Kino immediately seizes the creature and crushes it in his grasp, beating it to death on the floor for good measure. Juana grabs Coyotito at once and attempts to suck the venom out of his festering wound. Such a request surprises the neighbors since the doctor has never visited the poor cluster of brush houses. The doctor belongs to the social class of the Spanish colonists of the region, a class far above that of poor natives such as Kino and Juana. When Kino expresses doubt that the doctor will come to Coyotito, Juana resolves to take Coyotito to the doctor.
Kino and Juana set out for the center of town, their neighbors trailing behind them. He both fears and resents the doctor, a powerful man not of his own people. He tells Kino to wait while he goes to speak with the doctor. SparkTeach Teacher's Handbook.
Themes Motifs Symbols. Summary Chapter 1. Page 1 Page 2 Page 3. In his kinship with his brother and in his respect for the traditions of the village, Kino is seen in a simple but harmonious relationship. There is no strife between him and his brother.
Likewise, Kino has great respect for the traditions of the village. Even though his own canoe has been destroyed and even though there are other canoes on the beach for the taking, he would never consider taking someone else's canoe; to him, a canoe is a part of one's family heritage and, as such, it is sacred.
The destruction of his own canoe, then, had to be perpetrated by someone who was not a member of the village. Kino's basic response to life and his basic emotions are not always expressed directly. For centuries, Kino's ancestors have composed or created songs to express every possible emotion and to fit every possible occasion.
Consequently, from the opening to the closing pages, the songs which Kino hears express his own basic emotions. At the beginning of the novel, as he watches Coyotito playing and Juana going about her morning chores, Kino hears the Song of the Family; the mere fact that he hears this song represents the love and contentment that he feels but cannot or does not express verbally. Likewise, throughout the section, Kino can express his own fears only by physical actions smashing his fist on the doctor's door or by the songs which he hears — the Song of the Enemy, and the Song of Evil, and others.
At the end of the novel, the readers have a sense that through Kino they have experienced all of the emotions common to mankind — the contentment of the family, the joy and elation of discovering a great treasure, the fears when the family's lives are threatened, the anxiety of being hunted, and the tragedy of losing a loved one.
As Kino passes through these emotions, he emerges to represent for us a type of universal person — one who has passed from innocence through evil, and yet has survived to reaffirm his manhood by voluntarily throwing the pearl back into the Gulf. After Kino finds a great pearl, he becomes increasingly ambitious and desperate in his mission to break free of the oppression of his colonial society.
After her prayers for good fortune in the form of a giant pearl are answered, Juana slowly becomes convinced that the pearl is in fact an agent of evil. Juana possesses a simple faith in divine powers, but she also thinks for herself.
Unfortunately for her and her child, Coyotito, she subjects her desires to those of her dominant husband and allows Kino to hold on to the pearl. Because Coyotito is an infant, he is helpless to improve his situation and thus at the mercy of those who provide for him. He is sympathetic to Kino and Juana, however, putting them up when they need to hide and telling no one of their whereabouts. A small-time colonial who dreams of returning to a bourgeois European lifestyle. The doctor initially refuses to treat Coyotito but changes his mind after learning that Kino has found a great pearl.
He represents the arrogance, condescension, and greed at the heart of colonial society.
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