The plot of The Pearl is driven by a constant struggle between the morally opposite forces of good and evil. Evil in The Pearl can appear in both man (the doctor) and nature (the scorpion); both evil man (the doctor) and good man (Kino); both ugly shape (the scorpion) and beautiful shape (the pearl). While the scorpion’s evil takes the form of lethal poison, man’s evil throughout the novel takes the form of overriding greed. The doctor, for instance, is evil because he acts upon greed over human care and professional responsibility. Similarly, the neighbors are evil when they act upon greed over neighborly respect, and Kino is evil when he acts upon greed over love for his wife.
Evil in the novel is an omnipotent, destructive force. One must either bear it (as in the case of the scorpion) or avoid it (as in the case of the pearl), because to combat it only breeds more evil. When Kino tries to fight off the thieves and protect the pearl, for instance, he ends up committing acts of evil himself, on both the thieves and his wife. Kino does destroy the evil-bearers that act to harm his family—he squashes the scorpion, kills the trackers, throws the pearl into the ocean—but he only succeeds in doing so after the evil has run its course and the poison has already seeped in.
Good vs. Evil ThemeTracker
Good vs. Evil Quotes in The Pearl
The essence of pearl mixed with the essence of men and a curious dark residue was precipitated. Every man suddenly became related to Kino’s pearl, and Kino’s pearl went into the dreams, the speculations, the schemes…of everyone, and only one person stood in the way and that was Kino, so that he became curiously every man’s enemy.
“I hope thou wilt remember to give thanks, my son, to Him who has given thee this treasure, and to pray for guidance in the future.”
“Who do you fear?” Kino searched for a true answer, and at last he said, “Everyone.” And he could feel a shell of hardness drawing over him.
All of the neighbors hoped that sudden wealth would not turn Kino’s head, would not make a rich man of him, would not graft onto him the evil limbs of greed and hatred and coldness. For Kino was a well-liked man; it would be a shame if the pearl destroyed him.
But there was no sign, no movement, the face did not change, but the secret hand behind the desk missed in its precision. The coin stumbled over a knuckle and slipped silently into the dealer’s lap.
“I am afraid. A man can be killed. Let us throw the pearl back into the sea.” “Hush,” he said fiercely. “I am a man. Hush.”
A dead man in the path and Kino’s knife, dark bladed beside him, convinced her. All of the time Juana had been trying to rescue something of the old peace, of the time before the pearl. But now it was gone, and there was no retrieving it.
The killing of a man was not so evil as the killing of a boat. For a boat does not have sons, and a boat cannot protect itself, and a wounded boat does not heal.
And then Kino laid the rifle down, and he dug among his clothes, and then he held the great pearl in his hand. He looked into its surface and it was gray and ulcerous. Evil faces peered from it into his eyes, and he saw the light of burning.