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29 pages 58 minutes read

Pearl S. Buck

The Enemy

Fiction | Short Story | Adult | Published in 1942

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Symbols & Motifs

The Sea

The sea is a recurring symbol in “The Enemy,” thus making it a motif. The sea is symbolic of freedom for Tom, but it is also a symbol of doom. Tom escapes his captivity as a prisoner of war, and it is through the sea that he washes up on the shores outside of Sadao’s house. However, once he is discovered, the sea threatens to also be his doom. Sadao suggests that “the best thing that [they] [can] do [is] to put him back in the sea” (43), but in his state, he would undoubtedly die. For Sadao and Hana, the sea could also provide their freedom. If they were to return Tom to the sea, they would not be faced with their current situation nor place themselves in danger. The motif of the sea returns once more with the denouement of the story. Sadao prepares the boat for Tom’s escape, and once again, the sea provides Tom with a passage toward liberation. With this action, Sadao saves not only Tom but also himself by ensuring that the prisoner is no longer in his care.

The Floor

The floor of Sadao and Hana’s home is a symbol of tradition and Japanese culture. Traditional Japanese households sleep on mats on the floor, and thus the floor is symbolic of this household tradition. Sadao’s father “would never in his own home sit on a chair” nor sleep in a traditional bed, preferring the matted floor (44). Hana is concerned that Sadao operating on Tom will ruin the floor of their home, and she rushes to fetch old matting to prevent the blood from destroying it. But Sadao, engrossed in his task, operates, nonetheless. The blood of the American ruining the matted floor is symbolic of the once strictly traditional household becoming mixed with someone they considered their enemy. If Sadao and Hana are indeed as prejudiced as their thoughts make them seem, they would never let the blood of the “white man” soak their floor and ruin a space they regard as integral to the functioning of the Japanese home. This action challenges the themes of racial prejudice and patriotic loyalty, and human kindness ultimately overcomes both.

The Flashlight

The symbol of the flashlight is introduced at the climax of “The Enemy.” Sadao debates whether he should give Tom the flashlight, fearing that if it’s used, it could draw attention to the man. Sadao gives Tom the flashlight after all and tells him to use it to signal him once he is all right. This simple gesture of handing over a flashlight is indicative of Sadao’s kindness. Despite his constant deliberation over the fate of the young man, Sadao does the right thing and helps him escape, saving his life once more. The light would not only help Tom signal potential Korean ships who might aid him, but it would also provide relief for Sadao. Knowing Tom is no longer in danger, Sadao will be relieved of his duty as Tom’s doctor and can once again assume his role as a Japanese patriot who takes care of military officials, such as the general. The flashlight is thus symbolic of Tom’s successful escape from Japan.

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