M A I L B A G | Thursday, October 22, 1998 |
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Humour & satire This has reference to the write-up Durgat in Chandigarh Calling (October 5). Literature, being a social product, inevitably reflects the life of the era out of which it springs. It also reveals the plight of a culture, as we see in T.S. Eliots The Hollow Men and the Wasteland which is the supreme expression of the disillusionment and despair of the post-war period where all hopes for a brave new world stand shattered. Humour and satire have always been the most prominent forms of literature. Poets like Chaucer made fun of the individual, rather than of the institutions. Similarly, Pope exposed the hollowness and foibles of the fashionable society, which was pompous and vainglorious from without. Insofar as Urdu literature is concerned, humour and satire developed into an established literary form by the end of the 19th century with the rise of the Avadh Punch (1877). Its editor, Munshi Sajjad Hussain, brought together a group of talented humorists, who were politically modern and stoutly nationalist. Their aim was to preserve the cultural heritage. Sauda (1706-81) is decidedly the best satirist Urdu has produced in the pre-Avadh Punch days. His satires were not confined to individuals but also took the entire society in their sweep. Among the social satirists, Akbar Allahabadis (1846-1921) is an outstanding name. His humour and satire never miss their target modernisation much of which has lost relevance now. Among the prominent contemporary humorists, satirists and parody writers are Raza Naqvi Wahi, Dilawar Figar, Khwaja Hasan Nizami, Kanhaiya Lal Kapoor, Ghulam Ahmad Furqat, Syed Mohammed Jafri, Shaukat Thanvi, Hari Chand Akhtar, Chirag Hasan Hasrat, Ratan Nath Sarshar and Patras Bukhari. DEEPAK TANDON * * * * Organising melas The Municipal Corporation of Chandigarh organised a Divali mela in Shanti Kunj. The celebration, inter alia, included Anup Jalota Nite. Cleanliness and beautification of the site with colourful banners, beaming lights etc, involving the manpower of the corporation as well as private contractors were explicit to enable Shanti Kunj to wear a bridal look. Sudden rain forced the authorities to shift the venue of Anup Jalota Nite from Shanti Kunj to Tagore Theatre. We are proud of our cultural heritage. Organising melas in the true Indian tradition with much fanfire is a practice which has been there since time immemorial. These melas provide an occasion for social get-together as also entertainment to the visitors. AJIT SINGH |
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