![]() ![]() She does the same when she wishes for a way to pay the doctor. She prays the ancient magic and the new Catholic prayers to ward off the scorpion. She is the one who prays for protection against actions. ![]() Juana is more sophisticated yet more esoteric in her view of good and evil. This melodic tool, whatever its source, is one of many tools that Kino has in his possession but that he fails to fully utilize. He has been taught that the priest is good, so he looks elsewhere for the source of evil. However, when the priest enters he is confused despite hearing the song he heard for the scorpion. When the scorpion begins to come down the rope toward the baby, he hears the Song of Evil first. But when the wind shifts or a representative of the oppressing class nears, then he hears the strains of the Song of Evil, “the music of the enemy, of any foe of the family, a savage, secret, dangerous melody.” Kino listens and reacts to these songs. The waves lapping the shore in the morning and the sound of Juana grinding corn or preparing the meal are part of this song. The Song of the Family hums in his mind when things are as they should be. In his mind he hears the music of his personal struggle. ![]() He does his best to keep good coming his way. ![]() Kino’s belief that evil is in the night is not unusual, but one of his many foibles is that he sees himself alone in a world of struggle between good and evil. ![]()
0 Comments
Leave a Reply. |