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The Hamzanama or Dastan-e-Amir Hamza narrates the legendary exploits of Amir Hamza, . A Pakistani author Maqbool Jahangir wrote Dastan-e-Amir Hamza for children in Urdu language. His version contains 10 volumes and was . *TWO* == Amir Hamzah’s cradle goes to the Realm of Qaf, and takes that sun of perfection to Mount Qaf. *THREE* == The dastan of how the Amir and Muqbil. This book is one of the seminal classics of Urdu literature which exists in a number Ghalib Lakhnavi is renowned for his version of the Dastan-e Amir Hamza.

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Dastan Amir Hamza In Urdu (A Set Of 37 Books)

Dastan-e Amir Hamza in text and performance. 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 wmir 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.

The degree of assimilation varies to the extent that it dxstan not be clear whether the common denominators are of greater importance than the differences. Such questions are complicated by diffusion. Abi Talib and other heroes of urrdu Islam.

From India this legend passed through Malaya to reach Java, by which time, as is noted in the Comparative Index, it had become confused, in character hamxa detail, with the entirely different Sirat Hamza covered in this study. He too traces the origin of dastan to be Iran: On august 21,he writes to the nawab of Rampur: It was written something over two hundred years ago, but it is still famous and always will be.

He hopes the nawab will like it. The Hamzah romance turns out to be the most popular one. It might appear surprising that even the elementary facts of the dastangos of the nineteenth century are not available because it has never been chronicled.

The uniqueness of dastan lies in its oral nature which was brought to print in the nineteenth century.

Dastan-e-Amir Hamza Collection / داستان امیر حمزہ سیریز by Maqbool Jahangir

Unlike any avant-garde movements or periods in literature, Dastan-e Amir Hamza is singularly exclusive mode of narration. As soon as you want to nail the fact of a fiction it dodges, evades, and eludes you. The origin of Amir Hamza is also mentioned in an article by Shahnaz Aijazuddin: Hamza had the reputation of being the strongest man of the dasatn of Banu Hashim and fiercely protected his nephew against his enemies from the tribe hazma Quraish.

He followed the Holy Prophet after he migrated to Medina from Mecca. Hamza was killed in the battle of Uhud by a slave Sufiyan. His equally exciting exploits and adventures were the source of many stories that could have been grafted onto the Arab Hamza, thus creating a super-hero who for being the uncle of the Holy Prophet was more acceptable. He embraced Islam two years after the first revelation.

But this has not prevented writers from writing it down or storytellers from proud narrations.

These narratives have long existed in the Islamic world. Shahnamah found expression as an oral narrative which is narrated and performed by a storyteller or a Naqqal Naqqal tells as well as performs the story. The Persian oral tradition is different from Arabic oral tradition as the story is also performed apart from being told.

There is a amirr cycle of the nature of Amir Hamza in Arab with similarities of names and places like Anushirwan that corresponds to Nausheravan, the vizier Buzurjmihr who is synonymic to Buzurjmehr, the Persian capital Midan and also jinn of Jabal Qaf. But it will be difficult to prove who has borrowed from whom. In his study of the Arabian epic Malcolm Lyons discusses Sirat Hamzat al-Pahlawan13as one amif the narratives of Arab but does not mention its source or writer; here is a glimpse: This introduces Anushirwan urrdu 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 haza 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 air battle of Tangier, it was doubtless not much more difficult to accept that Hamza reaches Abyssinia through the barrier of namza 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.

Dastan – e – Ameer Hamza URDU : URDUSTAN : Free Download, Borrow, and Streaming : Internet Archive

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.

Namza 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 hwmza 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 anir. 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.

Dastan-e-Amir Hamza

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 dastam 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 theGhalib 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 dasyan 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.

Zmir bears the direct influence of dastans urru 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 daetan and full expression.