Sketching and Sa’adat Hasan Manto
By: Ghulam Mohammed Ansari
Saadat Hasan Manto was born on 11 May 1912 in Ludhiana. In this sense, the year 2012 was celebrated as “Manto Century” all over the world. Today, before we try to understand Manto as a mythicist and a contemplative sketcher, it is important to know the early circumstances of Manto’s life.
Manto opened his eyes on May 11, 1912 in Samarala, Ludhiana. His father was posted in a Tehsil of Ludhiana. Minto’s friends called him Tommy. Manto’s life remains subdued due to the presence of his step-siblings and the strictness of his father. While, Manto’s mother was his supporter. Manto’s interest in education was low since childhood.
In 1921, Manto was admitted to MAO Middle School. But his career was not encouraging. Manto passed the matriculation examination in 1931 after failing three times. Manto also attended college but could not do anything special. However, let us first try to understand Manto as a sketch writer.
In this regard, Dr. Khaliq Anjum writes that “The art of sketching is a very difficult art. If it is called the art of ghazal in prose, then it will not be wrong. Just as a long and deep meaning has to be expressed in a ghazal, in the same way in a sketch one has to throw light on the whole personality in short words.”
In Urdu, famous names like Mirza Farhatullah Baig, Patras Bukhari, Dr. Abdul Haq, Khawaja Hassan Nizami and Rashid Ahmed Siddiqui appear in the field of sketching. Continuing this trend, the way Manto has drawn the sketches, the sketches are very unique and close to reality.
Manto is an accomplished fiction writer as well as a prolific sketch artist. The sketches of his subjects are rich in artistic qualities. Importantly, one of Manto’s unique style was that Manto would depict the character he was sketching, with his strengths and weaknesses.
Minto wrote, “A flat face, a freckled forehead, a thick nose, dark brown complexion, disheveled hair, large eyes and a slight sadness in his features.”
Manto’s approach to sketching was that it should be a representation of reality. In his essay “Ganje Farishte”, he condemned this method of traditional biographies and sketches. By which man is made an angel. Manto writes, “I curse the world, the country, the society, where it is a principle that every person’s character after death is sent to the laundry, from where it comes washed and hang on the stake of “Rahmatullah Alaihi”.
One of Manto’s books is “Loudspeaker” which contains 10 sketches. The composition and technique of those sketches is also in the style of “Ganje Farishte”. But, their behavior is not like the stories. Some sketches follow general principles. For example, Dewan Singh, Muftoon, Chirag Hasan Hasrat and Noor Jahan. The best sketch is the “Sitara”. Importantly, Manto is cautious about someone he doesn’t know very well, yet never lets the narrative feel weak.
Another important thing is that Manto wrote sketches on them, whom he could contact directly. Only Muhammad Ali Jinnah’s sketch is based on his driver’s impressions. Because of these sketches many details of Manto’s life are found. Especially in Lahore, Amritsar, Delhi, Mumbai and Pune, there are many things about the day and night of Manto’s life that can be understood only with the help of Manto’s sketches.
Another important point is that the cultural and intellectual life of that time was dominated by literature, journalism, radio and film, and Manto belonged to all these fields. Not only this, but the centers of Manto’s activities, such as Lahore for journalism, Delhi for radio and Mumbai for film, Manto had close ties with all these cities. Besides, Manto was well acquainted with Urdu writers, eminent journalists, radio artistes and eminent directors of the film world, right down to the junior staff of the studio.
Prominent Urdu critic Professor Waris Alvi wrote that “A sketch writer must have a quick memory, an interest in scandals, an ability to pick up the necessary information in gossip, and all these interests are without purpose. Reading Manto’s sketches, one is amazed at how vast his knowledge was in every field.
Manto immediately remembered the names of institutions, agencies, roads, houses and personalities.” Waris Alvi has described Manto’s best sketch as “Pari Chehra Naseem”.
According to Waris Alvi, the sketching of Manto also begins with this sketch. He further writes that Manto has succeeded in capturing Naseem’s beauty with his pen. Her beauty has the dignity and power of queens. Therefore, whatever the form of “Naseem” may be, “Naseem” in any outfit, in the studio or at home, the beauty of “Naseem” casts its magic everywhere.”
Regarding “Pari Chehra Naseem”, Manto said, “I saw “Naseem Bano” three or four times without make-up. So I thought that there can be no other woman better than “Naseem” for decoration. That place, that corner, where “Naseem” sits or stands becomes beautiful.”
However, it can be said that Manto is an artist of life’s bitterness and bloodlust. Unfavorable conditions of life, kept Manto largely away from the sense of pleasures and joys. That is why, whether it is a story, a fiction or a sketch, Manto did not settle for the simple. Manto’s innovative nature finds significance in even the smallest details and this is the reason that distinguishes Manto from the other Urdu writers.
(The author is an Assistant Editor with ‘Asasa’- an Urdu Quarterly published from Ahmedabad)
