Read Book Dastan-e-Ameer Hamza Part by Waqar Azeem on Rekhta Urdu books library. Navigate to next page by clicking on the book or click the arrows. Dastan-e-Ameer Hamza Books Complete Collection (10 Books). Posted by: Unknown What's Related? Children PDF Urdu Stories Collectio. 1 Dastan-e Amir Hamza in text and performance “Once upon a time and a very tvnovellas.info> Vandana Sharma, ed.
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URDU LITERATURE (FANTASY). IdentifierDastan-E-AmeerHamzaUrdu. Identifier-arkark://t1vdf. OcrABBYY FineReader Dastan E Ameer Hamza By Maqbool Jahangir Book 04 Ameer Hamza Maidan E Jang Main. byAnonymous. Topics Classic, Fiction, Novel. 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.
The supernatural, magic and enchantment are abound. Dastans were narrated by dastangos3 in courts, coffee houses4 and market places. This paper is an attempt to trace the evolution of dastan and the revival of dastangoi in contemporary times. Dastans were usually orally narrated to audiences in public gatherings or in the royal courts and contributed to be a major form of art and entertainment in medieval and modern India. There is a difficulty in chronicling the Hamza cycles as also the Arab ones due to its transposition and metamorphosis through time.
In addition to great physical strength and velour, the main character, named Ameer Hamza, is blessed with ism-i-aazam one of the names of Allah, a kind of divine incantation and some other divine powers. An interesting character of these dastans is that of a buffoon, an apparent fool who is in fact a great help for the hero who at times lands himself in trouble.
The character is brought in by the writer to entertain the reader with a comic relief, as too much of magic and bloodshed might desensitise the reader. There are a number of comic characters but the most artful of them is called Amar Ayyaar usually mispronounced as Umroo Ayyaar.
Blessed with a magic bag zambeel that can accommodate anything and everything, which can in turn be reproduced in the hour of need, Ayyaar and his gimmicks would come in handy when his comrades are in trouble. But there is a difference between the western romances and Urdu dastans: Urdu dastan is almost always didactic and its writer never forgets to propagate his faith, making sure that the Muslim characters are virtuous and pious and the non-believers or infidels are an epitome of vice.
Perhaps the writer feels that the fact that she is later to embrace Islam might compensate for that lapse somehow. Since most of the popular Urdu dastans were written in 18th and 19th centuries, one should not expect the characterisation and plot that one sees in the modern day fiction. But a dastan has certain aspects that not only make it a good reading but from a critical point of view, too, a dastan has much to offer. Shams-ur-Rahman Farooqi, the series editor and one of the most accomplished critics and scholars of Urdu today, has succinctly summed up some very important facts about dastans in his intro to the first volume of Tilism-i-Hoshruba.
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. 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.
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. Delhi: Vikas Publishing House pvt ltd, Dabashi, Hamid. Lakhnavi, Ghalib Abdullah, et al. The Adventures of Amir Hamza. Trans Musharraf Ali Farooqi. India: Random House, Farooqi, Musharraf Ali. Middle Eastern Literatures. The Annual of Urdu Studies.
Green, Nile. Asian Folklore Studies. Hanaway, William L. Classical Persian Literature. Iranian studies: Vol 31 Google Book Search. Web 16 Sep, Hosain, Sheikh Sajjad.
Patna: Khuda Baksh Library, Urdu ki Nasri Dastane. Anjuman-e Tarraqi Urdu: Karachi, Joyce, James. New York: Viking Press, Kidwai, Sadiq-ur-Rahman. New Delhi: Rachna Prakashan, Lyons, Malcom. The Arabian Epic: Heroic and oral story-telling. Vol 1. New York: Cambridge university press, Malik, Aditya. Oral Traditions and Folklore. Koninklijke Brill NY: Leiden, Web 18 Sep, New Delhi: Oxford University Press, Russell, Ralph and Khurshidul Islam.
Trans and Ed. Ghalib, Vol 1: Life and letters. London: George Allen and Unwin ltd, Sadiq, Muhammad. A History of Urdu Literature. New Delhi: OUP, Singh, Dhananjay. Fables in the Indian Narrative Tradition: an analytical study. New Delhi: Atlantic, Zaidi, Ali Jawad. New Delhi: Sahitya Akademi, Zakir, Mohammed.
A tale of four dervishes. New Delhi: Penguin, Pritchett, Frances. The terms are often used interchangeably. Frances Pritchett draws a difference by using qissas for the short narratives and dastans for the longer narrative. Akhyana is a narrative based on legends or myths, for example, the narratives in the Vedas that form the context of the hymns, like the narrative of Yama and Yami, Agastya and Lopamudra, and Jabali Satyakama.
The Ramayana is classed as an Akhyana, based as it is on the legendary lore of the Rama as the scion of the Raghu race. New Delhi, In other narratives, Muslim saints have been seen to compete between themselves, a tradition in which challengers murndzi' competed in terms of engaging in miraculous or more simply pious acts. Brill, In Arabic literary tradition, the genre of storytelling and romance is popularly known as sira or qissa in which the pre-Islamic Arab poets and narrators commemorated the heroism and bravery of tribal chiefs.
Sira was marked with biographical details to glorify the heroics of tribal warriors. The advent of Islam revolutionized the genre and tradition of sira which mushroomed into a significant literary form and acquired status of a genre for religious writings employed by Muslim writers and scholars to articulate the biography of Prophet Muhammad.
Even though sira ceased to be used as a genre for oral storytelling the tradition of storytelling sustained itself and thrived throughout the history of Arab tribal era as well as after the advent of Islam. New York: Cambridge University Press, In Persian Dari and Pashto, the words hikayat and qissa may also be used to describe stories of this kind which are not about specified historical events.
The same can be said about stories in Baluchi called nakl.
It is patterned on Thousand and One Nights. Akin to dastans it belongs to the oral Persian literary tradition. Later, in , Duncan Forbes retranslated it into English. The first Urdu book printed by a printing press in India was Bagh-o-bahar by Mir Amman, published in The copies of Sabras were handwritten as the printing press had not yet reached India at that time.
Feb13, It comprises of five sections. Each section contains a main story, called the frame story which in turn contains several stories emboxed in it, as one character narrates a story to another.
It is like a story within a story and the series goes on. Besides the stories, the characters also quote various epigrammatic verses to make their point. A shared interest in aurality-fuelled by digital technologies, may be bringing the two fields closer again.
Quoted in Thomson, Alistair. April 12, Rather, given the implications of the theory of oral-formulaic composition and oral tradition, the question concerns how the poem is to be understood, and what sorts of interpretations are legitimate.
However, scholars such as D. Crowne have proposed the idea that the poem was passed down from reciter to reciter under the theory of oral- formulaic composition, which hypothesises that epic poems were at least to some extent improvised by whoever was reciting them, and only much later written down.
This exhaustive analysis is in itself sufficient to prove that Beowulf was composed orally.