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 soundofheaven.info> Vandana Sharma, ed.
|Language:||English, Spanish, Hindi|
|Genre:||Children & Youth|
|ePub File Size:||27.46 MB|
|PDF File Size:||14.84 MB|
|Distribution:||Free* [*Regsitration Required]|
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.
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. Ghalib Lakhnavi Series Editor: It describes the chivalries of Amir Hamzah, the uncle of our prophet Mahomed, and the practical tricks of his friend Amar. An Oriental Novel. Retrieved In this interview , Farooqui and Husain discuss their performance style.
Ghalib Lakhnavi Series Editor: Shamsur Rahman Faruqi. Ghalib Lakhnavi is renowned for his version of the Dastan-e Amir Hamza. No other works by him are known.
In written form too, one translation of Tilism-e oshruba volume 1 has also been published, and another translation condensed from the whole Tilism-e hoshruba. For further background, here is a general overview of the Hamza tradition. 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.
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. 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, 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.
Dastan-e Amir Hamza: An Oriental Novel. 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. Cambridge university press, Malik, Aditya. Oral Traditions and Folklore.