Padmavati Controversy: Fair is foul and foul is fair

Padmavati Controversy: “Padmavati”, in a certain sense, is a neighbourhood story. My village, Mustafabad, is in Rae Bareli, which encompasses numerous Sufi shrines of Chishtiya or places where the saints spent some time, including Khwaja Ashraf Jehangir Semnani, the holy Malik Mohammad Jaisi, the author of “Padmavat”, was dedicated to. Jaisi would faint at the controversy surrounding her masterpiece.

From the nearby Salon, Naeem Ata Shah, wearing his orange tunic and hats, often visited Mustafabad. Jaisi, who preceded Tulsidas, on Awadhi’s list of great poets, was an inexhaustible source of quotations. So it was Tulsidas, whose correspondence with the first courtier of Emperor Akbar, Abdul Rahim Khan and Khana, about the meter and the structure of poetry, it was learned later and that it is something in which one would have expected more scholarships.

To the most unexpected source, my knowledge was due to the fact that Rahim, known by his dohas, wrote devotional poetry about Lord Rama in Sanskrit. The source turned out to be Vishnu Kant Shastri, former vice chancellor of the Hindu University of Banaras. It always amazed me how a man of such Catholic interests (he knew Jaisi and Akbar Allahabadi in reverse) had left the Rashtriya Swayamsevak Sangh block (RSS).

If Jaisi’s fantasy can create so much chaos, I shudder to contemplate the fate of the 1960 classic, Mughal-e-Azam, in a similar circumstance. According to today’s criteria, that was the original, unadulterated case of “Love Jihad.” In fact, the conventional wisdom established in the 1960s granted Akbar’s victory in Haldighati.

Today’s national mood has reversed the outcome of that battle in favor of Maharana Pratap. There have been suggestions that the Akbar road in New Delhi has been renamed as “Maharana Pratap Road”. In other words, revenge with retrospective effect is in order. To give a more recent twist to this trend, the Vishwa Hindu Parishad demanded that an FIR be deposited against Mulayam Singh Yadav for ordering the police to shoot ‘kar sewaks’ in 1990.

In that framework, it can be argued that K. Asif glorified Akbar’s Love Jihad. For that unforgivable guilt, the copies of the film should be sent to the flames as a historical revenge. Dilip Kumar, who played Prince Salim, is not well; otherwise, it could have been brought to the spotlight of public anger with great effectiveness on the eve of key elections with a singular purpose of polarizing the poll.

Padmavati Controversy: Fair is foul and foul is fair

At a time when logic has been displaced by an avalanche of non sequitur, some experts have tried common sense. It will not work.

The new cultural brigade destroyed the tomb of Wali Dakhni that spilled adoration in this land with verses like:

“Koocha e yaar ain Kashi hai

Jogiya dil wahaan ka baasi hain. ”

(The road where my beloved lives is like Saint Varanasi;

The yogi of my heart has made it his place of residence.)

The feelings that the poet represents did not dissuade the vandals from boiling up against past historical injustices.

It will never be sung better than Ustad Faiyyaz Khan to “Munmohan Braj ke rasiya” in Raag Paraj, steeped in the tradition of Krishna. However, they tried to desecrate his tomb in Vadodara.

Rasoolan Bai Rama’s plaintive appeals, in many of his songs, did not protect his home from being destroyed during the Gujarat riots in 1969. It did not matter that Congress was in power then. What is being taken advantage of is something that came to life after Partition and that invites an instant, angry and passionate response on the street level.

In his first speech in Parliament after the 2014 elections, this was precisely the nerve that touched Narendra Modi: “The nation must recover from the submission of 1,200 years.” This is what differentiates the current government from previous regimes. The congressmen may have privately believed in “1,200 years of subjugation,” but considered tactically appropriate to speak only of the British as foreigners.

Meanwhile, let’s go back to Jaisi’s purpose in Padmavati. The feeling is common in Western poetry as well. The “desire of the moth for the star, of the night for the morning”. Devotion to something far from the sphere of our pain. ”

Shelley’s lines are an ultra-simplified version of the interaction between love and beauty that Jaisi is delineating. Padmini and Khalji are secular symbols of the elaboration of Jaisi’s theme on an epic scale.

Keat’s beauty, “Beauty is truth, the beauty of truth, that’s all and knowing on earth and everything you need to know” can also be used to simplify Jaisi’s communication.

Maulana Hasrat Mohani communicates the mood in this way:

“Maslak I Ishq has parastish and husn”

Hum naheen jaante azaab-o-sawab “.

(The purpose of love is the adoration of beauty.

Profits and losses that I do not measure).

If the tribe in constant expansion of the new cultural warriors runs out of ideas, here are some on offer, for free. They should denigrate retrospectively the Muslims who dared to take liberties with the Hindu gods. Remember, how the greatest modern painter of India, Maqbool Fida Husain, was exiled for his supreme fault: the excessive worship of the Goddesses. His “adoration” was considered obscene by the protectors of culture and faith.

Well, in the same way, Maulana Hasrat Mohani deserves to be ashamed in retrospect. He wrote a lot about Krishna in Urdu, but in his verses Bhasha or Braj takes liberties:

“Mose ched karat Nandlal”

(Krishna mocks me all the time)

“hum hoon jo dei liptai ke Hasrat”

Saari yeh chalbal nikaal ”

(One day I will hug him tight and I’ll get all his jokes)

“Squeeze”, in a tight embrace, has erotic connotations that should be unacceptable to the new cultural brigade.

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