Thesis: Throughout the novella The Pearl, John Steinbeck shows how one man’s perceived good fortune changes his judgment. Kino, the protagonist, is a poor pearl diver and dreams of finding “The Pearl of the World” to provide the best for his family. His dream to provide the best for his family quickly vanishes due to his obsession to find the most profitable offer for the pearl. A man who once would go great lengths to protect and support his family is now consumed by the greed of the pearl. Kino is ignorant to the change taking place within him because of recurring indications of good and evil and his refusal to acknowledge the evil because of his obsession.
“A Perceived Good Fortune Changes Kino’s Judgment in The Pearl”
I. Introduction
II. Importance of family and the lengths one will go for them
A. Goes to doctor for Coyotito
1. Doctor’s rejection to Indians
2. Town’s feelings about the family and doctor
B. Kino provides for family (Song of Family)
1. Kino pearl dives; the only source of money and hope
2. Kino tries to protect his son from scorpion and intruders
III. Recurring indications of good and evil
A. Song of Evil
1. Town and priest sense evil after the pearl is discovered
2. Intruders, doctor, scorpion, and the men and woods represent evil
B. The hope the pearl creates for the family
1. Coyotito will go to school and be a “savior” in the village
2. Material things to benefit family
IV. Kino’s refusal to acknowledge evil because of his obsession
A. Family interference
1. Juana
2. Juan Tomás+
B. Violent behavior revealing obsession within Kino
1. Against Juana
2. Killing of the man in path and the men in the woods
C. Consequences of Kino’s refusal
1. Home is burnt down
2. Canoe is destroyed
3. Coyotito’s death
V. Conclusion
“For it is said that humans are never satisfied, that you give them one thing and they want another” (Steinbeck 31). John Steinbeck uses this idea as the foundation of in? his popular novella The Pearl. The Pearl was written in 1947 after Steinbeck traveled to Mexico and was told the story of a peasant who discovers a great treasure. The man is transfixed upon a pearl he discovers, and his obsession leads to his downfall. Steinbeck combines several themes, such greed, good and in order to retell the story he was once told during his travels. ß-This last sentence doesn’t make sense This notable author has a knack for using amazing imagery of nature. “[His] lifelong interest in the mysteries and beauty of nature...” (McCarthy 6) has inspired many of his popular novels. The Pearl includes several references to nature throughout the novella. For example, in chapter two Steinbeck describes the beach where Juana and Kino live. “The beach [is] yellow sand, but at the water’s edge a rubble of shell and algae [take] its place” (Steinbeck 18). The nature serene imagery plays a large part in the novella because it creates a perfect picture in the reader’s head. For example, “the grass [sways] and little sea horse [cling] to its stems” creates an image (18). Descriptions such as this express the life style in which the village lives ...express the life style of the village. They focus on nature and the natural beauties in life instead of money and material objects. Throughout the novella The Pearl, John Steinbeck shows how one mans perceived good fortune changes his judgment. Kino, the protagonist, is a poor pearl diver who dreams of finding “The Pearl of the World” to provide the best for his family. His dream to provide the best for his family quickly vanishes due to his obsession to find the most profitable offer for the pearl. A man who once would go great lengths to protect and support his family is now consumed by the greed of the pearl. Kino is ignorant to the change taking place within himself because of recurring indications of good and evil and his refusal to acknowledge the evil because of his obsession.
Kino is a strong-minded human being, willing to go great lengths in order to provide the best for his family. His job as a pearl diver is all chance, but it is the only work he can perform as a result of the social injustices in the town. Every day for the family is simple and predictable, however that is what makes Kino comfortable and content in his life. He is able to notice the little things, such as Juana cooking and picking Coyotito up. He can “[hear] the [creaking] of the rope when Juana [takes] Coyotito out of his hanging box… Kino [can] see these things without looking at them” (Steinbeck 7). It is clear in this statement how much Kino cares for family because these sounds and feelings comfort him. It is only natural that Kino attempt to find the best care for Coyotito when he is stung by a scorpion, however “…Steinbeck complicates the parable of the pearl of great price when he adds the vulnerability of the baby, first introducing the child’s helplessness in…[this] scene” (Wagner-Martin 117). This vulnerability forces Juana and Kino to attempt drastic measures to assure Coyotito’s well being. Because “[he is] Juana’s first baby…and Kino [can see] her determination…” (Steinbeck 7), they do whatever possible to get immediate help and treatment. Coyotito “[himself,] is a symbolic pearl” (McCarthy 108) to Juana and Kino. They revolve their lives around him, assuring his safety and refusing to accept nature, that possibly their baby could die.
Due to the racial inequality between the doctor, a Creole, and Kino, a poor Mexican pearl diver, there is little hope that the doctor will help them. Despite the potential risk of humiliation and disappointment, Kino and Juana take Coyotito to the doctor. Many villagers judge Juana and Kino, believing they are naive to think the doctor will feel pity for them, including “the beggars [standing outside of the church]… who [are] great experts in financial analysis… [and sets] them down as poverty people” (Steinbeck 14). The village is thrown off balance when the young couple decides to take their son to the doctor because it is improper to ask a person of higher status for anything. Like expected “…the white man refuses to treat the child, [and Juana and Kino]… understand that money is [the doctors’] only god, and Kino obviously is poor” (Wagner-Martin 117). It is an immense decision to ask the doctor for help because of the social inequality. Steinbeck describes it as “a wonderful thing, a memorable thing, to want the doctor” (Steinbeck 10). Villagers never ask the wealthy for help because it is “[rebelling] against the way things are” (Steinbeck 32). Kino is willing to risk social embarrassment to protect his son. Despite the doctors’ rejection, Kino’s actions show how much his family means to him.
As the novella continues, there is an evident change within Kino. The pearl hypnotizes mesmerizes? him as new hopes, needs, and wants begin to come to mind. Coyotito is the ongoing inspiration to receive the highest offer for the pearl. The pearl represents “comparative wealth to a man who was not wealthy. And suppose Kino took a thousand pesos. Only yesterday he had nothing” (Steinbeck 55). Instead of appreciating the gift it could be, he wants more. He can see a better future for Coyotito in the pearl. When the pearl is discovered, Kino hears the music of the pearl and the music of the family merge (29). Throughout the novella, Kino expresses the song he hears in his mind describing the moment in which he is living. Based on the song Kino hears the moment the pearl is discovered, it is clear that he does not have ill intentions for the pearl. His wants are purely selfless and based on his family. Kino admits “…that his wish in finding the pearl and recognizing its value is that Coyotito be educated, that he become a savior figure to lead his village out of the abject poverty that which it exists” (Wagner-Martin 117). Unfortunately, the pearl has a spell over Kino, ultimately destroying his moral judgment and his family forever.
Recurring indications of good and evil shown throughout the novella reveal Kino’s transformation as a person. A well-known example throughout the novella is the Song of Evil, first introduced at the scorpion scene and is expressed again when the pearl begins creating evils. From the moment Kino discovers the pearl, “he is deceived by its brilliance and the false promise it holds out to him” (Hayashi 49). Kino recognizes the Song of Evil again when they go to the doctor for treatment. The doctor initially refuses to treat the child, but once he recognizes that Kino is the owner of “The Pearl of the World” (Steinbeck 28), which exemplifies his potential wealth, he insists Coyotito “…is a client of [his]” (27-28). Juana and Kino misconstrue the doctor as “…a potential savior but [he] actually…is the epitome of evil” (Meyer 32). He is only trying to accumulate his own wealth, disregarding the poverty in which the family lives in. He sends intruders into Kino’s home in order to steal the pearl. The doctors’ actions after the pearl is discovered reveal the jealousy emerging in the town. Kino recognizes this and grows more protective of his precious gift.
Other recurring indications displaying evil are the intruders that attempt to steal the pearl, the pearl buyers and the men in the woods towards the end of the novel. Kino is aware that the villagers observing Kino’s newfound gift are overcome with envy and greed (Astro 29). Steinbeck describes the jealousy as “…poison sacs… [that] begin to manufacture venom, and the town [swells] and [puffs] with the pressure from it” (Steinbeck 29). Kino is consumed with the idea that people are out to get the pearl and steal an amazing gift of promise away from his family. The more that people show interest in his pearl and the more intruders that attempt to steal it at night cause Kino to become more possessive. Change last sentence to: Kino becomes very possessive as more intruders attempt to steal the pearl, causing more interest among the people. Also, “…the more [Kino] protects the ownership of the pearl, the more exposed he is to the dangers of…enemies” (Hayashi 51). Kino allows himself to become completely fixated on the pearl, and his obsession only worsens when it comes time to sell it for a profit. The village in which the family lives in is a different world compared to the town as a whole. “The village illustrates the innocent life, while the much larger town represents a source of evil to the family” (McCarthy 108). “The prospective buyers…from the town are greedy” (McCarthy 108), and Kino is determined to get the highest offer, which reveals Kino’s greed as well. Although Kino is expressing greed by stating his desire to get the highest offer, he is avoiding being scammed. It is an innocent greed because it is a normal reaction. He is trying to get as much as he can initially, however he takes it too far by rejecting each bid offered in town. He is overly optimistic about the money he expects to make off of the pearl. Every bid for the pearl isn’t good enough because he feels like it is worth much more. After turning down every offer made by the buyers, it is evident Kino is “an obsessed man… [because he] embraces false values and equates the symbol of material wealth with the soul” (Hayashi 49). Kino doesn’t realize that any profit is a beneficial gain because he formerly had nothing.
Because there are many indications of good throughout the novella based on the discovery of the pearl, Kino’s character suffers an inner conflict. It is extremely difficult for Kino to differentiate good and evil, he doesn’t even recognize “…the fine line that separates the two opposites…” that Steinbeck refers to as a ‘hazy mirage’ (Meyer 32). “The pearl permits new and formerly impossible dreams…” (“The Pearl” 1787) which allows Kino to think about all the material things he will be able to supply his family. His primary goal is to meet the expenses for an education for Coyotito. He imagines his son being “…a savior figure to lead his village…” (Wagner-Martin 117) and marrying Juana in a church. He envisions Coyotito in new clothes from America and buying a rifle. All of his wants are merely (Erase merely and put primarily before selfless) selfless primarily. The pearl creates hope that no one in the village has ever experienced before. The music of the pearl is a continuing song that plays within Kino’s mind that reassures him that a gift like this may never be obtained again. Because of the good indications telling Kino to keep the pearl and to protect the pearl, he is unable to recognize the terrible evils that truly consume it. Like any father figure, Kino (possess the instincts to provide) has the natural calling to provide for his wife and newborn baby son. He holds on to the good indications because he cannot let go of a possible luxurious future. He expects too much from the moment he discovers the pearl, which only leads down a path of disappointment and rage.
Lastly, Kino’s refusal to acknowledge the evil behind the pearl because of his obsession leads him down a destructive path. He refuses to give up the pearl despite its negative repercussions, claiming “…if [he gives] it up [he] shall lose [his] soul” (Steinbeck 73). By admitting that the pearl has become his soul, he is turning his back on his family and their feelings towards the pearl, essentially abandoning them to protect it (Wagner-Martin 116-117). Juana constantly warns Kino that the pearl is evil and will eventually destroys them, but he refuses to accept it. Juana “…becomes the answerer…for her husbands’ disappointed idealism” (116). Her importance in the novella is necessary because she represents a compassionate mother and loving wife who does not allow a possible fortune to consume her morals. She is the constant reminder of what Kino used to be. Not only is Kino’s behavior foolish, but extremely selfish. He has no tolerance for Juana’s warnings and refuses to listen to her. Because of his actions, Juana first child is killed. Kino is responsible for his son’s death because he refused to acknowledge warnings from (loved ones) the people he loves. Kino’s brother, Juan Tomás, attempts to interfere with Kino’s denial as well. As misfortune continues to follow Juana and Kino, Juan Tomás insists “there is a devil in [the] pearl…” and believes he should of “…passed on the devil” (Steinbeck 71). Kino is completely transfixed on the pearl. He feels like a superior figure because he may have such a valuable fortune, and with that, the power to gain an elevated social status. He continues to ignore his brother and wife’s warnings. Kino underestimates his wife. He believes her role “…as a submissive wife does not have enough power to make Kino listen to her warnings” (Wagner-Martin 117). His refusal to acknowledge the evil of the pearl because of his obsession reveals the corrupt character that he has transformed into.
Additional evidence that points out Kino’s fixation for the pearl is his violent behavior against his wife and the men searching for them in the woods. Juana attempts to destroy the pearl and he reacts by beating her. Kino “… [transforms] into a raging beast and suddenly the evil side…” (Meyer 35) of him is exposed. His actions express a completely different person from the beginning of the novella. Juana recognizes this change and apprehends in that instant “…the old life [is] gone forever” (Steinbeck 67). The old life consists of the simple things in their lives, such as Coyotito and survival by making a living pearl diving. Once he abuses his wife, it is clear that “Kino has grown in hatred, sin and wrongdoing… [and] he is similar to the evil part of the pearl…” (Meyer 35). The state of evil is no longer in the pearl, but in Kino after he beats Juana. His evil state grows as he continues his violence, first against the man in the path who he assumes is trying to steal the pearl, and subsequently the three men in the woods trying to locate the family. He justifies these killings as acts in order to protect the pearl because it assures the improvement of his family’s lives, but ultimately destroys them. His growing rage “…illustrates his growing fanaticism…” (Wagner-Martin 117). It is evident at this point in the novella, “[Kino’s] senses [are] dulled by his emotion” (Steinbeck 64). He can no longer sense what the right thing is to do; he can only feel his obsession. He is unable to comprehend the malevolence that the pearl brings upon him. The withholder cannot distinguish this type of evil and acts in ways that contradict his former character.
Inevitably there must be consequences to Kino’s greed and transformation. The pearl ruins Kino’s formerly good soul and tarnishes his relations with the village. Although the family is poor, they [formerly found] their own happiness within each other (Hayashi 51). Unfortunately the pearl confirms the cliché, “… humans are never satisfied…you give them one thing and they want something more” (Steinbeck 31). Even though Kino feels gratification and pride for protecting the pearl from the intruders, “…he pays dearly for it with the destruction of his house and canoe, and ultimately with the death of his baby” (Astro 30). The greed that consumes Kino ends with the ultimate consequence, death of his son, Coyotito. The pearl is destined “…to destroy its possessor and all who covet it [therefore Kino] loses his spiritual vision until he loses his real ‘Pearl’ in the world; his only son, Coyotito” (Hayashi 49). Realistically, Coyotito’s death is the only way to influence Kino to realize the disturbance he has creating in his village and his family’s lives including his brother Juan Tomás. It would be disgraceful to return to the village, not only as a fool, but a murderer.
In conclusion, Steinbeck wrote the novella The Pearl in order to explain how one mans perceived good fortune changes his judgment. Kino’s character alters throughout the novella because he is unable to distinguish the recurring indications of good and evil since he refuses to acknowledge his obsession. The consequences of his actions results in the death of his infant son. It is difficult “…[for] Kino [to realize] that while he has irrevocably lost one world, he has not gained another” (Astro 30), meaning that he has lost his son protecting the pearl, now the pearl is worthless to them and nothing is gained. This is a tragic novella because it ends in calamity. Nevertheless Coyotito’s death is the only way to illustrate the excessive wickedness the pearl truly represents. Its reason for existence is to destroy lives and fortune, not provide it. It takes the death of his child for him to recognize this. “At long last Kino is able to recognize the naked truth: the pearl will never insure his future…” (Hayashi 51), which is why he decides to throw it back into the ocean, something he should’ve done a long time ago. Kino is able to free himself of his obsession at this moment. A man who once would go great lengths to protect and support his family is consumed by the greed of the pearl. Kino is ignorant to the change taking place within himself because of recurring indications of good and evil and his refusal to acknowledge the evil because of his obsession, which leads to his downfall.
Works Cited
Astro, Richard. “Intimations of a Wasteland.” Modern Critical Views: John Steinbeck.
Ed. Harold Bloom. New Haven: Chelsea House Publishers, 1987.
Hayashi, Tetsumaro. “The Pearl: A Novel of Disengagement.” Readings on The Pearl.
Ed. Bruno Leone. San Diego: Greenhaven Press, 1996.
McCarthy, Paul. John Steinbeck. New York: Frederick Ungar Publishing Co., 1980
Meyer, Michael J. “The Nature of Good and Evil in The Pearl.” Readings on The Pearl.
Ed. Bruno Leone. San Diego: Greenhaven Press, 1996.
“The Pearl.” Masterplots II: Short Story Series, Vol. 4. Ed. Magill, Frank N. Pasadena:
Salem Press, 1986.
Steinbeck, John. The Pearl. New York: Penguin Books, 1976.
Wagner-Martin, Linda. “Family Dynamic in The Pearl.” Readings on The Pearl. Ed.
Bruno Leone. San Diego: Greenhaven Press, 1996.
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