The need for right choice of words

HYDERABAD: It is said that in the field of creative arts, what is considered scandalous by the contemporary audience often transforms into a classic for the succeeding generation. Asha Bhonsle, the grand diva of 'western' style Indian film music, recently rekindled the perennial debate on 'decency' by criticizing present-day trends, which she claimed have been relying increasingly on 'vulgarity' in the quest for instant popularity.Defenders of free speech were quick to point out that some of the artist's own renditions had been declared scandalous when first released. "Channi boli banni se, tujh mein lakhon ched"! (The sieve said to the strainer, you are full of holes)!
In the acrimonious debates that follow every such contentious assertion, the moot point of discussion is often lost in the cacophony of accusations and justifications. It is at such times that the cyclic nature of public perceptions regarding morality becomes abundantly evident. The ambiguity in standards of acceptability becomes even more glaring when it comes to literary expression, where one often finds writers segregating their creations on the basis of public and private consumption. Even renowned Urdu poet Sahir Ludhyanvi, who never classified his work on the basis of chaste poetry and film lyrics, is said to have shared his erotic poetry with just a few close friends. In retrospect, even the most amatory of Sahir's utterances would seem banal to the present generation.
The trial of Ismat Chughtai and Sadat Hasan Manto on charges of obscenity in the Lahore high court is well documented in the annals of Indian literature. However, the almost parallel censure of Ismat by her peers rarely finds mention in commentaries relating to that turbulent period of Indian history. Surprisingly, a section of the Progressive Writers Association, a group which took pride in their literature being a true reflection of society, took strong objection to Chughtai broaching 'forbidden' subjects.
Things came to a head at the All India Conference of Urdu Progressive Writers, inaugurated by Sarojini Naidu at Hyderabad in October 1945. Emboldened by the fact that the plenary was to be chaired by Maulana Hasrat Mohani, a devout Muslim, the 'purists' moved a resolution targeting Ismat, which was thinly veiled as a denouncement of vulgarity in literature.
Much to their surprise, Hasrat upset their game-plan by vociferously defending Ismat and her work, insisting that any curb on literary expression would prove detrimental to the nurturing of creative instincts. The detractors had failed to take into account Hasrat's background as a very broadminded and vocal maulana who never minced his words. Hasrat enjoyed the distinction of being the first Indian to demand Azadi-e Kamil (Complete Independence) in 1921; of coining the galvanizing slogan Inquilab Zindabad and being a founder member of the Communist Party of India at different times in his eventful life. He had proved to be the most vociferous critic of Motilal Nehru and chose to leave the Congress along with Bal Gangadhar Tilak. Along with his wife, he had opened one of the first Swadeshi Stores in the country and constantly strove for India's freedom despite facing harsh reprisals by the British. He composed verses expressing his love for Lord Krishna and often went to Mathura to celebrate Janamashtami. Even after a lifetime spent in politics, Hasrat's character remained unblemished, his image untarnished. No one ever could raise doubts regarding his honesty, integrity or religious beliefs. Needless to add that the resolution against Ismat Chughtai fell through in face of the spirited defense put up by Maulana Hasrat Mohani. None thereafter dared to confront Ismat on the issue publicly.
In recent times, the fine line of acceptability when it comes to differentiating between creative expression and blasphemy, sensuous depiction and erotica or for that matter acceptable speech and profanity has blurred beyond distinction. While profanity in literary expression remains a debatable issue, the use of foul language in communication is another matter altogether. Even the most uncouth specimens of the earlier generations would balk at the impunity with which youth of today punctuate their speech with expletives. Fed up with having to chastise his children repeatedly, a friend took to a rather novel method of curbing their penchant for using four letter words. He started using the same language in the presence of their friends, albeit with the expletives rendered in chaste Hyderabadi lingo! "Gross", screamed the brat squad in response to his translations into the vernacular. Failing to justify as to how 'gross' in Dakhni could transmute into 'cool' in English, the brats are said to have transformed into quite a well-mannered lot!
(The writer is a well-known conservation activist)