In this chapter we are introduced to Rauf Ilwan, Said’s former mentor and last chance to “begin life afresh” (p. 170). Rauf becomes a new antagonist after Said discovers he has “betrayed [his old] ideas” (p. 176) and compromised his ideologies for money. We also get a better understanding of Said.
Rauf Ilwan is Said’s former mentor and has changed considerably from when Said last saw him. He used to scribble inspiring articles about freedom; he was a working class hero. Now, he writes about trivial topics like “women’s fashions [and] loudspeakers…” (p. 170). Rauf is no longer the “young peasant with shabby clothes, a big heart, and a direct and glittering style of writing.” (p. 170)
Setting plays a symbolic role in building character throughout this chapter. Rauf’s office has “one glass wall overlooking the street” (p. 171); he is situated in a physically empowering position, looking down upon the common folk below. It is as if he sits one rung higher on the societal hierarchy of Cairo. Also, the simile “the rumble of printing presses behind the grilles of the basement windows was like the low hum of men sleeping in a dormitory” (p. 171) further emphasises this class disparity. The machines are compared to workingmen, who dwell in the basement of the office building. They are the underclass and should hence work underneath Rauf. These descriptions of setting indirectly express Rauf’s character.
Rauf’s transformation is also characterized in his new residence, “villa number 18”. As aforementioned, the posh house and everything inside are inward reflections of Rauf’s transformation. Rauf now resembles a victim of Said’s previous burglaries, burglaries that Rauf helped devise; there is a role-reversal. Rauf might feel like he has to suppress his former understudy in order to avoid being robbed.
Said’s enmity towards the upper class is felt in this chapter, with the constant detailing of the extravagancies in Rauf’s house and his office. These places and the objects in Rauf’s house (like the “silver water jug” and “pretty little violet-coloured ice bucket” (p. 175)) are all symbols of the unattainable, things he will never get to enjoy.
Said’s harsh gestures and tone further express his antagonism. His demeanour has become so insensitive that when at the information desk, he has to consciously use his “deep ‘public’ voice” (p. 171). He is also described as having “glaring eyes” (p. 171). Said feels comfortable communicating his abhorrence for this sort of people, as he “remembers a time when he would have fixed a gaze on them as if he wished to cut their throats.” (p. 171).
Said also feels alienated from society. “…he looked rather out of place in his blue suit and gym shoes…” (p. 171).
Tags: Character, Rauf, Said, Setting, Symbolism, Transformation
