WITH the arrival of Shab-i-Barat, I am reminded of a Hindi novel which I have recently read. It is a novel which has originated from the rituals of Shab-i-Barat.
The emergence of Muslim writers in Hindi may be viewed as a post-independence phenomenon. It would be fair to say that Muslim writers in India have taken to writing their books in Hindi. On the other hand, it may be seen as an attempt on the part of Indian Muslims at coming to terms with Hindi, which prior to the partition used to be an anathema to them. In this respect, those few Muslim writers deserve special credit who have remained engaged during all these years in transliterating Hindi literature into Urdu and Urdu adab into Hindi. Therefore, now Hindi and Urdu are no more strangers to each other, at least in the realm of literature.
A few Muslim writers who have made their mark in Hindi have already been talked about in this column. Now I take the opportunity to discuss Shani, whose novel Kala Jal (Black Water) is a big commercial and critical success. What appears to be significant about these Muslim writers is the fact that they have entered the Hindi world with their own social and cultural paraphernalia. I have already discussed in a column of mine about Bismillah’s novel Jhini Jhini Bini Chadariya, where he seems to have depicted all the Muslim festivals as they are celebrated in Benares, more particularly among the Benarsi Sarhi-makers. In Kala Jal, Shani has exploited the rituals of Shab-i-Barat to tell his story.
Of all the Muslim festivals, Shab-i-Barat is the richest in terms of rituals and legends associated with it. The only exception is Muharram. But we don’t categorize Muharram as a festival. Shab-i-Barat over a period of time developed a festivity of its own best expressed in colourful fireworks. But thanks to the Maulvis and Mullahs’ campaign against this festive event, Shab-i-Barat has lost much of its lustre as a festival.
One ritual that’s related to it is the act of remembering the dead souls of one’s family. All those souls are recalled one by one in a ritualistic way and for each one of them Fateha is offered separately, and loaves with dollops of Halva on them is distributed among the poor as well as the family members.
The novelist has employed this ritual for bringing to life the past of a family, which is surrounded by dramatic events and tragic tales. It is a traditional Muslim family living under wretched conditions. Their houses are located off filthy streets.
The story begins in the mellow light of candles, suffused with the smell of burning incense. It is a Shab-i-Barat evening. Chhoti Phupi has made a lot of loaves and has prepared Halva to offer Fateha on the occasion. She is now waiting for her nephew Babban, who will be performing the duty of offering Fateha for the dead souls of the family. She has with her a complete list of the dead members, including those who were not close relatives. Faithful to the list and complying with Chhoti Phupi’s directives, Babban picks the names of the dead persons one by one and offers Fateha with loaves and Halva placed beside him. But each name brings about a series of memories associated with him. The dead persons are no more dead souls. They resurrect and with their resurrection a whole human drama comes to life.
In this way, memories pile up, causing the revival of a whole era replete with dramatic events — to be more precise, a sad human drama. The people resurrected are unfortunate souls living in suppressed social conditions marked by abject poverty. And yet life asserts itself, finding in one way or the other, moments of relief. One such great moment is the occasion of Muharram.
Shani, whose real name is Gul Sher Khan, has depicted Muharram elaborately with its ritualistic details. The detailed account has a purpose deeper than the mere portrayal of a Muslim cultural phenomenon. The participation of these sad people in Muharram’s rituals fills them with a sense of relief. They find solace in seeing their personal grief merged with the sublime sorrow of Imam Husain.
In addition to that, rebellious souls of society feel free while taking part in Muharram. Two such souls are Sallo and her brother Mohsin, who are adamant not to submit to the rigorous moral norms of society. Sallo, who is always in a rebellious mood, feels free in the hubbub of processions and sees in it an opportunity to fulfil her desires. Babban suspects a case of honour killing in her sudden mysterious death. Mohsin, who during the course of the novel joins a revolutionary group, turns into a frustrated individual and wants to leave the country in order to migrate to Pakistan. A worthwhile book, indeed.
WITH the arrival of Shab-i-Barat, I am reminded of a Hindi novel which I have recently read. It is a novel which has originated from the rituals of Shab-i-Barat.
