The Pearl Essay
In the short novel, The Pearl, by John Steinbeck, many songs are mentioned by the protagonist, Kino. Each of the songs that Kino hears throughout the story evolves in terms of the events that have occurred, are occurring, or will occur. While Kino and his small family searched for justice, education, and a fresh start, their circumstances always seemed to dictate what type of song Kino would envision. It seemed as if no matter how gleeful or grim a situation may have been there was always a song available for Kino to evaluate. One song in particular experienced an exponential series of modifications; this song was the Song of the Family. The Song of the Family first appeared to Kino one morning while his wife, Juana, was tending to the
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Upon finding that there may be a pearl of great worth, Kino immediately began to draw up plans in his head of what he could use the newfound wealth from the hypothetical pearl to buy. Knowing that there was merely a chance of there being a pearl made Kino remember that just as much of a chance that there would be a pearl, meant that there was also a remaining chance that there would not be a pearl. This knowledge led Kino to try to suppress his hopes for the best case scenario; however, that task was nearly impossible. A similarity between Furtok’s Bass Quartette No. 5 parts three and the Song of the Pearl that Might Be is their similar rise and fall of tempo. Tempo, in this case, relates to Kino’s hopes and excitement for the pearl. This marvelous piece by Furtok is a host to delicately coordinated, perfectly timed, artful advances within the rhythm that build up an ample amount of anticipation, but then quickly reduce the momentum of sound by using a brilliantly placed decrescendo. The parallels between the classical piece, and The Song of the Pearl that Might Be are undeniable. While the potential discovery of the pearl kept the reader brooding with anticipation for what may soon become of Kino and his family, Furtok’s beautifully done piece captivates the listener with suspense for where the artists will take them
Upon finding that there may be a pearl of great worth, Kino immediately began to draw up plans in his head of what he could use the newfound wealth from the hypothetical pearl to buy. Knowing that there was merely a chance of there being a pearl made Kino remember that just as much of a chance that there would be a pearl, meant that there was also a remaining chance that there would not be a pearl. This knowledge led Kino to try to suppress his hopes for the best case scenario; however, that task was nearly impossible. A similarity between Furtok’s Bass Quartette No. 5 parts three and the Song of the Pearl that Might Be is their similar rise and fall of tempo. Tempo, in this case, relates to Kino’s hopes and excitement for the pearl. This marvelous piece by Furtok is a host to delicately coordinated, perfectly timed, artful advances within the rhythm that build up an ample amount of anticipation, but then quickly reduce the momentum of sound by using a brilliantly placed decrescendo. The parallels between the classical piece, and The Song of the Pearl that Might Be are undeniable. While the potential discovery of the pearl kept the reader brooding with anticipation for what may soon become of Kino and his family, Furtok’s beautifully done piece captivates the listener with suspense for where the artists will take them