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.