“Sad Generations” The war of story and imagery Novel fazil Jafari believes that it is not necessary to know the literary ideas and beliefs of its creator before criticizing or at least voting on any creation. Neither the author’s social background nor his literary beliefs should stand in the way of criticizing any work because of the currents of textual criticism that emanate from Miraji. Then there has been the realization of the fact that from Shams-ur-Rehman Farooqi to almost all the critics of Urdu that in any work of art the author presents a reflection of his social background consciously or unconsciously. As far as the sad races are concerned, one of its virtues is that it does not feel the echo of Abdullah Hussain’s literary beliefs anywhere, but on some occasions he has expressed his semi-philosophical views. In most places throughout the novel, the psychology of the characters has been analyzed in terms of their social background. The number of races would be much higher than it is today. Despite some technical flaws in the very early chapter of the kitabghar novel and the slow flow of the story in future chapters as well as the author’s inappropriate speeches in the last part, the charm of narrative in some places still keeps the reader’s attention away from these flaws. As long as the author himself does not make any technical mistake or unreasonable imagery to break this spell. The study of sad races is like traveling on a stormy and dark night when intermittent lightning flashes travel a long way and the traveler wishes that this lightning would always shine forever. Can only invent a few sentences to describe the sunset scene and for that
It is also a condition that they be an integral part of the story.
Abdullah Hussain may not have seen these words of Bedi, but in the sad generation he has focused from the beginning to the end only on the narrative narrative and as far as the concentration of the story and its centrality in fiction is concerned. In sad generations, storytelling is secondary to imagery. Imagery is not a defect. It is through this that the author forms his desired area or era in the story and if it is not, then even in the best story. The charm that keeps the reader gripped by itself cannot be created, however, it should not be the case that after every half a row, two pages should be devoted to imagery, and even for minor and minor incidents, all attention should be focused on the imagery. Be given One of the disadvantages of doing so is that the reader’s mind becomes entangled in the scene instead of moving forward with the events. It has to be said that if its imagery is separated from the sad races, then the thickness of this novel will be less than half. Abdullah Hussain, on the other hand, knew the art of writing interesting prose in any case and this quality of his is evident only in the narration of scenes. At the beginning of the novel, there is a description of Roshan Agha’s invitation to the palace or Naeem’s participation in the First World War and his brief stay in Cairo, France and Sir Kat Camp or a literal depiction of the captivating scenes of these cities.
Silently in the light of the sacred fat in the garden of the bright palace
Food was being eaten The tall white trees stood still. Beyond the tables
A fountain was silently gushing water in the dark. Naeem raised his head from the meal
Seen The whole atmosphere was magical.
The sun was shining brightly in the Egyptian sky and the earth was as dry and hard as the years
Have not seen the shape of water. The race course was in the shape of a very large circle with three
The camp was spread over a quarter of the area. To the south were brown, dry, rocky hills
Whose stones had been inclined to the constant heat of the sun and rapidly blackened, and had the same color on them
The mountain goats used to graze. Cairo was spread to the north and west
Bedouin donkey carts and camel carts dressed in rustic Arabic costumes on wide paved roads
They used to sell vegetables and milk. To the east was the desert and the shining sand
There were mounds behind which the sun shone every morning on Cairo and on the race course camp.
And tired, dusty, tired soldiers would rise on their faces
This and many such fine examples of imagery are found on every third page of Sad Generations. Abdullah Hussain has used them frequently but the reader reads the novel only for the sake of the story and the unavailability of the story. His nature becomes cumbersome.
The geographical background of the sad races covers Delhi and Roshanpur as a whole, but in some places Calcutta and finally Lahore and its environs are also presented as background. All major and popular Urdu novels have a tradition of clearly presenting the location of the story, but in the sad races no external information has been provided about them other than the names of the areas, which has led to the location of these areas. To be better understood. If the novel had the name of Madras and Meerut or any other city instead of Delhi and Roshanpur, it would not have made a clear difference in the overall impression of the story. The other thing that is more important to me is that fiction cannot be fiction unless the flow of time is neatly presented in it and in a novel time is more involved than fiction, according to Fazil Jafri. “In short, time is identified by its attitude towards fiction while in the novel, time itself is the character” (1). Flows on the chest of time and finds its surface . That is, the flow of time or time is necessary for fiction in any case. Has made successful attempts to break the historical traditional mythical structure of Intezar Hussain is our only fiction writer who completely integrates the past with the present. They do not confuse in temporal time, here the story travels on its historical letter. As far as Abdullah Hussein is concerned, he has scattered the whole story of sad generations from the first decade of the twentieth century to some time after the partition of the country. Forty-five years of time gives a great canvas to any novel in which the novelist can very easily and skillfully present the flow of time to the reader. It does not seem to be moving forward again and again. The author himself informs the reader that five years have passed now or six years have passed today or his marriage will be three years tomorrow and so on. In this connection, the name of God’s town comes to mind. There is very little time span of God Basti among the sad generations, but the example of Shaukat Siddiqui’s artistic skill with which he has kept the time period of only four or five years in the whole novel, is found in very few people From a great fiction writer like Abdullah Hussain, the reader does not expect him to stand up again and again like Munshi Parin Chand or Sohail Azimabadi and start his speech and he has to sit holding the hand of Baran again and again. In fact, it is common for all writers who are influenced by Idealism to make speeches in their writings. The things that are left out of their correctional articles, they somehow bring in their stories and call it a verbal character. I do not want to add my name to the list of nonsense by denying the social and correctional services of the objectivists. Abdullah Hussain was not an idealist at all, but in the last part of the sad generation, he himself descends into the novel. Dr. Ansari, Anis-ur-Rehman and the role of the old professor during the migration are all incarnations of Abdullah Hussain who is born in the novel as required for the extraction of his semi-philosophical idea and unnecessary and long speech without palace. Let’s start. Apart from them, the main character of the novel is Naeem who does not engage in philosophical discourse anywhere in the novel but after passing one third of the novel, the semi-philosophical spirit of Abdullah Hussain gets embedded in his body and he thinks the same and Says what the author wants. Despite Naeem’s attainment of Nirvana after passing through the age of heart, his detachment from life during the migration and finally being killed by the rebels does not in any way correspond to the nature of a person who has attained Nirvana.
“What do you base your imagination on?” You can’t put imagination into action without a reason. The mind and the thoughts
You need more than luck to succeed in affiliate business
You can think and save your mind from destruction. Thoughts are based on nothingness
Can’t put on If you ever do that, your thoughts will speed up instead of moving in a particular direction
Will scatter here and there and shatter the brain.
Anis-ur-Rehman’s speech is almost double that of Dr. Ansari’s speech. See also his words. It is so useless and this feeling is very frightening.
We walk, floor to floor, face to face, talking
On the other hand, even if we get tired and sad and peace disappears from our heart
Is. Then the desire for silent forests arises.
And look at the sayings of the old professor whom Naeem meets during the migration.
“Before that there were ideals and there was wandering. If I were to describe in detail, you would say that it is wandering
Was life But no, that was just wandering. I found out much later. Ideal Original and correct
Ideals are formed in a completely normal state. In the minds that are strong, great and senseless
There are those who have only imagination and have highs and lows. People on whom someone
There is no pressure.
These eloquent statements of Dr. Ansari and Anis-ur-Rehman are still acceptable as they both express these views while talking to Naeem but there is no justification for the words of the professor. He is uttering such philosophical words at a time when the senses of those with the strongest nerves are weakened after seeing something lying in front of their eyes. Apart from these characters, most of the characters of the sad races are quite natural and Presents practical pictures of ups and downs. Ezra Colonial is a symbol of a woman in the landlord system of India whose psychology has been presented in great detail by Abdullah Hussain. In fact, the whole Roshan Mahal is a symbol of the landlord system where people want the welfare and freedom of the country on the condition that their own home be protected from the flames of destruction. Niaz Beg is a symbol of a pure farmer who spends his whole life just caring for his house. Although the roles of Ali, Najmi, Pervez, Khalid, Masood etc. are not very important, they are complete in their own right. Of course, Abdullah Hussain has worked hard to improve their personality.
For the fiction writers of the last century, the tragedy of Partition of India and the formation of early Pakistani society and its psychological background have come to the fore in the form of a great artistic experience. I have used it directly or indirectly. In the last parts of Intezar Hussain’s “Basti” and Qara-ul-Ain Haider’s “River of Fire” and in Shaukat Siddiqui’s “God’s Basti” the formation and psychology of this early Pakistani society has been analyzed. The good thing is that these people have seen this new society not with any ‘ideology’ but with their own eyes. As far as the sad races are concerned, this novel started at the beginning, ie Abdullah Hussain started writing it after studying the psychology of this new pakistani society for full nine years but he was the only one in this new pakistani society. He could only describe the psychology of the family who migrated from the ‘Roshan Mahal’ of Delhi to the ‘Raj Manzil’ of Lahore and for that too they are satisfied with only ten or twelve pages. The structure is left out of the narrative, which could have added to the subcontinent, albeit not the universality of the novel.