George – Like Lennie, George can be defined by a few distinct characteristics. He is short-tempered but a loving and devoted friend, whose frequent protests against life with Lennie never weaken his commitment to protecting his friend. George’s first words, a stern warning to Lennie not to drink so much lest he get sick, set the tone of their relationship. George may be terse and impatient at times, but he never strays from his primary purpose of protecting Lennie. George gets annoyed by Lennie but still protects him. George is a very Faithful friend.
I dont really know what else to write but you are a very good teacher and wish I could stay in this class. Remember SMILE! The following lines from a correspondent – besides the deep quaint strain of the sentiment, and the curious introduction of some ludicrous touches amidst, the serious and impressive, as was doubtless intended by the author – appear to us one of the most felicitous specimens of unique rhyming which has for some time met our eye. The resources of English rhythm for varieties of medley, measure, and sound, producing corresponding diversities of effect, have been thoroughly studied, much more perceived, by very few poets in the language. While the classic tongues, especially the Greek, posses, by power of accent, several advantages for versification over our own, chiefly through greater abundance of spondaic feet, we have other and very great advantages of sound by the modern usage of rhyme.
The Essay on Ranch Hand George Lennie Slim
When George kills Lennie at the end of Of Mice and Men, he does so because Lennie is a pure being, and will only be hurt in this corrupted world. Therefore, it makes sense that he kills him for love; he knows that Lennie will never make it in this corrupted world. By killing Lennie, George frees him. Lennie's death greatly affects George. Lennie is the only thing that makes his life special and ...
Alliteration is nearly the only effect of that kind which the ancients had in common with us. It will be seen that much of the melody of “The Raven” arises from alliteration, and the studious use of similar sounds in unusual places. In regard to its measure, it may be noted that if all the verses were like the second, they might properly be placed merely in short lines, producing a not uncommon form; but the presence in all the others of one line – mostly the second in the verse – which flows continuously, with only an aspirate pause in the middle, like that before the short line in the Sapphic Adonic, while the fifth has at the middle pause no similarity of sound with any part beside, gives the versification an entirely different effect. We could wish the capacities of our noble language, in prosody, were better understood.
– ED. AM. REV. ).
