The Pearl

Animals appear throughout the text in parallel to human relations. One recurring motif is that of predator-prey relationships. One of the first things Kino observes in the morning at the beginning of Chapter 1 is an ant lion trapping ants. That night, following the discovery of the pearl, a group of nearby fish struggle to escape other fish that prey on them. At the same time, “mice [creep] about on the ground and the little night hawks hunt[] them silently” (38). These details lend an ominous tone to the doctor and the priest’s similarly predatory visits. Another parallel occurs when Steinbeck notes the presence of scavenging animals on the beach near the place where Kino scavenges for pearls. The implication is that human society in La Paz is not so different from the natural ecosystem that surrounds it.

A dog lives near Kino’s house, and Kino’s changing relationship towards the dog parallels his corruption by the pearl. In the morning, Kino and the dog enjoy each other’s company. Later, after the discovery of the pearl, the dog greets Kino, but Kino “look[s] down at it and [doesn’t] see it” (34). The dog reappears not long after, and Kino again ignores him. Kino’s progressive disconnection from the dog signals the broader disturbance of his relationship with nature.

The scorpion that stings Coyotito also plays a significant role. The scorpion’s appearance coincides with the Song of Evil, as it represents the arbitrary dangers found in nature. Ultimately, those dangers prove less significant than the danger that comes from other people, as Coyotito survives the scorpion sting but dies of a gunshot. The image of the scorpion undergoes a parallel shift, reappearing as a symbol of the toxicity of La Paz’s greed, “[t]he poison sacs of the town [beginning] to manufacture venom” (29).

In the closing section of the novel, Steinbeck describes the trackers’ pursuit of Kino and his family in animalistic terms. Just before the appearance of the hunters, Kino again sees ants, though this time he places his foot in their path and watches them crawl over it, showing their tenacity. Later, when Kino is fleeing up the mountain, the narrator notes that Kino “ran for the high place, as nearly all animals do when they are pursued” (81). The hunters themselves are also compared to dogs on a trail. Thematically, these details tie into the corrupting influence of greed, showing that when greed alone motivates actions and behaviors, people behave like animals.

According to the narrator, at some point in the past, Kino’s ancestors enjoyed a rich musical culture, such that “everything they saw or thought or did or heard became a song” (6). In the present day, their songs remain, but no one composes new songs, perhaps suggesting a degree of cultural stagnation in light of colonialism’s oppressive influence.

On a personal level, Kino experiences the world around him in terms of music and song, such that the text describes various influences in musical terms. Three main songs appear throughout the narrative: Kino hears the Song of the Family when he is with Juana and Coyotito; the Song of Evil when something threatens his family; and the Song of the Pearl when he is captivated by the pearl’s promise of wealth. Presenting these factors as songs allows Steinbeck to externalize Kino’s motivations and feelings at any particular moment. For example, the Song of Evil accompanies the appearances of the scorpion, the priest, the doctor, and the hunters. The Song of the Pearl and the Song of the Family at first blend with each other when Kino believes the pearl will enable them to improve their lives. By the end, the Song of the Family triumphs over the allure of the Song of the Pearl, showing how Kino’s perception changes as he recognizes the true nature of the pearl.