By Dr. Brij Premi
Ghalib and
Manto are colosusses of two different segments of literature. The two are not
bound in any relation of time and space. One is a 19th century poet and the
other 20th century storyteller. The two figures had different professional
family backgrounds, yet they had an amazing relationship. The creative fires
in Ghalib had catalyzed him as a personality of mazed layers. This was what made
an egoist and anarchist that Sadat Hasan Manto was to bow his head in awe to
Mirza Assad Ullah Khan Ghalib. Ego was writ large over the personality of Manto.
It was the rampart of his strength and it was what fault-lined his personality.
His undiminshable ego lost its lustre to Ghalib’s luminous aura of greatness.
His frequent mention of Ghalib in varied ways conveys the reality explicitly.
In matters
of temperament Manto was akin to Ghalib. Both had bohemian traits. Ghalib
occasionally never hesitated from drinks which he borrowed and Manto also
enjoyed swishes of drinks by putting his art on sale or by robbing pockets of
others.
Ghalib says:
‘Mai Se Garaz Nishat Hey
Kis Ru Siya Ko’
Ik go na Be Khudi Mujhe Din Rat Chahiye’
Possibly as
happened with Ghalib Manto also took to drinking as a pleasure. But with
passage of time it became a compulsion for hurling himself into oblivion. In
the last days Ghalib was neck-deep in economical and mental crisis and drinking
would mean a wavy haze of forget fulness for him. The last days of Manto
were equally painful and agonizing. His intellectual capacities had petrified
and wine alone was the support-plank. Both shared the pains and anxieties of
life and rued the prevailing system that made them bite away each moment of
life from the jaws of death. Gaddar (rebellion of 1857) left Ghalib a broken
reed and the ‘angst’ looming large in the surroundings is expressly
communicated through his letters. Manto lived the tragedy of partition and the
degrading fires of communalism that raged furiously. His stories and essays
written during this dark period demonstrably convey his internalised poignance
and agony. Both the artists convey the events that were happening and the
agonies that were rending their cores in their characteristic lucid style. The
tale that they weave is about a world reduced to a sapless desert.
Manto as a
terrific egoist critiqued the greatest of the great. He snapped contact with
Nazir Ludhianvi, editor of the weekly ‘Musvir’. as he sensed
diminution in his sense of reverence for him. He gave up his services in All
India Radio where his dramas were scissored at the behest of Upendra Nath Ashk a
story-writer and never saw the gates of filmistan which gave him bagfuls of
money at the suspicion of Ashok Kumar, his actor-friend, planning to filmise
story-lines of Nazir Ajmeri, Kamal Amrohi and Ismat Chugtai. All this was beyond
his tolerance level. His personal benefits he never minded. On his way to
Calcutta Ghalib broke his journey at Lucknow. His well-wishers were keen to
arrange for his meeting with the Prime Minister of Awadh. But the meeting could
not materialise because Prime Minister showed reluctance to exempt him from
payment of call-money. He even kicked away a teaching job in a
Delhi
college as he fell insulted by secretary of state, Thomson, for not receiving
him at the gates of his mansion. Nothing better can testify to his integrity and
sense of self-esteem. Both were egoists to a fault though egoism was equally
their strength.
The
complexities of Ghalib’s sensibilities and experiences are concealed in tinted
veils of joys and sorrows. His metaphors are pregnant with a world of meanings.
Manto also in his stories seems to give expression to complex layers of human
pains and pangs and inner turbulence. Ghalib is a poet, but his intellect is not
away from the ‘dastan tradition’. In his leisure he was
interested in the study of ‘dastan’. His metaphors have a hang of
‘dastan’. Manto’s stories have episodic beauty and episodes do not
lose their sparkle. For both close bonding of word and meaning matters. In
fact, in their respective realms both are sovereign. Though a poet, Ghalib is
a prose-writer too and has been rightly estimated as the founder of modern
prose. He is inimitable. Mantoo falls in the same line of Ghalib. His themes,
technique and language are not imitable. Ghalib’s experimental layers are
complex and profound. So are Mantoo’s. The very intellectual and emotional
proximity that Mantoo had with Ghalib made him to admire and love
Ghalib as an
icon. Manto was born after 40 years of Ghalib’s demise.
Sometimes
one is surprised about Mantoo’s fascination for Ghalib as he had no bent for
poetry. His mention of poets and their poetry is rare. In 1945 he told Majruh
Sultanpuri, a modern poet, that he had no love lost for gazals. Yet at the same
time Manto labours at Ghalib’s gazals, quotes him frequently and employs his
verses as allusions with a view to enhancing the intensity of his semantics. In
1940 he made a resolve to write a film script on Ghalib and devoted himself to
the study of Ghalib. In a letter to his friend, Ahmad Nadim Qasimi, he writes
‘I am
studying Ghalib these days. I intend to write a film script about him. Though
material is scarce, yet whatever is available will do? Manto's Letter P 163.
He continued
with it for quite some time. Around 1943 he took to writing a script about
Ghalib. The letter that he wrote to Ahmad Nadim Qasimi in April 1943 hints at
it.
‘I am
writing two scripts. One is about Ghalib’.
Letters of Mantoo, P 144
But his
script could not be filmised. During his stay in India his dream could not
materialise. After he migrated to Pakistan Sohrab Modi, a film director,
utilised his script for filmising and Rajendra Singh Bedi wrote dialogues for
it. It was recognised as a successful Mantoo film.
Mantoo has
made an apt use of Ghalib’s verses in a number of essays and sketches, mainly
for satires without injury to the theme and subject to sharpen their pointed
effect. The verses are absorbed in the subject frame-work and seldom stand out
as not being in tune with the context. Some examples :-
1) Ghalib
was a poet of Urdu. A century ago he had mused-
Huye Mar Ke Ham Jo Ruswa, Huye Kyon Na Garake-e-Na Kahen
Janaza Utha, Na Kahein Mazaar Hota’
The poor man
had no fear of life because from cradle to grave he was a model of humiliation
in the world. He had no fear but was extremely sure and confident. That is what
made him to desire to die by drowning in the river-waters. There would be no
bier and no grave-yard. I wish him to have taken his birth in your land. You
would lift his bier pompously and build his mausoleum in the style of a
sky-scraper. Had you condescended to act out his desire you would have prepared
a tank for his body to remain sunk and visitors would throng to see it as people
do in a zoo.
2) Cloth is
a costly item. Poor people after death don’t get even a shroud. Those who are
living are in shreds. Mentally ruffled I thought of setting up a nude club.
What will
they live by - rattled me as a worry. Each other’s nakedness! Eyes taking a
morsel of it will leave it there in disgust there. There is desolation. There is
grinding poverty. There is irritation. Dear uncle appreciate.
Fifth letter to Uncle Sam
3) You must
have noticed a verse on the hotel-walls
Dar-O-Deewar Pe Hasrat Se Nazar Karte Hein
Khush Raho Ahle Wattan Hum To Safar Karte Hain
If poor, it
will certainly injure the core of your heart writing on walls
To Ghalib's
memory he dedicated his “Ganjay Firishtey”, a collection of his
pen-portraits, which amply demonstrates the fact of his resemblance to a
vanity-ridden poet like Ghalib. He was so much impacted by him that under his
spell he made a frequent mention of him in all his works. Mantoo had learnt the
secret of brevity of words from Ghalib only. It is no exaggeration to put that
Ghalib was his real master. Had it not been so a rebel and stormy-petrel like
Mantoo would not have been extremely courteous and respectful to Ghalib.
4) A verse
of Ghalib
‘Pakde Jate Hein Farishtoon Ke Likhe Par Naahak
Aadmi Koyi Hamara Dam-e-Tehreer Bhi Tha’
Those
writings on walls cannot be models of writing-Hence arresting people does not
arise. This is why the wall-writings and wall-paintings have not suffered the
state repression and intimidation.
Writing on walls
5) Ghalib
says
Mein Hilata To Hun Un Ko Magar Ae Jazba E.Dil
Un Pe Ban Jaye Kuch Aisey Ki Ban Aaye Na Bane’
It means
that this verse would not have found place in his anthology had he hated
un-invited guests. Ghalib depicts ‘I invite her but I like her coming to me
uninvited on any pretext’. The reality is that un-invited arrival is more
pleasurable and sumptuous than when she arrives on invitation. It is beyond
one’s ken why people scorn un-invited guests. It can be said that Ghalib had
said it about beloveds whose un-invited arrival is thrilling. You have forcibly
tagged this verse on to guests. Let it be so.
It is how
many verses of Ghalib have cropped into Mantoo’s writings. In him there are
themes that are inspired by Ghalib’s verses.
a) Ched Khuban Se Chali Jaye Asad
b) KuchNahi Hey To Adawat HiSahi
c) Sar Khujata Hey Jahan Zakham Sar Acha Ho Jaye
d) Lazat-e-Sang Bandaz-i-Taqreer Nahi
f) Zahmat Meahar Darakhshan
It is
already said that Mantoo , was an egoist and his entire life kept on simmering
in the fires of egoism. Upender Nath Ashok in his book ‘Mantoo, My Enemy;
writes -
Mantoo’s
escapism is because of his egoistic temper and the secret of his greatness lies
in his egoism. He was given to flattery. He would read out Ghalib’s verses to
Mukerjee though a boor averse to delicacies of poetry. It does not detract from
Mukerjee’s greatness. He had no second in his art. Ghalib appreciation was
beyond him’.
It is
evident that Mantoo, ran away from field of life when his egoistic sense was not
gratified. Not an escapist he would stake everything at the altar of his ego. He
would harness all his faculties. Finding the path prickly he would slip away by
the by-lane to escape from humiliation, disgrace and exposure. The defeat of
his irrepressible ego was the cause for his escape from his home.
Amritsar,
Lahore, Bombay, service from the All India Radio and Filmistan in Bombay. The
period that Ashq mentions is the golden period of Filmistan where Mantoo ruled
his roost as a boss, To keep his airs Mantoo would not drag his feet from
indulgence of Mukerjee. He used verses of Ghalib for such indulgence. This is
the reason that he loved verses of Ghalib and the store of such verses was full
with him. Hearing verses of Ghalib people dance into ecstasy and those who do
not make a sense of the verses never express disappointment. Ghalib and his
poetry are a craze. Mantoo used it to the hilt.
Mantoo did
much more than this. His essays about Ghalib are available in a good number.
Ghalib and Chodvi
(an essay on Ghalib) is like a feature in
the essay form based on the letter of Hatim Ali Mehar MughuI children are
strange. They kill the woman they love...I too in the craze of my youth loved a
Domba-girl and have kept her in a condition of death!
On the
support of a Ghalib’s letter he writes - ‘Kotwal was the enemy and magistrate was
not known. Feud was waiting for a chance and stars were in adverse stations.
Despite magistrate being the officer of Kotwal and with respect to me he turned
to be a subordinate of Kotwal and ordered my incarceration?
Manto writes :-
Some of
these references for a story writer can help in preparing the map of Ghalib’s
romantic life and the triangle of perpetual love gets formed by ‘you, the
tyrannical dombini and the Kotwal?'
On these
references Mantoo has woven an essay and this very essay is the plank of film on
Mirza Ghalib.
b) Mirza’s life in
Agra
To map out
Mirza’s youth this is a feature-cum-essay highlighting his kite-flying,
adventures with Kanwar Balwan Singh and his chess-games. It is crowded with a
host of characters like Umrao Jan. Mullah Abdul Samad, Khwaja Ghulam Hasan,
Nawab Allah Baksh and many others. It also spotlights Mirza’s life-aspects at Agra.
Mantoo has put it in his own characteristic manner.
c) Ghalib
and Govt Service This theme presents Ghalib’s appointment in Delhi College.
Manto commences it this way -
‘The house
by the side of late Hakim Mahmood Khan’s mansion in the backyards of a mosque
is that of Ghalib. You had said about it.
‘Masjid Ke Zer-e-Saya, Ek Ghar Bana Liya
Yeh Banda-e-Kamina Hamshye Khuda Hein’
No harm in
taking you inside the house. It is late in the night. Mirza’s house will surely
be abuzz. Though not that abuzz, Munshi Shiva Narayan is present.
The episode
of Ghalib’s service in Delhi college is made a mention of. The full threads
including that of Thomson are picked up. The kicking off the service on the
trifle plea of Thomson not showing him any respect is dramatically delineated.
d) Mirza Ghalib as an invitee at Hashmat Khan’s Mansion.
It is an
essay lightly written in an epigrammatic style based on an episode about Ghalib,
Hashmat Khan and characters of Chodvi. Hashmat Khan’s over-bearing mannerism is
drawn in a fascinating manner.
e) Drinks
borrowed: Manto in this essay has described the relations between Ghalib and
Mathura Das, Ghalib’s state of indebtedness and court proceedings in the court
of Mufti Sadur-ud-Din. Ghalib’s verses are interspersed in this essay to add to
its fascination.
It will not
be apt to give a de-tailed account of numerous verses of Ghalib that Manto has
used in his works. But it is certain that his writings other than his
short-stories are replete with them.
It is
already commented that the plank of egoism and self centered bent was shared
equally by both the stalwarts. In Ghalib egoism raises its head in the form of
superiority complex and in Manto too superiority complex is expression of the
same character-trait.
Some
Examples: a) Hein Aur Bhi Duniya Mein Sukhan Var Bohut Ache
b) ‘Aaj Mugh Sa Nahi Zamane Mein’
Kehte Hai Ki Ghalib Ka Hein Andaz-e-Bayan Aur’
Ada-e-Kaas Se Ghalib Hua
Hum ‘Sukhan Faham Hein ‘Ghalib Ke Taraf Dar Nahi’
Sadat Hasan
Manto was an artist of the same tribe. It can be exemplified by the following
quote -
‘I was a
short story writer of the entire country of Hindustan. Now I am a story-teller
of
Pakistan.
There are a number of publications to my credit. People love and respect me. In
India there were three law-suits filed against me and in Pakistan one law-suit
is pending decision for quite sometime!
A Letter to Uncle Sam
The
trumpet-sounding epitaph that he used to give to his admirers as an autograph
supports the thesis of his superiority complex.
Epitaph: Here lies Sadat Hasan Mantoo buried. All the secrets
and subjects of his stories too are buried in his bosom. He is still thinking
under the tons of earth that he is a great story writer.
To Ghalib’s
memory he dedicated his ‘Ganjay Firishtey’ a collection of his
pen-portraits, which amply demonstrates the fact of his resemblance to a
vanity-ridden poet like Ghalib. He was so much impacted by him that under his
spell he made a frequent mention of him in all his works. Manto had learnt the
secret of brevity of words from Ghalib only. It is no exaggeration to put that
Ghalib was his real master. Had it not been so as rebel and stormy-petrel like
Mantoo would not have been extremely courteous and respectful to Ghalib.
*(Translated from original Urdu text by Prof. M.L. Koul)