- Major Characters
- Minor Characters
Kino, The Pearl’s protagonist, is an extremely simple character, motivated by basic drives: his love for his family, loyalty to the traditions of his village and his people, and frustration at his people’s oppression at the hands of their European colonizers. Kino also possesses a quick mind and a strong work ethic, and he feels a close, pure kinship with the natural world, the source of his livelihood.
At the beginning of the novella, Kino is essentially content with his life. However, two seemingly chance occurrences—Coyotito’s scorpion sting and Kino’s discovery of the pearl—open Kino’s eyes to a larger world. As Kino begins to covet material wealth and education for his son, his simple existence becomes increasingly complicated by greed, conflict, and violence. The basic trajectory of Kino’s character is a gradual decline from a state of innocence to a state of corruption and disillusionment. The forces propelling this decline are ambition and greed. At the end of the novella, Kino’s tranquil relationship with nature has been perverted and reversed, a change signified by the fact that Kino finds the sounds of the animals at night threatening rather than reassuring.
Because The Pearl is a parable, Kino’s character can be interpreted in many ways. It can be seen as a critique of colonial politics, an exploration of how good motives can bring a person to a bad end, or even an attack on the idea of the American dream. But on the most basic level, Kino represents the dangers of ambition and greed. Kino’s ruin, caused by his lust for the pearl, illustrates the extent to which ambition and greed poison and jeopardize every aspect of a human’s familial, cultural, and personal well-being.
Kino’s wife, Juana, is more reflective and more practical than Kino. She prays for divine aid when Coyotito’s wound leaves Kino impotent with rage, and she also has the presence of mind to salve the wound with a seaweed poultice. Juana is loyal and submissive, obeying her husband as her culture dictates, but she does not always agree with his actions. Like Kino, Juana is at first seduced by the greed the pearl awakens, but she is much quicker than Kino to recognize the pearl as a potential threat. In fact, Juana comes to view the pearl as a symbol of evil.
As the novella progresses, Juana becomes certain that the limitations, rules, and customs of her society must be upheld. Whereas Kino seeks to transform his existence, Juana believes that their lives will be better if they keep things as they are. Kino can see only what they have to gain from the pearl, but Juana can see also what they stand to lose, and she wisely prefers to protect what she has rather than sacrifice it all for a dream. Juana thus serves an important function in the novella—she counterbalances Kino’s enthusiasm and reminds the reader that Kino’s desire to make money is dangerous. Juana also symbolizes the family’s domestic happiness; the scene in which Kino beats her for trying to cast off the pearl thus represents Kino’s tragic break from the family he longs to support.
Coyotito is Kino and Juana's first-born child who is stung by a scorpion and needs medical treatment. Unfortunately, the local doctor will not treat the baby because Kino has no money. When the doctor hears about Kino's pearl, he comes to treat Coyotito. Kino expects that the pearl will purchase great things for his family, the greatest being an education for his son so that they cannot be cheated by the merchants and the other upper class citizens of La Paz who have taken advantage of Kino's people for four hundred years. But that great dream is destroyed when Coyotito is killed by a gunshot while Kino is killing the trackers who are following them. Kino killed them to protect his family and the pearl and the dream of the future that the pearl provided, but his dream and his family are destroyed when Coyotito dies. Kino and Juana return to La Paz with Coyotito's small body and throw the pearl into the sea.
Juan Tomas is Kino's older brother. Juan gives Kino advice about selling the pearl. He walks beside Kino when they travel to the pearl buyers. Later, he warns his brother that by refusing to sell his pearl to the buyers, Kino is defying their way of life and putting his family in danger. When Kino seeks refuge with Juan Tomas, he is granted it. Juan gathers supplies that Kino and Juana will need on their journey and protects his brother's family until they depart.
Deeply loyal to his family, Juan Tomás supports Kino in all of his endeavors but warns him of the dangers involved in possessing such a valuable pearl. He is sympathetic to Kino and Juana, however, putting them up when they need to hide and telling no one of their whereabouts.
Apolonia is Juan Tomas' wife. She follows her husband as he escorts Kino into town to sell the pearl, and she raises a formal mourning when Kino's hut burns and no sign of them is found.
Like her husband, Apolonia is sympathetic to Kino and Juana’s plight, and she agrees to give them shelter in their time of need.
The doctor is wealthier than the peasants of La Paz, and he scoffs at natives, like Kino and Juana, who seek his treatment without money. When Kino and Juana brought Coyotito to the doctor to heal the scorpion sting, he refused them. Later, when he heard that Kino had found the Pearl of the World, he came to their hut to treat the baby. He pretended not to know that Kino had found a great pearl, so that when Kino talked about it, he could watch to see if his eyes went to the spot where it was buried in the hut. Sure enough, Kino gave its location away and that night someone came to his hut to dig out the pearl, but Kino had since moved it. Kino stabbed at the intruder, but did not make a fatal swing and the intruder (possibly the doctor) hit him in the head and then escaped.
Though he does not figure largely in the novella’s plot, the doctor is an important character in The Pearl because he represents the colonial attitudes that oppress Kino’s people. The doctor symbolizes and embodies the colonists’ arrogance, greed, and condescension toward the natives, whom the colonists do not even try to understand. Like the other colonists, the doctor has no interest in Kino’s people. He has come only to make money, and his greed distorts his human values. As a physician, the doctor is duty-bound to act to save human life, but when confronted with someone whom he considers beneath him, the doctor feels no such duty. His callous refusal to treat Coyotito for the scorpion sting because Kino lacks the money to pay him thus demonstrates the human cost of political conquest rooted in the desire for financial profit. As his interior monologue in Chapter 1 shows, the doctor is obsessed with European society, and European cultural values grip his mind so deeply that he doesn’t even realize how ignorant he is of Kino and Kino’s people.