m，i
iss m
much
uchm
more.
o
r
e
. It
I
tr
represents
e
p
r
e
s
e
n
t
sa
ann a
answer
n
s
to the question
e
Steinbeck is considering all along: Is man meant to make his way alone or accompanied?
Obviously this is one occasion, among many others in the story, when Steinbeck suggests
the answer. Crooks's hope for fraternal living is short-lived. At the conclusion of the
scene he sinks back into his Aloneness.
From this point on, even though the dream of fellowship on the farm remains active,
the real prospects for its fulfillment decline drastically. In scene 5, after George and
Candy discover the lifeless body of Curley's wife, they both face the realization that the
little farm is now unattainable and the partnership dissolved. Actually the plan was
doomed to failure from the beginning; for fraternal living cannot long survive in a world
dominated by the Aloneness, homelessness, and economic futility which Steinbeck
H
Historical
i
s
t
o
r
i
c
a
lB
Background
a
c
k
g
r
o
u
n
da
and
n
dM
Major
a
j
o
rT
Themes
hem
e
s0
of1Mi
Mice
c
e仰and
dMe
Menn
2
235
35
p
presents
r
e
s
e
n
t
sa
asst
the
h
em
modern
odernc
counterpart
o
u
n
t
e
r
p
a
r
to
offC
Cain's
a
i
n
'
sc
curse.
u
r
s
e
.I
Immediately
mmediatelyf
following
o
l
l
o
w
i
n
gh
his
i
sd
discovery
i
s
c
o
v
e
r
y
o
offC
Curley's
u
r
l
e
y
'
sw
wife's
i
f
e
'
sb
body,
ody，G
George
eorged
delivers
e
l
i
v
e
r
sa
a s
speech
p
e
e
c
ht
that
h
a
td
dwells
w
e
l
l
so
onnt
the
h
ew
worst
o
r
s
tp
possible
o
s
s
i
b
l
e
a
aftermath
f
t
e
r
m
a
t
ho
offL
Lennie's
e
n
n
i
e
'
sm
misdeed;
isdeed;a
and
ndt
that
h
a
ti
issn
not
o
tt
the
h
ew
wrath
ratho
offC
Curley
u
r
l
e
yo
orrt
the
h
ei
immolation
mmolationo
off
orrt
the
loss
offt
the
dream
farm,
but
u
tt
the
h
ep
prospect
r
o
s
p
e
c
to
offG
George's
e
o
r
g
e
'
sb
becoming
ecominga
a M
Man
an
L
Lennie
e
n
n
i
eo
h
el
o
s
so
h
ed
reamf
arm，b
A
Alone,
lone，h
homeless,
omeless，l
like
i
k
ea
all
l
lt
the
h
eo
others
t
h
e
r
sa
and
nda
av
victim
i
c
t
i
ma
assw
well
e
l
lo
offe
economic
conomicf
futility:
u
t
i
l
i
t
y:“
''I'll
1
'1w
work
ork
my
my m
month
ontha
ann1
I'll
'1t
take
a
k
emy
my f
fifty
i
f
t
yb
bucks
ucksa
and
nd1
I'll
'1s
stay
t
a
ya
all
l
ln
night
i
g
h
ti
inns
some
omel
lousy
o
u
s
yc
cat
a
th
house.
o
u
s
e.O
Orr
1
I'll
'1s
set
e
ti
inns
some
omep
poolroom
oolroomt
til
i
le
ever'body
v
e
r
'
b
o
d
yg
goes
o
e
sh
home.
ome.A
Annt
then
h
e
nI
I'll
'
llc
come
omeb
back
acka
an'
n
'w
work
ork
a
n
o
t
h
e
rm
ontha
n
'1
another
month
an'
I'll
'1h
have
avef
fifty
i
f
t
yb
bucks
ucksm
more."
o
r
e
.
"T
This
hiss
speech
p
e
e
c
hr
represents
e
p
r
e
s
e
n
t
st
the
h
et
true
r
u
ec
climax
limaxo
off
t
the
h
en
novella,
o
v
e
l
l
a，f
for
o
ri
itta
answers
nswerst
the
h
eq
question
u
e
s
t
i
o
nw
which
hichi
issS
Steinbeck's
t
e
i
n
b
e
c
k
'
sm
main
aini
interest
n
t
e
r
e
s
tt
throughout.
h
r
o
u
g
h
o
u
t.
experiment
innf
fellowship,
assw
week
know
now
N
No
owww
week
know
nowt
the
h
eo
outcome
utcomeo
offt
the
h
eL
Lenniee
n
n
i
eGeorge
Georgee
xperimenti
e
l
l
o
w
s
h
i
p，a
t
h
eA
l
o
n
e
n
e
s
so
an'se
s
s
e
n
t
i
a
ln
a
t
u
r
e
.I
u
b
t
l
ew
ays，o
the
Aloneness
offm
man's
essential
nature.
Inns
subtle
ways,
offc
course,
o
u
r
s
e，S
Steinbeck
t
e
i
n
b
e
c
kh
has
a
sb
been
e
e
n
hinting
attt
this
conclusion
all
along,
as,
for
example,
innt
the
seven
references
spaced
h
i
n
t
i
n
ga
h
i
sc
o
n
c
l
u
s
i
o
na
l
la
l
o
n
g，a
s，f
o
re
xample，i
h
es
e
v
e
nr
e
f
e
r
e
n
c
e
ss
p
a
c
e
d
throughout
scenes
2a
and
3t
tooG
George's
playing
solitaire
innt
the
bunkhouse.
Innt
the
opening
t
h
r
o
u
g
h
o
u
ts
c
e
n
e
s2
nd3
e
o
r
g
e
'
sp
l
a
y
i
n
gs
o
l
i
t
a
i
r
ei
h
eb
u
n
k
h
o
u
s
e
.I
h
eo
p
e
n
i
n
g
line
offt
the
story,
when
hent
the
h
ea
author
u
t
h
o
re
establishes
s
t
a
b
l
i
s
h
e
sh
his
i
ss
setting
e
t
t
i
n
g“
"aaf
few
ewm
miles
i
l
e
ss
south
o
u
t
ho
offS
Soledad."
o
l
e
d
a
d
.
"
l
i
n
eo
h
es
t
o
r
y，w
(
S
o
l
i
t
u
d
e
)
(Solitude)
B
But
utt
there
h
e
r
ea
are
r
es
still
t
i
l
lo
other
t
h
e
rs
suggested
u
g
g
e
s
t
e
dm
meanings
eaningsi
inherent
n
h
e
r
e
n
ti
innt
the
h
ed
dream
reamf
farm
arma
and
ndt
the
h
e
failure
offt
the
dream.
The
plan
issd
doomed
not
only
because
human
fellowship
cannot
f
a
i
l
u
r
eo
h
ed
ream.T
hep
l
a
ni
oomedn
o
to
n
l
yb
e
c
a
u
s
eh
umanf
e
l
l
o
w
s
h
i
pc
a
n
n
o
t
s
u
r
v
i
v
ei
h
ep
o
s
t
C
a
i
nw
or
l
d，b
survive
innt
the
postCain
world,
but
u
ta
also
l
s
ob
because
e
c
a
u
s
et
the
h
ei
image
mageo
offt
the
h
ef
farm,
arm，a
assc
conceived
o
n
c
e
i
v
e
db
byy
the
h
ep
probability
r
o
b
a
b
i
l
i
tyb
being
e
i
n
gt
that
h
a
tl
life,
i
f
e，e
even
veni
iff
G
George
eorgea
and
ndL
Lennie
e
n
n
i
ea
and
ndC
Candy
andyi
isso
overly
v
e
r
l
yi
idealized,
d
e
a
l
iz
e
d，t
t
h
e
yo
b
t
a
i
n
e
dt
h
ef
arm，
they
obtained
the
farm
, w
would
ouldn
not
o
tc
consist
o
n
s
i
s
to
offt
the
h
ec
comfort,
omfort，p
plenty,
l
e
n
t
y，a
and
nd i
interpersonal
n
t
e
r
p
e
r
s
o
n
a
l
h
armony t
h
e
ye
n
v
i
s
i
o
n
.T
he f
r
u
i
t
sa
nd v
e
g
e
t
a
b
l
e
si
bundance，t
harmony
they
envision.
The
fruits
and
vegetables
inn a
abundance,
the
h
el
livestock
i
v
e
s
t
o
c
ka
and
nd
d
domestic
o
m
e
s
t
i
ca
animals,
n
i
m
a
l
s，a
and
ndt
the
h
ec
community
ommunity o
offp
people
e
o
p
l
ei
involved
n
v
o
l
v
e
d“
(
("Ain't
A
i
n
'
tg
gonna
onna b
been
noo m
more
ore
trouble.
Nobody
gonna
hurt
nobody
nor
steal
from
'em")
-t
these
h
e
s
ea
are
r
ei
impractical
m
p
r
a
c
t
i
c
a
le
expectax
p
e
c
t
a
t
r
o
u
b
l
e
.N
obodyg
onnah
u
r
tn
obodyn
o
rs
t
e
a
lf
rom'
e
m
"
)一
t
tions.
i
o
n
s
.G
George
eorgea
and
ndL
Lennie,
e
n
n
i
e，w
who
how
were
eret
toos
some
omee
extent
x
t
e
n
ti
inspired
n
s
p
i
r
e
db
byyq
questions
u
e
s
t
i
o
n
sg
growing
rowingo
out
u
to
off
t
h
es
t
o
r
yi
h
a
p
t
e
r4
e
n
e
s
i
s，w
the
story
innc
chapter
4o
offG
Genesis,
want
antt
toor
retreat
e
t
r
e
a
tt
tooc
chapter
h
a
p
t
e
r2
2a
and
ndl
live
i
v
ei
innt
the
h
eG
Garden
ardeno
off
E
den!O
l
la
m
b
i
t
i
o
n
si
a
l
l
e
nw
orld，t
Eden!
Offa
all
ambitions
inna
a f
fallen
world,
this
h
i
si
issp
possibly
o
s
s
i
b
l
yt
the
h
em
most
ostu
unattainable;
n
a
t
t
a
i
n
a
b
l
e
;f
for
o
r
paradise
issl
lost,
asst
the
h
en
name
ameo
offS
Steinbeck's
t
e
i
n
b
e
c
k
'
sh
hero,
e
r
o，G
George
eorgeM
Milton,
i
l
t
o
n，s
suggests.
u
g
g
e
s
t
s
.A
And
ndt
though
hough
p
a
r
a
d
i
s
ei
o
s
t，a
t
h
e
r
ew
i
l
la
lwaysb
enl
i
keC
andy，w
there
will
always
beem
men
like
Candy,
who
hor
represents
e
p
r
e
s
e
n
t
ss
sweet
w
e
e
th
hope,
ope，
t
the
h
ev
view
iewo
offC
Crooks,
rooks，
w
who
ho
represents
black
despair,
issp
probably
r
o
b
a
b
l
ya
am
more
orea
accurate
c
c
u
r
a
t
ea
appraisal
p
p
r
a
i
s
a
lo
offt
the
h
eh
human
umanc
condition
o
n
d
i
t
i
o
n::
r
e
p
r
e
s
e
n
t
sb
l
a
c
kd
e
s
p
a
i
r，i
“
"N
No
obody
bodyn
never
e
v
e
rg
gets
e
t
st
tooh
heaven,
eaven，a
and
ndn
nobody
obodyg
gets
e
t
sn
nooland. It's just in the head. They're all
the time talkin' about it, but it's just in their head." Obviously in this context Crooks's
comment about nobody ever getting land refers not to literal ownership but to the dream
of contentment entertained by the simple workmen who come and go on the ranch.
To pursue the Milton parallel a step further , we perceive immediately that Steinbeck
has no intention of justifying the ways of God to man. On the contrary, if anything, Of
Mice and Men implies a critique of Hebrew- Christian morality, particularly in the area
of the concept of punishment for sin. This opens up still another dimension of meaning
in our interpretation of Steinbeck's novella. If George and Lennie fail to attain their
dream farm (for reasons already explored), and the dream farm is a metaphor or image
2
236
36
f
for
o
rh
heaven
eaven(
(as
a
ss
suggested
u
g
g
e
s
t
e
db
byyC
Crooks's
rooks'
ss
speech
p
e
e
c
hi
inns
scene
c
e
n
e4
4))t
then
h
e
nt
the
h
ef
failure
a
i
l
u
r
et
tooa
achieve
c
h
i
e
v
et
the
h
e
d
reamf
armi
ostl
i
k
e
l
ya
s
s
o
c
i
a
t
e
dw
i
t
ht
h
eq
l
l
e
s
t
i
o
no
an'sf
a
i
l
u
r
et
t
t
a
i
nh
e
a
v
e
n
.
dream
farm
issm
most
likely
associated
with
the
question
offm
man's
failure
tooa
attain
heaven.
S
t
e
i
n
b
e
c
k
'
sc
o
n
s
i
d
e
r
a
t
i
o
no
h
i
sl
a
s
tn
amed t
heme i
o
th
a
r
dt
i
n
d
.A
long t
h
i
s
Steinbeck's
consideration
off t
this
lastnamed
theme
iss n
not
hard
too f
find.
Along
this
particular
line
offt
thought,
Lennie
e
n
n
i
er
represents
e
p
r
e
s
e
n
t
so
one
nee
essential
s
s
e
n
t
i
a
la
aspect
s
p
e
c
to
offm
man-the
an-the a
animal
n
i
m
a
l
p
a
r
t
i
c
u
l
a
rl
i
n
eo
h
o
u
g
h
t，L
a
p
p
e
t
i
t
e
s，t
appetites,
the
h
ec
craving
r
a
v
i
n
gt
toot
touch
o
u
c
ha
and
ndf
feel,
e
e
l，t
the
h
ei
impulse
m
p
u
l
s
et
toward
owardi
immediate
mmediateg
gratification
r
a
t
i
f
i
c
a
t
i
o
no
off
tries
tooc
control
the
appetites
or,
s
sensual
e
n
s
u
a
ld
desires.
e
s
i
r
e
s
.G
George
eorgei
isst
the
h
ee
element
l
e
m
e
n
to
offR
Reason
easonw
which
hicht
r
i
e
st
o
n
t
r
o
lt
h
ea
p
p
e
t
i
t
e
so
r，
b
better
e
t
t
e
rs
still,
t
i
l
l，t
tooe
elevate
l
e
v
a
t
et
them
hemt
tooa
ah
higher
i
g
h
e
ra
and
ndm
more
ores
sublime
u
b
l
i
m
el
level.
e
v
e.
lA
AssL
Lennie's
e
n
n
i
e
'
sh
hallucinatory
a
l
l
l
l
c
i
n
a
t
o
r
y
r
a
b
b
i
ta
d
v
i
s
e
sh
imn
e
a
rt
h
ec
o
n
c
l
l
l
s
i
o
n::“
rabbit
advises
him
near
the
conclusion
"Christ
C
h
r
i
s
tk
knows
nowsG
George
eorged
done
onee
ever'thing
v
e
r'
t
h
i
n
gh
heec
could
o
u
l
d
t
tooj
a
c
ky
O
l
lo
u
t
at
h
es
ewer，b
jack
you
outa
the
sewer,
but
l
l
ti
ittd
don't
o
n
'
td
doon
noog
good.
o
o
d
."
"S
Steinbeck
t
e
i
n
b
e
c
ks
suggests
u
g
g
e
s
t
st
throughout
h
r
o
u
g
h
o
u
tt
that
h
a
t
the
appetites
are
incapable
offs
satisfying
Reason's
demands,
even
vent
though
h
O
l
l
g
ht
they
h
e
yc
coexist
o
e
x
i
s
tt
too
t
h
ea
p
p
e
t
i
t
e
sa
r
ei
n
c
a
p
a
b
l
eo
a
t
i
s
f
y
i
n
gR
e
a
s
o
n
'
sd
emands，e
c
compose
omposet
the
h
en
a
t
u
r
eo
an.(
Mea
n
'h
imt
r
a
v
e
l
st
o
g
e
t
h
er
nature
offm
man.
(Me
an'
him
travels
together.")
.
"
)T
This
hiss
submerged
ubmergedt
thesis
h
e
s
i
si
iss
s
suggested
l
l
g
g
e
s
t
e
dw
when
henA
untC
l
a
r
a
l
i
k
et
h
eb
i
gr
a
b
b
i
t，a
Aunt
Clara-like
the
big
rabbit,
ap
product
r
o
d
u
c
to
offL
Lennie's
e
n
n
i
e
'
sd
disturbed
i
s
t
u
r
b
e
di
imaginam
a
g
i
n
a
inns
scene
6 ::
t
tioni
o
ns
scolds
c
o
l
d
sL
Lennie
e
n
n
i
ei
c
e
n
e6
"I1t
tol'
you
ann'
't
tol'
you.
It
tol
'y
you.
'Min'
George
because
he's
such
an
nice
fella
“
ol
'y
oua
ol
'y
O
l
l
.1
o
l'
O
l
l
.'
Min'G
eorgeb
e
c
a
u
s
eh
e
'
ss
u
c
ha
i
c
ef
e
l
l
a
an'
good
tooY
you.
' B
But
you
don't
never
take
nooc
care.
You
doob
bad
things."
a
n
'g
oodt
O
l
l
.'
uty
oud
o
n
'
tn
e
v
e
rt
a
k
en
a
r
e
.Y
oud
adt
h
i
n
g
s
.
"
And
Lennie
answered
her,
，"I1t
tried,
r
i
e
d，A
Aunt
l
l
n
tC
Clara,
l
a
r
a，m
ma'am.
a'am.1
It
tried
r
i
e
da
and
ndt
tried.
r
i
e
d.
A
ndL
e
n
n
i
ea
nsweredh
e
r“
Ic
couldn'
help
it."
1
o
u
l
d
n'h
e
l
pi
t
."
T
The
hea
animal
n
i
m
a
la
appetites,
p
p
e
t
i
t
e
s，e
even
vent
though
houghw
well
e
l
la
attended
t
t
e
n
d
e
da
and
ndw
well
e
l
li
intentioned,
n
t
e
n
t
i
o
n
e
d，c
cannot
a
n
n
o
tb
beec
comomp
pletely
l
e
t
e
l
ys
surpressed
u
r
p
r
e
s
s
e
do
orrc
controlled.
o
n
t
r
o
l
l
e
d
.T
hus，t
Thus,
the
h
eb
best
e
s
tm
man
anc
can
anh
hope
opef
for
o
ri
issa
a k
kind
i
n
do
offi
insecure
n
s
e
c
u
r
e
balance
offp
power
between
these
two
elements
-w
which
is,
innf
fact
a
c
t，
,w
what
hatm
most
osto
offt
the
h
er
ranch
a
n
c
h
b
a
l
a
n
c
eo
owerb
etweent
h
e
s
et
woe
l
e
m
e
n
t
shichi
s，i
h
andsa
c
c
o
m
p
l
i
s
h，i
hands
accomplish,
indulging
n
d
u
l
g
i
n
gt
their
h
e
i
rc
craving
r
a
v
i
n
gf
for
o
rs
sensual
e
n
s
u
a
lp
pleasure
l
e
a
s
u
r
ei
inna
a l
legal
e
g
a
la
and
ndc
commonommonp
place
l
a
c
em
annere
achp
a
y
d
a
y
.F
a
i
l
i
n
gt
h
i
s，m
manner
each
payday.
Failing
this,
man
anm
must
l
l
s
ts
surpress
u
r
p
r
e
s
sa
absolutely
b
s
o
l
u
t
e
l
yt
the
h
ea
appetites
p
p
e
t
i
t
e
s
w
hichr
e
f
u
s
et
o
n
t
r
o
l
l
e
d，a
which
refuse
toob
beec
controlled,
assG
George
eorged
does
o
e
si
innt
the
h
es
symbolic
y
m
b
o
l
i
ck
killing
i
l
l
i
n
go
offL
Lennie
e
n
n
i
ea
attt
the
h
e
toot
the
drastic
mutilation
off
c
conclusion
o
n
c
l
u
s
i
o
no
offt
the
h
en
novella.
o
v
e
l
l
a
.P
Possibly
o
s
s
i
b
l
yt
this
h
i
si
issa
av
veiled
e
i
l
e
dr
reference
e
f
e
r
e
n
c
et
h
ed
r
a
s
t
i
cm
u
t
i
l
a
t
i
o
no
m
man's
an'sn
nature
a
t
u
r
er
required
e
q
u
i
r
e
db
byyt
the
h
eH
HebrewebrewC
Christian
h
r
i
s
t
i
a
ne
ethic.
t
h
i
c
.A
Attt
the
h
es
same
amet
time
i
m
et
the
h
et
theological
h
e
o
l
o
g
i
c
a
l
Of
1Mi
Mice
c
ea
and
ndMe
Men
np
project
r
o
j
e
c
tt
the
h
ev
very
e
r
yh
highest
i
g
h
e
s
tr
regard
e
g
a
r
df
for
o
rt
the
h
en
noble
o
b
l
ee
experix
p
e
r
i
implications
off0
i
m
p
l
i
c
a
t
i
o
n
so
m
ment
enti
innf
fraternal
r
a
t
e
r
n
a
ll
living
i
v
i
n
gp
practiced
r
a
c
t
i
c
e
db
byyG
George
eorgea
and
ndL
Lennie;
e
n
n
i
e;a
and
ndp
possibly
o
s
s
i
b
l
yt
the
h
et
time
i
m
es
scheme
cheme
o
offt
their
h
e
i
rs
stay
t
a
yo
onnt
the
her
ranch
anch-f
from
romF
Friday
r
i
d
a
yt
tooS
Sunday
unday-i
issa
av
veiled
e
i
l
e
dr
reference
e
f
e
r
e
n
c
et
toot
the
h
es
sacrifice
a
c
r
i
f
i
c
e
offC
Christ.
Heet
too
tried
o
h
r
i
s
t
.H
o
ot
r
i
e
dt
toor
reverse
e
v
e
r
s
et
the
h
ei
irreversible
r
r
e
v
e
r
s
i
b
l
et
tide
i
d
eo
offC
Cain's
a
i
n
'
sc
curse
u
r
s
eb
byys
serving
e
r
v
i
n
ga
asst
the
h
e
u
ultimate
l
t
i
m
a
t
ee
example
xampleo
offh
human
umanb
brotherhood.
r
o
t
h
e
r
h
o
o
d.
A
Attt
this
h
i
sp
point
o
i
n
t1
Iw
would
O
l
l
l
dl
like
i
k
et
toob
briefly
r
i
e
f
t
yt
try
r
yt
tooa
answer
nswers
some
omes
specific
p
e
c
i
f
i
co
objections
b
j
e
c
t
i
o
n
sw
which
hichh
have
ave
b
been
eenr
raised
a
i
s
e
db
byyc
critics
r
i
t
i
c
so
off0
Of
1Mi
Mice
c
ea
and
ndMe
Men
n.
.T
The
hef
faults
a
u
l
t
sm
most
osto
often
f
t
e
nc
cited
i
t
e
da
are
r
et
the
h
ep
pessimism
essimism
o
offS
Steinbeck's
t
e
i
n
b
e
c
k
'
sc
conclusion,
o
n
c
l
u
s
i
o
n，w
which
hichs
seems
eemst
toos
some
omer
readers
e
a
d
e
r
se
excessive;
x
c
e
s
s
i
v
e
;a
and
ndt
the
h
ea
author's
l
l
t
h
o
r
'
s
a
t
t
e
m
p
tt
mposea
r
a
g
i
ct
o
n
eu
pona
t
o
r
yw
hichl
a
c
k
sc
h
a
r
a
c
t
e
r
so
r
a
g
i
cs
t
a
t
u
r
e
.
attempt
tooi
impose
a t
tragic
tone
upon
a s
story
which
lacks
characters
offt
tragic
stature.
B
otho
h
e
s
ec
e
n
s
u
r
e
sm
ightb
c
c
e
p
t
e
da
a
l
i
d，o
Both
offt
these
censures
might
beea
accepted
assv
valid,
orra
attl
least
e
a
s
tl
understood
l
n
d
e
r
s
t
o
o
da
assr
reasonable,
e
a
s
o
n
a
b
l
e，
iffw
weer
read
the
novella
on
the
sU1face
level
of1a
action
and
character
development.
But
a
i
e
a
dt
h
en
o
v
e
l
l
a0
η t
h
es
uゆ c
el
e
v
el0
c
t
i
ona
ndc
h
a
r
a
c
t
e
rd
e
v
e
lopme
n
l
.B
uta
r
e
a
d
i
n
gw
hicht
takes
a
k
e
si
into
n
t
oa
account
c
c
o
u
n
tt
the
h
em
mythical
y
t
h
i
c
a
l-a
allegorical
l
l
e
g
o
r
i
c
a
ls
significance
i
g
n
i
f
i
c
a
n
c
eo
offt
these
h
e
s
ea
actions
c
t
i
o
n
s
reading
which
Historical
Background
and
Major
Themes
of1M
Mice
an
d M
Men
H
i
s
t
o
r
i
c
a
lB
a
c
k
g
r
o
u
n
da
n
dM
a
j
o
rT
he
m
e
s0
i
c
ea
nd
e
n
2
237
37
a
and
ndc
characters
h
a
r
a
c
t
e
r
sn
not
o
to
only
n
l
yn
nullifies
u
l
l
i
f
i
e
st
the
h
eo
objections
b
j
e
c
t
i
o
n
sb
but
u
to
opens
p
e
n
su
uppn
new
ewa
areas
r
e
a
so
offa
awareness.
w
a
r
e
n
e
s
s
.F
For
or
example,
although
Lennie
and
George
are
humble
people
without
the
status
offt
traditional
e
xample，a
l
t
h
o
u
g
hL
e
n
n
i
ea
ndG
eorgea
r
eh
umblep
e
o
p
l
ew
i
t
h
o
u
tt
h
es
t
a
t
u
so
r
a
d
i
t
i
o
n
a
l
tragic
characters,
their
h
e
i
rd
dream
reami
issv
very
e
r
ym
much
uchl
like
i
k
et
the
h
ed
dream
reamo
offP
Plato
l
a
t
of
for
o
ra
anni
ideal
d
e
a
lR
Republic.
e
p
u
b
l
i
c
t
r
a
g
i
cc
h
a
r
a
c
t
e
r
s，t
A
And
ndt
h
e
i
re
xperimenti
e
l
l
o
w
s
h
i
pi
o
ta
l
ld
i任e
their
experiment
innf
fellowship
issn
not
atta
all
different
r
e
n
tf
from
romt
the
h
ee
experiment
xperimenta
attempted
t
t
e
m
p
t
e
d
byyK
King
Arthur.
And
attt
the
same
time
itti
issr
reminiscent
offa
attl
least
one
aspect
offC
Christ'
b
ingA
r
t
h
u
r
.A
nda
h
es
amet
i
m
ei
e
m
i
n
i
s
c
e
n
to
e
a
s
to
nea
s
p
e
c
to
h
r
i
s
t
'
sm
ministry.
s
i
n
i
s
t
r
y
.T
These
hesea
are
r
er
remote
emotep
parallels
a
r
a
l
l
e
l
st
too0
Of
1Mi
Mice
c
ea
and
ndMe
Men,
n，y
yet
e
tt
they
h
e
ya
are
r
el
legitimate
e
g
i
t
i
m
a
t
ea
and
nd
lend
some
measure
offs
substance,
nobility,
and
human
significance
tooS
Steinbeck's
novella.
l
e
n
ds
omem
easureo
u
b
s
t
a
n
c
e，n
o
b
i
l
i
t
y，a
ndh
umans
i
g
n
i
f
i
c
a
n
c
et
t
e
i
n
b
e
c
k
'
sn
o
v
e
l
l
a
I
Its
t
sp
pessimism
essimismi
issn
not
o
ts
superimposed
uperimposedu
upon
pona
a s
slight
l
i
g
h
ts
story,
t
o
r
y，a
assc
charged,
h
a
r
g
e
d，b
but
u
th
has
a
sb
been
eent
there
h
e
r
e
from
the
opening
line,
iffw
week
knew
newh
how
owt
toor
read
e
a
di
it.
t
.F
Furthermore,
urthermore，t
the
h
ep
pessimism
essimismi
issn
not
o
t
f
romt
h
eo
p
e
n
i
n
gl
i
n
e，i
inspired
byyc
commercialism
orrf
false
theatrics
but
byyt
the
Hebrew
Testament.
("And
Cain
t
.“
(
AndC
a
i
n
i
n
s
p
i
r
e
db
ommercialismo
a
l
s
et
h
e
a
t
r
i
c
sb
u
tb
h
eH
ebrewT
estamen
s
a
i
du
n
t
ot
h
eL
ord，'
said
unto
the
Lord,
'My
Myp
punishment
unishmenti
issg
greater
r
e
a
t
e
rt
than
h
a
n1
Ic
can
anb
bear."')
e
ar
.
"'
)
C
Conclusion
o
n
c
l
u
s
i
o
n
I
I'd
'dl
like
i
k
et
tooc
conclude
o
n
c
l
u
d
ew
with
i
t
ha
ab
brief
r
i
e
fs
summary
ummaryo
offt
the
h
em
main
ainp
points
o
i
n
t
sd
discussed
i
s
c
u
s
s
e
di
innt
this
h
i
sp
paper.
a
p
e
r
0
Of
1Mi
Mice
c
ea
and
nd M
Men
eni
issa
a r
realistic
e
a
l
i
s
t
i
cs
story
t
o
r
yw
with
i
t
hl
lifelike
i
f
e
l
i
k
ec
characters
h
a
r
a
c
t
e
r
sa
and
nda
a r
regional
e
g
i
o
n
a
ls
setting,
e
t
t
i
n
g，
p
r
e
s
e
n
t
e
di
inn a
a s
style
t
y
l
eh
highly
i
g
h
l
yr
reminiscent
e
m
i
n
i
s
c
e
n
to
off s
stage
t
a
g
ed
drama.
rama. S
Steinbeck's
t
e
i
n
b
e
c
k
'
st
technique
e
c
h
n
i
q
u
ea
also
l
s
o
presented
i
includes
n
c
l
u
d
e
sv
verbal
e
r
b
a
la
ambiguity
m
b
i
g
u
i
t
yi
l
a
c
en
ames a
nd c
h
a
r
a
c
t
e
rn
ames，d
inn p
place
names
and
character
names,
double
o
u
b
l
ee
entendre
n
t
e
n
d
r
ei
inn
certain
key
passages
offd
dialogue,
and
nda
am
mythicaly
t
h
i
c
a
la
allegorical
l
l
e
g
o
r
i
c
a
ld
drift
r
i
f
tt
that
h
a
ti
invites
n
v
i
t
e
st
the
h
er
reader
e
a
d
e
r
c
e
r
t
a
i
nk
eyp
a
s
s
a
g
e
so
i
a
l
o
g
u
e，a
i
into
n
t
oa
areas
r
e
a
so
offp
philosophical
h
i
l
o
s
o
p
h
i
c
a
la
and
ndt
theological
h
e
o
l
o
g
i
c
a
li
inquiry.
n
q
u
i
r
y.S
Sources
o
u
r
c
e
sf
for
o
rt
the
h
en
novella
o
v
e
l
l
aa
are
r
eo
obviously
b
v
i
o
u
s
l
y
S
Steinbeck's
t
e
i
n
b
e
c
k'
so
own
wne
experience
x
p
e
r
i
e
n
c
ea
assa
a l
laborer
a
b
o
r
e
ri
innC
California;
a
l
i
f
o
r
n
i
a
;b
but
u
to
onnt
the
h
ea
allegorical
l
l
e
g
o
r
i
c
a
ll
level,
e
v
e
l，0
Of
1
M
Mice
icea
and
ndMe
Mennr
reflects
e
f
t
e
c
t
st
the
h
ee
early
a
r
l
yc
chapters
h
a
p
t
e
r
so
offt
the
h
eB
Book
ooko
offG
Genesis
enes
i
sa
and
ndt
the
h
eq
questions
u
e
s
t
i
o
n
st
that
h
a
t
grow
out
offt
the
incidents
therein
are
depicted.
These
consist
primarily
offt
the
considerag
rowo
u
to
h
ei
n
c
i
d
e
n
t
st
h
e
r
e
i
na
r
ed
e
p
i
c
t
e
d
.T
hesec
o
n
s
i
s
tp
r
i
m
a
r
i
l
yo
h
ec
o
n
s
i
d
e
r
a
man
assa
a c
creature
alone
orra
assa
a b
brother
and
companion
tooo
others.
Inna
addition,
tion
offm
t
i
o
no
ana
r
e
a
t
u
r
ea
l
o
n
eo
r
o
t
h
e
ra
ndc
ompaniont
t
h
e
r
s
.1
d
d
i
t
i
o
n，
S
Steinbeck's
t
e
i
n
b
e
c
k
'
ss
story
t
o
r
ys
suggests
u
g
g
e
s
t
st
the
h
ef
futility
u
t
i
l
i
t
yo
offt
the
h
ea
all
l
l-t
too
o
o-h
human
umana
attempt
t
t
e
m
p
tt
toor
recapture
e
c
a
p
t
u
r
eE
Eden,
den，
a
assw
well
e
l
la
assa
as
symbolic
y
m
b
o
l
i
cs
schema
chemaw
which
hichd
defines
e
f
i
n
e
sh
human
umanp
psychology.
s
y
c
h
o
l
o
g
y
.S
Steinbeck
t
e
i
n
b
e
c
ka
also
l
s
oi
implies
m
p
l
i
e
sa
a
c
critique
r
i
t
i
q
u
eo
offt
the
h
eH
Hebrew巴b
rewChristian
C
h
r
i
s
t
i
a
ne
ethic,
t
h
i
c，t
toot
the
h
ee
effect
任e
c
tt
that
h
a
tt
the
h
ea
absolute
b
s
o
l
u
t
es
suppression
u
p
p
r
e
s
s
i
o
no
offt
the
h
e
animal
appetites
misrepresents
the
reality
offt
the
human
experience.
a
n
i
m
a
la
p
p
e
t
i
t
e
sm
i
s
r
e
p
r
e
s
e
n
t
st
h
er
e
a
l
i
t
yo
h
eh
umane
x
p
e
r
i
e
n
c
e
Finally,
wees
should
h
o
u
l
ds
say
a
yt
that
h
a
tS
Steinbeck's
t
e
i
n
b
e
c
k
'
se
emphasis,
mphasis，o
onnb
both
o
t
ht
the
h
ea
allegorical
l
l
e
g
o
r
i
c
a
la
and
ndr
realistic
e
a
l
i
s
t
i
c
F
i
n
a
l
l
y，w
l
levels,
e
v
e
l
s，i
isso
onnt
the
h
en
nobility
o
b
i
l
i
t
yo
offh
his
i
sc
characters'
h
a
r
a
c
t
e
r
s
'a
attempt
t
t
e
m
p
tt
tool
live
i
v
ef
fraternally.
r
a
t
e
r
n
a
l
l
y
.E
Even
vent
though
hought
the
h
e
e
xperimenti
oomedt
a
i
l
u
r
e，
experiment
issd
doomed
toof
failure
,S
Steinbeck's
t
e
i
n
b
e
c
k
'
sc
characters,
h
a
r
a
c
t
e
r
s，l
like
i
k
et
the
h
eb
best
e
s
tm
men
eno
offe
every
v
e
r
ya
age,
g
e，
d
dedicate
e
d
i
c
a
t
et
themselves
h
e
m
s
e
l
v
e
st
toop
pursuing
u
r
s
u
i
n
gt
the
h
ee
elusive
l
u
s
i
v
eg
grail
r
a
i
lo
offf
fellowship
e
l
l
o
w
s
h
i
p.
B
IBLIOGRAPHY
BIBLIOGRAPHY
Parini,
Jay.
John
Steinbeck
:A
AB
Biography.
New
York.
H..H
Holt,
P
a
r
i
n
i，J
a
y
.J
o
h
nS
t
e
i
n
b
e
c
k
:
i
o
g
r
a
p
h
y
.N
ewY
o
r
k
.H
o
l
t，1995.
1
9
9
5
Kiernan,
Thomas.
homas.T
The
heI
Intricate
n
t
r
i
c
a
t
eM
Music:
l
l
S
i
c:a
aB
Biography
i
o
g
r
a
p
hyo
offJ
John
o
h
nS
Steinbeck.
t
e
i
n
b
e
ck
.B
Boston.
o
s
t
o
n
.L
Little,
i
t
t
l
e，B
Brown,
rown，
K
i
e
r
n
a
n，T
1979.
1
9
7
9
T
homas，W
Thomas,
Wilson.
i
l
s
o
n
.“
"Bindlestiffs
B
i
n
d
l
e
s
t
i
f
f
si
inna
aF
Fallen
a
l
l
e
nW
World."
orld.
"N
New
ewY
York
orkT
Times,
imes，N
New
ewY
York.
o
r
k
.J
January
a
n
l
l
a
r
y8
8,1994.
，1
9
9
4.

CONTENTS

Some Common Reasons to Visit An Emergency Dentist

Toots Restaurant