In the following essay, Attell, a doctoral candidate at the University of California

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Kevin Attell

In the following essay, Attell, a doctoral candidate at the University of CaliforniaBerkeley, places Steinbeck's work within the tradition of social realism and explores how the themes and concerns Steinbeck articulates in Of Mice and Men lend themselves to this genre.

John Steinbeck's work is most often considered in the literary tradition of Social Realism, a type of literature which concerns itself with the direct engagement with and intervention in the problematic (usually economic) social conditions in society. The height of Social Realism—and of its close relative, Naturalism, which blends social critique with a tragic narrative structure wherein a sort of natural fate irresistibly propels the characters toward their downfall—dates from the end of the nineteenth century and is represented by such authors as George Gissing, Theodore Dreiser, and Frank Norris.

By the 1930s, this literary style was already waning, having given up its position of primacy to what has come to be called Modernism, which, although not uninterested in social or political thinking, is far more experimental in the way it uses and manipulates literary and aesthetic techniques. James Joyce, Virginia Woolf, and Ezra Pound are some representative Modernist writers from Ireland, England and the United States respectively. Steinbeck's decision to forego very radical experimentation and use the more explicitly engaged realist style in his work from the 1930s may owe to the urgency of the social problems of the Great Depression and Steinbeck's desire to register an immediate and direct critical protest.

Of Mice and Men, like Steinbeck's two other major works from the 1930s, In Dubious Battle and The Grapes of Wrath, takes its subject and protagonists from the agricultural working class of California during the Great Depression. George and Lennie are itinerant laborers who roam the state looking for any sort of temporary work on large commercial ranches and farms. They work in these places as long as there is a specific task to be done—in OfMice and Men, for example, George and Lennie are hired to bag the barley harvest on Page 254  |  Top of Articlea farm near the city of Soledad—and when they are finished they collect their wages and move on in search of another ranch and another temporary job. In these two interrelated aspects of life in California's agricultural working class—the nomadic rootlessness of the itinerant laborer and the wage system wherein the workers are paid cash for specific tasks but are not consistently involved in the process of agricultural production from beginning to end—Steinbeck sees a problematic relation between the workers and the land that they work.

This problem provides the central thematic concern for Of Mice and Men. To be sure, it is a story about dreaming of the future, and this is often the thematic thread which first gets picked up in discussions of the novella. But Of Mice and Men is not simply about dreaming in general, for the nature of the dream at the center of this story is specifically related to Steinbeck's critical understanding of a specific aspect of society in his contemporary California. The rootlessness and alienation which Steinbeck sees in the lives of California's migrant farm laborers are the real social conditions which he chooses to structure his story, and they thus must be considered as primary thematic concerns of the novella; that is to say, George and Lennie's dream is specifically necessitated by and responds directly to the limitations placed on their lives, and their story is meant to illuminate the social conditions which Steinbeck seeks to critique. As in all Social Realist literature, this direct engagement with the actual world in all its specificity must be rigorously considered in any thorough reading.

When the reader meets George and Lennie, their nomadic existence is one of the first things Steinbeck establishes. They have just come from the town of Weed, where they have been temporarily employed but where Lennie has gotten into trouble for scaring a young girl. They have escaped from the angry townspeople and now George is going to try to secure a new job for them on a farm near Soledad, hundreds of miles to the south. Further details here accentuate the hard travelling, the ceaseless moving that the two constantly have to undertake. For example, as they pause by the river in the opening pages George mentions that the bus they were on had left them ten miles short of their destination, forcing them to walk the rest of the way Page 255  |  Top of Articleto the farm where they are not even sure they will find work. When they do arrive and are about to be taken on, George is given the bunk of a man who, as Candy indifferently says, had "just quit, the way a guy will.… Just wanted to move. Didn't give no other reason but the food. Just [said] 'gimme my time' one night, the way any guy would." Walking for miles, finding a bit of work, sleeping in a bunk house and disappearing one day, these are the exemplary images of the itinerant worker's life, the details with which Steinbeck strategically develops a precise setting and milieu for George and Lennie's story.
Against the exposition of the itinerant laborer's lonely life of moving and working, Steinbeck counterposes the dream that George and Lennie share. As mentioned above, it is not just any dream, or even simply the dream of a better life. In the opening chapter, when George repeats (as he often does) the story for Lennie he begins not by talking about their own individual plans but rather about the state of many men like them. He says: "Guys like us, that work on ranches, are the loneliest guys in the world. They got no family. They don't belong no place. They come to a ranch an' work up a stake and then they go inta town and blow their stake, and the first thing you know they're poundin' their tail on to some other ranch. They ain't got nothing to look ahead to." This is the kind of life that George and Lennie dream of leaving, and, as George suggests, the hardships of that life have primarily to do with solitude and with not having a stable place or enough money to maintain oneself. But George and Lennie have other plans for themselves. A few moments later:

Lennie broke in. "But not us! An' why? Because … because I got you to look after me, and you got me to look after you, and that's why." He laughed delightedly. "Go on now, George!" …

"O.K. Someday—we're gonna get the jack together and we're gonna have a little house and a couple of acres an' a cow and some pigs and—

"An' live off the fatta the lan'," Lennie shouted.

George then goes on to describe their modest farm, the security and freedom of having their own piece of land, and the way they will be able to work for themselves instead of for an occasional wage. A reading of these particular desires and ambitions which George and Lennie cling to, and of the particular things they want to overcome, suggests that Steinbeck rather than writing a story about "dreaming" or "hoping" in general is instead making a very precise and pointed critique of certain aspects of what it is like for many people to live in California, and, by extension, American society. More specifically, Of Mice and Men is a critique of the plight of a certain stratum of that society—the landless, poor, agricultural workers—and in the figures of George and Lennie, Steinbeck tries to dramatize on an individual level the tragic story of an entire class of people.

It is worth noting that in the story George and Lennie's dream is by no means unique to them, for it proves also to be the dream of every ranch hand to whom they tell it; Candy and Crooks, for example, each ask if they can join in on the plan. Candy, of course, is accepted, while Crooks seems to have second thoughts (Steinbeck also devotes a large part of one chapter to the figure of Crooks, and to a critical exposition of racism in rural Califomia). The characters in Of Mice and Men then can be seen as archetypal insofar as their story is meant to be understood as emblematic of a larger, nonfictional story. They represent the people who work on the farms and in the factories but do not own any part of them, people who earn a wage and have little or nothing more. And in constructing the novella this way Steinbeck wants to draw the readers attention to what he sees as certain urgent and widespread social problems. This sort of direct engagement with social concerns is typical of fiction within the Social Realist tradition.

Even the dramatic climax of the story must be interpreted with an eye toward the social. Curley's wife is the catalyst for Lennie's tragic end, and through most of the story she appears as a purely menacing figure—an ominous portent, one might say. But as she recounts her personal history to Lennie the reader realizes that she, too, must be understood within the context of her surroundings. We see that insofar as she is constrained by unjust social norms, she is not unlike the figures of George and Lennie and Crooks. In her life she is trapped first by her mother's tyranny and the claustrophobia of small town Salinas (Steinbeck's own hometown), and then by her unfortunate marriage to Curley, whom, she tells Lennie, she does not even like. Her actions and her catastrophic role in the story are thus understood not simply as willful destructiveness and licentiousness, or even as the workings of an abstract "tragic fate." Her role is more concrete and complex: her actions and the events resulting from them are likewise the negative up-shot of the specific norms and practices which govern society and contemporary life (in her case, the normative models of family and marriage). The novella's ending, then, further develops and indeed emphasizes Steinbeck's analysis of the ways social Page 256  |  Top of Articleconventions and practices can have detrimental effects on the lives of people within that society.

Steinbeck's debt to and lineage from Social Realist and Naturalist fiction, then, is made clear through a reading of the way he constantly places his characters and narrative within the context of very specific and, more importantly, actual social situations. The narrative of Of Mice and Men—from George and Lennie's hopeful dreaming to the calamitous end to those dreams—is founded upon a rigorous analysis and critique of the encompassing structures of social organization and the ways they affect the people who must live within them.

Source: Kevin Attell, in an essay for Novels for Students, Gale, 1997.

Source B
Thomas Scarseth

In the following excerpt, Scarseth argues that despite being short and easy to read, Of Mice and Men provides excellent examples of theme, character, and symbol.

For Of Mice and Men is a Tragedy, a tragedy not in the narrow modern sense of a mere 'sad story' (though it certainly is that), but a tragedy in the classic Aristotelian/Shakespearean sense of showing humanity's achievement of greatness through and in spite of defeat.

Some people seem to believe that the function of literature is to provide vicarious "happy endings," to provide in words a sugary sweetness we would like to have but cannot always get in real life. To such people, true literary tragedy is distasteful. But the greatest writers and the best readers know that literature is not always only mere sugar candy; it can sometimes be a strong medicine: sour perhaps—at least to the untrained taste—but necessary for continued health[.]…

Some readers may object to the book's presentation of low class characters, vulgar language, scenes suggestive of improper sexual conduct, and an implied criticism of the social system. But none of this is presented indecently, or beyond the ordinary norms of contemporary literature. Compared to many modern works, (or to movies and TV) this book is tame indeed. Furthermore, these features are necessary in this book in two ways.

First, they are part of the accurate precise reporting of the reality of a particular time and place and environment. Part of Steinbeck's literary point is that this is true to life. As such, the dirty details are part of Steinbeck's enlargement of the realm of Tragedy, the democratization of the tragic world. Traditionally, the subjects of Tragedies have been Kings and other Great Ones: Job, Oedipus, Lear. But Steinbeck's point—a truly American point—is that all men are created equal: Tragedy exists even among the lowly of the earth; even the least of us—even a Lennie or a George—has the human potential for tragic nobility. Of Mice and Men is a tragedy in the modern tradition of The Hairy Ape and Death of a Salesman.

Second, the grossness is a way of presenting briefly the complex turmoil of life. This book is not stereotype melodrama. It is not a simpleminded book. There are no purely bad people in it. Conversely, there are no purely good people in it either. All the characters are complex mixtures of good and bad, or rather of bad results from good intentions. They are all—in their ability and in their outlook—limited. And they live in a gross and dirty world. Given their position in that world, they are not able to achieve much. But they are trying to do the best they can; they are trying to be good people and to have good lives. They have good intentions. They have noble aims.

The tragedy is that, limited as the characters are, the world they live in is even more limited; it is a world in which the simplest dream of the simplest man—poor dumb big Lennie—cannot come true. "The best laid plans of mice andmen gang oft a-glae [go oft a-stray]," wrote Robert Burns in the poem which provides the book's title and its theme. And Steinbeck's story shows why: The best laid plans go oft astray because they come in conflict with one another. The simplest good intention—simply to stay alive—of a simple mouse, a simple pup, a simple young woman, is thwarted by Lennie's urge to pet something soft and beautiful. Lennie's drive to touch beauty kills the things he loves.

But his problem is the same problem that bothers Curley, the Boss's son, the closest thing to a villain in the book. Like Lennie, Curley doesn't know how to hold on to what he finds important: his young wife, his status as the Boss's son, his reputation as a man. He loses each by trying to hold on too tightly. Curley's aim to be a respected husband/boss/man is foiled by his own limited abilities.

The similar but simpler aim of Lennie and George to have a small place of their own where they can "live offa the fatta the lan " is doomed to frustration also by their own limitations and the tragic chain of circumstance and coincidence that ends with Lennie dead by George's hand.

The point, of course, is that they all—we all—live in a too limited world, a world in which not Page 257  |  Top of Articleall our dreams can come true, a world in which we—all of us some of the time and some of us all the time—are doomed to disappointment. The tragic dilemma is that for our basic humanity, for the goodness of our aims, we all deserve better than we get. But because of our human limitations, by our weaknesses of character, none of us is ever good enough to earn what we deserve. Some philosophers, seeing this dilemma, pronounce profound pessimism for humanity. Some religions promise for this world's disappointments supernatural intercession and other-worldly compensations. The tragic viewpoint (the view of Shakespeare, the Greek tragedians, the Old Testament Job, and John Steinbeck) finds in it the chance for nobility of soul: even in the blackest of disappointments, a human can achieve individual greatness. One may be defeated physically—but one need not be crushed spiritually. One can remain true to one's dream and true to one's friend. We humans may die, but we can love one another.

Friendship. Love. That too is what Of Mice and Men is all about. Lennie and George, disparate types, are, against all good reason, friends. They share a good dream. They love one another. They are too limited, too inarticulate, to know how to say it, but they do show it—or rather Steinbeck shows it to us readers.

So the book treats the great themes of Dreams and Death and Love with simple powerful clarity. It does so with a classically elegant structure—another reason for using the book as a teaching tool: it allows a reader—especially an untrained or beginning reader of literature—to see (or be shown) how structure supports and presents content. OfMice and Men has the classic situation/complication/twist/and/resolution plot structure uncluttered by diversions, distractions, or subplots. There is an inevitableness, a starkness that makes the point of the story unavoidable.

The story has the classic unities of time and place and action. It begins in a small spot of beautiful nature, a secluded camp in the woods by a stream; it moves to the buildings of a California ranch, and ends back in the woods by the stream.

The style is simple: clear, direct sentences of description and action, direct quotation of the speech of simple people. Few long words, no hard words.

The action is simple: two poor and vagrant workers, big, dumb Lennie and small, clever George, take jobs at a large ranch. Lennie has trouble with the Boss's son, Curley. Lennie accidentally—more or less—kills Curley's wife. George kills Lennie to save him from the horrors of a lynch mob led by Curley, bent on revenge.

The settings are simple in detail, and simply powerfully symbolic. The secluded spot in the woods by the stream is the uncomplicated world of Nature; the bunkhouse is the bleak home of hired working men trying to make sense of their lives and gain comfort in a limited environment; the barn is the place of working life, of seed and harvest, birth and death; the harness room with Crook's bunk symbolizes social constraints; the "little place of our own" about which George and Lennie dream and all too vaguely plan is the Paradise on earth we all hope for.

The characters, too, are simple yet significant. "Begin with an individual, and before you know it you find you have created a type," wrote F. Scott Fitzgerald; "begin with a type, and you find that you have created—nothing." Steinbeck begins with individuals: clearly and sharply crafted characters, a whole set of individuals who are so clearly realized that each—without surrendering individuality—becomes a type, an archetype, a universal character: There is Candy, the old, one-armed worker with no place to go, as useless as his toothless dog; there is Carlson, gruffly and deliberately "unfeeling," who can coolly kill old Candy's ancient dog simply because "he stinks" and "he ain't no good to you"; and there is Crooks, the dignified "proud and aloof but helpless and lonely victim of racial discrimination. There is Slim, calm, reasonable, compassionate, the real leader of men. And there is Curley, the arrogant but inept Boss's son. The man who could lead well does not have the position; the one who has the position and the authority is not a true leader.

Curley hides his insecurities behind a mask of macho toughness. His competitive bravado makes him push too far and Lennie, after enduring much, is given permission by George to "get him." Lennie in self-protection crushes Curley's fist in his own big hand, crippling Curley somewhat as Candy and Crooks have been crippled by the punitive harshness of life.

Curley is also the one man who has a woman. But clearly he does not—does not know how to—relate to her as a person. She is to him a thing, a possession, a sex-object and a status symbol. For the men, in braggadocio, he flaunts the sexuality of the relationship; and yet, out of his own self-doubts he is intensely jealous of the men's awareness of her.

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The young woman has no name—she is merely "Curley's wife." She knows she wants—and somehow deserves—something better than this. "I don't like Curley," she says of her husband. She has grandiose ambitions of being a Hollywood star "in the pitchers." She is a lost little girl in a world of men whose knowledge of women is largely limited to memories of kind old ladies and rumors of casual prostitution. All these men are afraid of Curley's wife, afraid and aware that her innocent animal appeal may lead them into temptation and trouble. In self-protection they avoid her. Only Lennie, in naive goodness, actually relates to her as a person to a person. She talks to him. For a little time they share in their aesthetic sense; they both admire beauty. Unfortunately, she is too naive, and Lennie is too strong and clumsy. In trying—at her invitation—to pet her lovely hair he is panicked by her quick resistance, and ends by killing her. Just as he had earlier killed a puppy and a mouse. Curley's wife, a naive Romantic, wants love and tenderness in a harsh crude Naturalistic world; Lennie, big and ignorant, tries to give love. But he is too weak in the mind, too strong in the body. His tenderness is too powerful for weaker, unsuspecting creatures.

We readers can identify with Lennie. We sympathize; we empathize. We care. We have—most of us—been in his position; not quite able to cope with the complexities of the world around us, wanting only security, peace, comfort, and something soft and beautiful to pet and love.

Perhaps one reason that this book has evoked controversy and censorious action is that it is so simple and clear and easy to understand—and so painful! It hurts to read this book. And some people don't like their books to hurt them; they want soothing. But great Tragedy is meant to hurt. One needn't subscribe wholly to the Aristotelian doctrine of 'catharsis' by Art to see that one function of literature is to help us deal with the pain of real life by practicing with the vicarious pains of tragic art.

Of course Of Mice and Men contains unpleasant attitudes; there is brutality, racism, sexism, economic exploitation. But the book does not advocate them; rather it shows that these too-narrow conceptions of human life are part of the cause of human tragedy. They are forces which frustrate human aspiration.

Lennie and George have a noble dream. They are personally too limited to make it come true, but they do try. They try to help each other, and they even enlarge their dream to include old one-handed Candy and crippled black Crooks. Theirs is the American Dream: that there is somehow, somewhere, sometime, the possibility that we can make our Paradise on earth, that we can have our own self-sufficient little place where we can live off the fat of the land as peaceful friends.

What is sad, what is tragic, what is horrible, is that the Dream may not come true because we are—each and all of us—too limited, too selfish, too much in conflict with one another. "Maybe ever'-body in the whole damn world is scared of each other," says Slim. And George expresses the effects of loneliness, "Guys that go around … alone … don't have no fun. After a long time they get mean. They get wantin' to fight all the time."

What is ennobling in this tragedy of mice and men is the Revelation of a way beyond that loneliness and meanness and fighting, a way to rise above our human limitations: Two men—Lennie and George—who have nothing else, do have each other. "We kinda look after each other." says George. And they do have their Dream. And the Dream is there even in the final defeat. For in the end the one thing George can do for Lennie is to make sure he's happy as he dies. He has Lennie "look acrost the river … you can almost see [the place]." And as Lennie says, "Let's get that place now," George kills him mercifully. It's a horrible thing to do, and George knows that. And we know that. But in this limited world in this limited way it is all that George can do for his friend. And he does it. That is the horror and the nobility which together make up Tragedy. The Tragic pattern closes. There is a sense of completeness, of both defeat and satisfaction.

In Of Mice and Men, Steinbeck has shown us something about the pain of living in a complex human world and created something beautiful from it. In true great literature the pain of Life is transmuted into the beauty of Art. The book is worth reading for a glimpse of that beauty—and worth teaching as a way to show others how such beauty works.

Source: Thomas Scarseth, "A Teachable Good Book: Of Mice and Men," in Censored Books: Critical Viewpoints,edited by Nicholas J. Karolides, Lee Burress, and John M. Kean, Scarecrow Press, 1993, pp. 388–94.

Source C
Peter Lisca

In the following excerpt, Lisca details Steinbeck's use of "symbol, action, and language" in Of Mice and Men.

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Shortly after sending off the manuscript for Of Mice and Men, Steinbeck wrote to his agents, "I'm sorry that you do not find the new book as large in subject as it should be. I probably did not make my subjects and symbols clear. The microcosm is difficult to handle and apparently I did not get it over." Despite the agents' initial disappointment,Of Mice and Men became a great success as novel, play, and motion picture. That Steinbeck's audience found his "subjects and symbols clear" is doubtful; that the critics did not is certain. For the most part, those critics who saw nothing beyond the obvious plot disliked the work immensely. Those who suspected more important levels of meaning were unable to offer specific and thorough explication. Today, almost twenty years later, it is generally accepted that the success of Of Mice and Men was an accident of history: Steinbeck merely cashed in on his audience's readiness to shed a tear, even a critical tear, over the plight of lonely migrant laborers. As one critic put it ten years later, "This is a negligible novel, seemingly written with a determined eye on the cash register" [George D. Snell, in his The Shapers of American Fiction, 1947].

This essay is a much belated attempt to discover just what Steinbeck's "subjects and symbols" are and how they are utilized in Of Mice and Men, which he once referred to as "a study of the dreams and pleasures of everyone in the world."

To present his larger subject in terms of a microcosm Steinbeck makes use of three incremental motifs: symbol, action, and language. All three of these motifs are presented in the opening scene, are contrapuntally developed through the story, and come together again at the end. The first symbol in the novel, and the primary one, is the little spot by the river where the story begins and ends. The book opens with a description of this place by the river, and we first see George and Lennie as they enter this place from the highway to an outside world. It is significant that they prefer spending the night here rather than going on to the bunkhouse at the ranch.

Steinbeck's novels and stories often contain groves, willow thickets by a river, and caves which figure prominently in the action. There are, for example, the grove in To a God Unknown, the place by the river in the Junius Maltby story, the two caves and a willow thicket in The Grapes of Wrath, the cave under the bridge in In Dubious Battle,the caves in The Wayward Bus, and the thicket and cave in The Pearl. For George and Lennie, as for other Steinbeck heroes, coming to a cave or thicket by the river symbolizes a retreat from the world to a primeval innocence. Sometimes, as in The Grapes of Wrath, this retreat has explicit overtones of a return to the womb and rebirth. In the opening scene of Of Mice and Men Lennie twice mentions the possibility of hiding out in a cave, and George impresses on him that he must return to this thicket by the river when there is trouble.

While the cave or the river thicket is a "safe place," it is physically impossible to remain there, and this symbol of primeval innocence becomes translated into terms possible in the real world. For George and Lennie it becomes "a little house an' a couple of acres." Out of this translation grows a second symbol, the rabbits, and this symbol serves several purposes. By the figure of synecdoche it comes to stand for the "safe place" itself, making a much more easily manipulated symbol than the "house an' a couple of acres." Also, through Lennie's love for the rabbits Steinbeck is able not only to dramatize Lennie's desire for the "safe place," but to define the basis of that desire on a very low level of consciousness—the attraction to soft, warm fur, which is for Lennie the most important aspect of their plans.

This transference of symbolic value from the farm to the rabbits is important also because it makes possible another motif, the motif of action. This is introduced in the first scene by the dead mouse which Lennie is carrying in his pocket (much as Tom carries the turtle in The Grapes of Wrath). As George talks about Lennie's attraction tomice, it becomes evident that the symbolic rabbits will come to the same end—crushed by Lennie's simple blundering strength. Thus Lennie's killing of mice and later his killing of the puppy set up a motif of action, a pattern, which the reader expects to be carried out again. George's story about Lennie and the little girl with the red dress, which he tells twice, contributes to this expectancy of pattern, as does the shooting of Candy's dog, the crushing of Curley's hand, and the frequent appearances of Curley's wife. All these actions are patterns of the micemotif and predict the fate of the rabbits and thus the fate of the dream of a "safe place."

The third motif, that of language, is also present in the opening scene. Lennie asks George, "Tell me—like you done before," and George's words are obviously in the nature of a ritual. "George's voice became deeper. He repeated his words rhythmically, as though he had said them many times before." The element of ritual is Page 260  |  Top of Articlestressed by the fact that even Lennie has heard it often enough to remember its precise language: "'An' live offthe fatta the lan'.… An' have rabbits. Go on George! Tell about what we're gonna have in the garden and about the rabbits in the cages and about.…'" This ritual is performed often in the story, whenever Lennie feels insecure. And of course it is while Lennie is caught up in this dream vision that George shoots him, so that on one level the vision is accomplished—the dream never interrupted, the rabbits never crushed.

The highly patterned effect achieved by these incremental motifs of symbol, action, and language is the knife edge on which criticism of Of Mice and Men divides. Mark Van Doren, for example, sees this patterning of events as evidence of a mechanical structure: "Lennie, you see, cannot help shaking small helpless creatures until their necks are broken, just as Curley cannot help being a beast of jealousy. They are wound up to act that way, and the best they can do is to run down; which is what happens when Steinbeck comes to his last mechanical page" ["Wrong Number," The Nation CXLIV (6 March 1937)]. This view is shared by Joseph Wood Krutch, who insists [in his The American Drama since 1918, 19391 that "everything from beginning to end" is "as shamelessly cooked up as, let us say, the death of Little Nell." On the other hand, Mr. Stark Young sees this patterning as a virtue: "And instead of losing … by this evident manipulation for effect, the play gains in its total impact and imaginative compulsion. In the characters, too, we get a sense of arrangement or design, so definitely carried through that we have almost a sense of types, an almost classic designation and completeness to each" ["Drama Critics Circle Award," The New Republic XCIV (4 May 1938)]. Frank H. O'Hara comes to a similar conclusion [in his Today in American Drama,1939], though admitting that "the constituents of melo-drama are all here."

Thus while Steinbeck's success in creating a pattern has been acknowledged, criticism has been divided as to the effect of this achievement. On one side it is claimed that this strong patterning creates a sense of contrivance and mechanical action; and on the other that the patterning actually gives a meaningful design to the story, a tone of classic fate. What is obviously needed here is some objective critical tool for determining under what conditions a sense of inevitability (to use a neutral word) should be experienced as catharsis effected by a sense of fate, and when it should be experienced as mechanical contrivance. Such a tool cannot be forged within the limits of this study; but it is possible to examine the particular circumstances of Of Mice and Men more closely than has been done in this connection.

Although the three motifs of symbol, action, and language build up a strong pattern of inevitability, the movement is not unbroken. About midway in the novel (chapters 3 & 4) there is set up a counter movement which seems to threaten the pattern. Up to this point the dream of "a house an' a couple of acres" has seemed impossible of realization; the motifs have been too insistent. But now it develops that George has an actual farm in mind (ten acres), knows the owners and why they want to sell it: " 'The ol' people that owns it is flat bust an' the ol' lady needs an operation." He even knows the price—"'six hundred dollars.'" Also, the maimed workman, Candy, is willing to buy a share in the dream with the three hundred dollars he has saved. It appears that at the end of the month George and Lennie will have another hundred dollars and that quite possibly they "'could swing her for that.'" In the following chapter this dream and its possibilities are further explored through Lennie's visit with Crooks, the power of the dream manifesting itself in Crooks' conversion from cynicism to optimism. But at the very height of his conversion the mice symbol reappears in the form of Curley's wife, who threatens the dream by bringing with her the harsh realities of the outside world and by arousing Lennie's interest.

The function of Candy's and Crooks' interest and the sudden bringing of the dream within reasonable possibility is to interrupt, momentarily, the pattern of inevitability. But, and this is very important, Steinbeck handles this interruption so that it does not actually constitute a reversal of the situation. Rather, it insinuates a possibility. Thus, though working against the pattern set up by the motifs, this counter movement makes that pattern more aesthetically credible by creating the necessary ingredient of free will. The story achieves power through a delicate balance of the protagonists' free will and the force of circumstance.

In addition to imposing a sense of inevitability, this strong patterning of events performs the important function of extending the story's range of meanings. This can best be understood by reference to Hemingway's "fourth dimension," which has been defined by Joseph Warren Beach as an "aesthetic factor" achieved by the protagonists' repeated participation in some traditional "ritual or strategy," and by Malcolm Cowley as "the almost Page 261  |  Top of Articlecontinual performance of rites and ceremonies" suggesting recurrent patterns of human experience. The incremental motifs of symbol, action, and language which inform Of Mice and Men have precisely these effects. The simple story of two migrant workers' dream of a safe retreat, a "clean well-lighted place," becomes itself a pattern or archetype.

Thus while John Mason Brown [in his Two on the Aisle, 1938] calls the play "one of the finest, most pungent, and most poignant realistic productions," Frank H. O'Hara says that "… we are likely to come away with more … feelings for the implications of the story than the story itself… sketching behind the individual characters the vast numbers of other homeless drifters who work for a toe hold in a society which really has no place for them." [In "Steinbeck of California," Delphian Quarterly XXIII (April 1940)] Carlos Baker sees the book as an allegory of Mind and Body. Edmund Wilson calls the book "a parable which criticizes humanity from a non-political point of view" [ The Boys in the Back Room, 1941]. The French critic, Mme. Claude-Edmonde Magny sees George and Lennie as "I'homme et le monstre," or "la conscience et l'humanité" [L'Age du roman amé'ricain, 1948].

As these remarks make clear, three levels have been observed in Of Mice and Men. There is the obvious story level on a realistic plane, with its shocking climax. There is also the level of social protest, Steinbeck the reformer crying out against the exploitation of migrant workers. The third level is an allegorical one, its interpretation limited only by the ingenuity of the audience. It could be, as Carlos Baker suggests, an allegory of Mind and Body. Using the same kind of dichotomy, the story could also be about the dumb, clumsy, but strong mass of humanity and its shrewd manipulators. This would make the book a more abstract treatment of the two forces in In Dubious Battle—the mob and its leaders. The dichotomy could also be that of the unconscious and the conscious, the id and theego, or any other forces or qualities which have the same structural relationship to each other as do Lennie and George. It is interesting in this connection that the name Leonard means "strong and brave as a lion," and that the name George, of course, means "husbandman."

The title itself, however, relates Of Mice and Men to still another level which is implicit in the context of [Robert] Burns' poem:

But, Mousie, thou art no thy lane,

In proving foresight may be vain:

The best laid schemes o' mice and men

Gang aft a-gley

An' leave us nought but grief an' pain

For promis'd joy.

In the poem Bums extends the mouse's experience to include mankind; in Of Mice and Men Steinbeck extends the experience of two migrant workers to the human condition. "This is the way things are," both writers are saying. On this level, perhaps its most important, Steinbeck is dramatizing the non-teleological philosophy which had such a great part in shaping In Dubious Battle and which was to be explicated in Sea of Cortez. This level of meaning is also indicated by the book's tentative title while it was in progress—"Something That Happened." In this light, the ending of the story is, like the ploughman's disrupting of the mouse's nest, neither tragic nor brutal but simply a part of the pattern of events. It is amusing in this regard that a Hollywood director suggested to Steinbeck that someone else kill the girl so that sympathy could be kept with Lennie.
Source: Peter Lisca, "Motif and Pattern in Of Mice and Men," in Modern Fiction Studies, winter, 1956–57, pp. 228–34.

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