LWL | Manto's Partition: Unveiling the Veiled Truths
By Hajra Virk
Abstract
Through a thematic and stylistic analysis, in this paper I will explore how Saadat Hasan Manto masterfully navigates themes of identity, loss, and human resilience in the face of adversity. By discussing Manto’s “Toba Tek Singh” and “Khol Do”, I also examine the socio-political context of partition-era India, providing insights into the broader implications of Manto's narratives on postcolonial literature and historical discourse.
Introduction
Saadat Hasan Manto (1912-1955) was a renowned Urdu short story writer who gained prominence during India's partition in 1947. While he was also establishing himself as a screenwriter in Bombay at the time, it was after his move to Lahore, Pakistan that his literary contributions truly took flight. Manto's post-partition stories are highly regarded for their heart-wrenching depiction of the human experience amidst the chaos and tragedy of partition. Today, Manto is regarded as a master of Urdu literature from the twentieth century. Through his stories like “Toba Tek Singh”, “Khol Do” (Open It), “Thanda Gosht” (Cold Meat) and “Bu” (Odour), Manto gives an authentic representation of partition, allowing readers to empathise with the struggles, losses, and resilience of those affected by this tumultuous period in history.
Toba Tek Singh
Manto’s last works, inspired by societal issues and his personal financial hardships, portrayed a profound feeling of human powerlessness in the face of darkness. They featured satire bordering on dark comedy, exemplified by his final piece, “Toba Tek Singh.”
“Toba Tek Singh” is a story set in a mental asylum during the partition of India and Pakistan. The narrative revolves around Bishan Singh, a Sikh patient who refuses to leave for India or Pakistan during the exchange of inmates between the two countries. Through this symbolic act of resistance, Manto reveals the irrationality and despair of partition and demonstrates how political decisions affect an individual’s sense of self and sanity. In his portrayal of Bishan Singh, Manto delves into topics such as displacement, loss of identity, and the devastating consequences of communal rifts. Bishan Singh’s persistent inquiries about his homeland reflect fragmented identities and a diminished feeling of belonging. It is possible that his character mirrors Manto's own anguish and uncertainty regarding identity following his relocation to Lahore. Manto wrote: ‘I found my thoughts scattered. Though I tried hard, I could not separate India from Pakistan and Pakistan from India’, which suggests that Bishen Singh’s character could be a manifestation of Saadat Hassan Manto’s inner turmoil.
The setting of the asylum in Lahore also acts as a microcosm for the entirety of the subcontinent during this time, characterised by widespread chaos, confusion and madness, with everyone confused about their identity and belonging. According to Cambridge Dictionary, the formal definition of an asylum is “protection or safety, especially that given by a government to people who have been forced to leave their own countries for their safety or because of war.” Ironically during this era, even asylums and sanctuaries failed to provide comfort or solace to those taking refuge in them. The asylum is also a representation of the Hindu, Muslim political leaders who put up a facade of helping the masses but were in reality not equipped to deal with their grievances and issues.
The random amalgamation of words that Bishen Singh utters, 'Uper the gur gur the annexe the bay dhayana mung the dal of Toba Tek Singh and Pakistan' further highlight the broader theme of linguistic displacement caused by the partition. The loss of languages portrayed by Manto is not just about the literal disappearance of spoken words but also encompasses the erosion of cultural heritage, communal identities, and a sense of belonging. The language loss that Manto depicts involves not only the literal disappearance of spoken language but also the erosion of cultural heritage, community identity and sense of belonging.
The words "annex the bay" also echoes the life of the Indians in the British Army. The repetition of this quote, even in such a deteriorated mental state, highlights the trauma suffered by those who served Britain or were forced to fight for Britain under false promises of reward, money and honour. Indian soldiers were also the main constituents of the British army during World War I and II. Gajendra Singh in his book: The Testimonies of Indian Soldiers and the Two World Wars exposes how Indian soldiers were subjected to discriminatory practices by the British military hierarchy. They were often given menial tasks, limited opportunities for promotion, and were segregated from white soldiers in camps and hospitals. Even after the wars, many Indian soldiers faced neglect and difficulty reintegrating into civilian life. They struggled to access pensions, healthcare and rehabilitation support, and in some cases developed mental disorders such as depression and anxiety.
“Toba Tek Singh” serves as an exemplification of media propaganda as well. Manto writes, “One Muslim lunatic, a reader of the fire-eating daily newspaper Zamindar, when asked what Pakistan was, replied after deep deep reflection, ‘The name of a place in India where cut-throat razors are manufactured.’” which indicates how literature and media was often used as a tool to promote nationalistic narratives and reinforces stereotypes. During the partition, Hindu newspapers were writing against Pakistan while Muslim newspapers were writing against India, which made the masses integrate these differences into their identity and worldview. This consequently exacerbated communalism and exaggerated divisions between groups that exist to this very day.
In the story, one inmate also states, “I wish to live neither in India nor in Pakistan. I wish to live in this tree” which represents all those who did not want to be separated on the basis of religion. Although communalism was undeniable between the Hindus, Muslims and Sikh by 1947, many people including influential figures like Khan Abdul Ghaffar Khan (Bacha Khan): a Pashtun leader and founder of the Khudai Khidmatgar (Servants of God) movement; Abul Kalam Azad: a senior leader of the Indian National Congress and a prominent Muslim scholar; and Mahatma Gandhi: a key leader of the Indian Non-cooperation Movement against the British, believed in a united, secular India where Hindus, Muslims, Sikhs, and other communities could coexist peacefully.
Khol Do
“Khol Do” by Saadat Hasan Manto delves into the heart-wrenching reality of the partition of India in 1947. Through the eyes of Sirajuddin, the protagonist, the story exposes the brutality and inhumanity inflicted upon families during this tumultuous period. Amid the chaos of refugees pouring into Amritsar, Sirajuddin's desperate search for his daughter Sakina reflects the pain of countless people separated from their loved ones. Manto's narrative deftly recounts the underlying horrors Sakina faced, using subdued language to reveal the unspeakable trauma of her abduction and rape. This depiction not only highlights individual suffering but is also a poignant commentary on the wider social scars left by partition.
The story begins by addressing the chaos of migration during partition. Millions of people were displaced as borders were redrawn based on religious lines, leading to communal violence and the separation of families. Families like Sirajuddin’s were torn apart, with loved ones either lost or killed. Many faced harrowing journeys, enduring hunger, disease, and violence along the way. Manto also addresses how women, children, and the elderly were particularly vulnerable, facing abduction, assault, and forced conversions by illustrating the abhorrent conditions of refugees.
The scene depicting Sakina's attempt to escape from merciless rioters encapsulates layers of symbolism and cultural significance. As her coarse dupatta slips away in the chaos of running, it becomes a poignant symbol of "lajja vastra," representing the traditional cloth used to cover a woman's upper body, shielding it from the lustful gaze of men. In a society where being without a dupatta was considered dishonourable, Sakina's plea to her father "Abbaji leave it " reveals her awareness of the peril she was in. Despite facing danger from the assailants, Sirrajuddin's decision to pause and retrieve the dupatta speaks volumes about the cultural traditions and the extent individuals will go to preserve these customs even amid grave risks. This brief impactful moment encapsulates the dynamics of gender roles, honour and selflessness, within societal norms and the brutality of communal conflicts.
Manto uses Sakina's character to delve into the pervasive theme of sexual violence and women's agony during the partition era. In the story's culmination, Sakina's trauma is starkly depicted when, misunderstanding the doctor's innocuous request to "open" the window, she instinctively attempts to pull down her trousers as if facing another violation. This tragic moment encapsulates the profound psychological scars inflicted upon women like Sakina, illustrating the devastating impact of sexual violence and the lasting trauma it leaves behind.
The story's conclusion is haunting, evoking a visceral response from the reader as it reveals the sheer brutality and inhumanity that characterised the chaos of 1947. Despite the absence of explicit details regarding physical violence, Sakina's symbolic gesture speaks volumes, serving as a powerful testament to the horrors endured during that tumultuous period. The reader is left to contemplate the profound impact of such atrocities, emphasising the lasting scars inflicted by the violence and upheaval of partition.
These images could perhaps be inspired from Manto’s personal experiences as well since he migrated to Lahore, Pakistan from Bombay, India. He not only witnessed such horrific incidents firsthand but also dealt with criticism from conservatives who condemned Manto for writing explicitly about such events. He even had to face trials for obscenity in “Khol Do” under section 292 of the Pakistan Penal Code but still remained undeterred and continued writing despite many challenges.
Conclusion
Both stories analysed in this paper make use of Manto's distinctive signature style of realism, evoking a sense of empathy and introspection in the reader. They reveal the human cost of political decisions, the shattered lives that follow, and the trauma that lingers long after the events. Although Manto dealt with serious and dark topics, he infused his words with humour, wit and sarcasm. His keen observation and sense of irony enable him to criticise the absurdity of society and human stupidity in a darkly humorous way. Manto was also not afraid to discuss taboo topics that were often considered controversial or scandalous in his day. His openness about topics such as sexuality, mental illness and the impact of political unrest challenged social taboos and censorship. This willingness to confront uncomfortable truths and push literary boundaries cemented Manto's reputation as a courageous and groundbreaking writer.
Saadat Hasan Manto passed away on January 18, 1955, in Lahore, Pakistan due to various health problems that were exacerbated by his alcohol addiction. Despite his untimely death at the age of 42, Manto left behind a rich literary legacy that continues to provoke thought, stir emotions, and spark change. Before death, Manto wrote his own epitaph which reads “Here lies buried Saadat Hasan Manto in whose bosom are enshrined all the secrets and art of short story writing. Buried under mounds of earth, even now he is contemplating whether he is a greater short story writer or God.” However, his sister believed that most people in Pakistan would not have the ability to understand such a joke and sensibly replaced the tombstone with one that said “Here lies buried Manto who still believes that he was not the final word on the face of the earth.”
