How does juana look in the pearl

With the passing of time, everyone remembers how Kino and Juana returned to the town of La Paz; their return has become a part of the folklore and legend of the town. Steinbeck tells us that it was late in the afternoon when they arrived back in town. They were walking side by side, rather than in single file, as is customary.

Their suffering has removed traditional barriers and has made them equal. Kino carries a long rifle across his arm, and Juana carries a "small limp heavy bundle," a bundle which holds Coyotito's dead body. Her face is "hard and lined and leathery with fatigue. They walk through the town and through the village like well-made wooden dolls, neither glancing in either direction nor greeting any of the villagers.

When they come to the beach, Kino removes the pearl and stares at its surface; there, he sees all of the evil that has happened to him — "in the surface of the pearl he [sees] Coyotito lying in the little cave with the top of his head shot way. It sinks into the water and settles down to the sandy bottom among the waving branches of the water plants. In this final chapter of the novel, Steinbeck begins his narrative by having his characters make an exodus from the town, and he ends the chapter and the novel with the return of the travelers to the town, thus making the chapter circular in structure.

Furthermore the entire chapter is circular in motion since the central part of the chapter emphasizes the various circular motions that Kino undertakes to elude the trackers. At the beginning of the chapter, Kino is very determined that he will save his Pearl of the World. As Steinbeck indicates, there is something primitive in Kino as he is determined, at first, to protect his pearl at all costs. Steinbeck also seems to be implying that as society turns against Kino and tries to rob him of his pearl, then Kino must become more like an animal.

In this short story, the young native is forced to kill a man who threatens his life; he is then pursued by a posse, and he, like Kino, becomes gradually more and more like a hunted animal; and whereas in The Pearl, the pursuers are never identified, remaining always a dark, remote force of evil, likewise, in the story "Flight," the posse is never seen or identified — it always remains a distant, threatening force which ultimately kills the young man.

The change in Kino from a man into an animal is indicated by the changing meanings of the pearl and other things important to Kino. For example, when Kino looks into the pearl to find the visions he first saw in it, the evil which the pearl has brought has distorted the visions so that a bad image is substituted for each of the original good images. The gleaming rifle becomes a murdered man; the wedding in the church becomes Juana's beaten face. Coyotito's education becomes the baby's sick and fevered face.

The music of the pearl becomes the music of evil. Notice that these ideas are expressed in a one-to-one relationship. As the trackers track down Kino and Juana, Kino becomes more like a wild animal. He and his family are no longer a part of a safe community; instead, they become objects of a primitive hunt.

The ground which they cross is barren and dry while their destination, the mountain, is cool and welcoming. There is clearly a symbolic identification with death sterility, desert heat, and dehydration and life fertility, life-giving moisture, and coolness. Thus, there is an ironic reversal in that they find death, not life, in the mountains. This supports the irony that the great pearl brings evil and disaster, not happiness.

More specifically, the spring is described in terms of a place of rest and of life. But it is also a place of death. It is where animals come for water, but it is also a place where certain animals kill other animals. For Kino, it will be a temporary refuge, but later it will be the site of his own son's death. Kino and Juana return to the town carrying a bundle. It is not until later that it is realized that the bundle contains the dead baby, Coyotito.

We realize the Kino won his fight against the three trackers but in doing so, he lost his son and, with him, all of his dreams. In begging her husband to get rid of it, she attempts to return their life back to its former rhythms.

Throughout the novel, Juana proves herself a strong, capable helpmate, yet because of her gender, she remains subordinate to Kino in their family. She also acts in a manner similar to Kino, singing the song that calls upon some undefined spirit that helps their family. After Kino is attacked outside of their hut, Juana begs him to get rid of the pearl.

Instead, Juana understands that the pearl has the power to change their lives for the worse, for example, by turning their neighbors against them.

When Kino kills a man who tries to take the pearl, Juana changes course on what they should do next. She no longer wants to get rid of the pearl but accepts that the pearl now represents their only hope.

The pearl has brought a spreading evil into their lives and community. Now she and Kino are pariahs in their own home, and their best option for survival is to run away with the pearl and sell the thing. Juana explains to Kino why they must flee.

For a brief moment, Juana and Kino see their roles reversed. Kino, weakened and distraught because he killed the man who attacked him, needs Juana to tell him what they need to do. The greed the pearl has brought out in their neighbors transforms Juana and Kino into enemies. While on the road to Loreto, Kino contemplates giving himself up to the trackers, but Juana knows that would put her and Coyotito at risk and she explains as much.

Unlike Kino, Juana understands that the pearl has made them targets of violence and greed. They see their only hope for survival as getting away from anyone who knows they possess such an object of wealth. After Juana and Kino return to their village, she insists that he throw the pearl back in the sea. This scene shows how Juana has changed to become a much stronger presence in their relationship. She makes the decision about who will fulfill this crucial action. SparkTeach Teacher's Handbook.

She prepares Kino's breakfast for him while he sits outside the brush house, and she attends to Coyotito's needs at the same time. She seems, at first, to be completely subservient to her husband and without any life of her own. She seems to be only the hardworking and loyal wife to a simple fisherman, and she does not complain. Yet, when the scorpion bites Coyotito, there suddenly emerges a new and different Juana.

Even though she prays both to some primitive gods and also to the Virgin Mary before Coyotito is bitten, as soon as the scorpion bites him, she springs to the baby's aid, grabbing him up and sucking the poison from his wound. She is much more effective and practical than is Kino, who expends his fury by grinding the scorpion to a pulp. Juana is much more efficient as she takes control, and to the astonishment of the entire village, she announces that she wants a doctor for the baby — a thing unheard of because the doctor has never visited the peasant village.

When she is told that the doctor will not come, without hesitation, she decides that they must take Coyotito to the doctor — an event so strange that the entire village follows along behind them.

On the basis of the above actions, we can see that Juana is not merely the obeying, subservient wife. Instead, there is a determination and an assertiveness which is not usual in women of this type.

Her fierce and passionate love for her son is immediately apparent in her actions. Later her hatred for the pearl is apparent because she knows that the pearl threatens her family and, thus, it threatens her entire existence. Obedient as she usually is, when her world is threatened, she can become as determined and as fierce as a lioness.