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Journal of South Asian Studies AN ANALYSIS OF LIFTING THE VEIL (A

COLLECTION OF SHORT STORIES) BY ISMAT CHUGHTAI A B S T R A C T

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Journal of South Asian Studies

ISSN: 2307-4000 (Online), 2308-7846 (Print)
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AN ANALYSIS OF LIFTING THE VEIL (A COLLECTION OF SHORT STORIES) BY

ISMAT CHUGHTAI
Sobia Kiran*
Department of English, Lahore College for Women University, Lahore, Pakistan.

ABSTRACT

The paper aims to trace feminist elements in the short stories of Ismat Chughtai, a great Indian writer. The paper also
aims to analyse stories by Ismat Chightai comparing them in style, content and technique with the works of her
contemporary European writers. As she started her literary career as a translator of European writers, the influence
is quite evident. The paper will highlight the feminist elements in her stories. There is disagreement within the ranks
of feminist writers. Therefore, we find writers like Dorothy Richardson, Jean Rhys and Ismat avoiding to be called
feminists. But, the very fact that she was a woman and was writing from the female perspective, discussing social and
economic problems faced by women as housewives, maids, working women, beloveds, students or worn out hags,
cannot be ignored. As far as raising consciousness, an essential part of the feminist activism is concerned, Ismat’s
approach is feminist. We find not only the development of female consciousness in her works but also a social critique
as she highlights not only the problems faced by women but also explores the socio-economic causes.
Keywords: Female consciousness, Feminist, Lesbian, Modernism, Progressive literature, Urdu literature.

INTRODUCTION followed Psychoanalysis of Freud, the technique of

Urdu short story was a product of the influence of James Joyce and political theory of Karl Marx.” (Sarwar,
Western literature. Before the First World War, except 2002). Enlightened with modern education and inspired
Munshi Prem Chand, there was no noteworthy writer of by the Western thought, the progressive writers
short stories. Some writers, basically poets, like Niaz displayed a tendency to write on bold topics. Under the
Fateh Puri, Sajjad Haider and Latif-u-Din, inspired by influence of Marxist and Freudian theories, importance
Oscar Wilde’s Art for art’s sake theory jumped into this was given to sexual conflicts and to lay bare the
field (Sarwar, 2002). Though, they displayed maturity of conscious and subconscious aspect of the characters.
form, yet they could not create interest as far as They wrote realistically about the so far hushed, yet very
organization and character delineation was concerned. much present desires of their characters. Most
The situation was soon saved by the positive influence of important names were Saadat Hassan Manto, M. Hassan
Prem Chand, revolutions coming about all over the Askari and Ismat Chuhtai. Ismat was the first Urdu
world and enlightenment created by study of Western female writer who dared to unravel the psychological
literature. Various techniques were explored with and social aspects of a woman’s sexual life. Therefore,
themes ranging from individual to sociopolitical she holds a unique place in Urdu literature, but in her
problems, domestic problems to national and times, her difference earned her notoriety. Many
international affairs. Hamid-u-Allah Afsar, Prof. Mujeeb including Aziz Ahmed and Ehtesham Hussain
and Ali Abbas wrote short stories. This all provided a condemned sexual obsession of Manto and Ismat, almost
suitable background to the progressive writers to the same way as critics did of Lawrence in England.
contribute to Urdu short story. “The writers of Angare Ismat and Manto shared not only a spirit of
* Corresponding Author: experimentalism and freethinking with Lawrence, but
Email ID: [email protected] also the belief that, “the traditional moral scheme into
© 2016 ESci Journals Publishing. All rights reserved. which all characters fit” was outdated (Travers, 2001).

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 J. S. Asian Stud. 04 (02) 2016. 51-60

LITERATURE REVIEW perversion, though they work as feminist resistance

The romantic writers romanticized about women and against a society where male-female relationship is a
wrote about intricacies and intrigues involved in love. taboo. Ismat nowhere describes heterosexuality as a
Despite use of imagination and poetic language, their coercive force, with exception of few stories like “The
stories were not lively. Sultan Haider Josh was the first Wedding Suit” and “Tiny’s Granny”, where rape is
to talk about sociopolitical and cultural issues, but even visualized as a sign of male dominance and exploitation
he could not give up romanticizing woman. Elaine of women. Otherwise, heterosexual relations, if
Showalter says in Towardsa Feminist Poetics, “If we established on mutual understanding and equality, are
study stereotypes of women, the sexism of male critics, viewed as respectable by Ismat. Heterosexual relations
and the limited roles women play in literary history, we bring freedom for girls oppressed with segregation and
are not learning what women have learnt and caught in the web of lesbianism. The moment they find
experienced, but only what men have thought women the phallic presence and an opportunity to establish
should be.” (Literary theory) Woman is not just a heterosexual relations, they celebrate the moment and
beloved, a toy having physical side alone. Like man, she move forward in life with eligible partners. Ismat,
is a complex human being living simultaneously on Dorothy and Jean Rhys did not aim at a world free from
physical, spiritual, intellectual and social planes. To men or a world exclusively for women. They aimed at a
know her well and to present her accordingly requires a world where women and men should hail in equality,
writer to take into account all these sides of her free from exploitation, injustices, oppression and
personality. The credit goes to the progressive writers, domination of ‘a’ sex.
especially Ismat Chughtai for breaking away with the MAJOR INFLUENCES
tradition. The woman can no longer be portrayed as a As far as Ismat is concerned, she read Greek tragedies,
romantic sentimental figure. Like man, she has Shakespeare, Marlowe, Emerson, Dickens, Wordsworth,
impersonal interests. She displays political and Shelley, Coleridge, Emile Zola, Shaw, Ibsen, Maugham,
intellectual interests. A woman’s writing is more critical Gorky, Tolstoy, Chekhov, Dostoevsky, Maupassant, Oscar
of society and works of Ismat, Woolf, Jean Rhys and Wilde, Lawrence and many others. She was a voracious
Dorothy Richardson stand testimony to it. Their novels reader who used to read till late at night in the
deal with, using Woolf’s words, “social evils and moonlight (Kokab, 2005). Ismat was greatly inspired by
remedies” (Woolf, n.d.). Thomas Hardy, whose novels she had translated into
Isamt Chughtai was the first Urdu female writer to write Urdu, Bernard Shaw, extracts of whose plays she claims
about lesbianism. Ann Ferguson in her paper, to plagiarize in her stories like Saanp and Mere Bacche
“Compulsory Heterosexuality and Lesbian existence.” and her play Fasaadi. About Chekhov she said, “I believe
suggests a reconstruction of the term lesbian as ‘lesbian in Chekhov. I read him to be blessed.” (Kokab, 2005)
continuum’ that records women’s struggle against Whenever, she felt it difficult to complete a story, she
patriarchal system. She describes heterosexuality as a used to read Chekhov and her work was done.
symbol of male dominance (Ferguson et al., 1982). In She read a lot and got inspired by the contemporary
Ismat’s treatment of lesbianism, we encounter European writers to a great extent. She assimilated the
psychological rather than political connotations. In her influence of European writers from her contemporary
works like “The Quilt” and The Crooked Line, girls feel Urdu writers as well. In a letter to Prof. Abdul Salam,
attracted to their own sex mainly due to absence of male Ismat wrote; “I have read almost every English writer in
presence from the scene. They accept their strong sexual detail. I enjoyed reading all of them, but I write without
desires and finding the phallic figure absent, try to find copying anyone of them…. Above all, I have read life, the
substitutes in their own sex. No doubt, lesbianism in this greatest book of the world to write about and found it
context is a protest against patriarchy but not in form of very interesting.” (Salam, 1973) The writers she was
heterosexuality rather in form of segregation that is inspired by were also charged for their bold writing. Zola
imposed on them. It is a protest against men’s exercise of for a short period of time was banned in France and
their authority to control women’s sexuality. As soon as England and so was Anton Chekhov because charges of
the phallic figure appears, lesbianism is abandoned for obscenity were leveled against them. In her collection of
heterosexual life. Lesbian tendencies are viewed as a essays My Friend, My Enemy: Essays, Reminiscences,

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Portraits she occasionally echoes views of Shaw, Zola not stories at all but ‘psychoanalytic pieces’, appreciates
and above all Chekhov. Like Chekhov she believes in “the her use of language; “In her mastery over the spoken
artist’s duty to describe the world as he or she finds it; language and dialogue, she has no equal in Urdu.” (Sadiq,
the unfeasibility of passing absolute judgment on 1985) Ismat used a different kind of language from men.
literary texts; the denial of corrupting influence of Virginia Woolf asserts the need for a different idiom and
literature…” (Chughtai, 2001b). language, “to carry the reader on easily and naturally
Ismat and Manto have often been compared to Lawrence from one end of the book to the other” (Woolf n.d). The
in various aspects. Firstly, on account of sexual themes use of different idiom was essential for female writers to
in their work though they differ in style and treatment of portray the problems and aspirations of women
themes a lot. Secondly, among English writers different from the male tradition. This is essential to
Lawrence’s reputation has “undergone vicissitudes, present the natural shape of their thought without, as
fluctuating wildly and producing extreme reaction of Woolf says, ‘crushing or distorting it.’ It is possible only
either love or hatred”, in Urdu literature no other writer if a woman is well determined and can stand the
has generated such mounting controversy as Manto and opposition “to be true to herself” (Woolf. n.d).
Ismat. Lawrence’s works in England while theirs in India Ismat’s stories, indeed, are a reflection of her society.
was banned (1942, Manto’s works were banned even They are a bitter comment on the prevalent decadence
after partition). Rebecca West’s complaint about and moral deterioration of the society. She focused,
Lawrence, “They were acknowledged as great but especially, on the plight of women in a suffocating and
posthumously. They were quite unusual for their times. conservative Muslim community and injustice done to
Anne Ferni Hough writes about Lawrence, “He has been them in the name of religion. She has remarkably
seen as the champion of freedom and individualism in depicted the social and emotional exploitation and the
countries with oppressive regimes….” (Anne, 2001) She consequent deprivations of women. Ismat remarkably
mentions India too. Similarly, Ismat and Manto, in India uses irony and satire to explode the balloon of hypocrisy
are seen as champions of liberalism. Sexual subject in and to expose the double standards of a so called pious,
their work is used as a need to seek freedom from ‘social rigid and superstitious society. To call her a social critic
obligations’ and as a means to discover ‘personal will not be wrong. She holds a unique place because of
authenticity’. (Anne 2001). Humor and wit embedded in her boldness and truthfulness.
her stories and quick succession of dialogues remind us “The Quilt” is a superb example of her insight into
of Shaw and Chekov. Stark realism and use of human psyche. Her life as well as the world around her
coincidences remind us of Hardy. Hardy was also was pacing smoothly, when her story “The Quilt”
attacked for his frank treatment of sex in Tess and exploded like a bomb and caused great tumult as no one
Judethe Obscure. Some critics blamed the latter for could expect such blasphemy from a woman. In a
preaching free love. Havelock Ellis defended him. society, where the very idea of a woman writing stories
Hardy’s novels served as a focus for the discussion of was unacceptable, mentioning such subject was nothing
sexuality (Simpson, 1982). Ismat who translated many less than challenging god. Overnight, she became
works of Hardy was definitely influenced by him not notorious. She had no female predecessor in Urdu who
only in her treatment of female characters but also in dared to explore the prohibited area. She had to undergo
discussing their sexuality. Use of mild irony and a trial because of this story.
psychoanalysis reflects the influence of Maugham and The critics, reading this story, ignore the excellent
Tolstoy. psychoanalysis of the characters succumbed to sexual
ANALYSIS OF HER STORIES perversion and criticize for the sake of criticism. They
Ismat’s stories are unique as far as their plot, cannot accept lesbianism as subject of a story for it can
characterization and use of language are concerned. The corrupt young minds. They attack what is not at all
language used by her is the living language spoken by depicted in it and do not appreciate the irony embedded
common people in domestic zone, varying in tone in the story that highlights a very important social
according to various characters belonging to different problem. In Urdu literature, the credit goes to Ismat, a
classes, professions and age groups. Even Muhammad woman, who explored such suppressed regions of
Sadiq, who complains that a few of her short stories are female psyche.

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“The Quilt” is a story of a married woman whose natural story “The Quilt”. The trial issued many other problems
instincts and emotions are crushed against her will. They like public insult and above all disturbed family life. She
are not allowed to take the natural course and result is calls it an ‘ill-fated story’ that became a constant ‘source
perversion. of torment’ (Chughtai, 2001a). Shahid threatened to
Ismat looks for the motives of this perversion divorce her. Newspapers were full of articles against her;
throughout the story. She tells why Rabbu and Begum heated debates followed in the literary circle; she
Jaan are having this relationship. The former is received letters filled with ‘filth’ against her. A case had
economically dependent, while the latter is emotionally been filed against Manto too. He kept his head high,
and sexually frustrated, being married to a person who while she felt guilty and embarrassed. Things were
could not fulfill her physical needs. She is married to an different for her because she was a woman, and social
elderly nawab to lead a comfortable life. The nawab pressure on her mounted double. Years later, Ismat met
“…was very virtuous. No one had ever seen a notch girl Begum in a party, who knew that “The Quilt”was based
or prostitute in his house” (Chughtai, 2001a). But, piety on her life. Ismat was extremely happy to know that
alone is not sufficient. Body, too, has its claims and having divorced nawab. Begum married again and had a
demands. Ismat points out his ‘strange hobby’ as well. son. That was exactly what Ismat had wanted; to free
“He kept an open house for students young, fair, slender- Begum from the clutches of Rabbu and lead a happy
waisted boys whose expenses were borne by him” married life. This reminds us of D.H. Lawrence’s Lady
(Chughtai, 2001a). He spends his time with boys and Chatterly’s Lovers.
Begum Jaan was forced to live alone. Here, we find a No one can deny the truthfulness with which Ismat
slight reference to Nawab’s homosexuality. Later in the portrayed socio-economic and sexual exploitation
story, we come to know that Rabbu’s son also stayed suffered by woman. “The Wedding Suit” depicts the
with Nawab. He was given ‘new clothes and other gifts’ pathetic situation of a widow and problems generated
but he left him “and never came back even to see for her and her two daughters because of poverty.
Rabbu…” (Chughtai, 2001a). These ellipses say a lot Qualities of soul like piety, sincerity, hard work and
about him. It is interesting to note that the critics who skillfulness in domestic chores all become insignificant
objected to lesbianism in the story (mainly because it without affordability of good dowry. Kubra’s mother, a
was for the first time explored in Urdu and that also by a seamstress, has spent her life sewing dowries of many
woman) ignored the references to sexual perversion of young girls. She never disappoints anyone and resolves
nawab himself. the problem even if someone runs short of cloth. Her
Begum Jaan loves winter. The quilt is used as a symbol. sole dream is the marriage of Kubra, her elder daughter,
It works as a cover to hide the secret pleasure of who is aging. She does not realize that her younger
sleeping with Rabbu. The protagonist is a guest at daughter has also grown up. How can she think of her
Begum’s house for as long as her mother is out of city. when there is no one to ask for Kubra’s hand? Ismat has
She sleeps in Begum’s room. She is horrified to explain successfully used black humor to present a timeless
the movement of the quilt in the dark, “…shaking problem. Bi Amma, regardless of the hopelessness,
vigorously, as though an elephant was struggling continues sewing clothes for Kubra’s wedding and puts
inside” (Chughtai, 2001a). She is unable to understand them into a wooden box. Ismat uses the metaphor of
that it is a monstrous desire that is changing different ‘heavy coffin like wooden box’ to make it clear that a
shapes, stealing dark pleasures banned and denied poor widow cannot expect much for her daughter.
otherwise. In the morning, the quilt looks ‘perfectly (Lifting the Veil 25)
innocent’. Ismat is expert in using powerful images, Ismat is sarcastic about the social convention that forces
visual, sensory as well as sound to suggest a lot more in a woman to become an obedient servant to man. In her
a few words. The visual image of the movement of the interview, Ismat strongly criticized these taboos and the
quilt is followed, next night, by “the slurping sound of a girls who followed them. She vehemently opposed the
cat licking a plate” (Chughtai, 2001a). submissive role of a girl. She did not believe in
“In The Name of Those Married Women”, published in compromise and thought it to be a deception. A girl’s
another book with a different title, “The Quilt Trial”, is an self-esteem should not be tamed to compromise with
account of the trial she had to undergo because of her every injustice done to her. In this way, she is rightly

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called as the first rebellious woman or the feminist of though nowhere she feels the need toprick the
Urdu literature. conscience of the readers to change and reform the
All this service to an ungrateful person like Rahat and society. All claims of brotherhood and religious freedom
traditional training of girls leads to nothing. Their are shattered when it comes to inter religious marriage.
poverty and dependence on would be bread earner in a Ismat makes fun of the distorted role of religion. Instead
male dominating society make them an easy prey. Rahat of resolving conflicts, it is creating distances, problems
does not propose her. On the contrary, he makes fun of and causing bloodshed. The controversial ideas are
their poverty and low-standard food served to them. presented wrapped in the garb of humor and mild irony
Hamida, being the younger sister, is assigned the as to avoid creating controversy in the society. The word
responsibility to bring Rahat around to propose Kubra. Kafir is used in different contexts, with different
Hamida tries her best but in return, she is stung with his connotations as an abuse and rebuke, and finally is
‘filthy eyes’ and suggestive remarks. She understands explained in poetic terms where it means ‘beloved’.
that Rahat is a blind, hollow and lustful man who is not Munni and Pushkar, though in love, are conscious of the
worth Kubra. She feels agony to see Kubra’s hands busy religious difference. They frequently call each other kafir
in silent service, “…they remain busy like bond slaves, and threaten each other with hell and angels with iron
from morning till night, grounding spices, drawing rods. Their hearts beat together. Munni celebrates Holi
water, chopping onions, laying the bed, cleaning shoes. and Diwali with him; for that she becomes a Hindu.
When will their slavery end? Will there be no buyers for Pushkar celebrates Eid with her for that he becomes a
them? Will no one ever kiss them lovingly?” (Chughtai, Muslim. Passion transcends all boundaries and lines
2001a). The stark realism of these lines lays bare the drawn by class and religious differences. Isamt shows
bitter fact of a society where an expected son in law is how religion becomes a plaything in the hands of
served beyond one’s capacity. Having no sweater for politicians, so called religious scholars as well as masses
herself, she knits a sweater for Rahat. The metaphor of to earn their own ends. Their quarrel is compared to
hands is extended. “The hands that knitted it are meant ‘Hindu-Muslim riots’ (Chughtai, 2001a). Ismat has
to rock the cradle. Clasp these hands, you ass!” satirized the current scenario in the subcontinent, where
(Chughtai, 2001a). Ismat successfully presents the Muslims and Hindus have been living together in peace
insensitivity of the society, manifested in the character for centuries, but manipulated by politicians and
of Rahat, deaf and blind to the needs of an aging girl and religious scholars become bloodthirsty for one another.
a dying family. The blunt expression of pain is free from The following exchange of dialogues highlights the need
sentimentalism though it is heartrending enough to for open-mindedness and liberalism to maintain peace
make one cry at the helplessness of the family. and harmony not in the life of individuals alone but in
Rahat leaves for home as his marriage is fixed. Having a the world.
sexual errand, considered to be an evidence of man’s Pushkar: Do you know in what sense poets have
manhood, he never looks back at the spoils. Kubra, used the word ‘kafir’?
suffering from tuberculosis, dies. Unlike her wedding Munni: That kafir is different, you Hindu donkey!
suit, coffin has a different fate. She must wear it and Pushkar: Are Hindu donkeys different from
depart for the grave. Ismat has ruthlessly criticized the Muslim donkeys? And how about
one-sided and partial laws of the society where nothing Jewish donkeys?
helps the poor. They are exploited by the powerful and We had great fun debating how to classify donkeys
thrown away. Sons in laws are beyond their affordability based on religion (Chughtai, 2001a). Ismat makes us
in an environment where without heavy dowry no one question, why a person belonging to one religion should
proposes agirl. hate or condemn others? Religion, a source of comfort
In “Kafir”, Ismat has questioned the validity of religious and peace, should not become a source of pain, agony
differences. The topic discussed in it is rather more and hatred.
sensitive than the one discussed in “The Quilt”. Her use Religion is presented as one sort of social pressure to
of language serves as a redemptive element and saves check one’s life. “Pushkar, we are slaves. We’ve no
her skin. If “The Wedding Suit” is an example of black control over our lives. Society dictates it” (Chughtai,
humour “Kafir” is an example of mild irony and humor, 2001a). It is the right to live their own life that gives

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Pushkar and Munni courage to go against the society. replace them. Once they secretly open a gift and are
There is no other option left for self-fulfillment. The embarrassed to find a dress of pink net. This net is a
word ‘Kafir’ finally changes its meaning and takes on the symbolic net in which they are caught. A net of their
poetic significance in the end. sexual desires and feelings entangles them. Its sight
“The Net” is a remarkable example of the psychoanalysis triggers a chain of strange thoughts and develops a
of the development of female psyche from early secret rivalry in them. The development of selfhood
childhood to adulthood. She presents how innocent accomplishes itself at this stage, when both hide their
friendship between two friends grows, with changing feelings from each other. Like ‘snakes’ they guard each
desires, into rivalry. In a conservative society, where other. Returning the dress to Apa and mentioning Anwar
everyone gets conscious about the physical changes, Bhai betrays their secret feelings. Each wants to wear
girls become even more conscious and the only safe the dress herself and wants to get rid of the other. Attan
emotional outlet for them is to read sentimental stories is caught trying the dress. Saffiya betrays her to Apa. She
and identify themselves with the heroines. “They would is denied the privacy that a growing girl requires to view
read sentimental stories in the dark room, get worked her body and feel the changes in it.
up on them and fall into each other’s arms” (Chughtai, “The Mole” is a psychological study of the mind of an
2001a). This dark room is their external subconscious artist. The mole becomes a symbol of the irresistible
where they can express their suppressed emotions that attraction between the two sexes, male and female,
are socially banned. Wearing vests makes them envious which despite the great social and intellectual difference
of their brother moving without his shirt on. Physical and distances between an artist and a girl from the
growth has different meanings for girls and boys. The slums supersedes all these distinctions. Piety or moral
former faces restrictions while the latter wins freedom. inhibitions of the artist madden him and make him
Death wish becomes extreme as it is looked at as a path crazy, when he comes to confront the natural
for freedom and emancipation. ‘obscenities’ of a girl free from all inhibitions and morals.
Virginia Woolf also looks at death as a means to win Isamt presents a conflict between two life styles; natural
freedom. In a passage in A Room of One’s own, the life lead by Rani and socially approved life lead by the
narrator thinks of the possible fate of Shakespeare’s artist. Rani is a Pan like figure who lives an instinctive
could- be sister. Unlike her brother, she would be denied life. Choudhry has drawn portraits of many women from
“the varied experience of life that educated her brother” other countries, “both in nude as well as dressed up”
(Delcimer, 2001). Her talent would be wasted in (Chughtai. 2001a). He never felt as disturbed as drawing
domestic chores. The only path open to her to realize a sketch of Rani, who is completely unmanageable. She
herself would be to commit suicide. Like Ismat, Virginia invites his attention to the mole on her breast and
was extremely conscious of her status as a sister, “having narrates her fling with Ratna and Chunnu, while taking
been denied all that was given to her brothers.” bath with them. Choudhry was dumbfounded at her
(Delcimer, 2001). expertness in obscene talk at such a young age. He could
Ismat, as an expert psychologist, lays bare the fact that not decide whether to respond to the call of nature or to
sexual consciousness first takes on the form of maintain his composed disposition. He tried to cool
narcissism. The girls enjoy playing with their bodies and himself down in the small pond nearby. To his shock, he
bathroom becomes their retreat. “…Liberation! found Rani and Ratna enjoying in the pond. Rani looked
Liberation from all inhibitions. … They liked to go on into his eyes, standing nude, “…mole seemed to strike
stroking slowly with their fingers and longed for some Choudhry like a bullet” (Chughtai, 2001a). He could not
abrasive object to rub against their body to cure the withstand the call of nature and paid the price in form of
continuous tickle….” (Chughtai. 2001a). Later, sexual life-long frustration and sense of deprivation. He lost his
desire transforms into idealizing their teachers. They source of inspiration with Rani who had disappeared
feel attached to their teachers to the extent of somewhere. His lifetime piety and goodwill paid him
infatuation. Adulthood makes their life miserable. nothing. As Rani, caught by police for throwing her
Anonymous desires disturb them, especially as they illegitimate child, swore in court of his innocence,
work as messengers between their elder sisters and “Choudhry is impotent” (Chughtai. 2001a). He went
their lovers. They feel jealous of their sisters and want to insane. “Yes, he wished an accomplice! Imprisonment,

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pain, suffering, calamity, public disgrace_ he would have and everyone in mohalla seem to go crazy about her.
taken it all upon himself smiling. If he had known that he Like a suspicious husband, he becomes jealous of
would be acquitted in that manner, he would not milkman, school teacher and anyone talking to Lajo.
havepleaded innocence to God and prayed to Him” People offer her bungalows to serve as mistress. The
(Chughtai, 2001a). only path to keep her seems to marry her, but Ismat
Ismat depicts the unconscious power of ‘Eros’, when makes it clear that in this society keeping a mistress is a
suppressed and thwarted it can drive man to madness status symbol but to marry her is a shame. Marriage
and insanity. Choudhry ends with obsessive compulsive means the end of romance. Man loves stolen sweets
psychological disorder of drawing ‘long, conical, round more than the simple food he gets at home. He soon
lines_ like a signed mark” (Chughtai. 2001a). Later, Bano loses his interest in his wife though a mistress can hold
Qudsia, in her novel Raja Gidh, compares Eros to a everlasting appeal. Marriage and divorce were like
violent horse, which, if carefully and skillfully handled, is nightmares and Lajo was happy that they were over.
a source of every creative work, and the inspiration Being a bastard saved her life; otherwise she would have
required for the purpose. Otherwise, it can destroy been killed for the sake of honor. Mirza is happy to see
everything and hinder one’s spiritual growth. D.H. her back as she like his mother sets everything in order.
Lawrence too, used Pan as a ‘counterforce’ to Christ and She is his house maker.
“as an antidote to a civilization suffering from the ill “Gainda”, like “Bandi”, an untranslated story of Ismat,
effects of an ascetic Christian ethos.”(Finney xxii) Pan states the bitter reality of a feudal society, where maids
made frequent appearances in his works like The White are used as dolls to satisfy the needs of growing sons and
Peacock, Apocalypse and The Overtone. He celebrates the discarded later. At the same time, Ismat discusses the
call of nature against all external checks. problems faced by a young widow, her deprivations, her
“The Housemaker” raises many questions, especially it desires that she has to crush in order to live in a society
calls into question the difference between a respectable that expects only strict austerity on her part. Parallel
man and a girl from the gutter; moreover it questions runs the theme of the development of a child’s
the validity of marriage itself. Marriage is prone to consciousness of her surroundings through observation
breed more problems as it makes one possessive and and mimicry. Gainda, a maid and playmate of Bibi,
consequently suspicious. It is a name of becomes a widow at a very young age. She can no longer
responsibilities, which spoil the freedom of life. On the play bride as she cannot wear ‘sindoor’ or bangles
other hand, free relationship promises the benefits of anymore. Life’s pleasures are banned for her though the
marriage like companionship and cooperation without flame of life is not extinguished in her. Voicing the social
any disadvantages. This story is a strong satire on the code cannot help and later, not only she accedes to play
double standards of the society. For Ismat a marriage, bride with Bibi but becomes mistress of Bibi’s brother.
solely based on economic dependence is not different The reality is perceived from the eyes of a child, who
from prostitution and Krishan Chander shared this tries to behave coyly like Gainda, with an elderly servant
belief too. Meva Ram, who fortunately paid her no attention. She
Ismat laughs at the hypocrisy of a society that draws a cannot bear her brother paying attention to Gainda,
line between a debauch man and a whore. A man can ignoring her. She suffers from Electra complex. It is
remain respectable even if he goes to brothels but an strange that Ismat does not focus on developing it as a
orphan girl, forced to lead a promiscuous life to earn her separate theme in the story.
bread is neither respectable nor acceptable, though, her The incestuous desire and Electra complex is referred to
very presence reminds Mirza of his late mother. Like an in stories like “Amar Bail”, “The Mole”, “The Net”, “Tiny’s
honorable woman bound in marriage, she serves the Granny” and her novels too. In “The Net”, both Attan and
same purpose that of housekeeping. Lajo falls in love Saffiya are attracted towards ‘Bhayia’, lover of Aapa; in
with the house out of necessity, for it is the only house “The Mole”, Rani is attracted to Choudhry, much
where she gets the chance to rule. “Without a mistress, it advanced in his age and vice versa; in “Tiny’s Granny”, it
was as good as hers. A house does not belong to a man. takes on a horrible and satanic form, where Haji Saheb
He is more like a guest” (Chughtai. 2001a). Mirza too, rapes a nine-year-old Nanhi.
having a woman at home, stops going to courtesans. He “Touch Me Not”, once again celebrates Pan like

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existence, asserting that those who live close to nature traditional passive roles become incapable to continue
thrive and enjoy themselves, while those who are their existence and finally lose the battle in favor of their
delicate get destroyed. Bhabi Jan, a woman enchained in male counterpart.
social bonds and norms, crushed under pressure of “Sacred Duty” seems to be a development on the theme
social expectations is set against a woman from the of “Kafir”. Samina, an educated girl from a rich Muslim
gutter, living her life without a care in the world. Bhabi family, marries secretly her Hindu class fellow, Tushar,
Jan, like Bhabi Jan of “Chataan”, an untranslated story of son to a Seth. Her father, Siddiqi Sahib, though a liberal
Ismat, is a helpless figure. Her husband loses interest in and broadminded person, cannot bear this shame. Same
her as soon as he finds, “his beautiful doll-like bride is true of Tushar’s parents. Being conservative Hindus,
turning into a permanently sick woman” (Chughtai. they cannot accept a Muslim bride. They convert the
2001a). Her consecutive abortions add to her worries. In bride to Hinduism and perform the marriage according
a society where a wife is expected to provide man with to ‘Arya Samaj rituals’. Siddiqi Sahib accepts the
an heir, her life turns into a misery. Having lost her marriage and brings the couple back only to convert
beauty, bearing no child, she loses rest of the territory as them back to Islam. Faith on both sides seems to be in
well. The following lines sum up the plight of any danger and God in wrath. The title, again, is ironical as
married woman living in the same situation. “She knew the sacred duty of a religious scholar is reduced to
that another miscarriage would be her husband’s ticket merely conversion of a person from another religion to
to a second marriage. Now Bhai Jan could do anything in his religion. Religion, whether it is Islam, Hinduism or
the name of progeny… If she failed in this one conjugal Christianity, is reduced to a few rituals observed at
duty, she would have to forgo all bridal comforts” certain occasions to win publicity or to be considered
Chughtai. 2001a). She is a dependent who is afforded honorable.
only if she gives what her husband and in laws want; The young generation loses its faith in any religion as it
otherwise she is doomed. can see through the flaws of the devout followers who
Third time she conceives, it is arranged to send her to cite Allah, Bhagwan or God to serve their purpose. For
Aligarrh to avoid a miscarriage. On the train, a woman Tushar, conversion to Islam makes no difference as he
boards, who is helpless with labor pains. Holding the remains the same man. Having prayed in mosque,
handle of the bathroom door she delivers a child and ‘mandir’ and church, he finds no difference in them.
becomes as normal as before, while Bhabi Jan, not Samina and Tushar both leave their parents for making
bearing the sight of delivery, has another miscarriage. them ‘dance like monkeys’. They leave a letter to declare:
Ismat laments the fate of a girl from who complete All religions are gifts from that Supreme Being who is
ignorance and naivety is expected as if it becomes a called Bhagwan or God….we know of his thousand other
decent girl. Ismat is of the opinion that a girl must listen names _ He who is powerful and compassionate. (The
to adult talk and learn from experienced women. A girl Quran).
should observe delivery as it will not destroy her Who is within and without? Who is above and below?
morality but give her strength and stamina. Bhabi Jan Who exists in darkness and in light? In presence as in
would have been mentally prepared and would not get absences. In negation as in affirmation. (Gita) (ibid 143)
so terrified. She would know, “Giving birth is as easy a Ismat once again is criticizing the distorted role of
job for woman as getting on or off the train is for Bhai religious leaders to generate hatred between various
Jan” (Chughtai. 2001a). sectors of society instead of bringing people together.
Ismat’s strong female characters like Lajo, Rani and this The story ends with the hope if golden teachings of
woman of the roads survive because they can endure religion can be really followed.
pain that is part of life. They accept the natural course of “Tiny’s Granny” like “The Wedding uit” presents the
life. They do not suffer from scruples like shame, bleak picture of a poverty stricken old woman. The story
embarrassment and public opinion. They do not follow is a bitter satire of the society where poverty is a crime
the norms of the society and follow their instinct. This and the poor are punished beyond measure. Their fate is
freedom and independence, though won at the cost of doomed for generations. Life long struggle hardly
physical abuse, gives them strength. On the other hand, secures them food without any security for old age.
girls brought up in strict restrictions, leading their life in Tiny’s Granny starts her struggle since early childhood

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and continues to do so till she becomes Tiny’s Granny. peacock hatch out of them? …I felt like breaking that
She does various jobs like cooking’ cleaning, tale bearing illusion in a single stroke so that everyone knew about
and ends up as a beggar when she is not able to do the filth within” (Chughtai. 2001a). Ismat makes fun of
anything else. She lives in a society where respect is the concept of virginity that is used as a trump card by a
denied to the poor and salary is paid like charity. The woman at critical moments. The protagonist, to her
only thing she cares about in life is Tinny but her amazement, comes to know that the courtesan in her
helplessness and poverty impel her to appoint her to do neighbors was no other but her relative. To curse a
‘odd jobs’ at Deputy Sahib’s house. Tinny, only nine year courtesan is easy but to trace her links in one’s own
old, is raped by Deputy Sahib, “one of the leading men in lineage is like looking into oneself and raking the filth
the mohalla, grandfather of three children, a religious that one disgusts in the surroundings. Ismat was true to
man who regularly said his five prayers…” (Chughtai. herself and all her struggle was to express herself and
2001a). Tinny’s granny, living on the mercy of others women without pretension. Ismat and Virginia aim at a
cannot do anything against the culprit. Tiny, from a child new order, to change the established values to give
becomes a woman, “squat, fat, and puffy, like a clay toy importance to what seems insignificant to man.
which the potter had knelt on before it had hardened” “Mother in Law” presents stereotypical characters,
(Chughtai. 2001a). Later, her elopement leaves granny mother in law and daughter in law, involved in an
completely distraught, living on stale food and fighting ageless conflict over the man who tries to maintain
with monkeys who were after her dried bits of food. balance between the two scales. The characters are not
Facing every sorrow and humiliation in the world she even named except the son, Asghar. Mother in law is
dies all alone. jealous of her bahu for using the wile tactics to win her
The last paragraph of the story is a good example of use son. She threatens her to bring a second wife for her son.
of imagination in Ismat’s stories; “And God, beholding The bahu succeeds in stealing joyous moments with her
the degradation of humanity, bowed His head in shame husband, when her mother in law is asleep. Asghar
and wept tears and those divine tears of blood fell upon brings mangoes and bangles for his wife stealthily and
Granny’s rough grave, and bright red poppies sprang up rebukes her in his mother’s presence to please her. “Kick
there…” (Chughtai. 2001a). It also is an example of the out the bitch Ammi, let’s bring another woman. This
anguish, typical of progressive writers, on class one…’ said Asghar as he looked at his wife affectionately”
distinction and unequal distribution of wealth. Life long (Chughtai. 2001a). This drama invokes her sympathies
struggle pays nothing to the poor except kicks and for bahu, her ‘enemy’. The slightest notion of her son’s
abuses. attention to bahu infuriates her and she starts cursing
“Vocation” calls into question the strict line drawn both of them again. Ismat uses mild irony and humor to
between a whore and a respectable woman. The line depict the ambivalent attitude of mother in law towards
becomes more obscure when one’s seemingly her bahu.
respectable aunts are involved in this business to earn “Roots” mourns over the loss of an old mother, whose
their living at the expense of others’ domestic life. The children decide to leave for Pakistan leaving her alone in
social attitude is to look down upon this marginalized India. The close relationship between Hindus and
group of society i.e. courtesans. The protagonist voices Muslims is embodied in the relationship between a
the conventional social views while expressing her Muslim family and Roopchandji’s family, a Hindu doctor.
hatred towards her neighbor. At heart, though, she The two families lived together always sharing their
knows that men adding to a prostitute’s wealth are no grief and happiness, but partition divided the two
others but her own pious relatives. She encounters a families. There was “a chasm miles wide. Amma would
strong conflict raging in her when she compares her look at its bottomless depth with melancholy eyes and
vocation of teaching to prostitution. She finds herself in shudder” (Chughtai. 2001a). Hindus lost their lives on
loss. She sells her ‘squeezed up brain’, while the other their way to India and Muslims on their way to Pakistan.
sells her body. She looks worn out, while the other looks Amma could not leave her house where she spent her
younger than her age. Above all, she cannot earn in life life giving birth to her ten children and bringing them up.
what the other earns in a day. “Respectability, chastity _ She felt afraid if her saplings would be able to gain roots
if you kept these eggs warm under your wings would a in the new land. Roopchandji, cursing the government

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 J. S. Asian Stud. 04 (02) 2016. 51-60

and politicians, followed them and brought them back of Ismat chughtai. (M.Assuddin. Trans.) Penguin
and the house “came back to life” (Chughtai. 2001a). Books: India. (15-210)
Ismat depicts the chaos caused by partition though she Chughtai,Ismat. (2001). We People. My Friend, My
ends the story on a happy note of reunion. In her essay, Enemy: Essays, Reminiscences, Portraits.
“We People”, she admits that parents in her stories did (Tahira Naqvi. Trans.) New Delhi: Kali for Women. (76-
not appear as ‘dynamic characters.’ She ignored them as 109)
obstacles in the fulfillment of a person’s desires. For the Dalcimer, Katherine. (2001). Virginia Woolf: Becoming a
first time, she felt she realized the selfless love of her Writer. US: Yale University. (111)
parents, especially mother. She had her mother as an Datta,Amaresh. (Ed). (1989) Encyclopeadia of Indian
example to build on the character of mother in “Roots”. Literature: K to Navalram. Volume III. Delhi:
Her children too left for Pakistan leaving her mother Sahitya Akademi. (1753)
alone (Chughtai. 2001b). The theme of the story is power Ferguson, Ann. Jacquelyn N. Zita and Kathryn Pyne
of matriarchy. Addelson, (1982). On Compulsory Heterosexuality
CONCLUSION and Lesbian Existence: Defining the Issues. In
Woolf talks about women’s fiction and its subjects Nannerl O. Keohane, Michelle Z. Rosaldo and
relevant to women, their married life and the number of Barbara C. Gelpi. (Eds.) Feminist Theory: A Critique
their children. Ismat’s stories very well illustrate this of Ideology. UK: The Harvester Press. (148)
feminist concern. The critics who object to the narrow Fernihough, Anne. (2001). Introduction. In Anne
range of subjects exploited by Ismat ignore the times. Fernihough. (Ed). The Cambridge Companion to
Same justification goes for her that Woolf supplied for D.H.Lawrence. UK: Cambridge UP. 2 (3-23)
the works of Jane Austen, Charlotte Bronte and George Guffin, Susan. (1982). Foreword. In Nannerl O.Keohane,
Eliot. They were excluded from “certain kinds of Michelle Z. Rosaldo and Barbara C. Gelpi. (Eds).
experiences.” like that of war, business and politics. They Feminist Theory: A Critique of Ideology. USA: The
observed the characters and realities in their house. University of Chicago.
(Women and Fiction 47) Encyclopeadia of Indian Kokab, Farzana. (2005). Ch.no. 1. Ismat Chughtai:
Literature states: Ismat Chughtai who ranks with the Shakhsiyat aur Funn.(Personality and Style) Thesis
first grade modern short story writers of Urdu_ Manto, for Ph.D. Multan: Bahaud- Din Zikrya University.
Bedi and Krishanchander, is one of those writers who (7-15).
replaced idealism in fiction with reality. She claims that Sadiq, Muhammad. (1985). Twentieth Century Urdu
whatever she writes is not the handiwork of her Literature. 1st Edition. Karachi: Oxford U.P. (585)
imagination; it is what she herself has experienced, or Salam, Prof. Abdul. (1973). Urdu Novel: Biswin Sadi Mein
perceived (Datta. 1989). (20th Century Urdu Novel). Ph.D thesis. Karachi:
She writes against irrational taboos and checks that Bab-ul-Islam Press. (356)
cause abnormalities and psychological complexes in Sarwar, Al Ahmed. (2002). Urdu Mein Afsana Nigari.
young people, especially women leading a suffocating (Story Writing in Urdu). In Gopi Chandnarang.
life. Ismat observes all these evils and overhears (Ed). Urdu Afsana: Riwayat aur Masaail (Urdu
‘revealing conversation’ of elderly ladies in the house, Short Story : Tradition and Problems). Lahore:
hiding herself under a cot or behind a curtain, and Sang-e-Mil publications. (92-100).
presents these life-like pictures “in a style that was at Simpson, Hilary. (1982). D.H.Lawrence and Feminism.
once disturbing and fascinating” (Datta, 1989). London: Groom Helm. (84)
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Qamar Raes and Syed Ashor Kazmi (Eds), Tarraqi Aesthetic Practice. New York: Martin Travers.
Pasand Adab (Progressive Literature) Lahore: (198-200)
Maktaba-e-Alia. Woolf, Virginia. Women and Fiction. Women and Writing.
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