DASTAN E AMIR HAMZA PDF
URDU LITERATURE (FANTASY). IdentifierDastan-E-AmeerHamzaUrdu. Identifier-arkark://t1vdf. OcrABBYY FineReader dastan e amir hamza. IdentifierDastanEAmirHamzaComplete. Identifier-arkark:/ /t42r7cb OcrABBYY FineReader Ppi *(4) The Dastan of Amir Hamzah in Oral Narration* (PDF format) *(5) The Dastan of Amir Hamzah in Print* (PDF format) *(6) Dastan-e Amir Hamzah: the Bilgrami.
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The Hamzanama or Dastan-e-Amir Hamza narrates the legendary exploits of Amir Hamza, . Masterpiece of Sensuous Communication: The Hamzanama of Akbar (images in pdf file, Section II); Hamzanama at the Victoria & Albert Museum. novel, the short-story and the literary essay discovered it. History of the Dastan-e Amir Hamza in India. The DAH had an advantage over Medieval European. 1 Dastan-e Amir Hamza in text and performance “Once upon a time and a very resourceone.info> Vandana Sharma, ed.
Dastan - e - Ameer Hamza URDU
This introduces Anushirwan and his vizier Buzurjmihr, to whom it adds Numan of Hira, …Internal dating makes Hamza about twenty years old at the start of his adventures, which are extended for at least another fifty years. For the compilers of this cycle, the historical existence of the Persian Empire was of importance…The Persian emperor is advised to get help from Mecca, and from then on the cycle concerns itself with the eclipse of Persian power and the rise of that of the Arabs. For an audience who enjoyed the battle of Tangier, it was doubtless not much more difficult to accept that Hamza reaches Abyssinia through the barrier of darkness separating it from the jinn of Jabal Qaf….
Dastan-e Amir Hamza thrived at the court of Emperor Akbar who was so fascinated by the stories that he commissioned illustrations for it.
The version from which the remarkable paintings were made during this period remains unavailable. They are representative of the Mughal School of painting.
Shamsur Rahman Faruqi comments in a review: It reached the court of Emperor Akbar, far into the North, by Akbar was so enamoured of the tale that he commissioned paintings to illustrate its high points.
Humayun ordered them to compose Dastan-e Amir Hamza in paintings. This work spreads over hundred pages in twelve books. They returned with Humayun to India after his conquest. After Humayun, Akbar continued this work in his tenure. Many have mistakenly accredited Faizi as the author. Brown also remarks that Faizi can be dismissed as the writer of Dastan-e Amir Hamza because he was born in hijri.
Fazal comments that from his early youth, Akbar had shown great predilection for painting, he encourages such activities and upholds them as a means of study as well as amusement.
Sheik Sajjad Hosain in the preface to his translation of Dastan-e Amir Hamza also briefs us about the origins of the text: It describes the chivalries of Amir Hamzah, the uncle of our prophet Mahomed, and the practical tricks of his friend Amar. Before the birth of our Prophet, he followed the religion of Abraham, and extended his arms and brought the idolatrous tribes to a sense of the True God.
When Mahomed was born, he assumed Islamism and fought for the cause of Islam. What Sajjad Hosain is trying to say here has always been said by practicing dastangos repeatedly. They often attribute the dastans to some big names in order to make it more established as a literature or they claim to have discovered it in an old trunk belonging to their ancestors and the source remains unknown.
But the very fact of lending it an ancient halo marks it as special. Dastan-e Amir Hamza in nineteenth century The most widely circulated among the dastans in nineteenth century India was Dastan-e- Amir Hamza contributed by Abdullah Bilgrami and Ghalib Lakhnavi published by the endeavours of Munshi Naval Kishore in with which I am concerned.
Lakhnavi claimed the Urdu version to be a translation from a Persian one, but the Persian version has never been discovered. This version was already in print for sixteen years when Munshi Naval Kishore thought of printing it with amendments by Abdullah Bilgrami who added ornate passages and verses to it in Persian.
I call it as contribution because none of them wrote the text to its entirety but narrated it to the scribes at Naval Kishore Press.
It was disseminated by folk storytellers and assimilated by individual authors and dastangos like Mahmud Jah, Amba Prasad Raza, Ghalib Lakhnavi etc in north India, particularly Lucknow, only to make them more popular and mesmerizing. It passed on from one generation to other orally by dastangos who freely added mostly added, rarely shortened to the existing corpus of narrative. In the absence of manuscripts and records we do not have many dates. Initially it existed in the form of rivayat Ali Jawad Zaidi talks of the tradition of hikayat in Urdu which is akin to fables and mythical stories.
These forms existed before the short story and the novel sprang up in Urdu in the nineteenth century: Much before the advent of short stories and novels we come across the voluminous literature of dastans and hikayats in Urdu. Hikayat is a generic term that includes what the western writers have identified as fable, myth and legend, while dastan is synonymous with the western concept of early romance.
But Dastan-e Amir Hamza is unique because of its volume and language. Dastan-e Amir Hamza also has a strong mythical backing which other new epics lacked. Talking in the Indian context Indra Nath Choudhuri holds myth to be associated with puranas: The word for myth in Indian context is purana and they are episodical.
Here history changes into purana, so one cannot find the unity which one derives out of a cause and effect relationship. The purana keeps up its subterranean historical origin, but goes on adding, multiplying and expanding its body, aiming to bring home the archetypal meaning of the enduring totality.
This has been the case with Dastan-e Amir Hamza. Faruqi ascertains the birth of Dastan-e Amir Hamza to be unknown as it is surrounded by myths and probabilities. It travels from Persian to Arabic and then to other languages. This variation is a symbolic representation of the brief life in this world, it also shows the fact that people die different deaths.
The multiple variations like the sthalapuranas went through various issues narrated and compiled by many dastangos and authors with the onset of printing in India. He took seven years to translate this thousand page adventure.
Farooqi has done this translation from the , Ghalib Lakhnavi and Abdullah Bilgrami version published by Munshi Naval Kishore press. This volume comprises of four books. Farooqi has done a very close translation of the text without disturbing the ornate passages as I have observed while comparing the original with the translation. One of the remarkable features of dastangoi was the opening lines that had to be very poetic and beautiful so that they arrest the listeners at once.
Farooqi has retained them very well in his translation. This is evident from such openings in the text as quoted from the translation below: In his childhood days Premchand was fascinated and later on inspired by the stories of Tilism-e Hoshruba that he heard at the tobacconist shop. Tilism-e Hoshruba is the most popular amongst the Dastan-e Amir Hamza series and comprises the fifth book. It is considered to be highly fascinating as it is filled with magic and enchantment in comparison to the earlier four books and dastangoi narration is mostly done from this book.
Chandrakanta bears the direct influence of dastans as witnessed in the case of eponymous protagonist Chandrakanta who is trapped in a tilism and the presence of notable ayyars. The real Hamzah was a hero fighting for a just cause but the volumes of fictional narratives that have sprung from it bear testimony to its sheer fantasy and splendid passages.
As it has literary roots as well besides the legend it picks from, it is not purely mythological. And as Hamid Dabashi remarks in the introduction to The Adventures of Amir Hamza that this royal background is fissured by intervening factors such as the tribal and rebellious origins of Hamza is balanced by the royal and sedentary court of Sassanids. But it does slice through bygone ages presenting a full size mirror of tradition, culture and language.
We have many books in Urdu beginning with the word dastan as it means a story in their title, but that does not make them dastan in the compositional manner and matter.
Talking about the various heroic cycles and their circulation and narration Malcom Lyon remarks: The Ozidi Saga from Africa is introduced as having no fixed text. All that each teller of the story has is the plot, a grand design to which, like a master builder, he proceeds to give body and full expression. Matba-e Waheedi, Two earlier editions, probably by other translators, were published from Matba-e Nami, Lucknow, in , and another from Matba-e Ahmedi, Delhi, in The book is divided into four chapters.
Hamza has an eighteen year stay in Qaf while in this book it is twelve years.
Dastangoi Dastangoi is the performative narration of dastans. It is usually performed orally by a pair of storytellers or dastangos but it could be solo as well before an audience.
The role of the audience is to listen and relish these stories with Wah!
The popularity of dastan has been through oral narration primarily. Story telling thrived as a tradition in India. Kathavachan story telling has been inbuilt in our tradition. However, one must not conflate oral and folk tradition. Arthur Compton Rickett asserts that the western epic poem Beowulf28too was recited orally by the minstrels to the soldiers who returned from a hard day and relaxed after dinner besides fire.
In an interview 29 with Mahmood Faruqui 30 , Shamsur Rahman Faruqi asserts that in dastan the audience and narrator are same. It is not so because of the absence of print media in old days, but because the human mind is attuned to listening story of all kinds- the pair could be mother-child or politician-audience or any form of narration and listening. At times if the dastango wanted to keep the dastan going, he would drag a scene to unfathomable limits, for instance, at a crucial turn in the plot, the lover and beloved are merely separated by a curtain and have not yet seen each other, this intense scene is paused and other narratives around it are narrated while the curtain remains to maintain the brevity of the narration.
Musharraf Ali Farooqi comments on the tradition of orality in his Simurgh guide: The daastaan was a genre of oral narration. After the end of this tradition, a critique of the daastaan must distinguish between daastaan as a genre and the written text as a record of its content. And as today we only have access to the text; any critique must begin from it. The age-old tradition of story-telling has enjoyed royal patronage but no effort was made to commit the stories to writing.
These survived only through oral tradition, which makes it difficult to determine their age or even the original form. This phenomenon explains how most of the earlier dastan became extinct and all that has been passed on to us through the written word in Urdu are translations of stories from other language, with interpolations, variations and enlargements. The oldest extant original dastan in the north is Qissah-e-Mehr- Afroz-o-Dilbar by Isawi Khan written in Vikrami era which would correspond to The story, spread over pages, followed by pages of Nishat Namah, is a major work in prose fiction and its non-publication has prevented its literary assessment.
They have the tradition of memorizing the Quran, Mahabharata and Bhagvad Gita.
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As Indra Nath Choudhuri affirms: All the important Indian texts whether Vedas, Ramayana, Mahabharata and others were initially narrated in the oral tradition and still orally narrated by the story tellers and dastangoi of India in the folk form. Mahabharata was narrated first by Vaishampayana, then Ugrashrava Lomaharshini, then Sanjaya was Vyasa.
He arranges the three structural spaces chronologically. Human beings are paralyzed accompanied by frozen time. It is uncertain and unmapped. It emerges from the realm of enchantment and restores human community. Tehran coffee-houses held the performances of Hamza story till the twentieth century.
It is a two way performance which involves the narrator as well as the audience. The storyteller is marked as a subject who is evaluated according to his method and grip on audience. Thus The Adventures of Amir Hamza is marked by the interface between the written and the oral.
Currently it is narrated orally by dastangos like Mahmud Faruqui and Danish Hasan fascinating us every time. Binayak Sen. The contemporary dastangos have revived an art and a literature which was inevitably sinking.
But yet they have not done away with the ornate passages as they are the soul of dastans but rather tried to explain those words in the narration itself: Few of the readings that were attended by growing numbers of aspiring writers and curious readers in the s ever migrated out of the comfortably narrow confines of South Delhi. A handful of events were in Hindi or Urdu and the Sahitya Akademi did its best to bring in writers from across India.
Through dastangoi, the two performers brought back a much older tradition of storytelling. On a full moon night people gathered on the sand after dinner to listen to these stories.
Dates were distributed in the end. It was also performed at chauks in India and at the steps of Jama Masjid where dastangos gathered. We come to know through the anecdotes of Mir Baqar Ali, the last dastango of Delhi that their profession demanded a command over rhetoric, delivery, mimicry, ventriloquism and spontaneous composition. Dastangoi is the marker of oral narration. Oral narration of Dastan-e Amir Hamza was also a popular recreation in central and western South Asia and North Africa since medieval times.
Mahmood Farooqui and Danish Hasan, the popular dastangos in contemporary times talk about the dastangoi performances: The performances have come about as a result of collaboration between S. Faruqi, the foremost living authority on these Dastans and the only person to possess a full set of all the 46 volumes, and the performers.
Faced with neglect and systematic devaluation we now have very scanty evidence for the way in which these Dastans were compiled and performed. Even basic things such as movements, gesticulation, and stage setting are wholly unknown. The current performance is therefore merely an exploration of an Art form which, astonishingly in a culture where poetry was regarded as the supreme art, was considered by some to be of a higher order than poetry itself.
Dastangos were supposed to be a repository not just of language, common speech as well as literary, but also of social mores, craftsmanship, and all other forms of knowledge.
The dastans remain unchanged, only the mode of delivery has been improvised upon. Several other such literature and performances have been overshadowed today due to lack of awareness among readers and improper archiving.
But one can thank the digital world that has helped in organizing and archiving many works of literary treasure which otherwise would have been lost in the labyrinths of time.
Brass, Paul R. Language, Religion and Politics in North India. Vikas Publishing House pvt ltd, Dabashi, Hamid. Lakhnavi, Ghalib Abdullah, et al. The Adventures of Amir Hamza.
Trans Musharraf Ali Farooqi. Random House, On our website, the volumes of Tilism-e hoshruba, "The sense-stealing enchantment," have been featured most prominently. In addition, we provide a set of modern essays prepared by the Khuda Bakhsh Library to introduce the Tilism-e hoshruba series, and a one-volume selection by the well-known critic Muhammad Hasan 'Askari of his own favorite passages.
But we also very much intend to complete the whole set of 46 volumes, which will be available on this site in PDF form for those who want to immerse themselves more deeply in the stories. Please bear with us while we finish locating and scanning these now rare and fragile volumes.
Most of the volumes have been scanned by a Rekhta. Pritchett , who has also helped to check the readability of the scanned volumes and to fix various problems. We and they are delighted to bring the Hamza stories to many new readers. You have exhausted your 5 free poetry pages per month. Intikhab-e Tilism-e Hoshruba Muqaddamah-e Tilism-e Hoshruba. Baqiya-e Tilism-e Hoshruba vol. Tilism-e Hoshruba vol.
Added to your favorites Removed from your favorites.Between them, these two manuscripts are the key works in the formation of the Mughal miniature style.
New York: Cambridge university press, The resulting volumes were so popular that more and more were published, until the whole cycle ran to an astonishing 46 very large volumes.
The story, spread over pages, followed by pages of Nishat Namah, is a major work in prose fiction and its non-publication has prevented its literary assessment. It quickly emerged that this epic, said to be the longest single romance cycle in the world, had been almost forgotten.