54 pages 1 hour read

Palace Walk

Fiction | Novel | Adult | Published in 1956

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Symbols & Motifs

Alcohol

Although the religion of Islam forbids its followers to imbibe alcohol, the substance is common in Cairo in the early part of the 20th century, and several key characters, including al-Sayyid Ahmad, partake of it freely despite their outward shows of piety. As such, alcohol becomes a symbol of what is permitted and of who grants the permission. The key example of this is al-Sayyid Ahmad himself, for within his household, he demands that every member of his family adhere to Islamic law. However, he does not follow his own rules. The presence of alcohol in al-Sayyid Ahmad’s life therefore symbolizes the difference between his expectations of others and the choices he makes for himself. He drinks every night, and there is rarely an evening where he does not stumble home drunkenly, and alcohol therefore also becomes a constant symbol of his hypocrisy.

Because Yasin shares his father’s love of alcohol, this shared immoral indulgence becomes a unifying flaw. He appreciates his father’s hypocrisy, believing that it binds them together. Their shared love of alcohol is, for Yasin, one of the few characteristics that he has in common with his father, and for the first time, he feels like al-Sayyid Ahmad’s son. While Yasin chooses to view alcohol as a symbol of his closeness to his father, al-Sayyid Ahmad does not see the matter in the same way. When he learns that Yasin is similarly addicted to alcohol, al-Sayyid Ahmad criticizes his son for his lack of self-control and refuses to recognize his own flaws in his son’s hedonistic behavior. This fundamental difference in opinion symbolizes the divergence between father and son. Yasin is desperate to focus on any similarity which might bring warmth into his relationship with his father, while al-Sayyid Ahmad can focus only on Yasin’s flaws in order to avoid engaging in self-reflection. To admit that he is like Yasin would force al-Sayyid Ahmad to confront his own hypocrisy, and he will never do this.

Al-Sayyid Ahmad’s refusal to acknowledge his hypocrisy is symbolized by his relationship with alcohol, but this is also true of the rest of society. Even though the laws of Cairo are seemingly established along religious lines, there is a permissive attitude toward alcohol that suggests that breaking the law is more common than the inhabitants of the city are willing to admit. The men of the city set the laws but refuse to live by them. Alcohol therefore symbolizes the hypocrisy of the society.

The Mosque of al-Husayn

In Palace Walk, the characters feel a close personal connection to the mosque of al-Husayn, which is located near their home. The mosque plays an important role in the community, acting as a social and religious hub for many people. For characters like Amina, however, the mosque has a more personal meaning. Amina worshiped at the mosque when she was young. Many of her more religious memories are connected to the mosque, but her marriage meant that she was no longer permitted to leave the house. When she stands on her rooftop, Amina is able to see the top of the mosque, but in accordance with her husband’s wishes, she can never return. As such, the mosque becomes a symbol of Amina’s nostalgia for a more devotional, more liberated time. The mosque becomes the focal point for this longing for freedom, and when her children suggest that she visit the mosque while al-Sayyid Ahmad is away, she seizes on the opportunity. The trip is a disaster, but Amina’s brief time in the mosque is a symbolic expression of a long-held desire to experience freedom, however fleetingly. Amina comes to view the mosque as a symbol of everything that she cannot have, which is why her reverence of the mosque never changes, even after her husband punishes her for leaving the house.

In a physical sense, the mosque also symbolizes the role of religion in the lives of the people of Cairo. The many streets adjacent to Palace Walk all converge at the mosque of al-Husayn. In a physical sense, every road leads back to the mosque, just as every conversation is littered with references to God and to religion. Though many of the characters are hypocrites, the placement of the mosque at the center of the community symbolizes the pivotal role that Islam plays in Egyptian culture as depicted in the novel. Just as religion is the foundation of the characters’ self-conception, the mosque is the central point of the community itself.

This relationship to the community is also clear in the way in which al-Sayyid Ahmad turns his weekly visit into a ritual. Each Friday, al-Sayyid Ahmad takes his three sons to the mosque for their prayers. Though al-Sayyid Ahmad is the most hypocritical character in terms of breaking religious rules, the mosque provides him with an opportunity to publicly display his piety. This is why al-Sayyid Ahmad is so angry when Yasin is accused of being a spy by a young man in the congregation. The public declaration of devotion is undermined by the public accusation of disloyalty. Had this accusation taken place anywhere else, al-Sayyid Ahmad would be less outraged. The mosque symbolizes the community, so an accusation made in the mosque is a direct threat to al-Sayyid Ahmad’s reputation. When Yasin escapes thanks to Fahmy’s association with the independence movement, al-Sayyid Ahmad is again undermined, for it is clear that Fahmy, not al-Sayyid Ahmad, has the more valued reputation in the mosque. As a result, al-Sayyid Ahmad’s anger with Fahmy results from his personal relationship with the mosque. He feels undermined in public, so he directs this anger toward his sons.

Songs

Songs and singers are important because they are effectively immune to the rules that govern the lives of many of the female characters. Singers like Jalila and Zubayda are objects of attraction, and while al-Sayyid Ahmad forces his wife and daughters to remain at home, he does not expect singers to adhere to these rules. They operate beyond the moral confines of al-Sayyid Ahmad’s conception of womanhood and femininity, and he takes pleasure in visiting singers in public and enjoying their company. In his mind, their relationship to music and entertainment differentiates them from other women and means that they are permitted to live their lives very differently.

Similarly, al-Sayyid Ahmad has a personal relationship with songs and singing that he hides from his family. When he spends time with Zubayda and his other mistresses, music is often present, and he actively takes part. At home, however, al-Sayyid Ahmad keeps this love of music private. His family has no idea that he is such an accomplished singer, nor that he has a reputation as someone who loves songs. At Aisha’s wedding, he is forced to hide his love of music from the rest of the wedding party so that his hypocrisy will not be exposed. When Jalila publicly mentions his talents as a singer, he is angry and embarrassed. Al-Sayyid Ahmad’s relationship to music and song is a symbol of his hypocrisy and his hidden life.

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