Love, Lust, and Custom

Author Naguib Mahfouz introduces a new perspective in how we view love and lust in his novel, Palace Walk. What makes this particular vantage point of the dealings of lust and love so different from those we are accustomed to hearing about is that the customs of the characters’ culture hinder them at times; their customs influence their decisions when both lust and love present themselves. We see this occurrence become more pronounced in this section of the book (chapters 14 through 29) when almost all of the main characters in the novel are conflicted in their desires and their realities. True, love seems to be of a delicate subject for some whereas lust seems to come naturally to others, but no matter what it may be labeled, all of the characters are forced to take their cultural customs into consideration before any act on their desires.

When Ahmad goes to Madam Zubayda’s residence in hopes of an evening’s entertainment, he becomes conflicted when he begins flirting with her. When he is pursuing her in her home, she teasingly rejects his advances. In one instance, she claims that she must repeat her ritual ablutions. Ahmad, in return, discloses that he hopes they may pray together. In his head, however, is where conflict begins. “He privately asked God’s forgiveness as soon as he had made this joke. Although there were no limits to his impudence when he was intoxicated by his sense of humor, his heart was always troubled and uneasy until he secretly and sincerely asked God’s forgiveness for the humorous excesses of his tongue” (93). Although Ahmad demonstrates the lust that comes with being a sexual being in this scene, he does feel some remorse for abusing God in the process.

Fahmy has fallen for the neighbor girl, Maryam and wishes to ask for her engagement, but his father protests. His father does not understand why Fahmy would request this when he has not even seen her. When he asks Amina if Fahmy has laid eyes on Maryam, she replies, “Of coarse not sir. My son doesn’t lift his eyes to look at a neighbor girl or anyone else,” to which Ahmad returns by saying, “How can he want to get engaged to her if he hasn’t seen her? I didn’t know I had sons who were sneaking looks at the respectable women of our neighbors” (129). This is one of the factors that effects Ahmad’s decision in declining Fahmy’s request to marry Maryam. He is concerned that people will jump to the same conclusion as he did about his son viewing Mayam and that it would taint his family’s name. When Fahmy receives this news, he is upset that his father will not allow him to marry whom he wants whenever he sees fit, but as it is custom to obey the head of house, Fahmy complies.

Another character who has fallen victim to customs concerning the head of house that denies her love is Aisha. Everyday, an officer passes by her window and they look at one another and Aisha feels her heart fill with affection for this man. When her sister, Khadija, catches them glancing at one another she reprimands her sister. She says, “Nothing remains a secret forever, no matter how long it may be concealed. Imagine the situation for all of us if someone on the street or one of our neighbors noticed you. You know very well how people talk. Imagine what would happen if the news reached Daddy. God help us!” (141). Aisha decides to put the officer in the back of her mind as not to risk the family’s honor. When the young man requests her engagement, her father becomes furious and, like his son Fahmy, forbids it. Aisha is sure she loves the officer, but custom holds her from speaking her mind. “There was not a thing she could do about it. This was her father’s will and she could not criticize it. All she could do was submit and obey. In fact, she had to be happy and content. To be despondent would be an unforgivable offense. To protest would be a sin her conscience and sense of etiquette could not allow” (159).

Mahfouz is able to portray the thoughts and feeling of every character in a light that makes us feel like we are the ones who are conflicted. In this section of the novel, we are able to learn a lesson in Muslim culture and customs and we are able to see how these characters’ love and desires must be suppressed for the sake of the love and respect they feel for their own culture. During the talk of Aisha’s possible engagement, Yasin says. “Marriage is the fate of every living creature. Anyone not getting married today will marry tomorrow” (152). Love is something all of these characters aspire to feel, but they all understand that marriage is the custom of their culture, and submit regardless of their feelings.

Work Cited

Mahfouz, Naguib. Palace Walk. Toronto: First American Edition, 1991. Print.