Attack on Sialkot Poem By Zulfiqar Ghose Stanza wise Summary and Analysis

Attack on Sialkot Poem By Zulfiqar Ghose 

Stanza 1:

Grandfather, eighty now, his pilgrimage

 to Mecca over, still lives there, at peace

 with his Muslim conscience. At our last meeting

 he sat in the courtyard of a mosque, still

 as an idol, while I stood outside, garish

 as a poster against the whitewashed wall

in my mohair suit and corduroy hat,

 advertising my patient secularism.

The passage reflects on the narrator's grandfather, who, at eighty, has completed his pilgrimage to Mecca and lives peacefully in Sialkot, Pakistan, with a clear Muslim conscience. During their last meeting, the grandfather sat still in a mosque's courtyard, symbolizing steadfast faith, while the narrator, dressed in modern Western attire, felt out of place, embodying a more secular, modern worldview. The contrast between the grandfather's traditional religious devotion and the narrator's secularism is emphasized by the visual imagery of the grandfather's quiet presence and the narrator's "garish" appearance.

Stanza 2:

Gunfire made Sialkot a kiln to fire

 Pakistan’s earthen-pot faith, I listened

 to the news hour after hour the whole month

 and saw maps in newspapers an arrow

 pointed at Sialkot. Grandfather’s breast-plate

 of Islam had become fragile as china

 in the intruding heresy of tanks.

 I see that arrow still : aimed at grandfather.

The mention of gunfire turning Sialkot into a "kiln" metaphorically suggests that the city and its religious faith are under intense pressure and danger like clay being fired in a kiln. The "earthen-pot faith" of Pakistan, representing the fragile and vulnerable nature of religious beliefs, is threatened by the violence and conflict symbolized by tanks. Once strong and protective like a "breast-plate," the grandfather's faith is now described as fragile as "china," highlighting the delicate state of traditional beliefs in the face of modern, militarized threats. The passage explores themes of religious devotion, cultural identity, generational differences, and the impact of external conflicts on faith and tradition.

Stanza 3

It was a messy, a child’s pudding-plate

 of a town during nay first seven years.

 I pulled at grandfather’s beard and dragged down

 his turban when he carried me to school.

 He turned five times a day to Mecca, bowed

 low in prayer and at night swung me round

 the bed so that my feet did not insult

 the holy direction, the one truth he knew.

The passage continues to explore the relationship between the narrator and his grandfather, focusing on the enduring presence of tradition and religious faith in their lives. The mentioned "arrow" symbolizes a lingering threat or tension, aimed specifically at the grandfather, who represents a steadfast adherence to Islamic values and traditions. This metaphor suggests a sense of impending danger or conflict directed toward those who hold traditional beliefs.

 

The narrator describes his childhood memories in the town as chaotic and imperfect, akin to a "child’s pudding plate." Despite this, his grandfather's commitment to his faith remained unwavering. The narrator recalls moments of innocence and mischief, such as pulling at his grandfather's beard and turban, symbolizing their playful yet respectful bond.

 

The grandfather's devotion is highlighted by his daily prayers, turning five times towards Mecca, and his careful attention to ensure the narrator's feet did not face the holy direction while sleeping. This act signifies the grandfather's deep respect for his faith and his desire to impart these values to the next generation. The "one truth he knew" emphasizes the grandfather's unwavering belief in the core tenets of Islam, underscoring the contrast between traditional faith and modern, secular influences.

Stanza 4

From east and southeast the tanks, from the air

 the jets converged all month on Sialkot

 in a massive pilgrimage, bloodier than the sacrifice of goats at the end of Ramadan.

 Grandfather, the landmarks are falling, which

 way will you turn now? Islam, Islam, that’s

 all you cared for, stubborn as a child, while

 I had gone westward, begun to eat pork.

In these lines, the narrator describes a time of conflict and invasion in Sialkot, with tanks approaching from the east and southeast and jets attacking from the air. This violent convergence is likened to a "massive pilgrimage," but it is "bloodier than the sacrifice of goats at the end of Ramadan," drawing a grim parallel between a religious ritual of sacrifice and the brutal realities of war. The imagery suggests widespread destruction and chaos, with the city's landmarks falling, symbolizing the collapse of familiar structures and traditions.

 

The narrator directly addresses his grandfather, questioning where he will turn now that the situation has become dire. This question is rhetorical, highlighting the grandfather's unwavering faith in Islam, which has been his primary concern throughout his life. The grandfather's steadfastness is described as "stubborn as a child," emphasizing his rigid adherence to his beliefs despite changing circumstances.

 

In contrast, the narrator confesses to having "gone westward" and begun to "eat pork," symbolizing a departure from traditional Islamic practices and an embrace of Western secular values. This divergence in beliefs and lifestyle choices underscores the generational and ideological gap between the narrator and his grandfather, reflecting broader themes of cultural and religious conflict.

Stanza 5:

Grandfather, if the old house falls, if you

 die where you built and Sialkot collapses

 I shall have no Mecca to turn to, who

 admire cathedrals for their architecture.

 l~eligion is irrelevant to grief:

 you will not agree nor will Pakistan

 finding in this war the old Islamic

 pride rise like a congregation in a mosque.

In this passage, the narrator grapples with the potential loss of his grandfather and the symbolic collapse of Sialkot, the city where their family's roots lie. The "old house" represents both their physical home and their cultural and religious heritage. The narrator expresses a profound sense of dislocation, acknowledging that if these foundations crumble, he will be left without a spiritual anchor, having distanced himself from the religious traditions that once defined his family. This is underscored by his statement, "I shall have no Mecca to turn to," highlighting his lack of a spiritual home or guiding belief.

 

The narrator contrasts his own perspective with that of his grandfather and the broader Pakistani society. While he admires cathedrals purely for their architectural beauty, indicating a secular and perhaps aesthetic appreciation of religion, he recognizes that for his grandfather and many in Pakistan, religion is a profound and integral part of life, especially during times of crisis. The line "Religion is irrelevant to grief" suggests that for the narrator, personal loss and suffering are not necessarily connected to religious belief, unlike his grandfather and others who might find solace and identity in their faith.

 

The narrator observes that, despite the war's destruction, it has sparked a resurgence of "old Islamic pride," likened to a congregation rising in a mosque. This metaphor emphasizes the collective, communal nature of the resurgence, contrasting with the narrator's individual, detached stance. The passage reflects the tension between secularism and religious tradition, generational differences, and the complexities of cultural identity in times of conflict.