Uthron Maskeen, Androun NAI Shaukeen.

     One of Abrar-ul-Haque’s ditties pays homage to a phenomenon very unique to this part of the world, the existence of the Naik Parmeen (read Parveen – the name of the song was challenged in court and then changed so as to not be offensive to women called Parveen…… Nevermind all the Parmeens of the world -.- ). Haque acknowledges that the image of the Naik Parveen is nothing more than a façade, with most Maskeens being Shaukeen on the inside, but displaying all forms of morality and propriety for the world to see. And then we have Khirad who is the epitome of the Maskeen Shah Bhattis of the world, with her “saadgi” and safaid posh character, without any remotely human faults except maybe her naiveté.

      The very popularity of Humsafar itself indicates how much most women in Pakistan identify themselves with a character like Khirad. Her docile “Kacchi mitti” nature, the servile relationship with her husband, picking out his ties and clothes like he’s a 5 year old school boy, and the willingness to make him chai at whatever ungodly hour he finally decides to come home from work. In the beginning she is shown as the dutiful daughter, religious and obedient, only stepping out of the ghar ki dehleez for university (that too is a big maybe). Later we see her painted as the perfect wife, always at her husband’s beck and call, the very picture of domesticity. The husband is in all senses of the word the Majazi Khuda. GAAAAAAAAAAAAAAAAAAAAASP.  

       Asher’s other cousin, Sara, who is more Shaukeen than Maskeen, is unceremoniously cast aside when she makes her bold “hysterical” declaration of love. Shaukeen Sara is a confident independent woman, who competes with men in the professional realm and forces Asher to question what he wants in his ideal mate. We here see a reflection of Asher’s hypocrisy where he claims to want a woman who he can share his ideas. How dare one such woman tell him she loves him? ASTAGHFIRULLAH. Sara is only beautiful and successful, nothing like the Maskeen Khirad who he later finds happiness with despite all his reservations.  

        Asher repeatedly acknowledges this when he refers to her as a blessing in his otherwise wretched existence, with him being the sole heir to his father’s huge company and also perfectly incapable of making his own chai or dressing himself.  His day rises and sets with her “masoomiat” and Maskeeniat. Sigh. Her fall from grace comes soon enough when he finds her in a compromising position, with her dupatta out of place in the company of another man. TAUBAH TAUBAH. The audacity.