Ashcroft claimed that postcolonial literature is half the imitation of the master and half the representation of the indigenous and the latter half has proved a battleground of resistance through literature. And in this context, the institution of Marriage has been a more cherished area to celebrate the local cultural practices. Pre-partition Pakistani writers, even in the presence of the colonial master, spoke about the rituals and celebrations of the marriage and marriage-related ceremonies. This aspect of Pakistani fiction transforms it into a tool of resistance and the depiction and celebration of Pakistani culture. Weddings are celebrated in the English and American cultures as well. Still, the color, the pomp and show, and the rites and customs are not as beautifully and elaborately available in the European and American narratives as in the south Asian ones. The writers from formerly colonized countries portray elaborate and rich tributes to their cultures, especially when dealing with marriage. Two pre-partition Pakistani writers are significant in this connection: Ahmed Ali and Mumtaz Shahnawaz. Ahmed Ali in his ‘Twilight in Delhi” and Shahnawaz in her “The Heart Divided represent two opposite cultural imaginary. The text describes the same age, but the timing varies. Although these were published in the mid of 20th century, one reflected the culture of the 1920s when world war I was in progress, and the Men and women represented the culture of the Mughal dynasty, which mainly were forced to retreat into the streets and villages but had kept on clinging to their traditional ways and means of life. They were a type of middle class. On the other hand, the text by Shahnawaz spoke about the country’s elite class yet at the same time and space. These elites were happy because they largely controlled the sources of income, and their children could get education from abroad and were not sad or upset because of the loss of power and money. They represent the next moment of struggle for independence from the British and no more lament the loss of their dignity like it is celebrated throughout “Twilight in Delhi” by Ahmed Ali. Both texts use marriage as a cultural setting, and extensive marriage ceremony celebrations are told in detail. Both the writers spare no details and remain faithfully engaged with the description of the marriage party. Ahmed Ali talks about the movement of families from one house to the other to seek the consent of both parties in case of the marriage of Asghar and Bilqees, and then the day is fixed for the wedding. Besides, the singing and dancing begin well before the day, and the food is cooked and celebrated. The dowry items are exchanged. Ubtna, Mayoon, barat, dowry arrangements, and the relevant details about the bride’s arrival in the new home are celebrated and mentioned. Post-marriage happiness and the distribution of gifts among the rich and the poor are also dealt with ease. The same is the case with the marriage description with Shahnawaz. But she has gone through more details, and the show of riches is more evident here. She describes marriage preparation on both sides and while doing so, all the details are available about the day. Many points resemble Ahmed Ali’s particulars, with the only difference of riches. We can witness the visits to both families and the happiness of the mother, father, and siblings. Exchange of gifts and costly clothes and traditional, modern dresses and jewels are shown and decorated. The Nikkhah ceremony, followed by many other rites and customs like shoe hiding, a mirror showing, and the bride’s departure and reception in the in-law’s home, is given in full detail. Shahnawaz also talks about the first meeting of the bridegroom and the bride. Beauty and splendor are more celebrated in the case of the novel “The Heart Divided” than in “Twilight in Delhi”. This is the best mode of cultural resistance in a postcolonial narrative. Ahmed Ali and Shahnawaz both, like Achebe in African culture, not only celebrate their culture but also represent the indigenous as a mode of resistance and hence write back to the empire. In English literature, such an elaborate celebration of the marriage culture is rarely found. For example, we find no ceremonies in Jane Austen’s Pride and Prejudice. Arrange, and the same is the case with George Eliot and Hardy. It is the postcolonial cultures that the indigenous writers elaboratively represent. On the one hand, this may be the representation of the indigenous; it is also the celebration of one’s culture. The Pakistani writer has done this responsibility towards their people very well. The writer is a professor of English at Government Emerson University, Multan. He can be reached at zeadogar@hotmail.com and Tweets at @Profzee