Women and the play of words

While Hamfasar plays its wonders in the revival of the television industry and plays against the strings of young hearts, its role in juxtaposing significant elements like the public/private sphere, stark contrast in economic classes, traditional/modern outlook to marriage, is also crucial. The role of women however and the evolution of each character is fundamental to the drama, and the mode of language is very effective in presenting the plot as such.

Language has the extravagance of timelessness here. And of immortality too. We witness Khirad’s outfits come in line with the fashion, education gain quality, class differences blur (to some extent), but language retains its originality. It has a kingdom of its own, that reigns in every domain of the drama, manifesting itself both in words and their pronunciation. How Khirad continues to call her father an ‘ischool teacher’ is a clear example of it.

However the language very well also leads us to a critical analysis of this drama and its effectiveness in characterizing the female roles. The analysis however is rather two fold. In one we see that Sara’s use of certain phrases (‘mein tumse pyaar karti hun’) and Farida’s fluid Urdu (doodh mein se makhi ki tarhan mujhe nikal kar phank diya?) complimented by the Yale graduates awkward confessions (tum itni achi lag raho ko tumhe meri hi nazar na lag jae) go against the idea of ‘classic Urdu for middle class’ and ‘English with bits of Urdu for upper class’. On the other hand we see that how this very use of language is representing a family that is self-made (owing to the efforts of Baseerat) and has elevated itself in status and economics with their roots still somewhat tied to culture and language. But not only does Baseerat embody the roots, every female character has offshoots of it, signifying the omniscient patriarchs influence in the family. This overlap in language can also eventually help us understand how Khirad and Ashar developed a compatibility that won over all conflicts even after years of separation. It is a paradox but blends in well for the purposes of revival of Pakistani television with its means of a widely understood language.

When seen in terms of plot also and how Khirad has to return to her previous setting, language acts as an organic element- it never detaches itself from her and helps her reinstate her position in either of the two economic circles. From the point of female rivalry it can also be seen as how the ‘saada zuban’ girl defies conventions, defeats all plots and plans of Sara and Farida, and establishes her roots in their very system and household. It is the victory of a female, with simple language and yet a powerful expression as her asset.