“Jahaniah Shah: Aray baba saeein yeh kaisey ho gaya. Log paon
tau hamaarey choomtay hain aur vote detay hain kisee aur ko
Lal Hussain Shah: Ainda yeh hua karey ga k log paoon bhee kisee aur k chooma karein gey aur vote bhee kisee aur ko diya karein gey
Jahanih Shah: ...Baba Saeein akhir jadee pushtee vote kaisey toot gaye?
Lal Hussain Shah: ...Ab siasat ko daulat ka tarqa lag chuka hai. Bara zaiqa hai us mein. Jab tak baraan msaalay na daaley jaein tab tak siasat ki handi chatpati nahee hoti
The above conversation between
Lal Hussain Shah and his son Jahaniah Shah sheds light on the changing nature
of politics that leaves the feudal lord at a loss. In the scenario that “Chand
Grehan” presents, the “jadee pushtee” vote bank that ensured the survival of the
feudal lord (Lal Hussain Shah) within the political arena for generations has
now become weak. Some may see this as a sign of the end of feudal power and a rise
of a working oppressed class. However, I contend that it is important to see how
far political change effects the continuity of the feudal lord. Is he
completely ostracized? Eradicted? Or does
he still have some power or agency? How does political loss effect the private
sphere and private relationships of Lal Hussain Shah if at all ? Moreover how does it effect Lal Hussain Shah
himself?
Beginning with the last question
what we see in the drama is Lal Hussain
Shah’s composed reaction to self defeat and his pragmatic approach as he
advises Jahaniah Shah; “shikast ko
gracefully kabool karo, daulat jamaa karo, ya phir waqt ka intezar karo”.
Later on he tells Gul Bahar that “haarney
ki ek apnee lazat hai”. There is an element of dignity and sportsman spirit
that remains even after the defeat and Hussain Shah is not willing to give that
up. He realizes the inconsistencies in his election campaign and is ready to embrace
the new materialistic methods of acquiring power. In that sense he has a modern
outlook that is in stark contrast to a typical feudal mentality that is reinforced through Jahaniah Shah. Other
than himself, in the public sphere we see feudal power
working its way into the lives of the people. The drama presents
a scene where the poor masses gather outside Hussain Shah’s house questioning
how come they lost the elections to which he replies" mein
agar election haar bhee gaya hoon tau us se kiya farq parta hai. Mein hoon tau
tum logon k dukh sukh ka saathee." Here the feudal lord
exhibits a paternalistic attitude and refers to the people as HIS “riyaya”. What we witness is a relationship
of dependency more like a master/slave relationship. This relationship does not end here. Even at
home, Gul Bahar is conscious of this dominant/subservient dichotomy
that is central to her marriage with Lal Hussain Shah. One really questions whether
there is a need for Gul Bahar to remind
Hussain Shah that “Mein tau aap ki
mureednee banay k bhee kabil nahee. Jooti hoon aap ki saeein”?? But then Lal Hussain Shah himself
practices this attitude of superiority as he instructs his children to always remember
that they are children of Lal Hussain Shah.Thus, we find Sheherbano saying “Mujey laga
tha taleem ne mujhey aam insaan bana diya hai lekin mein tau bhool hee gayee
thee k mein ek bohat barey jageerdar ki betee hoon”. Moreover, we see the control he exercises
on the press, making sure the news that is released is in his best interest. In
this way the state narrative too is censored and is filtered through the lens of
those in power. They control the dissemination of truth blurring the boundaries
between truth and falsity, honesty and
hypocrisy and so on and so forth. The continuity of the press is tied in a
sense to the continuity of the feudal lord : “aap k beyaanat se tau hamaara akhbar bikta hai” says Kamaal sahib and
he then questions Lal Hussain Shah: “Shah
sahib koi anadar ki khabar, woh jo kisee aur ko na milay.”
In all of these examples we see
how the feudalist’s position is strong and remains intact. We can then imagine
Lal Hussain Shah to be the centre of a spokes wheel and all other lives revolving
around him. ‘Chand Grehan’ portrays a changing world where people struggle to
break free of oppression , be it through the written word or
through casting votes against the feudal lord who holds a divine like position.
But all attempts are futile showing how deep rooted the feudal system
is such that despite the changes that it encounters, it will inevitably continue.
This theme of continuity and change is central to the drama and central to the
system it critiques.
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