Title: Pakistan's Never-Ending Cycle of Political Despair
From October 12, 1999, till October 21, 2023, the political architecture of Pakistan has been in what seems to be an infinite loop. Despite the years passing, the country is still caught in a never-ending cycle where promises are made, leaders come and go, and the populace waits for rescue that never materializes.
The primary protagonist in this political play is none other than Nawaz Sharif, a person who has repeatedly experienced both the heights of power and the depths of dishonor. Little changes despite the repeated portrayals of him as a resurrected savior coming to deliver the people from their agony. People's hopes are continuously crushed when promises of reform and progress prove to be hollow platitudes.
The rise and fall of Imran Khan, who was once heralded as a hero but is now imprisoned, also serves as an example of the cyclical nature of Pakistani politics. In the public's eyes, he has also been turned from a hero to a villain. He may soon be presented as the reincarnated savior following this purgation, a scenario that's quite likely!
In Pakistan, the never-ending game of political musical chairs resembles an endless loop of déjà vu, with the same characters recurring in different settings but the basic story remaining the same. It raises the question of why there is an ongoing political drama.Are the people really in this predicament, much like the characters in Samuel Beckett's "Waiting for Godot" who wait for a rescuer who never shows up?
The idea that life lacks inherent meaning and that we must discover our own purpose in an uncaring environment is explored in Beckett's play. Estragon and Vladimir, the main protagonists in "Waiting for Godot," lead a routine and repetitive life while continually debating whether to commit suicide or keep waiting for a person who never appears. Similar to this, Pakistan's political theater portrays the country as being mired in a never-ending cycle of repetition.
According to Sartre and Camus' existential philosophy, the meaning of life is something we create for ourselves in a world devoid of innate morality. Like the Pakistani people's hope for a political rescuer, Estragon and Vladimir's continued existence is motivated by their anticipation of Godot's coming.
Estragon and Vladimir's reliance on one another is a reflection of how people generally look to others for meaning and confidence. They wait longer because they are afraid of being alone, dying, falling asleep, and being silent. This is comparable to how Pakistani citizens stick to political figures despite their broken promises.
In "Waiting for Godot," the protagonists alternate between wanting to end their lives and hoping for rescue, which reflects the restlessness and need for diversion or purpose that pervades the human condition. The characters' inability to solve their own problems and their reliance on outside forces are a reflection of the concerns that pervade humanity.
Pakistan waits for a political savior who might never arrive, just as Estragon and Vladimir anticipate Godot's uncertain advent. The drama serves as a reflection of the "human condition" in a world that seems devoid of purpose or hope, where merely surviving constitutes an audacious act.
Similar to how Pakistan's political theater provides momentary diversion, the protagonists in "Waiting for Godot" can only momentarily divert themselves from their existential dilemmas. The repeating nature of human existence is illustrated through the cyclical passage of time in both the play and Pakistan's political history.
In essence, Pakistan's political scene is similar to Samuel Beckett's absurdity and monotony, especially "Waiting for Godot." It serves as a sobering warning that, like the people in Beckett's masterwork Godot, the country may continue to wait for change that is illusive in the absence of sincere efforts to end the cycle.
One can't help but wonder if Pakistan is doomed to a fate similar to the people in "Waiting for Godot" as the years pass and the country continues to be mired in this seemingly never-ending political cycle. The ongoing need for a political messiah, the endless cycle of leaders and declarations, and the ominous ambiguity all reflect the existential difficulties of Beckett's characters. Like the play itself, Pakistan's political theater serves as a reminder that seeking change and purpose involves more than passive waiting; it also calls for real efforts from both the country's leaders and its citizens. Up until then, the nation is still locked in the grip of its own never-ending drama and political misery.
