Juana caught her breath and moaned a little. And to Kino the secret melody of the maybe pearl broke clear and beautiful, rich and warm and lovely, glowing and gloating and triumphant. In the surface of the great pearl he could see dream forms. He picked the pearl from the dying flesh and held it in his palm, and he turned it over and saw that its curve was perfect. Juana came near to stare at it in his hand, and it was the hand he had smashed against the doctor's gate, and the torn flesh of the knuckles was turned grayish white by the sea water. (2.17)
This is the first time we see the ability of the pearl to reflect: by looking at it, Kino sees what he desires, he sees "dream forms."
Then Juana steadied the boat while he climbed in. His eyes were shining with excitement, but in decency he pulled up his rock, and then he pulled up his basket of oysters and lifted them in. Juana sensed his excitement, and she pretended to look away. It is not good to want a thing too much. It sometimes drives the luck away. You must want it just enough, and you must be very tactful with God or the gods. But Juana stopped breathing. Very deliberately Kino opened his short strong knife. He looked speculatively at the basket. Perhaps it would be better to open the oyster last. He took a small oyster from the basket, cut the muscle, searched the folds of flesh, and threw it in the water. Then he seemed to see the great oyster for the first time. He squatted in the bottom of the canoe, picked up the shell and examined it. The flutes were shining black to brown, and only a few small barnacles adhered to the shell. Now Kino was reluctant to open it. What he had seen, he knew, might be a reflection, a piece of flat shell accidentally drifted in or a complete illusion. In this Gulf of uncertain light there were more illusions than realities. (2.14)
Juana’s determination to subdue her hopes and emotions is presented as a feminine trait in The Pearl.
The stomach cramps had not come to Coyotito. Perhaps Juana had sucked out the poison in time, but she had not sucked out her worry over her first-born. She had not prayed directly for the recovery of the baby – she had prayed that they might find a pearl with which to hire the doctor to cure the baby, for the minds of people are as unsubstantial as the mirage of the Gulf. (2.7)
Juana’s hopes are concrete in nature. She prays for very specific means to save her child, which in a way reflects her logic.
But the music of the pearl was shrilling with triumph in Kino. Juana looked up, and her eyes were wide at Kino's courage and at his imagination. And electric strength had come to him now the horizons were kicked out. In the pearl he saw Coyotito sitting at a little desk in a school, just as Kino had once seen it through an open door. And Coyotito was dressed in a jacket, and he had on a white collar, and a broad silken tie. Moreover, Coyotito was writing on a big piece of paper. Kino looked at his neighbors fiercely. "My son will go to school," he said, and the neighbors were hushed. Juana caught her breath sharply. Her eyes were bright as she watched him, and she looked quickly down at Coyotito in her arms to see whether this might be possible. (3.15)
That the neighbors are so shocked by this dream is a reminder of the severe oppression to which these people have been subjected.
And in the incandescence of the pearl the pictures formed of the things Kino's mind had considered in the past and had given up as impossible. In the pearl he saw Juana and Coyotito and himself standing and kneeling at the high altar, and they were being married now that they could pay. He spoke softly, "We will be married – in the church."
"We will have new clothes."
And the music of the pearl rose like a chorus of trumpets in his ears.
"A rifle," he said. "Perhaps a rifle." (3.9-12)
Kino’s dreams are for the good of his family, not himself – all but one. It is ironic, then, that this is the one dream (the rifle, that is) that comes to fruition at the end of the novel.
But Kino's face shone with prophecy. "My son will read and open the books, and my son will write and will know writing. And my son will make numbers, and these things will make us free because he will know – he will know and through him we will know." And in the pearl Kino saw himself and Juana squatting by the little fire in the brush hut while Coyotito read from a great book. "This is what the pearl will do," said Kino. And he had never said so many words together in his life. And suddenly he was afraid of his talking. His hand closed down over the pearl and cut the light away from it. Kino was afraid as a man is afraid who says, "I will," without knowing. (3.15 – 3.16)
Kino fears he will be punished by the boldness of his dreams. In actuality, he is punished only by the petty greed of men around him.
It was the rifle that broke down the barriers. This was an impossibility, and if he could think of having a rifle whole horizons were burst and he could rush on. For it is said that humans are never satisfied, that you give them one thing and they want something more. And this is said in disparagement, whereas it is one of the greatest talents the species has and one that has made it superior to animals that are satisfied with what they have. (3.9 – 3.13)
Steinbeck may condemn the American Dream, but this passage makes it clear that he doesn’t condemn dreaming.
But now, by saying what his future was going to be like, he had created it. A plan is a real thing, and things projected are experienced. A plan once made and visualized becomes a reality along with other realities– never to be destroyed but easily to be attacked. Thus Kino's future was real, but having set it up, other forces were set up to destroy it, and this he knew, so that he had to prepare to meet the attack. And this Kino knew also – that the gods do not love men's plans, and the gods do not love success unless it comes by accident. He knew that the gods take their revenge on a man if he be successful through his own efforts. Consequently Kino was afraid of plans, but having made one, he could never destroy it. And to meet the attack, Kino was already making a hard skin for himself against the world. His eyes and his mind probed for danger before it appeared. (3.30)
Kino attributes to the gods a vengeful spite that is actually present in the jealous men around him.
For Kino and Juana this was the morning of mornings of their lives, comparable only to the day when the baby had been born. This was to be the day from which all other days would take their arrangement. Thus they would say, "It was two years before we sold the pearl," or, "It was six weeks after we sold the pearl." Juana, considering the matter, threw caution to the winds, and she dressed Coyotito in the clothes she had prepared for his baptism, when there would be money for his baptism. And Juana combed and braided her hair and tied the ends with two little bows of red ribbon, and she put on her marriage skirt and waist. The sun was quarter high when they were ready. Kino's ragged white clothes were clean at least, and this was the last day of his raggedness. For tomorrow, or even this afternoon, he would have new clothes. (4.7)
Kino’s doubts have dissolved, and his confidence in his dream has taken over.
He looked into his pearl to find his vision. "When we sell it at last, I will have a rifle," he said, and he looked into the shining surface for his rifle, but he saw only a huddled dark body on the ground with shining blood dripping from its throat. And he said quickly, "We will be married in a great church." And in the pearl he saw Juana with her beaten face crawling home through the night. "Our son must learn to read," he said frantically. And there in the pearl Coyotito's face, thick and feverish from the medicine.
And Kino thrust the pearl back into his clothing, and the music of the pearl had become sinister in his ears, and it was interwoven with the music of evil. (6.16 – 6.17)
Kino’s dreams have been polluted by the actions he has been forced to take in pursuing them.
Kino had a rifle across his arm and Juana carried her shawl like a sack over her shoulder. (6.100)
This passage really drives the message home: Kino has achieved his dream of having a rifle, but the price for this dream was the life of his son.