Wariri village. Domain of King Dahfu of the imaginary East African Wariri people. More lush than neighboring areas, the Wariri land also boasts a few of the modern amenities that Henderson associates with “civilization”: firearms, books, and Western furniture. Bellow often shows the village as a place of confinement; Henderson and his African guide are held captive when they first arrive, as they are again after Dahfu’s death, and Dahfu himself seems a prisoner in his own palace, chained by the obligations of his throne.
An atmosphere of death and danger hangs about the village, emphasized by Bellow’s repeated use of the color red. The Wariri people have a fearsome reputation, yet Henderson finds the inhabitants attractive and their traditional garb stylish. The opulence and pageantry of Wariri culture contrasts with the pervasiveness of death in the village, exemplified by the corpse with which Henderson wrestles his first night there and the fondness of the Wariri for ornaments made of human bone. This weaving together of death and life underscores one of Bellow’s favorite themes: In order to live fully, human beings must come to terms with their own mortality.
Dahfu’s palace. Home of the Wariri monarch, a place where human and animal, intellectual and sensual converge. Dahfu keeps lions in one part of his palace and a harem in another. He and Henderson discuss philosophy, yet Dahfu must live (and die) by the most elemental facts. Henderson at first envies Dahfu his exotic luxuries, but soon learns that they, like his own wealth, are accompanied by heavy burdens. Both characters, too, are displaced people: just as Dahfu once renounced his medical studies in Syria to assume his place as the Wariri king, so must Henderson renounce his Western arrogance in order to emulate the equipoise he admires in Dahfu.
The palace can be taken both as a literal location—one in which Henderson’s friendship with the king deepens and where, under Dahfu’s guidance, he faces some of his starkest fears—and as an allegory of Henderson’s inner self, with the harem symbolizing his many raging lusts and the lions, in contrast, his dormant potential for nobility and serenity. The subterranean location of the lions’ den is significant: In order to earn the freedom of his soul, Henderson must first descend into an allegorical Hell. Interestingly, Henderson’s and Dahfu’s friendship comes to its climax on a tower, outdoors, in direct antithesis to the palace’s enclosed underground lions’ den.
(The entire section is 1078 words.)