Themes and Meanings (Masterplots II: Short Story Series, Revised Edition)
In a work so rich, there are many themes that John Steinbeck explores: for example, the Creoles’ mistreatment of the Indians, the cupidity of the Church, the survival and power of ancient religious beliefs behind a veneer of Christian rituals, the strength of the family unit in the face of adversity, the traditional view of women and the truth about feminine capabilities and understanding that it often conceals, humankind’s position in the universal scheme, the transcendental quality of tragedy, and the ambiguous nature of good and evil. Steinbeck explicitly wants the reader to view his story as a parable, that is, as a moral or religious lesson. In the foreword, he writes that the story contains “only good and bad things and black and white things and good and evil things and no in-between anywhere.” He continues, “If this story is a parable, perhaps everyone takes his own meaning from it and reads his own life into it.”
Like his good friend Ed Ricketts, a marine biologist with whom he first visited the Gulf of California in 1940, Steinbeck saw human beings teleologically as part of the animal order. At one point, he describes La Paz affirmatively as “a colonial animal.” Generally, however, it is Alfred, Lord Tennyson’s “Nature, red in tooth and claw” that Steinbeck portrays: “Out in the estuary a tight-woven school of small fishes glittered and broke water to escape a school of great fishes that drove in to eat them. . . . And...
(The entire section is 731 words.)
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Good and Evil
Kino's belief that evil is in the night is not unusual. But one of his many foibles is that he sees himself alone in a world of struggle between good and evil. He does his best to keep good coming his way. In his mind he hears the music of his personal struggle. The Song of the Family hums in his mind when things are as they should be. The waves lapping the shore in the morning and the sound of Juana grinding corn or preparing the meal are part of this song. But when the wind shifts or a representative of the oppressing class nears, then he hears the strains of the Song of Evil, "the music of the enemy, of any foe of the family, a savage, secret, dangerous melody." Kino listens and reacts to these songs. When the scorpion begins to come down the rope toward the baby, he hears the Song of Evil first. However, when the priest enters he is confused despite hearing the song he heard for the scorpion. He has been taught that the priest is good and so he looks elsewhere for the source of evil. This melodic tool, whatever its source, is one of many tools that Kino has in his possession but that he fails to fully utilize.
Juana is more sophisticated yet more esoteric in her view of good and evil She is the one who prays for protection against actions. She prays the ancient magic and the new Catholic prayers to ward off the scorpion. She does the same when she wishes for a way to pay the Doctor. She sees that the pearl is the...
(The entire section is 1142 words.)