The Tragic Hero

What is Said’s tragic flaw?

Said’s tragic flaw or hamartia, would be his inability to forgive those who have wronged him. By refusing to let go of his hate and move on with his life, Said allows his desire for revenge to consume his person, and by this means, shortchanges himself of any future he might have had. This detail is made clear from the very outset of the narrative where Said states “Nabbawiyya. Ilish. Your two names merge in my mind… You'll be watching now, but I won't fall into the trap. At the right moment, instead, I'll strike like Fate.” Despite being granted a second chance at life, Said choses to cast all this aside in the pursuit of “justice” and self-vindication.

How does he display excessive pride?

The flaw of many a hero, Said’s hubris was that of he failed to acknowledge, that his undoing was just as much a result of his own actions, as it was the actions of those he blamed. Steadfast in his belief that his four years in prison were owed to ‘betrayal’ of his friends and not the narrow-mindedness of his profession, Said is unable to pick out the plank from his own eye. And as a result of this standpoint, his character is doomed to a cycle of self-destruction, ultimately culminating in his death.

When is his reversal of fortunes?

Said’s reversal of fortunes takes place during his attempted assassination of Illish. Failing to take the life of his former confident, Said instead ends the life on an innocent man. The reason for this scene’s importance, is that it is marks a shift in Said’s character and identity, he describes himself stating “A murderer! You are now one of those who commit murder.” He then goes on to divulge the far-reaching impact of this decision saying, “you have a new identity now and a new destiny! You used to take precious goods--now you take worthless lives!”

At what moment in the text does he recognize that the reversal was to due to his own actions?

It could be argued that Said’s revelation concerning his change in fortune take places the very moment he commits the crime. By openly considering the repercussions of his actions, Said is able to quickly come to terms with the atrocity he has committed. And this is somewhat of running theme in the novel, following his attempted burglary of Rauf’s home, Said had once more been able to quickly recover, leaving the crime scene with little to no remorse concerning his actions.

The murder scene serves as no exception and following its execution Said is able to swiftly come to terms with his situation and accept the hard truth that from here on “Darkness must extend…to all eternity.”

Is his fate greater that he deserved?

Unlike most tragic heroes, Said was fully aware of the path on which he was embarking and the consequences he would incur if he failed. For this reason I believe that his fate was not greater than that which he deserved. Though his friends and wife might have wronged him, Said was by no means justified in taking their lives. Nonetheless by choosing to continue down this path, Said opted for self-annihilation and the fulfillment of the age-old proverb: he who lives by the sword shall die by the sword. 

The Thief and the Dogs - Chapter 3 passage analysis

A servant switched on the chandelier, and Said's eyes were dazzled by its size, its multitude of upturned bulbs, its stars and crescents. The light that spread throughout the room was caught in mirrors at the corners, reflecting the brilliance. Objets d'art on gilt stands were displayed as if they had been salvaged from the obscurity of history for that sole purpose. The ceiling, he saw looking up, was richly decorated, while all around him comfortable chairs and cushions were casually disposed among vividly patterned carpets. His eyes rested last on the face of Maitre Ilwan, now round and full, a face he had loved, whose features he had long ago learnt by heart, having gazed at it so often while listening to Rauf speak; and, stealing occasional glances at the objets d'art, Said went on examining that face while a servant drew back curtains and opened French windows to the verandah overlooking the garden, letting a breeze heavy with the perfume of blossomy trees flow into the room.

The mixture of light and scent was distracting, but Said observed that Ilwan's face had become cow-like in its fullness, and that despite his apparent friendliness and courtesy, there was something chilly about him, as well as an unfamiliar and rather disturbing suavity, a quality that could only have come from a touch of blue blood, despite Rauf's flat nose and heavy jaw. What refuge would be left if this only surviving support also collapsed?

A pivotal scene from within the narrative, Said’s meeting with Rauf may be characterized by its vivid use of imagery and the manner with which it emphasizes the notion, that Said’s world is no longer the one he knew. Opening in grand fashion, readers are transported from the narrow streets of Cairo to the palatial halls of Rauf’s mansion. Other than providing Mahfouz, the opportunity to let on, on his compressive knowledge of interior design- French windows and all- the choice of wording in this scene bears credence to newfound life and demeanor of Said’s former ally. 

Having risen from the depths of obscurity, Rauf is no longer the impoverished writer, rather as the passage makes known he is now a wealthy journalist, so well of in fact that he might employ servants. For that matter all of Rauf’s possessions, reflect this change and Said is left ‘dazzled’ and in awe. A specifically interesting detail would be that of Rauf’s chandelier. An impressive piece of workmanship, the chandelier and its description draw heavily upon the heavens and associated imagery. Its ‘multitude of upturned bulbs,’ are seen by Said as being ‘stars and crescents,’ and the possible meaning of this is twofold. For one stars are commonly associated with reaching past one’s limits, and for this reason Said’s interpretation may be seen as symbolic, emblematic of the infinite possible now available to him following his rebirth. Secondly, crescents are typically associated with the Muslim faith, and therefore this notion of boundless opportunity might also be seen as divinely ordained, the ‘light’ spread across the room, a literal representative of Said’s bright future.

No detail in ‘The Thief and the Dogs’ is unintentional and therefore, the incorporation of French words in the narrative, ‘d’art’ could serve as a throw back to the Egypt’s colonial past, and the notion of bourgeoisie capitalism that once entrapped it.

Mahfouz capitalizes on this opulent vibe, by now directing the reader’s attention to Rauf’s character. Indirect characterization, once more owed to Mahfouz’s use of imagery, makes known that Ilwan’s lavish lifestyle had caused him to become cow-like in appearance. What’s more, the mention of Rauf’s ‘flat nose and heavy jaw,’ stand in direct contrast to his ‘blue blood,’ and mark of noble birth. The importance of this is that it makes known, to both Said and the reader, that Rauf was in no way born in, or forced into this position, but rather he chose to willingly take on and adopt the mantle. Having learnt that the last connection to Said’s past has been severed, readers are left to contemplate what their ill-fated hero will now do.

Stream of Consciousness

It is by means of realism and stream of consciousness that Naguib Mahfouz brings to life the many characters of ‘The Thief and the Dogs,’ especially his narrative’s fiery protagonist, Said Mahran. An antihero by any account, Said sets himself apart from the throng of Robin Hood-esque characters who have gone before him in that he driven by personal gain and vendetta.

As per the conventions of his time, Mahfouz makes full use of the psychological instability that surrounds the actions and life philosophy of the everyday person. From the very moment we meet Said, outside the prison walls, we the reader are placed front stage and center to the war raging within him, and while Said might be able to fool those he is around, his innermost thoughts lay bear his true intentions.

It is this psychological projection of the character that allows for the fusing of the traditional hero and villain moniker. The heroism of Said’s character is steadily undermined as the reader gains further exposure to the extent to which is willing to go, so as to exact his revenge. This sentiment reaches a climax when Said attempts the murder of his former mentor, only to kill an innocent bystander, so that by the end of the novel Said no longer remains the black and white hero he once was.

And this sentiment ties into the notion of duality that is so heavily imbibed into the novel. Be it the manner in which all the people in Said’s life change, appearing one way only to turn out another, or the manner in which Said masks his ill will, under the false pretense of manner and decorum, duality serves as a defying characteristic of Mahfouz’s narrative style and the means by which he a fleshes out his characters.

With that in mind another merit of Mahfouz’s narrative style, is that as these moments the narrator all but disappears, as the reader submerges themself into the character’s thought and emotion. As any person in the real world could attest to, interior monologue allows for the laying down of all private ideas and feeling. The way a character thinks provides clues to their mental condition and emotional stability, and only by harnessing theses is an author able to deliver on an immersive and authentic literary experience. 

Drawing upon a specific instance from the novel’s first chapter, one might also note how access to Said’s internal experiences enhances the reader’s understanding of his external reality.

In the novel’s first chapter Said thinks of his daughter Sana: “I wonder how much the little one even knows about her father? Nothing, I suppose. No more than this road does, these passersby or this molten air.”

An experienced robber, Said would have been accustomed to the unknown and unexpected yet; he is ultimately unprepared for the child’s refusal of his affection. Moments later he second-guesses himself, “Doesn’t she know how much I love her?” Having born witness to Said’s nervous anticipation and his eventual reaction to Sana’s rejection the reader is provided with all the clues as to how Said will react to challenges he faces later on in the narrative.

Through stream of consciousness writing and internal monologue, the reader is able to attest to Said’s struggle to control his circumstance. As his all consuming drive for revenge carries him closer to self-destruction, his thoughts become increasingly radical, his emotions increasingly volatile.

For all the merits of stream of consciousness, one might argue that it deprives the reader of a holistic understanding of the novel. Privy to only the thoughts of Said, readers are unable to gage events in an object manner, from the perspective of characters such as Nabawiyya or Rauf, who would have had entirely different insights to that of Said, regarding the narrative’s events. What’s more tying this into Chinua Achebe’s ‘Things Fall Apart,’ one can see note Achebe’s usage of differing perspectives, presented a far more impartial view on proceedings, allowing his the readers to reach their own conclusions- possessing all the facts, both good and bad- regarding the narrative’s progression and the parties involved.  

Literature in translation

The study of literature in translation bears as many benefits as it does drawbacks, and in my own life I have come to find that one can only judge the matter, on the basis of its impact on their own life, be it positive or negative.

At the very onset an obvious argument for translated work would be that it allows for the spreading of ideas, allowing people who would otherwise have no access to a story or work, to have access to it.

Literature has long served as a medium for radical innovation and growth, and it this sentiment that gave way to expressions such as the pen being mightier than the sword. If the literature of a single people can lead to a paradigm shift in society how much more the combined insight of all the world’s authors, past and present.

What’s more such exposure allows for a fresh appreciation and perspective on life, as readers are enabled to view life through the eyes of a different people, culture, race and creed.

That being said it is in this convenience and all inclusiveness that problems begin to arise. Languages are highly diverse in their execution and form, and for this reason how could one expect to accurately translate a text written in Khmer, a language with 74 letters, to a language such as English, which only has 26 letters. Countless details would be undoubtedly lost in the process, whole words and phrases, and the original meaning of the text would be forever different to that of the translated work.

It is for this reason that translated works can be seen as false emulations, parodies if you will that water down the tenor and essence of their original works.

Be that as it may, I am of the belief that something is better than nothing, and even if literate in translation does provides insights that were not intended by the author, they still provide content that would otherwise be nonexistent.