Set during the height of World War II , Pearl S. Buck's narrative The Enemy explores the profound conflict between humanitarian duty and nationalistic patriotism. The story centers on Dr. Sadao Hoki , a brilliant Japanese surgeon, and his wife Hana , who find a critically wounded American prisoner of war washed ashore near their coastal home. Bound by his medical oath yet acutely aware of the treasonous implications of his actions, Sadao must decide whether to save the life of an enemy combatant or hand him over to certain death.
Literary Profile: Dr. Sadao Hoki
Literary Profile: Sadao's Father
On a foggy evening, Sadao and Hana witness a dark figure stumble out of the ocean and collapse on the wet sand. Upon closer inspection, they discover that the man is a white American sailor, a prisoner of war who has escaped and been shot in the back. The sea rocks have further battered his body, leaving him in a dying state.
"If we sheltered a white man in our house we should be arrested and if we turned him over as a prisoner, he would certainly die," Sadao said.
Literary Interpretation & Contextual Significance: This quote encapsulates the central ethical paradox of the story. To act as a loyal citizen of Japan means condemning a helpless, wounded human being to death. Conversely, to act as a compassionate physician means committing treason against their own country during a global war. The couple's initial hesitation highlights the paralyzing nature of nationalistic conditioning when confronted with raw human suffering.
Despite their mutual fear and repulsion, Sadao and Hana find themselves unable to throw the unconscious man back into the sea. Guided by an instinctive professional drive, Sadao temporarily stanches the bleeding with sea moss. Together, they carry the light, emaciated body of the soldier into the house, placing him in the pristine, traditional bedroom of Sadao's late father.
The household servants—including the nanny Yumi , the old gardener, and the cook—react with immediate fear, superstition, and patriotic hostility. They view the American as a dangerous threat and believe that saving him will bring bad luck and ruin upon the house. Yumi flatly refuses to wash the dirty white man, forcing Hana to perform the task herself, which fuels Hana's internal anger and resolve against the servants' defiance.
Sadao decides that the soldier must be operated on immediately to survive. The operation is a masterclass in clinical focus and psychological tension:
On the seventh day after the operation, the servants pack their belongings and leave the house in protest. Although Hana is terrified of being exposed, she maintains her dignity as a mistress, paying them off gracefully. The departure leaves the couple completely isolated, forced to manage the household chores and care for the recovering prisoner alone.
A messenger in official uniform arrives at the house, causing Hana to panic, believing they are about to be arrested. However, the messenger has only come to summon Sadao to the palace to treat the ailing General Takima . Sadao uses this opportunity to confess the presence of the American prisoner to the General.
Literary Profile: General Takima
"It would be best if he could be quietly killed," the General said. "Not by you, but by someone who does not know him. I have my own private assassins."
Literary Interpretation & Contextual Significance: The General's proposal to send private assassins to eliminate the American and remove his body is born out of pure self-interest. He cannot afford to have Sadao arrested or executed for harboring an enemy, as Sadao is the only surgeon he trusts to perform his upcoming gallbladder operation. This highlights how personal survival instincts easily override official patriotic duties at the highest levels of authority.
Sadao agrees to the General's plan, keeping it a secret from Hana to spare her further distress. For three consecutive nights, Sadao sleeps poorly, starting at every rustle of wind, snapping twig, or footstep in the garden, expecting the assassins to arrive. Each morning, however, he finds the young American, who introduces himself as Tom , still alive and steadily gaining strength.
Realizing that he cannot endure the psychological strain of waiting for the assassins indefinitely, Sadao decides to orchestrate Tom's escape. He secretly prepares his own sturdy boat, stocking it with food, bottled water, and warm quilts. He instructs Tom to row to a nearby unfortified island and wait for a Korean fishing boat to rescue him. Sadao provides Tom with a flashlight, establishing a precise signaling system to ensure his safety without alerting the authorities.
After the successful escape, Sadao performs an emergency operation on the General's gallbladder. A week later, during the General's recovery, Sadao informs him that the prisoner has "escaped." The General sheepishly confesses that he forgot to send the assassins because he was suffering from severe pain and thinking only of himself. He begs Sadao not to reveal this lapse, as it could be interpreted as a dereliction of duty, effectively placing the General in Sadao's power.
Standing on his veranda at night, looking out toward the empty island, Sadao reflects on his time in America. He recalls the prejudices he faced as a Japanese student, the kindness of his talkative landlady, and the faces of his American professors. He looks back at the haggard, white face of his escaped prisoner and wonders why, despite all the nationalistic hatred and personal risk, he could not bring himself to kill his enemy.
| Literary Device / Colloquial Phrase | Exact Textual Example / Quote | Contextual Meaning & Subtext | Pedagogical / Stylistic Purpose |
|---|---|---|---|
| Symbolism (The Fog) | "Sadao watched mists hide outlines of a little island... and then come creeping up the beach..." | The encroaching fog symbolizes the moral ambiguity, confusion, and isolation that envelops the household as they harbor the enemy. | Establishes an atmospheric, suspenseful mood that mirrors the characters' internal psychological state. |
| Situational Irony | "'It is not quite at the kidney, my friend,' Sadao murmured." | Sadao addresses the American soldier—his national enemy—using the affectionate term "my friend" out of surgical habit. | Highlights the triumph of the medical instinct and universal human empathy over political and wartime divisions. |
| Metaphor | "Those islands yonder, they are the stepping stones to the future for Japan." | Sadao's father uses the islands as a metaphor for geopolitical expansion and imperial ambition. | Contrasts the father's rigid, nationalistic vision of the future with Sadao's eventual humanitarian choices. |
| Contrast | The modern American medical training of Sadao vs. the traditional Japanese setting of his father's room. | The wounded American is placed in a room where everything is strictly Japanese, highlighting the physical and cultural clash. | Emphasizes the deep-seated cultural roots that Sadao must overcome to perform his humanitarian duty. |