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"The first man was small and quick, dark of face, with restless eyes and sharp, strong features. Every part of him was defined: small, strong hands, slender arms, a thin and bony nose." This shows characterization through describing the character of George putting emphasize on his small stature and strong hands.

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"Behind him walked his opposite, a huge man, shapeless of face, with large, pale eyes, and wide, sloping shoulders; and he walked heavily, dragging his feet a little . . . His arms did not swing at his sides, but hung loosely." This shows characterization through describing Lenny letting the reader know that he is Georges opposite in his stature.

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A peaceful, attentive man, Slim is depicted as shrewd and the genuine power figure on the farm. While different laborers tune in to the chief and Curley on the grounds that they need to, they tune in to Slim in light of the fact that they regard him as a specialist and personally. He tenderly persuades Candy that the time has come to surrender his canine, and might be mostly liable for George's activity toward the finish of the story. Thin is the main character on the farm who comprehends the connection among Lennie and George

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The ranch hand who suggests the killing of Candy's dog, Carlson comes across as a bitter and self-centered man. He expresses society's view that the old and "crippled" are of no practical use and can easily be eliminated.

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"The curls, tiny little sausages, were spread on the hay behind her head, and her lips were parted." (pg 93)This is an example of a metaphor because there is not actually little sausages spread on the hay behind her it is just to express the meaning deeper.

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"The sycamore leaves whispered in a little night breeze." (pg 16)This is a example of personification in the book because it is giving the wind human characteristics since the wind really can whisper

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"Suddenly Lennie appeared out of the brush, and he came as silently as a creeping bear moves." (pg 100) This is a prime example of the use of a simile in the book since it is comparing two things using like or as

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"The shade climbed up the hills toward the top." (pg 2) This example of personification on page two show's how it can be used to describe everyday things because obviously the shade cant climb it just means that it was getting dark.

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"Guys like us, that work on ranches, are the loneliest guys in the world. They got no family. They don’t belong no place. . . . With us it ain’t like that. We got a future. We got somebody to talk to that gives a damn about us. We don’t have to sit in no bar room blowin’ in our jack jus’ because we got no place else to go. If them other guys gets in jail they can rot for all anybody gives a damn. But not us." At the end of Section 1, preceding George and Lennie arrival at the farm, they camp for the night in a delightful clearing and George guarantees Lennie of their extraordinary relationship. In this section, George clarifies their fellowship, which frames the core of the work. In Of Mice and Men, Steinbeck admires male companionship, recommending that they are the most stately and fulfilling approach to defeat the depression that infests the world.

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“S’pose they was a carnival or a circus come to town, or a ball game, or any damn thing.” Old Candy nodded in appreciation of the idea. “We’d just go to her,” George said. “We wouldn’t ask nobody if we could. Jus’ say, ‘We’ll go to her,’ an’ we would. Jus’ milk the cow and sling some grain to the chickens an’ go to her.”  In Section 3, George portrays their vision of the homestead to Candy. From the outset, when Candy catches George and Lennie examining the ranch they plan to purchase, George is monitored, advising the elderly person to stay out of other people's affairs. Notwithstanding, when Candy presents his life investment funds for an up front installment on the property, George's vision of the homestead turns out to be considerably more genuine.

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"A guy sets alone out here at night, maybe readin’ books or thinkin’ or stuff like that. Sometimes he gets thinkin’, an’ he got nothing to tell him what’s so an’ what ain’t so. Maybe if he sees somethin’, he don’t know whether it’s right or not. He can’t turn to some other guy and ast him if he sees it too. He can’t tell. He got nothing to measure by. I seen things out here. I wasn’t drunk. I don’t know if I was asleep. If some guy was with me, he could tell me I was asleep, an’ then it would be all right. But I jus’ don’t know." Crooks expresses these words to Lennie in Section 4, on the night that Lennie visits Crooks in his room. The old helper admits to the very dejection that George portrays in the initial pages of the novella. As a person of color with an actual impediment, Crooks is compelled to live on the fringe of farm life. He isn't permitted to enter the white men's bunkhouse, or go along with them in a round of cards. His disdain regularly comes out through his harsh, acidic mind, however in this entry he shows a dismal, contacting weakness. Hoodlums' craving for a companion by whom to "measure" things echoes George's prior portrayal of the life of a transient specialist. Since these men feel such depression, it isn't astonishing that the guarantee of a ranch and a daily existence loaded up with solid, charitable bonds holds such appeal.

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"I seen hundreds of men come by on the road an’ on the ranches, with their bindles on their back an’ that same damn thing in their heads . . . every damn one of ’em’s got a little piece of land in his head. An’ never a God damn one of ’em ever gets it. Just like heaven. Ever’body wants a little piece of lan’. I read plenty of books out here. Nobody never gets to heaven, and nobody gets no land." In this entry from Section 4, after Lennie shares with Crooks his arrangement to purchase a homestead with George and raise hares, Crooks attempts to collapse Lennie's expectations. He relates that "hundreds" of men have gone through the farm, every one of them with dreams like Lennie's. Not one of them, he stresses with harshness, ever figures out how to make that fantasy work out. Hooligans infuses the scene with a feeling of the real world, reminding the peruser, if not the innocent Lennie, that the fantasy of a ranch is, all things considered, just a fantasy. This second builds up Crooks' character, indicating how a long period of forlornness and persecution can show as savagery. It likewise advances Steinbeck's upsetting perception that the individuals who have strength and force on the planet are by all account not the only ones answerable for abuse. As Crooks shows, even the individuals who are abused search out and assault the individuals who are much more fragile than they.

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The significant individual versus individual clash shows up in Chapter Three when Lennie, who has been guiltlessly grinning over the fantasy of the homestead, is tested and assaulted by Curley, who beats Lennie severely, until George gives Lennie the sign to battle. The seeds of the contention are set up in Chapter Two, when George and Lennie initially meet the hostile manager's child. The contention is significant in light of the fact that it sets up the anger for vengeance which overwhelms Curley in the book's last two sections.

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The major inward clash (individual versus self) of the book is inside George. He cherishes his companion Lennie, yet after the occurrence in the animal dwellingplace with Curley's significant other, George is not, at this point ready to stand up for Lennie. Toward the finish of Chapter Five, he begs Curley to disregard Lennie and not hurt him, yet Curley, bowed on retribution, won't hear it. As opposed to let Lennie fall under the control of Curley or the Sheriff, something Lennie could never comprehend, George takes Carlson's firearm and fires his companion. Just Slim appears to comprehend George's contention toward the finish of the book when he tells George, "You hadda George. I swear you hadda."

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external conflict happens between two characters or a character and some other outside power. Lennie encounters an outside clash with Curley when Curley provokes him after he misjudges Lennie's giggling. Curley deciphers Lennie's apprehensive propensity as a joke of Curley's uncertainty about his significant other and hits Lennie out of frustration; Lennie reacts in kind, which prompts an actual squabble, or strife, between the two men.

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Internal conflict happens inside a character. George encounters inner clash toward the finish of the novella when he learns of Lennie's incidental homicide of Curley's significant other and chooses to be the one to allot Lennie's outcome. In spite of the fact that George realizes that Lennie didn't expect to cause such mischief, George likewise realizes that Lennie's karma has run out and that Lennie should be rebuffed for his activities. George thinks about Lennie, so he decides to be the one to do the discipline, however his sensations of companionship for Lennie struggle with the brutality of the move George should make to guarantee equity is served.

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Of Mice and Men shows a troubling exercise the idea of human life. Essentially the entirety of the characters, including George, Lennie, Candy, Crooks, and Curley's significant other, concede, at some time, to having a significant feeling of dejection and segregation.

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Each wants the solace of a companion, yet will make due with the mindful ear of an outsider. Curley's better half confesses to Candy, Crooks, and Lennie that she is despondently hitched, and Crooks discloses to Lennie that life is nothing but bad without an ally to go to in the midst of disarray and need

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The characters are delivered powerless by their segregation, but, even at their most fragile, they look to devastate the individuals who are much more vulnerable than they. Maybe the most impressive illustration of this barbarous propensity is when Crooks scrutinizes Lennie's fantasy of the homestead and his reliance on George

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Having recently conceded his own weaknesses—he is a person of color with a warped back who aches for friendship—Crooks zeroes in on Lennie own shortcomings. In scenes, for example, this one, Steinbeck records a significant human truth: abuse doesn't come uniquely from the hands of the solid or the incredible.

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In the absolute starting point of the story, we gain from the setting which is set around of Soledad, which means formlessness. Thus, the tone is dismal, damned, defenseless and shocking. Generally, the tone of this novel is straightforward, thoughtful and sensible. Steinbeck appears to be thoughtful towards his characters, anyway he won't bring a glad end for them. He shows differentiation of genuine universe of restricted sources, neediness, human prejudice, restricting social parts with the fantasy universe of self-sufficiency, abundance, opportunity and companionship.

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Of Mice and Men's tone is reliably grave, and turns heartbreaking as the end approaches. From the earliest starting point, this weight of tone makes a feeling of looming, unpreventable destruction. For instance, George and Lennie are first depicted as wearing "dark, undefined" attire, and one of the primary discussions they have is about the dead mouse in Lennie's pocket. Indeed, even the pure, green setting where the novella starts can't conquer the feeling of death that follows these characters. As the story proceeds, the grave idea of the characters' every day lives turns out to be significantly more evident: George gets a lice-invaded bunk, Carlson shoots Candy's old canine, Crooks lives in the confined stable, Lennie incidentally kills a pup. The portrayals of the day to day environments in which these helpless specialists end up add to the serious tone all through, and the tone turns sad as these conditions constrain George to kill Lennie.

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The extraordinary earnestness of the books tone every so often spills into wistfulness. For example, Crooks' eyes "sparkle with force," George falls "grimly quiet," and Curley's significant other is depicted after her demise as having "the unpleasantness and the plannings and the discontent and the throb for consideration" leave her face. These portrayals seem exaggerated contrasted with the frequently unrefined and rough exchange of the characters, uplifting the gravity of the novella's storyteller. The tone turns most wistful when George and Lennie examine their arrangements to one day purchase a ranch together and choose their own property, discussing the bunnies they will possess and the wonderful things they will fill in their nursery. The wonderful tone of their fantasy not just differences with the cruelty of their genuine farm hand lives, yet romanticizes the intimate connection between these two partners who expect to stay together to the end.

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Lennie groaned with grief...."I might jus' as well go away. George ain't gonna let me tend no rabbits now." The rabbit he repeated...."He gonna leave you, ya crazy bastard..." Lennie put his hands over his ears. "He ain't, I tell ya he ain't." And he cried, "Gracious! George- - George- - George!" Indeed, with the demise of Curley's better half and the passing of the fantasy about possessing a farm, the lives of Lennie, George, and Candy are absolutely ones of distress. Hence, the general mind-set Of Mice and Men is a dim and negative one wherein the men are nevertheless pawns of a heartless world.