Send the link below via email or IMCopy
Present to your audienceStart remote presentation
- Invited audience members will follow you as you navigate and present
- People invited to a presentation do not need a Prezi account
- This link expires 10 minutes after you close the presentation
- A maximum of 30 users can follow your presentation
- Learn more about this feature in our knowledge base article
Do you really want to delete this prezi?
Neither you, nor the coeditors you shared it with will be able to recover it again.
Make your likes visible on Facebook?
You can change this under Settings & Account at any time.
Of Mice and Men DIDLS
Transcript of Of Mice and Men DIDLS
"Evening of a hot day started the little wind to moving among the leaves. The shade climbed up the hills toward the top. On the sand banks the rabbits sat as quietly as gray, sculpted stones. And then from the direction of the state highway came the sound of footsteps on crisp sycamore leaves. The rabbits hurried noiselessly for cover. A stilted heron labored up into the air and pounded down river. For a moment the place was lifeless, and then two men emerged from the path and came into the opening by the green pool." pg. 2
Of Mice and Men DIDLS
"Curley's like a lot of little guys. He hates big guys. He's alla time picking scraps with big guys. Kind of like he's mad at 'em because he ain't a big guy. You seen little guys like that, ain't you? Always scrappy?" pg. 26
" You --- ---tramp," he said viciously "You done it, didn't you? I s'pose you're glad. Ever'body knowed you'd mess things up. You wasn't no good. You ain't no good now, you lousy tart." He sniveled, and his voice shook. "I could of hoed in the garden and washed dishes for them guys." pg. 95
The characters speak with a simple diction, common of people in their
situation. Despite poor speech, Steinbeck portrays them as caring and good-natured people.
Diction like this is descriptive of the characters. In this particular excerpt, Curley is portrayed as confrontational and consumed by jealousy because of something out of his control.
This diction serves to provide empathy for the characters in light of the bereft hope of their situation.
"Although there was evening brightness showing through the windows of the bunkhouse, inside it was dusk. Through the open door came the thuds and occasional clangs of a horseshoe game, and now and then the sound of voices raised in approval or derision.
Slim and George came into the darkening bunkhouse together. Slim reached up over the card table and turned on the tin-shaded electric light. Instantly the table was brilliant with light, and the cone of the shade threw its brightness straight downward, leaving the corners of the bunkhouse still in dusk. Slim sat down on a box and George took his place opposite. " pg. 38
"'Sure, we'd have a little house an' a room to ourself. Little fat iron stove, an' in the winter we'd keep a fire goin' in it. It ain't enough land so we'd have to work too hard. Maybe six, seven hours a day. We wouldn't have to buck no barley eleven hours a day. An' when we put in a crop, why, we'd be there to take the crop up. We'd know what came of our planting.'
'An' rabbits,' Lennie said eagerly. "An' I'd take care of 'em. Tell how I'd do that, George.'
'Sure, you'd go out in the alfalfa patch and you'd have a sack. You'd fill up the sack and bring it in an' put it in the rabbit cages.' pg. 58
The imagery here appeals to what you see and hear, as well as your emotional senses. You can see the places and hear what's going on as they are described--however, when George describes the farm he and Lennie hope to share one day, the reader is emotionally involved in the sense that they know that their dream can never be a reality.
"It was Saturday night. Through the open door that led into the barn came the sound of moving hoses, of feet stirring, of teeth comping on hay, of the rattle of halter chains. In the stable buck's room a small electric globe threw a meager yellow light." pg. 67
The details in this novel are intertwined to support Steinbeck's theme of loneliness and isolation. Set during the Great Depression, everyone felt alone and hopeless during this time, and Steinbeck consistently portrayed this theme with subtle details throughout the book.
"'...Why can't I talk to you? I never get to talk to nobody. I get awful lonely.'
Lennie said, 'Well, I ain't supposed to talk to you or nothing.'
'I get lonely,' she said. "You can talk to people, but I can't talk to nobody but Curley. Else he gets mad. How'd you like not to talk to anybody?'" pg. 86-87
"He whined, 'A guy goes nuts if he don't got nobody. Don't make no difference who the guy is, long's he's with you. I tell ya,' he cried, 'I tell ya a guy ges too lonely and he gets sick.'" pg.72-73
The language most prominently used in this book can be described as simplistic, as it resembles vernacular that is most common amongst uneducated individuals. A lot of slang is used when the characters speak to each other. The strategic use of this language encourages the reader to feel empathy for the poor, hopeless state of these characters, and suggests that Steinbeck felt sorry for them as well.
"'An' I bet he's
eatin' raw eggs
writin' to the patent medicine houses
.'" pg. 32
"Crooks had reduced himself to nothing. There was no personality, no ego--nothing to arouse either like or dislike.." pg. 81
stood up from his box. 'Know what I think?' George did not answer. 'Well, I think Curley's married...a
." pg. 21
The structure of the sentences are very simple and often end abruptly. This is to provide suspense and make the reader experience the same emotions of the characters and their situation.
"He rippled the deck nervously, and the little snapping noise drew the eyes of all the men in the room, so that he stopped doing it. The silence fell on the room again. A minute passed, and another minute. Candy lay still, staring at the ceiling." pg. 49
This is meant to create suspense and make the reader feel involved in the situation.
"Lennie looked up helplessly at George, and then he got up and tried to retreat. Curley was balanced and poised. He slashed at Lennie with his left, and then smashed down his nose with a right. Lennie gave a cry of terror. Blood welled from his nose. 'George,' he cried. 'Make 'um let me alone, George.' He backed until he was against the wall, and Curley followed, slugging him in the face. Lennie's hands remained at his sides; he was too frightened to defend himself." pg. 63
"He looked down at herand carefully he removed his hand from over her mouth, and she lay still. 'I don't want ta hurt you,' he said, 'but George'll be mad if you yell.' When she didn't answernor move he bent closely over her. He lifted her arm and let it drop.. For a moment he seemed bewildered. And then he whispered in fright, 'I done a bad thing. I done another bad thing.' " pg. 91
^ This is more rhythmic, giving the readers a detailed visual of Lennie and Curley's fight.
This is a little more slow-paced and somber, allowing the reader to comprehend the seriousness of Lennie's actions.