Countering Dictatorial Absolutism through Satire—A
Socio-Political study of Pakistani Television Drama Aangan Tehda.
What could be the
most effective language of protest in a dictatorial, absolutist regime? The
history of the world is replete with instances of authors forced into exile or
simply put away by dictators to snub the voice of social discontent. The
absence of social and political discourse in an absolutist regime creates a
vacuum that by its nature draws unto itself the voice of social discontent and
creates a language of protest. In Pakistan, during General Zia-ul-Haq’s regime,
this language of protest took the shape of a subtle, understated and highly
camouflaged satire that managed to hoodwink the hawk-eyed administration and
reflect the popular public sentiment against the totalitarian regime.
Ironically, the medium chosen by these satirists to air their views was none
other than the state-owned television station. Television shows like
Fifty-Fifty, Kaliyan, Aangan Tehda, Showtime etc., created a
new comical satirical language that could reach the general public through this
powerful medium without inviting censorship from tyrannical regime. This paper
will analyze one such example of this language of protest, a satirical
television series entitled Aangan Tehda
that was aired by Pakistan Television in 1983.
“Satire”
says Ian Jack, “is born out of the instinct to protest; it is protest become
art” (qtd.in Pollard 126). The urge to protest is rooted in the tendency to
mock at the follies and vices of the times and “the desire to mend the world”
(Ogborn and Buckroyd 11). The world that a satirist intends to mend is not an
unreal fantastic utopia, but the very real world where he lives. A satirist
invariably relies on the real. The satire can target only what is real. If
realism implies faithfully copying the world we know, then for a satirist
working in a dictatorial regime, mocking at the world he knows is tantamount to
mocking at the regime since dictatorship thrives upon absolutism and a dictator
perceives everything happening in the real world around him to be in sync with
his personality and policies. The absolutist regimes have always tried to
channelize the people’s emotions according to their programs and policies.
“Hegemonic discourse organizes its political space through the use of its rules
and myths and manages to set out what is expectable, legitimate and meaningful”
(Mascha 70). The Communist government
in the Soviet Union gave a dictum to the
contemporary humorists: “We need healthy, positive, life affirming laughter,
clearing the way to a communist future” (Ginsberg ix). The creators of a grim, humorless
society demanded humor “but made to their own specifications and serving their
own ends.”(Ginsberg ix) Farcical humor can be used to serve such a purpose, but
for a satire to be effective, it needs to target the follies of the age and a
satirist living in a dictatorial absolutist regime can do so only at his own
peril. Satire involves “a violation of
the rule”(Eco qtd. in Mascha 69); the “rule” in an absolutist regime is defined
by prohibition and censorship. “The elements that are censored or prohibited by
the official discourse and all the space that is occupied by unsayable words or
pictures are fruitful for a funny moment to take place” (Mascha 70). A
political satirist gives words to that funny moment and we “allow ourselves the
vicarious pleasure of a transgression that offends a rule we have secretly
wanted to violate but without the risk.” (Eco qtd. in Mascha 70). For a satirical
discourse to be meaningful, it needs to “mock the existing rule and degrade the
dominant or ascendant hegemonic project.” (Mascha 70). Rapid Islamization and
an attempt to link Pakistan ’s
identity with Arabian culture was the dominant hegemonic project in Pakistan during
Zia-ul-Haq’s regime. Zia wanted to disconnect Pakistan from its South Asian
reality and connect it with the unreal Islamic utopia represented by the
Islamic regimes of the middle-east. But he overlooked the fact the uniformity
in religious practices does not necessarily mean a uniformity in cultural
practices. A Roman Catholic living in Italy may have similar religious beliefs
as a Roman Catholic living in India but they as much culturally apart as Rome
and New Delhi. In his zeal to Islamize Pakistan , Zia tried to disband
certain practices like kite flying, dancing, music etc. that are part of the
South Asian identity of Pakistan .
Through the use of subtle satire, Anwar Maqsood, the writer of the television
series Aangan Tehda, successfully targeted the regime’s attempts to culturally
link Pakistan
with the Middle-East.
The
tradition of Satire in South Asia can be
traced back to classical times. Bharata, the author of the Natyashastra, a classical Sanskrit text on dramaturgy, has
mentioned Prahasana as a distinct
variety of drama. According to Bharata, “Prahasana is a kind of play that
satirizes, in a comical manner, the vices of the gurus, ascetics, Buddhist
monks, learned Brahmins etc. The theme and movement in the play are natural and
the dialogue is witty and humorous and in everyday language” (Rangacharya,
154). The titles of some of the Prahasana plays like Dhoortasamagam (convention of fools) and Mattvilas (liquor and lust) are indicative of the satirical
elements present in them.
In the medieval times, the proponents of the
Bhakti movement, and Sufism held “to every man a faithful glass” [and] copy[ed]
out the follies of the age”(Vanburgh qtd. in Ogborn and Buckroyd 11). The
Bhakti poets usually challenged the religious practices and societal norms.
Hindu priests and the Muslim mullahs, both became the target of their satire.
Kabir, for instance, mocks at the practice of Azaan where a mullah, in a high pitched voice calls the faithful to
the mosque to say their prayers. He says:
Kankar pathar jod ke masjid liya banaye
Ta chad mullah bang de, kya behra hua khudaye?
(You have made a
mosque out of rock and stone, but why do you shout O mullah! Is the God deaf?)
In the same vein,
Kabir targets the Hindu priests when he says:
Moond mundavat din gaye ajahun na milya Ram
Ram naam kahu kya kare jay mann mein aurey kaam
(It’s been so many
days since you shaved your head, still you haven’t found Ram. How can you
expect to find Ram, when your heart is full of earthly desires?).
The other Bhakti
poets like Tulsidas, Rahim etc., and Sufi poets like Bulle Shah are equally
vehement in their denunciation of the popular religious and social practices.
A
distinguishing feature of the South Asian satire has been the generality of its
tone. An individual was rarely the subject of satire. The social, economic and
religious institutions were satirized upon and personal lampoon was avoided.
Unlike the political environment of eighteenth century England which
provided fertile grounds for personal satire, the absolutist,
monarchy-controlled political environment of South Asia
was largely responsible for the emergence of the proper satire characterized by
the “generality of reflection” (Johnson qtd. in Pollard 3). Since any semblance
of directness would have invited immediate persecution, the South Asian
satirists used an indirect expression and subtle tone combined with a poignant,
well whetted wit to target the political personalities and institutions. The
totalitarian regimes of successive monarchs in the sub-continent hardly allowed
for any voice of dissention. This absolutism created a satire that was visible
only to the discerning eye and was well camouflaged with wit and humor. In his
ghazal Kitna Totey ko Padaya (how I
tried to teach the parrot), The poet laureate in Mughal emperor Bahadur Shah
Zafar’s court, Muhamad Ibrahim Zauk, satirized the emperor’s vain attempts at
writing verses by comparing the emperor to a parrot who can at best only mimic
his tutor, and lacks any semblance of originality (Anand 172). But Zauk is
careful enough to hide his criticism under the garb of a social commentary
which seems to be directed at the rapidly advancing British influence and the
decline of Mughal traditions of civility and courtesy. Nazir Akbarabadi, who
remained on the fringes of Urdu poetry for a long time owing to the dominance
of Mir, Ghalib and Zauk trinity, has effectively used satire to expose the
weaknesses of the Mughal administration. In his lyric, Khushamad, Nazir targets the officials who have gained prominence
solely on the basis of sycophancy:
Aish Karte hain vahi jinka khushamad hai mizaj
Jo nahi karte ve rehte hain hamesha mohtaj (Akbarabadi qtd in Tanvir 61)
(The sycophants
enjoy all the luxuries, whereas those who lack this quality are reduced to being
paupers.)
In
the post-partition era, Pakistan
witnessed an absolutist regime under General Zia-ul-Haq, who assumed power on 5th
of July, 1977 after deposing Prime Minister Zulfikar Ali Bhutto in a bloodless
coup. Having military dictators at the helm of country’s affairs wasn’t
anything new for the people of Pakistan .
Pakistan
had its first dictator in the form of General Ayub Khan who remained in office
from 1958 to 1969. His successor Yahya Khan became president on 25th
of March 1969 and his rule came to an end in December 1971 following the
creation of Bangladesh .
The fall of Yahya Khan brought democracy back to Pakistan . Zulfikar Ali Bhutto first
became the president of Pakistan
in 1971, and then, after the general elections of 1973, became its ninth prime
minister.
After
the successful coup of July, 1977 and the prompt execution of the “judicial
murder” of Bhutto in April, 1979, Zia unleashed an absolutist Islamist regime
that was to rule Pakistan
for more than a decade. By turning to Islam, Zia “sought to make a hegemonic
Islamic society, the pillar of the state” (Talbot 245). In his first televised
speech he declared that “Pakistan ,
which was created in the name of Islam, will continue to survive only if it
sticks to Islam. That is why I consider the Islamic system as an essential
prerequisite for the country” (Talbot 251).
Zia, thus exposed the people to the Islamic as well as military
absolutism. He “(banned) all political parties and (public) meetings. Rigid
censorship was also introduced, and editors of defamatory publications could
now be punished by ten lashes and twenty five years of rigorous imprisonment”
(Talbot 259). These developments prompted the satirists to create a language of
protest that could reach the public without offending the powers that be. In
his 13-part television series, Aangan Tehda, Anwar Maqsood created such a
language by using the standard elements of satire such as irony, wit, humor and
allegory, camouflaged under the insignificance of the everyday happenings in a
typical Pakistani middle class household. To achieve his purpose, Anwar Maqsood
very subtly introduced the elements of the Absurd in the reality of Aangan
Tehda. The narrative in Aangan Tehda is realistic, the characters and the
storyline are believable since they are commonplace rather than extraordinary.
The dialogue uses a language that is “functional rather than poetic, accessible
rather than elevated or ornate….and aims to accurately represent the real life
it draws upon” (Earnshaw 140). However, the elements of the Absurd can be
traced in Aangan Tehda since the cause and effect do not explain everything and
although the play seemingly moves in real time and space, it can easily be put
in no time and no space. By doing so, Anwar challenges the limits of the realistic
drama, effectively exposing its inadequacy as a means of depicting the
senselessness inherent in Zia’s Islamist regime. Aangan Tehda remained on air for only one
season and within that season, it managed to ridicule and expose almost
everything that Zia’s dictatorial regime stood for. On the face of it, Aangan Tehda,
like the popular American sitcom Seinfeld, looks like a show about nothing. In
the lives of its protagonists, Mehboob Ahmed and his wife Jahanara, nothing
happens. Mehboob is an ex-weatherman who passes his time listening to classical
music and Jahanara is a typical middle class Pakistani housewife who spends her
time cooking food, sewing petticoats, and fighting with her husband. The other
major characters include Akbar, Mehboob Ahmed’s servant, Chaudhary, their
neighbor, who is a rich businessman and Chaudhary’s sister Sultana, who is a
widow.
Anwar
Maqsood makes his intentions clear at the very beginning. The play opens with
Akbar sitting at a corner shop chatting with Chaudhary’s servant. Akbar tells
him that that he wasn’t always a domestic servant. He used to be a classical
dancer who became unemployed owing to the closure of the academy. This is an obvious reference to the P.I.A. Arts
Academy in Karachi that was forced
to close down following the implementation of the Islamic law or Nizam-e-Mustafa in Pakistan . “In
his zeal to link Pakistan
culturally and politically with the Middle-East,” says Sheema Kermani, “Zia
disbanded Arts council and implicitly termed dance un-Islamic and rendered the
classical dancers jobless .” Payal,
the classical dance programme on Pakistan Television was banned. The decade of
the eighties saw a number of performing artists leaving Pakistan for
better prospects abroad. Anwar Maqsood once met one such jobless dancer and
jokingly offered him a job as a domestic help. However, the predicament of this
dancer inspired him to write Aangan Tehda. In a bold move, Anwar Maqsood opens
his drama with an out-of work male classical dancer. Jahanara repeatedly makes
fun of his girlish gait and forces him to walk properly. The physical representation as an out of sync male
conforming to the gay stereotype satisfies the Islamic fundamentalist, who sees
in Akbar a justification of the implementation of the Sharia. At the same time,
for a moderate, Akbar is the representation of the cultural assault that
threatens the South Asian identity of Pakistan and aligns it with the
Middle-East. Like satire, the tradition of dancing in south Asia
can also be traced back to classical times. The Sama Veda deals extensively
with the subject of music and dance. The Natyashastra too provides the details
of various dance forms. Even during the medieval times, when South Asia was
under Muslim rule for more than eight hundred years, the classical as well as
folk dances not only continued to flourish, but new forms of classical dances
also evolved. The Mughals, barring the exception of Aurangzeb, encouraged
dancing in their courts and Kathak dance owes its origins largely to the Mughal
patronage. Thus Zia’s assault on dance and other art forms did not find favor
with the people of Pakistan
as it negated their South Asian cultural identity.
In the next scene, we find Mehboob Ahmed
rehearsing a political speech as he is seeking election to the city council.
Akbar is busy feeding the pigeons that Mehboob keeps as pets. Mehboob’s speech
is interrupted by the entry of Jahanara who rebukes Mehboob at his foolish
attempts to become a councilor and orders Akbar to go the kitchen. The scene
establishes Jahanara’s character as a dominant force in the house. Jahanara’s
and Mehboob’s witticisms in this scene set the tone of the play. Within this
seemingly innocent war of words between husband and wife, Anwar Maqsood very
subtly introduces a powerful symbol of defiance against the Islamist regime—the
pigeons.
The
most visible impact of Zia’s Islamist regime was the imposition of Sharia law
and the confrontation between the “state’s legalistic imposition of Islam and
the humanist tradition of Sufism” (Talbot 251). Sufism, since its advent in the
medieval times, has always been an integral component of the regional and
cultural identity of the people of the sub-continent. Sufi saints are revered
by Hindus, Muslims and Sikhs alike and Sufi shrines are thronged by people of
all faiths. The first confrontation between Zia’s brand of Islam and Sufism
occurred in 1981, when he banned the practice of kite-flying and pigeon-flying
terming them un-Islamic as “they violated the sanctity and privacy of women”
(Talbot 251). Since “the keeping of pigeons was associated with many great Sufi
saints and was the familiar feature of the leading shrines” (Talbot 251), this
ban faced a stiff challenge from the custodians of these shrines forcing the
authorities to withdraw the ban. Within the first five minutes into the first
episode, Anwar Maqsood slips in this symbol of hardliners’ defeat and persists
with it throughout the season. Pigeons
not only continue to appear consistently throughout the series but also play a
significant role in one of the later episodes.
According
to Arthur Pollard: “the essence of the successful satire (is) to get your
victims hopping mad and your audience laughing their heads off” (12). But the
writers living in an absolutist regime cannot afford to have their victims
“hopping mad” since jokes, satires and witticisms can exact severe penalties.
Dictatorial regimes all over the world, be it the Nazi Germany, the iron
curtain Soviet regime, Franco’s Spain, Saddam’s Iraq or Zia’s Pakistan have
used press censorship, extra-judicial trials, secret police, etc. to snub the
voice of social discontent in all its forms, satire being no exception. So, the
writers can either criticize the regime at their own peril or they may do so
while living in exile in some safe country.
So while Stephen Colbert can launch an satiric attack on George W. Bush
in the latter’s presence and with “tongue firmly in cheek praise the president
for trusting his gut over the facts found in the books”(Gray 18), the Pakistani
writers like Ustad Daman would be handcuffed and put behind bars for reciting
his poem ‘Pakistan vich maujan hi maujan,
jithe vekho faujan hi faujan’ (Pakistan is full of joy, wherever you see
there’s an army convoy). The memory of Ustad Daman’s arrest was still fresh in
the public memory when Aangan Tehda was telecast. Anwar Maqsood, in Aangan Tehda
managed to create a language of satire that reached his audience without
getting his victims “hopping mad”. He was not arrested, nor was he forced into
an exile. His drama was aired by the state owned television. The audience
laughed at the absurdities inherent in the plot; they laughed at pointed
witticism; they also experienced a cathartic laughter at the severe criticism
of Zia’s absolutist regime. Through subtle allegorical representations and
refraining completely from caricature, Anwar managed to make regime look
“small, inferior, despicable and comic” (Shehata 75). Aangan Tehda provided a
semblance of emotional equilibrium to the Pakistani audience who were consistently
at the receiving end of the cultural assault unleashed by Zia and Mullahs. Freud
has explained this phenomenon in as: “When ‘external circumstances’ do not
permit political criticism, jokes become especially favored in order to make
aggressiveness or criticism possible against persons in exalted positions who
claim to exercise authority. The joke then represents a rebellion against
authority, a liberation from its pressure” (Freud qtd. in Shehata 75).
Towards
the middle of the first episode, Mehboob Ahmed decides to rent out a room in
his house to supplement his income. This development allows the writer to
introduce a variety of characters and he uses them to comment upon the state of
affairs under the dictatorial regime. Mehboob Ahmed’s first tenant is a
journalist. The conversation between Mehboob and the journalist portrays the
state of journalism in Pakistan
during Zia’s regime where the collective voice of the secular intelligentsia
was reduced to a whisper. Mehboob Ahmed enters the tenant’s room and finds him
sitting on the floor.
Mehboob: Sir, why
are you sitting on the floor?
Journalist: I am,
where journalism is.
Mehboob: Which
newspaper do you work for?
Journalist: I work
for the daily Zameer (conscience).
Mehboob: Zameer is Akhlaq’s (Courtesy) paper.
Journalist: It
used to be. Akhlaq died and his sons sold the paper.
The
dialogue is immediately followed by a farcical situation where every member of
the house starts requesting the journalist to publish his interview. This is a
repeated pattern in the series; after making his comment on the contemporary
political situation, Anwar immediately creates a comical situation so that only
the discerning eye is able to catch the inherent satire.
Zia-ul-Haq
and his absolutist regime are not the only targets of satire in Aangan Tehda. Anwar
Maqsood is equally critical of the contemporary politicians. In the decade of
the seventies “Pakistani politics acquired an overwhelmingly negative
character, the goal being to outdo your rival by whatever means, irrespective
of the impact on nation. Self aggrandizement and not public service was the
result of such a system” (Ziring 170). The second, third and fourth episodes of
Aangan Tehda deal primarily with Mehboob Ahmed’s election campaign and the
corrupt practices that dominate the election. Mehboob finds himself stifled
from all sides. Chaudhary tries to help him out of this predicament but it is
with the intervention of a comedian, Lehri, that Mehboob is able come out of
the maze. Once again Anwar Maqsood has shifted the attention to an issue which
would find ready acceptance with the Pakistani administration. The fact that
elections are nothing but a farce agrees with Zia’s rejection of political
party arrangements and competitive politics. And while Zia sympathizers are
enjoying the spectacle of politicians making fools of themselves, Anwar Maqsood
shifts the focus to the referendum to be held in 1984. Zia tried to fool the
public by proclaiming “62.15 percent voter turnout with 97.71 percent voting
‘Yes’”(Talbot 261), to Zia’s referendum proposition, thus reaffirming their
faith in his leadership, although “the deserted polling stations indicated a
considerably low turnout” (Talbot 261). In Aangan Tehda, the elections conclude
with the observation of the comedian Lehri when he proclaims in a public
meeting that: “No one’s the bigger fool than the crowd and since you too are a
crowd, you are all fools.”
During
Zia’s regime, the state owned television station known as Pakistan Television
or PTV was the only television station in Pakistan . There were no satellite
or cable T.V. channels available to the general public. The administration used
this powerful medium to advance Zia’s Islamist agenda and to enhance his image
as Pakistan ’s
savior. Television broadcasts were regularly interrupted to make way for the Azaan. The television announcers were
advised to use the word Allah instead
of Khuda since the former is an
Arabic word for God and latter is Persian.
Tariq Aziz, the host of a popular quiz show Neelaam Ghar popularized the use of Allah Hafiz or Allah
Nigehbaan as a parting greeting instead of the commonly used Khuda Hafiz. The depth of satirical
language created by Anwar Maqsood can be gauged from the fact that even in this
kind of an oppressive atmosphere, he not only managed to ridicule the social
and political institutions, but also managed to show Zia-ul-Haq “of what
species he is an ass” (Vanburgh qtd. in Ogborn and Buckroyd 11). In Aangan Tehda,
the personality of Zia is represented allegorically through the character of
Jahanara’s mother, Saleha Begum. Saleha Begum is an uninvited, unwelcome guest
in Mehboob Ahmed’s household. As she bangs at Mehboob Ahmed’s door, announcing
her arrival, Mehboob comes out, still half-asleep, and without looking at her
takes her to be the cleaning woman and rebukes her for coming so early on a
holiday. The scene continues in the living room where Mehboob realizes his
mistake and faces a barrage of complaints from the mother-daughter duo. In the
confusion that follows Saleha Begum’s arrival, Mehboob’s remark about the
holiday is easily overlooked. In retrospect one is forced to think that in a
household, where no one goes out to work, where everyday is a holiday, why
would Mehboob create a fuss about the cleaning woman (who by the way never
finds any mention prior to or after this incident) coming early in the morning
on a holiday. By referring to the holiday, Anwar has subtly hinted at Saleha
Begum being the allegorical representation of Zia and also at the latter’s
proximity with the U.S.A. Zia assumed power on 5th of July 1977 and
owing to the eleven hour time difference it was still 4th of July, a
national holiday in the U.S.A., when Zia banged at the doors of Pakistani
parliamentary democracy and announced his arrival. The allegory is made even
more apparent when Saleha Begum tells Chaudhary that she can help him become
the member of Majlis-i-Shura, an alternative to elected parliament, installed
by Zia, who reserved the exclusive right to nominate whomsoever he deemed fit
to serve the public. “The Majlis-i-Shura was an appointed, not an elected body,
and its powers were defined by the presidential order that created it” (Ziring 183).Once
Saleha Begum’s character as a dominant voice in Mehboob’s Aangan has been
established, Anwar continues with his raillery against Zia and his regime. In a
scene, Jahanara finds Akbar playing around with pigeons and asks him what he is
doing. Akbar replies that he is releasing pigeons, the messengers of peace
since a combative woman has arrived in the house. The episode featuring Saleha
Begum includes a few scenes of eavesdropping where men-folk trying to conspire
against her are caught red-handed, sometimes by the Begum herself and sometimes
by her second in command, Jahanara.
Saleha Begum’s stay in the household is marked
by her repeated threats to go back to her house. Whenever she utters this
threat, she has to face a barrage of witticisms by Mehboob and Akbar, who
challenge her to carry out her threat. After assuming power as the chief
Martial Law Administrator following the coup of 1977, Zia promised to hold
elections within 90 days. “Immediately, after launching Operation Fairplay, Zia
declared: ‘My sole aim is to organize free and fair elections which would be
held in October this year. Soon after the polls, power will be transferred to
the elected representatives of the people. I give a solemn assurance that I
will not deviate from this schedule’” (Talbot 256). Zia didn’t keep his
promise. “The martial law era was to be punctuated by such promises of national
elections which never materialized (Talbot 256)”. In Aangan Tehda, Saleha begum
comes for three months or 90 days and repeatedly promises to go back by the
next train. These promises become a butt of jokes in the household, and finally
when she does decide to go Akbar wants everybody to go to the station, in case
she decides to change her mind. The reference to 90 days or 3 months continues
in the penultimate episode, when Anwar comes to Mehboob’s house as himself. All
the characters, who have been anticipating that Aangan Tehda would be extended
for another season, perceive Anwar’s entry as a positive sign. But Anwar
disappoints them by saying that the series was meant to run for one season,
that is three months or thirteen weeks or 90 days, and time has come to take it
to its conclusion to which Akbar remarks that for the first time, the three
months have ended so soon. Thus once again, very subtly, Anwar hints at the
unfulfilled promise of General Zia that he would hold elections within 90 days
of assuming power.
Although
Anwar Maqsood uses Jahanara’s mother as an allegorical representation of
Zia-Ul-Haq, he doesn’t confine his ridicule to her character only. The title Aangan
Tehda has been taken from a popular
Hindi proverb, Naach na jane Aangan Tehda
meaning that those who can’t dance, blame it on the crookedness of the dance
floor. By opening the play with an out of work classical dancer, he is
ridiculing the Islamists who don’t appreciate the importance of art and culture
in the society. Aangan Tehda, in the penultimate episode, becomes a metaphor
for Pakistan ,
when Mehboob questions the writer: “Why don’t you extend the drama for another
season, since the Aangan is still crooked?” In the first episode, Mehboob Ahmed
enters with a lota (brass tumbler) in
his hand which incidentally, is also his election symbol. Lota, in South Asian
literature is symbolic of someone who is unable to keep his word; someone who
is not expected to be faithful to his commitment; someone like Zia, who would
promise to hold elections time and again but those promises would never be
fulfilled.
This
is Anwar Maqsood’s language of protest. He presents the insignificant, routine
mundane affairs of average citizens and slips in his puns, wit, irony and
allegory. Aangan Tehda makes us laugh “because we see in it the significance of
the insignificant”(Garcia 148). In Aangan Tehda, as in Absurdist drama, “The
comic becomes serious, even near tragic, while the serious becomes laughable (Greenwald,
Shultz and Roberto.D.Pomo 1201).” The audience that sees the real laugh
comfortably and the one that sees the dark humor and the allegorical references
to the absolutist regime also laugh, albeit uncomfortably. To Anwar’s credit,
the line dividing the two is so blurred that he managed to slip it past the
censors and put it on air. During Zia’s regime, the people of Pakistan
experienced both political as well as religious absolutism. His vision of Pakistan as an
Islamic state exhorted people to believe “that nothing else is right and,
therefore, everyone should believe in it” (Wellwarth 301). “Everything absolute
belongs to Pathology” (qtd. in Wellwarth 301),
says Nietzsche, and during Zia’s regime it were the individualists like Anwar Maqsood, Qaiser Farooq, Farooq Kaiser,
Salim Nasir and Arshad Memood who stood
up and tried to rid the Pakistanis from the pathological effects of dictatorial
absolutism.
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