How we cite our quotes:
The songs remained; Kino knew them, but no new songs were added. That does not mean that there were no personal songs. In Kino's head there was a song now, clear and soft, and if he had been able to speak of it, he would have called it the Song of the Family. (1.3)
This is the one constant and undying song in the course of The Pearl, suggesting that family is the one element in Kino’s life that perseveres.
Kino heard the creak of the rope when Juana took Coyotito out of his hanging box and cleaned him and hammocked him in her shawl in a loop that placed him close to her breast. Kino could see these things without looking at them. Juana sang softly an ancient song that had only three notes and yet endless variety of interval. And this was part of the family song too. It was all part. Sometimes it rose to an aching chord that caught the throat, saying this is safety, this is warmth, this is the Whole. (1.9)
Juana’s song has three notes to represent the three members of her and Kino’s family. When Coyotito dies, the family is destroyed – what is left is no longer whole.
In his mind a new song had come, the Song of Evil, the music of the enemy, of any foe of the family, a savage, secret, dangerous melody, and underneath, the Song of the Family cried plaintively. (1.14)
Kino defines as evil anything that threatens the safety of the family.