Of Mice and Men: Explore Your Action to Curley’s Other half
My preliminary response to the character of Curley’s better half was that of extreme dislike- I found Steinbeck to subtly bias us, as readers, against her, prior to she even made a physical look in the text. Upon reflection, I perceive Curley’s wife in some methods to be the most important figure in the novel- she is a key sign of temptation, and most of the story’s primary underlying themes: dreams, seclusion and isolation, for example, can be associated with her in some method.
To a degree, she can be blamed for the dreadful result of events, although technically, she disappears culpible than any of the other characters for what happens. The first thing that struck me about Curley’s spouse was that we never discover her real name. Without exception, she is constantly described in direct relation to Curley. I find this to be very crucial for a variety of reasons. Firstly, it suggests Curley’s possessive nature, and depicts his partner as a simple ‘belonging’ of his, instead of a partner or an equal.
Second of all, and particularly more prominently, is the method which her being anonymous instantly develops Curley’s spouse as a sign rather than a character. The other males considerably view her as a symbol of temptation- ‘Wait’ll you see Curley’s spouse.’ She is extremely certainly different to all the other individuals in the story; Curley’s wife is the only female character in the unique, and is in addition a stereotype of ladies: a diversion and a provocation, explained really early on as ‘having the eye’ for other men despite being wed, and looked at as a ‘tart’ and a ‘looloo,’ in the unrefined words of the cattle ranch employees.
I feel, after reading the unique, that Steinbeck presents Curley’s wife in a generally negative light, at least initially. Prior to she even appears in person, the men discuss her, and our opinion of her is already securely influenced by what they state. She is referred to as ‘prison bait,’ and physically referred to as moving and acting in an intriguing, even promiscuous way- having ‘full, rouged lips,’ ‘heavily comprised.’ Particular elements of her look are described as red in colour, such as her painted fingernails and the feathers attached to her dress.
This colour is classically a sign of danger or caution, and I believe that Steinbeck utilizes this minor information to make us more aware of her nature, and to discreetly foreshadow, the chain of occasions that are, in part, sped up by her actions and behaviour. Regardless of his overall presentation of Curley’s wife as undesirable, and ‘a bitch,’ as George warns Lennie, I likewise believe that he reveals her to be something of a victim- her manner the outcome of crushed dreams, a dissatisfied marriage, and seclusion in a little world surrounded by males- likewise, on a physical level, the unfortunate victim of Lennie’s strength.
We are not familiar with this other, more susceptible, side to her, until the last pages leading up to her death, when we can see her desperation as she puts out her heart to as good as a total stranger- ‘and then her words tumbled out in an enthusiasm of communication.’ She rapidly admits here that her other half ‘ain’t a nice fella’ and that she wed him after her imagine movie fame stopped working to come to anything. One especially crucial quote, that reveals us her isolation, is when she tells Lennie, ‘I never ever get to speak to no one. I get dreadful lonesome. ‘
As a whole, the occasions that happen throughout the book can be taken a look at as the outcome of fate taking it’s course, with no one character carrying all the blame. Although Lennie’s mental disability made a catastrophe such as the death of Curley’s other half practically inevitable in the end, I view her to be a minimum of partially culpible for the ultimate course happenings took. Eager for male attention, she flaunts herself at every opportunity, and, finding Lennie’s obsessive taste for soft things, she flirts with him, inviting him to stroke her hair- ‘feel right aroun’ there an’ see how soft it is. Lennie’s gross unawareness of his own strength, and the obtuse fear that the piercing screams of Curley’s better half instil in him of disappointing George, make him hang on to her hair, and result in her unexpected and violent death- ‘Please do not do that! George’ll be mad …’ This significant event sets in movement the chain of incidents that close the unique with Lennie’s death. At this moment, Curley’s partner likewise ends up being a sign of the ‘death’ theme omnipresent during the book, and the impossibility of dreams.
Her own hopes had been crushed by Lennie’s actions, and in turn, her death marked the most sudden death of expect George, Lennie, and even Sweet, whose strategy of a Dream Farm is cruelly jeopardised by the turn occasions take- ‘You an’ me can get that little place, can’t we George?’ This desperate interjection on Candy’s part at first meets no reply from George, who realises how unattainable dreams really are, and confesses to always knowing that the Dream Farm was nothing more than a dream- ‘I think I understood we ‘d never ever do her … The death of Curley’s partner ultimately brings George to the choice that the only way to conserve Lennie is to take his life. In this way, even after her death, I see Curley’s partner as an extremely prominent symbol in her own right. Overall, I dislike Curley’s other half as a character. Her personal insecurities lead her to exploit her position of power over the ranch employees, whom she often treats with contempt, considering them as inferior to her and speaking abusively towards some of them.
The very best example of this behaviour on her part is in section 3, when she gets in the harness space, disrupting the conversation that a few of the guys are having. Her character is still maintained as being tempting, and incredibly flirtatious, her stance described as being provocative, with ‘her hands on her hips’ and her ‘rubbing the nails of one hand with the thumb and forefinger of the other,’ but it is here that we see more of the aggressive, nasty side to her. She is really over-confident, even in a space full of adult guys, boldly announcing that what they are informing her is ‘baloney. I think the method Curley’s other half spontaneously describes the three guys in the space as ‘a nigger an’ a dum-dum and a poor ol’ sheep,’ is very offending and terrible of her, and represents the bitter, solidified side of her character, aside from the glossy exterior of charm and glamour. Among the most revealing aspects of her behaviour in this scene is when she abuses her position as in charge’s daughter-in-law to threaten Scoundrels, suggesting that she would stoop to mistakenly implicating him of rape or another type of attack, if he reports her behaviour- ‘You know what I can do to you if you open your trap? At this moment, Steinbeck’s representation of Curley’s partner leads me to dislike her considerably. However, I do grow to feel some compassion for her by the time of her death, valuing her as a victim- ‘poor bastard’– and seeing the psychological battles she has dealt with, in a loveless marital relationship to a guy she typically feels obliged to ‘bust up’: i. e. attack and injure, and the dreams of Hollywood stardom that have been denied her.
In conclusion, my reaction to Curley’s spouse at the end of the book was mixed. Although I mainly found her to be an undesirable character, more of an antagonistic role than anything, and even mildly vindictive sometimes in her way towards some of the males, I comprehend how her character was fuelled by her past. By the time of her death, when a greater part of her individual backstory is exposed and described, I feel more compassionate towards her.
Among the most prominent and crucial aspects of Curley’s spouse is that we never find out her name, marking her out clearly as a sign instead of a strong person- she symbolises temptation more than anything, and in spite of not being completely to blame for Lennie’s death and the failure of the Dream Farm strategy, her flirtatious, intriguing behaviour and actions- truly, a desperate cry for attention- set all the awful occasions at the end of Of Mice and Guy in movement.