Khadija's Hatred

Her anger for everyone in general was nothing compared with the feelings of jealousy and resentment against Aisha that she had packed into her breast. She hated her happiness. Most of all she hated Aisha's attempt to hide her happiness. She hated her beauty, which to Khadija's eyes appeared to be an instrument of torture and oppression. In much the same way, a man stalking prey finds the glistening full moon oppressive. She hated life too. It held nothing for her but despair. The progression of days only added to her sorrows as the presents of the bridegroom were brought to the house along with little tokens of his affection. While the house was filled with an atmosphere of unadulterated delight and happineses, she found herself in a forlorn isolation that was as fertile a breeding ground for sorrows as a stagnant pond is for insects. p 238

This passage uses pathos to effectively describe Khadija's hatred for the beauty of Aisha. Throughout the book you get a glance at how much Khadija disliked Aisha for her beauty but now it you get to fully understand how strong this hatred is. The author uses word choice to best describe how much Khadija hates Aisha. Words such as resentment, torture, oppression, and hated clearly show a picture of what goes through Khadija's mind. These words infect Khadija's mind with complete anger.
Descriptive detail is another element the author uses to get this hatred across to the readers. Khadija describes Aisha's beauty as "an instument of torture and oppression" (238) just as the same way "a man stalking a prey finds the glistening full moon oppressive." (238) With this one sentence you get can picture the intense brightness of the moon shining above a man as he tries to sneak through thick grass to kill his prey. But because the moon is oppressive, the prey is able to get away after seeing the man.

Aisha's encounter

I love the book as a whole. The story is extremely interesting. The paragraph, among others, that quickly got my attention is chapter 5. Aisha's first encounter with the young police officer. Mahfouz uses detailed description. I could feel the excitement Aisha feels. In the second paragraph of the beginning of the chapter, Mahfouz writes "She sighed and closed the window, fastening it nervously as though hiding evidence of a bloody crime". The discription of her feeling afterwards gave me jitters in my stomagh. I know how it feels to have your heart divided into two emotions. You don't know if to feel scared or excited because you did something you could get in trouble for. I think over all this paragraph is a attention-seeker. Throughout the beginning of the book, Mahfouz first introduces the family and then starts talking about each individual's story. I like the plot he is using to build up to the climax.

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.

All Daughters are Made Equal

On page 236-237, we become aware of Aisha's chance to get married. This comes as a surprise because earlier in the book, we read that their family wanted Khadijah to become married before Aisha does. Aisha's excited to finally be moving on but Khadijah isn't really excited to see her little sister, to whom she shows a bit of resentment, get married before she does. Mahfouz writes, "Khadijah did not enjoy affectionate words of comfort when defeated. She received Aisha's statement with unconcealed annoyance" (237). My question at this point is whether Khadijah should be happy for her sister instead of annoyed and jealous with her. I mean, earlier in the book, on page 144, everyone was excited for her when they thought she was potentially going to get married, but now that it's shifted to her sister, she refuses to be angry. This contrast in behavior made me think about why is it so expected for older sisters to get married first. According to this website, I know that the marrying age for females in this culture is 16 and for males it's 18, but both Aisha and Khadijah are over that age. (Egypt) So why is it so important that Khadijah be married first? According to the book, they see Khadijah not being engaged as being bad luck, which I also don't understand. I think they should be happy that she got proposed to in the first place, and not complain about the order it's done in.

Also, putting so much emphasis on seeing that Khadijah be married first, creates a strained relationship between Aisha and Khadijah. Khadijah now feels resentment towards her own sister, who doesn't deserve to be treated that way. It's not like Aisha in some way made it so that she could be married first, yet Khadijah treats her like it was somehow her fault (237). She also begins to lose faith in her family and how much did she mean to them. She starts to believe that her father no longer loves her the way he used to. She loses sight in the love that keeps their family together anyways (238).


1. Egypt. Emory, 1998. Web. 26 Feb. 2010. .

2. Mahfouz, Naguib. Palace Walk (Cairo Trilogy). New York: Anchor, 1990. Print.

Poetic Writing

In chapter twenty six of Naguib Mahfouz's Palace Walk, Mahfouz's almost poetic language begins to pull the reader in. He starts mixing in long sentences with shorter sentences, and even uses dialogue. This is the first chapter in which the reader can actually feel present in the scene.
In this passage, Mahfouz writes about how simple it is to disrespect the man of the house, and the magnitude of being disrespectful to the man of the house.

Aisha had anticipated what would happen even before the matter was presented to her father. All the same, she had nourished a glimmer of hope in her dreams, like one of us tempted by the hope of winning first prize in a major lottery. At first, influenced by the generosity that comes with victory or happiness and by affection for her unlucky sister, she had been willing to object to getting married. Now her generosity had faded away and her affection had dwindled. Nothing remained but resentment, anger, and despair. 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. From the intoxication of bounteous happiness that had elated her night and day she awoke to despair. How gloomy the darkness seemed coming immediately after dazzling light. Thus the pain was not limited to the current darkness but was doubled many times over by regret for the light that had vanished. She asked herself why, since light had been able to shine for a while, it could not keep on shining. Why should it die out? Why had it died out? It was a new regret to add to the others – drawn from memories, the present, and dreams of the future – that sorrow was weaving around her heart. Although she was sunk in thought about this and it dominated her feelings, she wondered again, as though for the first time, whether the light had really gone out. The bitter truth seemed to be bombarding her emotions for the very first time. (159)

What really catches the reader's eye is the detail and the similes and metaphors. The reader could understand that it was a severe action to disrespect the man in the house, but in this passage Mahfouz puts the reader there and the way he delivers this message is like a boxing match. He throws some jabs, short sentences, and the he throws right and left hooks along with uppercuts, long sentences, to know the reader out of his chair. The combinations he is throwing could not be put together any better, and the questions he asks are the knock out blows to the reader's kidneys. When he takes the gloves off, he picks up a T-square and a pencil, and like an architect begins drawing up masterpieces to be created in the reader's imagination. With words like dazzling, intoxication, bombarding, and bounteous, Mahfouz builds skyscrapers with the sharpest edges, and cathedrals with the most detailed cupola.
Mahfouz describes the situation exceptionally well, and if the rest of the novel is like the passage above, the reader will really enjoy reading it.