29 pages • 58 minutes read
Pearl S. BuckA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Foreshadowing is a literary technique an author employs to hint at an event that might occur later in the story. Though Buck subtly utilizes foreshadowing in “The Enemy,” the effect leads to a feeling of irony, having the narrative come full circle. Foreshadowing in “The Enemy” occurs at the start of the narrative when Sadao and Hana see Tom, the American, washed up on the shore. From the contextual situation, the reader learns that Tom has escaped captivity by escaping into the sea and that “the man was a prisoner of war” (43). Sadao and Hana suggest that the best solution to their dilemma is to return the man to the sea. This suggestion is ultimately fulfilled when Sadao assists Tom in his escape from Sadao’s home into the sea, where Tom will find safety once again.
Conflict is a literary element that creates a struggle the protagonist must overcome. In usual cases, conflict occurs between the protagonist and the antagonist of a story. The conflict in “The Enemy” is an example of inner conflict. Sadao faces a struggle within himself and his two opposing beliefs. One of his beliefs is that the Americans are his enemies and that the Japanese are a superior race. His other belief stems from his oath as a medical professional not to harm anyone in his care. For this reason, although the doctor resists his patriotic requirements, he is ultimately overcome by the need to rescue Tom. The inner conflict faced by Sadao is also encountered by his wife, Hana. She struggles to overcome her instinctual maternal kindness while trying to maintain her belief in her racial superiority.
The rising action of a narrative consists of the early events that cause tension and lead up to the climax. The rising action in “The Enemy” begins once Sadao confesses to the general that he has taken in a wounded American. Sadao places himself in great danger by confessing this to a Japanese general, who prides himself on his patriotism and duty. Yet Sadao is the general’s surgeon, and he is responsible for the general’s health. The general suggests that he could send assassins to kill Tom, which would not implicate Sadao directly in the decision of whether the man lives or dies. Sadao readily accepts the offer, but after three sleepless nights and seeing the great physical progress Tom has made, he decides to help the man escape instead. This decision leads to the resolution of the conflict Sadao struggles with.
The resolution of a story is the point at which the conflict is settled. The resolution can also be referred to as the “denouement” and typically clears up any lingering questions or loose threads. The resolution of “The Enemy” comes after Sadao has helped Tom safely escape into the sea—an act that decisively prioritizes empathy over prejudice and nationalism and thus signals an end to Sadao’s inner conflict. Sadao then tells the general that the prisoner has escaped in a scene that assures readers there will be no external conflict: Sadao will face no repercussions because the general himself is concerned about how the episode will look and decides not to disclose the information to anyone.
However, the story’s closing lines introduce a note of uncertainty into the story’s resolution. Sadao questions why, despite his hatred of Americans, he was unable to kill Tom. Sadao’s lingering confusion about the events and his role in them underscores the theme of Learned Prejudice Versus Innate Empathy; the kindness he showed to Tom was so instinctive as to be unconscious, so he struggles to articulate his motives even after he has made his decisions.
By Pearl S. Buck