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Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.
Kino’s physical and spiritual existence is intimately connected with the natural world. He lives in a brush house, and he makes his living as a pearl diver. Not surprisingly, nature imagery is an important element of the novella. Kino observes the world of his garden in the opening scene of Chapter
Steinbeck depicts the natural world as a realm that mirrors or parallels the human world. Overall, the work’s nature imagery reflects both the natural world’s idyllic innocence—the innocence Kino possesses at the beginning of the novella—and the natural world’s darker qualities of struggle and flight—the struggle and flight Kino experiences at the novella’s end. The Pearl’s descriptions of the sea, for instance, subtly emphasize the fact that life in the sea is a struggle for survival from which only the strongest emerge alive—a struggle that mirrors the conflict between Kino and the native people against their colonial rulers. Kino’s two interactions with ants—the first in Chapter
Read more about nature motifs in Nathaniel Hawthorne’s The Scarlet Letter.
Throughout the novel, whenever Kino has a particularly powerful feeling or instinct, he hears a song in his head that corresponds to that feeling. When he is happy with his family in Chapter
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