How does John Steinbeck portray Lonliness and Isolation in his novel Of Mice and Men?
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It has been thirteen years since i read this novel.  Well in this novel you have two men, who are friends. George feels obligated to keep Lenny safe and out of trouble, they travel all over doing side jobs on farms with no place to really call home. In the end when george shoots lenny so he wouldnt be tortured or subjected to the cruel intentions of the men looking for lenny, he kills his companion and friend leaving him all alone and no place to call home.
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Oh! I love that story. We read it last semester. Have you read the story? It's really funny to read it and then think in the gutters. Our sub, Scott, taught us that. lol Anyway... okay... hm... thesis statement. \n\n"There are stories about fish and the like, but none quite like this. The boy in the story learns to grow after learning that his beloved Sheila is not what he thought she was. In the story the boy struggling with what he loves and what he thinks he is in love with. ([The story teaches about letting go, forgetting and growing up] <-- thesis)." \n\nOkay, to clarify the thesis:\n\nLetting go: Letting go of the fish and moving on.\nForgetting: He forgets that he can't very well catch a fish without her seeing, so he loses it. \nGrowing up: After he learns that Sheila Mant is not what he thought she but, but in fact a skany who9re (lol) he learns to move on and grow up. \n\nI hope this helped.
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Jim -  One of Miss Watson’s household slaves. Jim is superstitious and occasionally sentimental, but he is also intelligent, practical, and ultimately more of an adult than anyone else in the novel. Jim’s frequent acts of selflessness, his longing for his family, and his friendship with both Huck and Tom demonstrate to Huck that humanity has nothing to do with race. Because Jim is a black man and a runaway slave, he is at the mercy of almost all the other characters in the novel and is often forced into ridiculous and degrading situations.
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Your a whore\nDo something more productive with your life\nYour an idoit\nThere should be less people like you\n\n\nhaha im jus joshin yaaa im sick of selfishness and phoniness. we just finished catcher in the rye in english, so yeah. its great
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RALPH ELLISON\n\nIn 1936, a few weeks after my arrival in New York City, I was lucky enough to be invited by an old hero and newfound friend, Langston Hughes, to be his guest at what would be my introduction to Broadway theater. I was so delighted and grateful for the invitation that I failed to ask my host the title of the play, and it was not until we arrived at the theater that I learned that it would be Jack Kirkland's dramatization of Erskine Caldwell's famous novel Tobacco Road. No less successful than in its original form, the play was well on its way to a record-breaking seven-and-a-half-year run, and that alone was enough to increase my expectations. And so much so that I failed to note the irony of circumstance that would have as my introduction to New York theater a play with a southern setting and characters that were based upon a type and class of whites whom I had spent the last three years trying to avoid. Had I been more alert, it might have occurred to me that somehow a group of white Alabama farm folk had learned of my presence in New York, thrown together a theatrical troupe, and flown north to haunt me. But being dazzled by the lights, the theatrical atmosphere, the babble of the playgoing crowd, it didn't. And yet that irony arose precisely from the mixture of motives__ practical, educational, and romantic__ that had brought me to the North in the first place.\n\nAmong these was my desire to enjoy a summer free of the South and its problems while meeting the challenge of being on my own for the first time in a great northern city. Fresh out of Alabama, with my junior year at Tuskegee Institute behind me, I was also in New York seeking funds with which to complete my final year as a music major__ a goal at which I was having less success than I had hoped. However, there had been compensations. For between working in the Harlem YMCA cafeteria as a substitute for vacationing waiters and countermen and searching for a more profitable job, I had used my free time exploring the city, making new acquaintances, and enjoying the many forms of social freedom that were unavailable to me in Alabama. The very idea of being in New York was dreamlike, for like many young Negroes of the time, I thought of it as the freest of American cities and considered Harlem as the site and symbol of Afro-American progress and hope. Indeed, I was both young and bookish enough to think of Manhattan as my substitute for Paris and of Harlem as a place of Left Bank excitement.\n\nAnd yet I soon discovered, much to my chagrin, that while I was physically out of the South, I was restrained__ sometimes consciously, sometimes not__ by certain internalized thou-shalt-nots that had structured my public conduct in Alabama. It was as though I had come to the Eden of American culture and found myself indecisive as to which of its fruits were free for my picking. Beyond the borders of Harlem's briar patch__ which seemed familiar because of my racial and cultural identification with the majority of its people and the lingering spell that had been cast nationwide by the music, dance, and literature of the so-called Harlem Renaissance__ I viewed New Yorkers through the overlay of my Alabama experience. Contrasting the whites I encountered with those I had observed in the South, I weighed class against class and compared southern styles with their northern counterparts. I listened to diction and noted dress, and searched for attitudes in inflections, carriage, and manners. And in pursuing this aspect of my extracurricular education, I explored the landscape.\n\nI crossed Manhattan back and forth from river to river and up, down, and around again, from Spuyten Duyvil Creek to the Battery, looking and listening and gadding about; rode streetcar and el, subway and bus; took a hint from Edna Millay and spent an evening riding back and forth on the Staten Island Ferry. From the elevated trains I saw my first penthouses with green trees growi
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Loneliness will give you the opportunity to see things in a different perspective. Seeing yourself in solitude will surely tell you that "No Man is an Island". For the absence of the things we think do not matter will make us realize that they are afterall important.
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The general theme is the passage of time, and the need or desire to live as much as we can, as deeply as we can before our time here is gone.  "Time will not be ours forever/... Suns that set may rise again;/But if once we lose this light,/'Tis with us perpetual night"\n\nIn the moment of the poem, there is the classic situation of the boy (presumably) trying to convince his love-interest, Celia, to give in to passion and enjoy the "sports of love" with him, to use the poem's language.  \n\nThe lover uses a two prong argument.\n\nFirst, he argues that time is short and they, her especially, really shouldn't waste it, "Spend not then his gifts in vain."  He invokes a responsibility not to take the gift of time and life given them for granted.  A slightly more dignified argument, yet a sense of playfullness remains: "Cannot we delude the eyes/of a few poor household spies,/Or his easier ears beguile,/So removed by our wile?"  So at the same time he rebukes her rejection (one presumes she said no, at least initially, why then the poem?) for wasting precious time, he tempts her with a conspiracy--arm's length v. intimacy.\n\nSecond, he argues that it's not the act of lovemaking that is the crime, but the tattling or telling of it:  "'Tis no sin love's fruit to steal/But the sweet theft to reveal."  Fame and rumor are equally derided in favor of the moment, of the real, which here is the joy of love.\n\nThe speaker never really loses sight of his objective, even tho he dresses it up philosophically.  Playfully, he casts these arguments about, both putting her on the defensive and drawing her into a conspiracy of "us against the world".  Ingenious, really.  And fun.  Jonson was classical poet, brilliant, witty and very clever.  If you like this poem, you might try John Donne and Robert Herrick.
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The classic petrarchan sonnet by John Miltion:\n\nOn His Being Arrived to the Age of Twenty-three\n\nHow soon hath Time, the subtle thief of youth, \nStolen on his wing my three and twentieth year! \nMy hasting days fly on with full career, \nBut my late spring no bud or blossom shew'th. \nPerhaps my semblance might deceive the truth, \nThat I to manhood am arrived so near, \nAnd inward ripeness doth much less appear, \nThat some more timely-happy spirits indu'th. \nYet be it less or more, or soon or slow, \nIt shall be still in strictest measure even \nTo that same lot, however mean or high, \nToward which Time leads me, and the will of Heaven. \nAll is, if I have grace to use it so, \nAs ever in my great Task-master's eye.
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In the poem "Music I Heard", written by Conrad Aiken, the love expressed is different. The character of the poem is a man, that is speaking about his loved one. Full of memories, he has flashbacks of when the loved one was around him and his belongings. After the loved person left, he is lonely. The memories are coming back to him in the quote (line #5), " Your hands one touched this table and this silver". He misses her and the good times they had together. He wants to have her come back to him. She is now only in his heart full of past memories.\n\nThe feeling that love brings in this poem is sadness. The sadness of missing the loved one is great. He is lonely and full of memories that still light up his hopes for having her come back. He remembers her actions and what she touched, but only the memories are left. The sadness is expressed in this quote (line # 3-4) by the character. "Now that I am without you all is desolate;/ and all that was once so beautiful is dead." He misses her a lot, and does not like things that much as he did when she was around.
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I wish I had kept the essay I had written on this book last year, but I do remember some about Ralph.\n\nRalph used the conch shell as a method of gathering the group together, and in doing so, he took an iniative as a leader.  The novel foreshadows him as a good leader because of his physical stature (lean body, fair hair, good complexion).  He embodied all of these characteristics.  Ralph represents democracy and he sees the island as an opportunity to exercise his newfound strength.\n\nHe has some originality of ideas too, such as building shelter first, setting up the fire, the camp, directing who should do what jobs, finding hunters and others to gather fruit, and designating the "bathroom" spot so the tide clears up the waste.\n\nRalph is ineffective because he gets most of his ideas from Piggy and refuses to compromise with Jack and his choir.  Because of this, they separate and get into fights, thereby allowing themselves to transcend into savagery.  The more conflict, the worse his reliabiliy is.  Futhermore, Ralph buys into the theory of a "ghost" or "beast."  It is Simon that discovers the truth, although untimately he pays the price when trying to warn the others of his discovery about the parachuted man on the mountain.  \n\nAs far as his inability to remember his purpose, Ralph gets tied up in so many small conflicts over power.  Gradually, these get bigger and his leadership diminishes.  The final symbolism of his full loss of power  occurs when Piggy is killed and the conch shell is shattered.\n\nI hope this helps!
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Idiot becomes a genius and then an idiot again.\n\nThe story of Flowers for Algernon centers on Charlie Gordon, a young mentally retarded janitor (37 years old in the original novella, 32 years old in the full novel), who volunteers to take part in an experimental intelligence-enhancing treatment. His progress parallels that of Algernon, a laboratory mouse who had been "enhanced" earlier. The story is told from Charlie's point of view and written as a journal, or progris riport, as he initially spells it, which he keeps as part of the experiment. Succeeding entries trace Charlie's ever-increasing comprehension and intelligence in the aftermath of the treatment, as he passes through "normalcy", and then reaches super-genius level. He becomes more intelligent than the doctors who invented the procedure.\n\nHe discovers both the advantages of intelligence and awareness, including his sexual-emotional relationship with his former teacher, Alice Kinnian; and the disadvantages, as he discovers that the people he thought were his friends had only viewed him as 'entertainment', and now resent his superior abilities. His courtship of Alice becomes turbulent and finally withers into misery when she too comes to resent his superior intellect, which lowers her self-esteem.\n\nYet, all else seems to be well, until Algernon's enhanced intelligence begins to fade rapidly. As Charlie himself confirms, the neural enhancement is only temporary, and he too is doomed to revert to his original mental state. Some say that Algernon's death is supposed to imply that the treatment will also eventually kill Charlie, but his own notes on the subject, dubbed the Algernon-Gordon Effect, say nothing of his impending death. He records his struggles to find a way to stop the decay until he realizes the futility of it all. The title's mention of flowers is a reference to Charlie's last request that "please if you get a chanse put some flowrs on Algernons grave in the bak yard...".
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Check CliffsNotes.com or SparkNotes.com, sorry I couldn't be more help
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That is kind of a tricky little quote. Sometimes placing it in context can help. This is a quote from Ralph Waldo Emerson's essay "Self Reliance," which discourages basing one's opinions and actions on common opinion in favor of self-trust (see the full essay at http://www.emersoncentral.com/selfreliance.htm). \nI think the point of this quote is that it's very desireable to have one's own original thoughts and opinions, and to live by them.  It's easier to live by one's own convictions and not be persuaded by others when in isolation (that's the "independence of solitude"). However, not so special to isolate oneself from others in order to attain this ideal. Because it's difficult to live by one's own thoughts and opinions while being a part of society, it's something only a "finished man" can truly do. Also, in the essay, Emerson refers to being childlike - unselfish, non-judgmental, open-minded, uncynical, unhesitant - as something to admire. So I think that's where the seemingly misplaced "perfect sweetness" comes in. When a man can remain pure of heart while living in the harsh world and also keeping and living by his own ideals. \nWhat do you think?
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I learnt this in 3rd grade back in good ole Ghana in West Africa (1984 that is)\n\nMr. Nobody\n\nI know a funny little man,\nAs quiet as a mouse,\nWho does the mischief that is done\nIn everybody's house!\nThere's no one ever sees his face,\nAnd yet we all agree\nThat every plate we break was cracked\nBy Mr. Nobody.\n\n\n'Tis he who always tears our books,\nWho leaves the door ajar,\nHe pulls the buttons from our shirts,\nAnd scatters pins afar;\nThat squeaking door will always squeak,\nFor prithee, don't you see,\nWe leave the oiling to be done\nBy Mr. Nobody.\n\n\nThe finger marks upon the door\nBy none of us are made;\nWe never leave the blinds unclosed,\nTo let the curtains fade.\nThe ink we never spill; the boots\nThat lying round you see\nare not our boots; ­ they all belong\nTo Mr. Nobody.
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The two writers, who are approximately of the same period, write in a very special way. They are called Naturalists. They Describe their character as they are, they do not try to make them look better to the eyes of the reader. Usually, for both writers, the protagonists come from disadvantaged background and are not to improve socially - although they actually do. Life is often - if not laways- portrayed as hard and doomed. The stories take place in an industrial and poor background. Life is unfair and is full of misery for both writers.
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Ok this will be short:)\n\nHappiness is the basis, if the basis contains holes we try to fill them with pleasure.\n\nI curious abt what book it was that you mentioned...
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Ralph\nRalph is the athletic, charismatic protagonist of Lord of the Flies. Elected the leader of the boys at the beginning of the novel, Ralph is the primary representative of order, civilization, and productive leadership in the novel. While most of the other boys initially are concerned with playing, having fun, and avoiding work, Ralph sets about building huts and thinking of ways to maximize their chances of being rescued. For this reason, Ralph’s power and influence over the other boys are secure at the beginning of the novel. However, as the group gradually succumbs to savage instincts over the course of the novel, Ralph’s position declines precipitously while Jack’s rises. Eventually, most of the boys except Piggy leave Ralph’s group for Jack’s, and Ralph is left alone to be hunted by Jack’s tribe. Ralph’s commitment to civilization and morality is strong, and his main wish is to be rescued and returned to the society of adults. In a sense, this strength gives Ralph a moral victory at the end of the novel, when he casts the Lord of the Flies to the ground and takes up the stake it is impaled on to defend himself against Jack’s hunters.\nIn the earlier parts of the novel, Ralph is unable to understand why the other boys would give in to base instincts of bloodlust and barbarism. The sight of the hunters chanting and dancing is baffling and distasteful to him. As the novel progresses, however, Ralph, like Simon, comes to understand that savagery exists within all the boys. Ralph remains determined not to let this savagery -overwhelm him, and only briefly does he consider joining Jack’s tribe in order to save himself. When Ralph hunts a boar for the first time, however, he experiences the exhilaration and thrill of bloodlust and violence. When he attends Jack’s feast, he is swept away by the frenzy, dances on the edge of the group, and participates in the killing of Simon. This firsthand knowledge of the evil that exists within him, as within all human beings, is tragic for Ralph, and it plunges him into listless despair for a time. But this knowledge also enables him to cast down the Lord of the Flies at the end of the novel. Ralph’s story ends semi-tragically: although he is rescued and returned to civilization, when he sees the naval officer, he weeps with the burden of his new knowledge about the human capacity for evil.\n\nJack\nThe strong-willed, egomaniacal Jack is the novel’s primary representative of the instinct of savagery, violence, and the desire for power—in short, the antithesis of Ralph. From the beginning of the novel, Jack desires power above all other things. He is furious when he loses the election to Ralph and continually pushes the boundaries of his subordinate role in the group. Early on, Jack retains the sense of moral propriety and behavior that society instilled in him—in fact, in school, he was the leader of the choirboys. The first time he encounters a pig, he is unable to kill it. But Jack soon becomes obsessed with hunting and devotes himself to the task, painting his face like a barbarian and giving himself over to bloodlust. The more savage Jack becomes, the more he is able to control the rest of the group. Indeed, apart from Ralph, Simon, and Piggy, the group largely follows Jack in casting off moral restraint and embracing violence and savagery. Jack’s love of authority and violence are intimately connected, as both enable him to feel powerful and exalted. By the end of the novel, Jack has learned to use the boys’ fear of the beast to control their behavior—a reminder of how religion and superstition can be manipulated as instruments of power.