Read Book Bagh-o-Bahar Qissa Chahar Darwesh by Mir Amman on Rekhta Urdu books library. Navigate to next page by clicking on the book or click the arrows. We see in Bagh-o-bahar a of the Persian-Urdu qissah tradition. BAGH-O-BAHAR or. Tales of the Four Darweshes The Twenty-five Tales of the Vampire. (another famous Fort William story, in Hindi, Urdu, and English).
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dancindonna.info - download Bagh-O Bahar (Urdu Edition) book online at best prices in India on dancindonna.info Read Bagh-O Bahar (Urdu Edition) book reviews & author. Bagh-o Bahar (Urdu Edition) [Amir Khusrow, Mir Amman] on dancindonna.info * FREE* Story time just got better with Prime Book Box, a subscription that delivers. Bagh o Bahar / باغ و بہار book. This book is not yet featured on Listopia. translation (original was Persian + Arabic) and deserves a special place in Urdu.
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Mir Amman benefited from 'Nau tarz-i-murassa', a dastan written by Mir Ata Hussain Tehseen in , which, in turn, is based on a Persian tale.
But Tehseen's book was written in a language peculiar to his times and tastes ornate and artful but artificial. Mir Amman changed it into a vivid and colloquial language.
While writing the dialogues, he reproduced the language spoken by the men and women in the street, keeping an eye on idiomatic and literary expressions when narrating the events. Another aspect that lends Bagh-o-Bahar credibility among the literary and academic circles is its ability to capture the phenomenon known as Indo-Muslim culture.
It describes the norms, etiquettes, rites, rituals, attires, foods, utensils and jewellery. It narrates courts, banquets, receptions, royal processions, means of travel, decorative pieces, hobbies, beliefs, prayers, weather and even the names given to the servants.
It is a portrait of the sub-continental culture and values painted by a maestro. And that too in a language that is almost entirely comprehensible even today. Mir Amman is also held responsible for spreading the erroneous belief that some consider being true even today Urdu is a 'lashkari zaban', or 'camp language'.
Mir Amman in the foreword of 'Bagh-o-Bahar' declared that Urdu was a camp language since it was born in the camps of the Mughal troops during the reign of Mughal emperor Shah Jahan, conveniently ignoring the fact that texts of Urdu poetry were available as early as in the period of Ameer Khusrau or even earlier. Mohammad Hussain Azad repeated the myth in his 'Aab-i-Hayat', thereby lending credibility to a false statement that held water till it was corrected by linguists in the 20th century, albeit some still find it difficult to swallow the truth.
But linguistics tells us that languages are not formed that way and Urdu is by no means a 'camp language'. Published for numerous times by a host of publishers, 'Bagh-o-Bahar' had suffered at the hands of some unscrupulous publishers whose sole aim was to mint money.
Not only did they reproduce the text from the older and erroneous versions, they ignored the typographical errors as well, adding thereby new errors to the classical text worth reading and analysing meticulously.
This went on, though some better versions too were published, but it was not till Rasheed Hasan Khan published his annotated and edited version of 'Bagh-o-Bahar' in when we had an authentic and reliable one. Having got the corrected version, it was for someone like Suhail Abbas Khan to evaluate the literary merits of a work like 'Bagh-o-Bahar' that needed to be judged thoroughly for its various aspects.
Deeply engrossed in classical Urdu literature with a perfect eye for grammar, prosody and rhetoric, Suhail Abbas was just the right fellow for the job. When one surveys the extent to which Suhail Abbas has thrashed 'Bagh-o-bahar', one is truly amazed.
Harcourt and Fakhir Husain Boulder, Colo. By the last two decades of the nineteenth century, however, as mass publishing began in earnest, Bagh-o-bahar became one of the hardy perennials of the genre of printed qissa literature, and it's never been out of print since though nowadays it appears more often in scholarly rather than popular editions.
It's an account that's very convenient to Mir Amman's British colonial sponsors, and one that is unfortunately still all too current. Like so many other things about Bagh-o-bahar, it has proved to be lastingly influential.
For a well-documented and extremely interesting refutation of Mir Amman's claims, see Chapter One, pp. In addition, Mir Amman is wrong about the history of the Bagh-o-bahar itself: he follows folk tradition in ascribing its Persian source to Amir Khusrau.
Amir Khusrau is a magnet for such claims: he is commonly said to have invented not only the sitar, but all kinds of other musical and poetic modes and practices as well, often including the Urdu ghazal. Somebody once actually insisted to me that he had also invented the sari.
Mir Amman also inaccurately implies that he himself worked directly from this Persian text. In fact, as 'Abdul Haq documents very clearly, Mir Amman closely followed an earlier Urdu text itself translated somewhat freely from a Persian original , Tahsin's Nau tarz-e murassa' [New Style of Adornment], composed in the early 's.
In short, when it comes to matters of literary history-- including his own-- Mir Amman is not a reliable narrator.
In that work, the text I was chiefly studying was the dastan par excellence in Urdu: the astonishingly long and elaborate dastan, or qissah, of Amir Hamzah. In Bagh-o-bahar too, an anecdote about Hatim's generosity is what first motivates the quest of the Second Darvesh.
Our translator-in-chief Duncan Forbes himself also singled out the Qissah-e Hatim Ta'i for translation though he used a Persian version of the story, rather than the Fort William retelling.
He also published an edition of Haidari's Tota kahani , another Fort William qissah text. I had planned to go on to discuss Tahsin's Nau tarz-e murassa' early 's , and Mir Amman's huge and flagrantly unacknowledged debt to it, and the connection of both these qissahs to the Persian story tradition.