This text is a passionate and critical reflection on freedom of speech and expression in Pakistan. The author uses metaphorical language, referencing poets like Faiz Ahmad Faiz, to lament the constraints on open dialogue, particularly concerning national politics and communal issues. The piece contrasts the idealized freedom of the past with the perceived limitations of the present, suggesting a chilling effect on honest discourse. It also criticizes the media’s role, accusing it of one-sided reporting and manipulating public opinion. Ultimately, the author calls for a more open and honest national conversation, questioning established narratives and urging a deeper examination of the country’s history.

Source Material Review: A Study Guide

Quiz: Short Answer Questions

1. According to the author, what is the primary focus of discourse in their country, and how does this narrow focus affect other issues?
2. The author references a “sweet knife” and a “bitter knife.” What do these metaphors represent and how do they function in the author’s argument?
3. How does the author use the example of dried aloe trees or a dry garden to express the need for writers to find positive examples?
4. What does the author suggest is the current state of the media in Pakistan, using the example of President Reagan and a Soviet journalist?
5. The author mentions figures like Sir Syed and Iqbal. What point does the author make about their time in comparison to the current era?
6. What does the author mean by the line “How did this broom come that brought treasure along with it?” and what does it suggest about the author’s perspective?
7. How does the author portray the limits of free speech, using the example of celebrating Faiz Aman Mela and having “free lips?”
8. What does the author say about the “value of crying” and the path one should follow when searching for something dear to the heart?
9. Why does the author object to the stopping of “the Muslim standard” of freedom and what alternative does the author propose instead?
10. What does the author hope will happen by reviewing national and religious history, and why is this important, according to the author?

Quiz: Answer Key

1. The author states that national politics is the primary focus of discourse, and they suggest that this narrow focus neglects other important issues and sources of sorrow in the world.
2. The “sweet knife” represents something that is deceptively dangerous, while the “bitter knife” represents something whose harm is obvious. The “sweet knife” is more dangerous, because it lures in those who would otherwise avoid danger.
3. The author uses the example to suggest that even if current situations appear bleak, writers must not only focus on the negative. They need to make an effort to find and highlight the positive examples that still exist.
4. The author uses the comparison with President Reagan’s description of Soviet media to suggest that the media in Pakistan is not as free as it claims to be and is manipulated by other forces.
5. The author suggests that Sir Syed and Iqbal were fortunate to live in a period of slavery because it provided a clear context for their activism. The author questions the moral basis for a similar movement today since freedom is not obviously lacking.
6. This line refers to the complex, sometimes paradoxical, nature of change and progress, asking how a tool like a “broom” (usually for cleaning) can bring positive things (treasure) rather than create more mess.
7. The author suggests that free speech is limited even when it is ostensibly celebrated; one cannot express oneself fully without being sanctioned, even in a celebration of free speech. They suggest that true freedom is more complex and less secure than it seems.
8. The author asserts that those who love something should go in search of it. “The value of crying” suggests that emotions are valid and one should follow their heart.
9. The author objects to the stopping of “the Muslim standard” of freedom as a form of religious restriction and suggests instead that public awareness should decide or interpret it, thereby avoiding popular propaganda.
10. The author hopes a thorough review of national and religious history will help people understand the truth. The author wants to expose the distortions of the past so people can confront the problems of the present.

Essay Questions

1. Analyze the author’s use of metaphors and imagery (e.g., sweet knife/bitter knife, dried trees/green gardens, broom with treasure) to convey their complex perspectives on social and political issues.
2. Discuss the author’s critique of the concept of freedom, especially in the context of media, speech, and the historical figures cited (Sir Syed, Iqbal, and Faiz). How does the author challenge traditional notions of freedom?
3. Explore the author’s position on the relationship between personal pain, societal problems, and creative expression, referencing the author’s position as a “dervish” and the language used to express personal and collective suffering.
4. The author touches on several complex socio-political problems including historical grievances, communal issues, and the role of religion. Discuss how these problems intersect and affect the author’s understanding of their society and its future.
5. Evaluate the author’s overall message about the responsibility of writers, artists, and intellectuals in their society. What actions does the author implicitly advocate and what dangers does the author suggest are present?

Glossary of Key Terms

• Dervish: A term referring to a person on a Sufi path, often characterized by humility, poverty, and a search for spiritual truth; here it represents the author as a particular kind of seeker and observer of society.
• Faiz Aman Mela: A festival or gathering in the name of the poet Faiz Ahmed Faiz, typically associated with progressive ideas, freedom of expression, and leftist activism.
• Sir Syed and Iqbal: Prominent historical figures who were key advocates for Muslim education and social reform, respectively, during the British colonial period. They are used to represent a bygone era.
• Meethi/Bitter Knife: (Sweet Knife / Bitter Knife) Metaphors used to illustrate different kinds of danger. The sweet knife represents deceptive harm, while the bitter knife represents an obvious one.
• Hamash Ma: A phrase in Urdu that denotes the status of ‘us’ or ‘we,’ and is used to discuss how a group or collective is seen and treated.
• Communal Politics: Politics centered around the interests of specific communities, often religious or ethnic, potentially leading to divisions and conflict.
• Post Mortem: A thorough analysis or examination of a past event, often after its occurrence.
• Musan: The term used here is in reference to the ‘writers’ or ‘authors’ who are raising their voice in society.

A Dervish’s Lament: Freedom, Truth, and Resistance in Pakistan

Okay, here’s a briefing document analyzing the provided text, focusing on its main themes, key ideas, and significant quotes:

Briefing Document: Analysis of “Pasted Text”

Document Overview: This text, seemingly a personal reflection or commentary, delves into complex issues surrounding freedom of expression, societal constraints, political engagement, and the role of the intellectual/writer, particularly in the context of Pakistan. The author, often referring to themself as a “dervish,” presents a critical perspective, challenging established norms and questioning the prevailing narratives within their society.

Key Themes and Ideas:

1. Critique of Superficial Political Engagement: The text opens with a lament about the overwhelming focus on politics, at the expense of other important aspects of human existence. The author criticizes the “tongue-tiedness” in gatherings when discussing issues beyond politics. This highlights a concern that political discourse is often superficial, lacking depth and genuine engagement with societal problems.

• Quote: “In the name of humans, Azar Rehan, what kind of a custom is this, tongue- tiedness, in your gathering, when we speak or write about national politics every day, it feels as if there is no other issue in the country except politics.”

1. The “Sweet Knife” of Deception: The author uses the metaphor of a “sweet knife” to illustrate how subtle forms of control and manipulation can be more dangerous than overt oppression. This emphasizes how societal norms, often presented as beneficial or benign, can insidiously restrict freedom and critical thinking.

• Quote: “here the sweet knife is used, wise people say that it is more dangerous than the bitter knife because everyone is familiar with the bitter knife. He stays far away and hence escapes, whereas Meethi is attacked and killed.”

1. The Importance of Seeking “Green Gardens” of Truth: The author encourages readers to not be discouraged by the “dry saplings” or “dried up aloe trees” present in their immediate environment. They urge a search for the “green gardens” of knowledge, truth, and genuine expression, suggesting that while challenges exist, hope and alternative perspectives can still be found.

• Quote: “Writer, if at present all the aloe trees have dried up or the entire garden has become a victim of dry saplings, then also there is no need to worry, after all the greenery or the green gardens have not vanished from the world, you people should take a little trouble and search for them.”

1. Media Criticism and Controlled Freedom: The author is deeply skeptical about the media’s role, drawing a parallel between the perceived freedom of the Pakistani media and the fabricated freedoms of the Soviet era. This highlights the concern that the media may be constrained by political pressures or agendas, thus limiting its capacity to represent the full spectrum of truth.

• Quote: “it seems these days the media in Pakistan is as free as American President Reagan While resigning from the Soviet Union, he had narrated the conversation between an American and a Soviet journalist”
• Quote: “While celebrating Faiz Aman Mela, you show banners with lies written on the walls. Saying that your lips are free, where are they free? If they are free, then why did you run away to Moscow?”

1. The Dervish as a Symbol of Resistance: The author consistently refers to themself as a “dervish,” which suggests a deliberate alignment with the figure of the Sufi mystic, often associated with truth-seeking, introspection, and challenging the status quo. This positions the author as someone outside the conventional power structures, possessing a unique perspective and a commitment to authentic expression.
2. Re-evaluating Historical Figures and Narratives: The author calls for a critical assessment of historical figures like Sir Syed and Iqbal, suggesting that their achievements should be contextualized within their time, and that present-day freedom fighters are facing different, perhaps more complex, challenges. This indicates a need to avoid romanticizing the past and to critically engage with contemporary issues.

• Quote: “Let us tell you that people like Sir Syed and Iqbal were lucky that they were born in an ideal era of slavery and they showed something which today the people who are freedom fighters cannot even imagine.”

1. The Burden of Internal Injury: The author speaks of “internal injuries” that are not visible externally. This metaphorically refers to the psychological toll of living under oppressive conditions, and the self-censorship and suppression of dissent that individuals may endure.

• Quote: “How deep are the internal injuries? Outwardly the skin looks clean and transparent but the body which is injured knows that when you go in the dark city according to your conscience.”

1. Social Restrictions and the Limits of Freedom: The text acknowledges that freedom is constrained not only by overt oppression but also by social norms, religious interpretations, and ingrained prejudices. It argues that even with individual courage, societal barriers can make true freedom unattainable, and calls for public debate on issues such as religion, history and partition to allow for true progress

• Quote: “No one is immune from the natural and social restrictions. But this is the eternal practice of nature. Let it move ahead, otherwise it will be difficult to focus on it.”

1. Truth, Fear, and the Call for Open Dialogue: The author stresses the need for uninhibited truth-seeking and suggests that if the truth cannot be harmed, there should be no fear of open discussions, even on contentious issues. They explicitly advocate for a critical national review of religious and national history, including difficult issues such as the partition of South Asia.

• Quote: “If the truth cannot be harmed then what is there to fear; let the national media give a proper review of our entire national and religious history.”

1. Personal Anguish and the Desire for Expression: Throughout the text, there is a sense of personal anguish and a strong desire to express oneself despite the risks and constraints. This reinforces the idea that this piece is not just an intellectual exercise but also a deeply personal reflection of someone grappling with the challenges of their time.

• Quote: “my silence is a conversation, my tongue is speechless, what kind of custom is this of tongue restriction in your gathering, here I am ready to talk”

Conclusion:

The “Pasted Text” presents a powerful critique of the political and social landscape, particularly in Pakistan. Through rich metaphors, personal anecdotes, and historical references, the author urges a deeper engagement with truth, a willingness to challenge established narratives, and a recognition of the subtle forms of control that often limit individual freedom. The “dervish” figure acts as a beacon of resistance, calling for a more authentic and open society. The document is a call for introspection, critical thinking, and a commitment to expressing truth, even in the face of adversity.

A Nation’s Silences: Truth, Freedom, and the Sweet Knife

Okay, here’s an 8-question FAQ based on the provided text, formatted using markdown:

FAQ

1. Why does the author feel there’s an overemphasis on national politics in their society? The author observes that discussions and writings are dominated by national politics, to the point where it feels like there are no other issues. While acknowledging that politics is crucial, the author suggests that focusing solely on it ignores the diverse range of human experiences and sorrows that also need attention. This fixation on politics, they argue, limits a broader exploration of life and its complexities.
2. What is meant by “the sweet knife” and why is it considered more dangerous? The “sweet knife” is a metaphor for seemingly harmless or pleasant ideas, policies, or actions that can actually be more dangerous than overtly harmful ones. People are cautious and stay away from the “bitter knife” of openly malevolent actions, but are more likely to fall victim to the “sweet knife” because it’s disguised and doesn’t immediately raise alarm. This makes the “sweet knife” more insidious and ultimately more damaging.
3. How does the author respond to the idea that the present situation is bleak, with “dry trees and gardens?” The author counters the bleakness by quoting an elder who suggests not to worry if the local environment has become barren, as there is still beauty and life to be found elsewhere in the world. The key, the author suggests, is to search for these places and present them as examples of hope and renewal, rather than dwelling on local desolation. This is a call to seek out and display positive alternatives instead of focusing on negative portrayals.
4. What is the author’s opinion of the freedom of the media, particularly in Pakistan? The author expresses skepticism about media freedom in Pakistan, comparing it to the Soviet Union under Reagan. They sarcastically remark on how some individuals and groups are benefiting from this supposed freedom. This suggests that the author believes that the media is not as free as it seems and is controlled by certain powers or interests, potentially limiting critical reporting and debate.
5. How does the author describe the experience of a “dervish” in their society? The author describes the dervish, perhaps referring to themselves, as a figure who experiences a unique kind of jealousy, both towards themselves and towards others. They also suggest the dervish is limited in what they are allowed to write or speak, while other writers benefit more from uncritical acceptance of their work. The dervish’s situation is portrayed as one of struggle and constraint, despite having deeper insight.
6. What does the author mean by the phrase, “My silence is a conversation, my tongue is speechless?” This paradoxical statement implies that the author finds it difficult to openly express their thoughts through direct speech. Their silence, however, is not a lack of ideas but a form of communication in itself, perhaps a critique of the societal limitations they face. It suggests a deliberate withholding of direct expression, speaking volumes by its very absence. This could refer to forced self-censorship.
7. Why does the author question the actions and intentions of those participating in events like the Faiz Aman Mela? The author challenges the sincerity of those who participate in events supposedly promoting freedom. The reference to banners with lies and asking why some fled to Moscow, instead of facing their own societal challenges, suggests the author sees a level of hypocrisy. They accuse those who claim to champion freedom of actually living privileged lives far removed from the realities of the common person. They imply some are simply advocating for their own comfort.
8. What is the author’s perspective on the ongoing debates about truth, history, and freedom? The author suggests that the discussions around truth are limited and distorted, and calls for open and honest reviews of their national and religious history, including an assessment of the necessity of past events, like the partition of South Asia. They emphasize that these discussions should be happening on a public level, despite any fear of disrupting the established order. They criticize the way history and national narratives are presented to young people, which prevents open discourse. Furthermore, the author argues that force or authority should not be used to suppress these open inquiries.

Free Speech and Media Manipulation in Pakistan

The source discusses political speech, particularly in the context of Pakistan, and explores themes of freedom of expression, media manipulation, and the role of intellectuals. Here’s a breakdown of relevant points:

• Limitations on Free Speech: The text criticizes the state of free speech, suggesting that while it may appear that people can speak freely, this is not truly the case [1]. The author uses the metaphor of “lips are free” but asks, “where are they free? If they are free, then why did you run away to Moscow?” [1]. This suggests that those who speak out may face consequences and be forced to flee. The author also states that the level of noise in society is such that you cannot go beyond a certain limit in expressing your freedom [1].
• Media Control and Propaganda: The author is critical of the media in Pakistan, comparing its freedom to the limited freedom of the Soviet press under Reagan, suggesting it is not truly free [1]. The author suggests the media engages in “one-sided propaganda” and promotes “profiteering, mind-boggling stories” to innocent children [1]. The text calls out the media for not giving a “proper review of our entire national and religious history” and for not engaging with the public on issues like the partition of South Asia [1].
• The Dangers of ‘Sweet Knives’: The text uses the analogy of a “sweet knife” being more dangerous than a “bitter knife” [1]. This suggests that subtle forms of oppression or manipulation are more dangerous than overt ones because people are less likely to guard against them. The author’s point is that people are familiar with the bitter knife and stay away, but they get attacked and killed by the sweet knife [1].
• The Role of Intellectuals and Writers: The author questions the role of writers and intellectuals, suggesting they may be too focused on politics while ignoring other important issues [1]. The text mentions the writer has been asked why they are not writing on communal politics these days [1]. It also highlights the problem that “famous writers will get the facility that whatever stories they bring from here and there in the name of their friend Bhole, all of them will be accepted” suggesting a lack of critical evaluation in the media or among the reading public [1].
• Internal Injuries and the Dark City: The author speaks about “internal injuries” that are not visible, and how when you “go in the dark city according to your conscience” it is difficult to raise one’s voice while maintaining decorum [1]. This suggests that there are hidden wounds in the society and that people who try to speak out face immense challenges [1].
• The Use of Historical Figures: The author references figures like Sir Syed and Iqbal, noting they were able to do great things because they lived in an era of “slavery” [1]. The author questions on which moral principle a Darvesh should begin that journey today [1]. This suggests that the present environment is not conducive to speaking out.

In summary, the source expresses a critical perspective on political speech in Pakistan, suggesting that true freedom of expression is limited, the media is manipulative, and that there are social and political barriers to speaking out effectively. It also reflects on the role of intellectuals and writers in such a society.

Social Restrictions and Individual Agency

The source discusses several aspects of social restrictions, particularly as they relate to freedom of expression and individual agency within a specific societal context. Here’s an analysis of these restrictions:

• Limits on Freedom of Speech: The text indicates that while people may appear to have freedom of speech, there are significant limitations [1]. The author asks, “If they are free, then why did you run away to Moscow?” implying that those who speak out against the status quo may face repercussions [1]. This suggests that social restrictions can manifest as limitations on political speech and can even lead to exile [1].
• Internalized Constraints: The author describes “internal injuries” and the difficulty of raising one’s voice when going “in the dark city according to your conscience” while maintaining decorum [1]. This highlights the idea that social restrictions are not just external pressures but can also become internalized, leading to self-censorship [1].
• Media Influence: The media is presented as a source of social restriction through its role in shaping public opinion and disseminating propaganda [1]. The author critiques the media for “one-sided propaganda” and “profiteering, mind-boggling stories,” which implies that the media is used to control the narrative and limit public discourse [1]. This suggests that social restrictions can also be imposed through media manipulation and control of information [1].
• Conformity and Tradition: The text suggests that society may not allow one to move ahead, even if blame is removed, and questions whether a “backward society” would allow one to move ahead “with a single hand” [1]. This implies that social restrictions can be rooted in traditions and societal expectations that discourage individual expression or dissent [1]. The author mentions the “Muslim standard or parameter of freedom,” suggesting that religious and cultural norms can also act as social restrictions on individual liberty [1].
• The Power of the “Sweet Knife”: The metaphor of the “sweet knife” being more dangerous than the “bitter knife” emphasizes how subtle forms of social control are particularly effective [1]. People are familiar with the bitter knife and stay away, but they get attacked and killed by the sweet knife [1]. This suggests that social restrictions can operate through subtle manipulation or cultural norms, making them difficult to recognize and resist [1].
• The Impact of Historical Narratives: The text questions the role of intellectuals, and whether some writers are only able to find success by telling stories that conform to certain norms [1]. The author further emphasizes how the media does not engage with the public on issues like the partition of South Asia [1]. This suggests that social restrictions are also created through controlling narratives about history and national identity [1].
• Restrictions on Movement: The text states “Whoever is dear to your heart, should go to its street,” then asks “Why is all this broker greedy and tempting on the eyes?” [1] This indicates that there is some kind of social restriction or disapproval of movement or personal preference in this society [1].

In conclusion, the source portrays a society where social restrictions are multi-faceted, encompassing limitations on speech, internalized constraints, media manipulation, traditional expectations, and subtle forms of control. These restrictions collectively limit individual freedom and agency within the given society.

The Illusion of Free Speech

The source presents a nuanced perspective on freedom of expression, suggesting that it is a complex issue with significant limitations despite apparent openness [1]. Here’s a breakdown of how the source explores this theme:

• Illusory Freedom: The text implies that freedom of expression is not as robust as it seems. The author uses the rhetorical question “If they are free, then why did you run away to Moscow?” [1] This suggests that those who dare to speak out critically against established norms or powers may face serious repercussions, including exile. This highlights the idea that what appears to be free speech may be a facade hiding underlying restrictions [1].
• Limits on Expression: The author states, “the level of noise in society is such that you cannot go beyond this in expressing your freedom” [1]. This indicates that there are unwritten rules and boundaries on expression, which suggests that even if overt censorship is absent, social and cultural norms can still constrain what can be said or written [1].
• Internalized Constraints: The author talks about “internal injuries” and the difficulty of speaking one’s mind while maintaining decorum “in the dark city according to your conscience” [1]. This demonstrates that restrictions on expression are not just imposed externally but are often internalized, leading to self-censorship and a reluctance to speak out.
• Media as a Restricting Force: The text criticizes the media in Pakistan for engaging in “one-sided propaganda” and creating “profiteering, mind-boggling stories” [1]. This suggests that the media acts as a gatekeeper, controlling the narrative and limiting the range of acceptable expression. The author also criticizes the media for not giving “a proper review of our entire national and religious history” and not engaging with the public on important issues [1].
• The “Sweet Knife”: The author uses the analogy of a “sweet knife” being more dangerous than a “bitter knife” [1]. This implies that subtle forms of manipulation and control are often more effective at restricting freedom of expression than overt forms of censorship. The “sweet knife” represents those forces that lure people into a false sense of freedom, only to then cut them down [1].
• Social Norms and Expectations: The source also suggests that social expectations and traditional norms can restrict freedom of expression. The text states that even if blame is removed, a “backward society” might not allow someone to move ahead “with a single hand” [1]. The text also refers to a “Muslim standard or parameter of freedom,” which indicates that religious and cultural standards can act as social restrictions on individual liberty [1]. This highlights how social structures and cultural norms can limit individual expression [1].
• The Value of Crying: The text states “Do you know the value of crying?” then immediately states “Whoever is dear to your heart, should go to its street” [1]. This implies that expressing emotions and personal desires is also limited or restricted in this society.
• Historical Context: The text also touches on the idea that different historical contexts can impact freedom of expression. The author mentions how historical figures like Sir Syed and Iqbal were able to accomplish great things because they lived in an era of “slavery” [1]. This leads the author to question what moral principle a Darvesh should begin with today, suggesting that present circumstances are not conducive to open expression. This indicates that freedom of expression is not a constant, but rather is influenced by social and political conditions [1].

In summary, the source portrays freedom of expression as a complex issue, where it may appear that people are free to speak their minds, but in reality they are constrained by various social, political, and cultural forces. The source highlights the role of media manipulation, subtle forms of control, internalized constraints, and social expectations in limiting free expression [1].

National Identity in Pakistan: A Critical Analysis

The source touches upon the concept of national identity, particularly within the context of Pakistan, by examining historical narratives, social restrictions, and the role of the media. Here’s a breakdown of how national identity is discussed:

• Historical Narratives and National Identity: The text questions the dominant narratives surrounding national identity by calling for a “proper review of our entire national and religious history” [1]. It also mentions the need for a “post mortem of the imaginary and real stories of our eternal custom or custom of shame” [1]. This indicates that the author believes there is a need to critically examine the historical narratives that shape national identity. The text also asks “Was the partition of South Asia necessary or unnecessary?” suggesting that this historical event plays a role in the construction of national identity and should be discussed openly [1]. By calling for open discussion of these topics, the text implies that national identity should be based on a critical and inclusive understanding of the past, not just on one-sided narratives [1].
• Media’s Role in Shaping National Identity: The text is critical of the media for its role in shaping national identity by engaging in “one-sided propaganda” and promoting “profiteering, mind-boggling stories” to innocent children [1]. This suggests that the media is actively involved in constructing and reinforcing a particular version of national identity, potentially limiting critical engagement and alternative views.
• Social Restrictions and National Identity: The text also suggests that social restrictions are interconnected with national identity. The author’s mention of a “Muslim standard or parameter of freedom” implies that religious and cultural norms can act as social restrictions, and that these norms are often intertwined with national identity [1]. The text argues that a “backward society” may not allow one to move ahead “with a single hand,” and that social restrictions prevent individual expression and dissent [1]. This suggests that national identity, as it is currently constructed, may not be inclusive of diverse views and individual liberties.
• Critique of Conformity: The text implicitly critiques the idea of conformity to a singular national identity, highlighting the dangers of a “sweet knife,” which represents subtle forms of oppression [1]. This suggests that national identity, when imposed rigidly, can be used as a tool of social control, making subtle manipulations more effective than overt censorship.
• Dangers of Unquestioned National Narratives: By suggesting that the media is not giving a “proper review of our entire national and religious history” [1], the text indicates that the unquestioned acceptance of national narratives can lead to a distorted understanding of the past and present. The text calls out “the profiteering, mind-boggling stories that you mold among the innocent children of the youth” as an example of this issue [1]. This highlights the concern that national identity may be used to propagate certain ideas that benefit a few, while limiting opportunities for others to move ahead.
• Internal Injuries and National Identity: The text states, “Outwardly the skin looks clean and transparent but the body which is injured knows,” and later states, “when you go in the dark city according to your conscience You cannot raise your voice” [1]. These statements suggest that there are unresolved internal issues related to national identity that make it difficult for people to express themselves freely. This suggests that national identity may be based on a foundation that is not fully transparent or honest.

In summary, the source suggests that national identity in Pakistan is a complex issue, shaped by historical narratives, media influence, social restrictions, and cultural norms. The author argues for a critical and inclusive approach to national identity, which involves open discussion, a reevaluation of historical narratives, and a willingness to challenge dominant ideas. The text suggests that national identity should be seen as something that is constantly evolving, rather than a fixed concept used for social control.

Pakistan’s Media: Propaganda and Control

The source presents a critical view of the media’s role, particularly in the context of Pakistani society, suggesting that it is not a neutral platform for information but rather an active force in shaping public opinion and limiting freedom of expression. Here’s a breakdown of the media’s role as depicted in the text:

• Propaganda and Control: The author accuses the media of engaging in “one-sided propaganda” [1]. This indicates that the media is not presenting balanced or objective information but is instead pushing a particular viewpoint or agenda. This suggests the media is being used as a tool to control the narrative and limit public discourse [1].
• Distortion and Manipulation: The text criticizes the media for creating “profiteering, mind-boggling stories” that it disseminates to “innocent children of the youth” [1]. This reveals that the media is not only biased but also actively distorts reality, potentially manipulating public opinion and promoting certain ideas that may not be in the public interest [1].
• Gatekeeping and Limited Discourse: The media is portrayed as a gatekeeper, restricting the range of acceptable expression [1]. The text mentions that the media is not giving “a proper review of our entire national and religious history,” and does not engage with the public on important issues such as the partition of South Asia. This suggests the media actively avoids or suppresses certain narratives that may challenge the dominant perspective [1].
• Shaping National Identity: The media is portrayed as playing a key role in shaping national identity through its control of information and narratives [1]. By not engaging in critical analysis of historical events and promoting specific stories, the media contributes to the construction and reinforcement of particular versions of national identity, potentially limiting critical engagement and alternative views [1].
• Restriction of Freedom of Expression: The text implies that the media contributes to the limitation of freedom of expression by creating a social environment where certain viewpoints are suppressed and where it is difficult to raise one’s voice [1]. The author mentions that “the level of noise in society is such that you cannot go beyond this in expressing your freedom,” indicating that the media creates a social environment that limits free speech [1].
• Promotion of Conformity: The text highlights the media’s role in promoting conformity and limiting individual expression [1]. The author’s critique of the “sweet knife” suggests that subtle forms of control, including those employed by the media, can be more effective in restricting freedom of expression [1]. This implies the media is a tool to ensure people conform to dominant norms and narratives.

In summary, the source presents the media as a powerful force that is not necessarily working in the best interests of the public. It is depicted as an institution that is used to promote propaganda, distort information, and shape public opinion. This implies that, according to the source, the media is a key player in limiting free speech and controlling the narrative of national identity, instead of acting as an independent source of information.

By Amjad Izhar
Contact: amjad.izhar@gmail.com
https://amjadizhar.blog

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