Free Download Tilism E Hoshruba In Urdu 13 [WORK]
Dallas Whitmoyer
The tilism of Hoshruba was conjured by sorcerers in defiance of God and the laws of the physical world. The dastans created dazzling illusions in Hoshruba, transferred spirits between bodies, transmuted matter, while configuring and exploiting earthly and cosmic forces to create extraordinary marvels. However, being a creation of magic, Hoshruba is not a permanent world. At the moment of its creation a person was named who would unravel this magical world at an appointed time using the tilism key.
Emperor Afrasiyab was among the seven immortal sorcerers of Hoshruba who could not be killed while their counterparts lived. His fortune came to reveal itself on the palms of his hands. His left hand warned him of inauspicious moments and the right hand revealed auspicious ones. Whenever anyone called out his name in the tilism, Afrasiyab magic alerted him to the call. He possessed the Book of Sameri that contained an account of every event inside and outside the tilism. Afrasiyab had a magic mirror which projected his body into his court during his absence, and many magic doubles who replaced him when he was in imminent danger. Besides sorcerers and sorceresses, the emperor also commanded magic slaves and magic slave girls who fought at his command and performed any and all tasks assigned them.
We are told that in the bottom of the untold past a group of sorcerers met to create a magical world or tilism by using occult sciences to infuse inanimate matter with the spirits of planetary and cosmic forces.
In 1881, Nawal Kishore finally began publishing his own elaborate multi-volume Hamza series. He hired Muhammad Husain Jah, Ahmad Husain Qamar, and Tasadduq Husain, the most famous Lucknow dastan-narrators, to compose the stories. This version of the Dastan-e amir Hamza was an extraordinary achievement: not only the crowning glory of the Urdu dastan tradition, but also surely the longest single romance cycle in world literature, since the forty-six volumes average 900 pages each. Publication of the cycle began with the first four volumes of Tilism-e hoshruba ("The Stunning Tilism") by Muhammad Husain Jah; these volumes were published between 1883 and 1890, after which Jah had differences with Nawal Kishore and left the Press. These four volumes by Jah proved immensely popular, and are still considered the heart of the cycle. After Jah, the two main architects of the cycle, Ahmad Husain Qamar (nineteen volumes) and Tasadduq Husain (nineteen volumes) took over the work from 1892 to its completion around 1905.
In this new tale, Amir Hamza's adventures bring him to Hoshruba, a magical world or "tilism". The tilism of Hoshruba was conjured by sorcerers in defiance of Allah and the laws of the physical world. However, being a creation of magic, Hoshruba is not a permanent world. At the moment of its creation a person was named who would unravel this magical world at an appointed time using the tilism key.With the passage of time, the whereabouts of the tilism key were forgotten, and the usurper Afrasiyab became the Master of the Tilism and Emperor of Sorcerers. Afrasiyab and his sorceress Empress Heyrat ruled over Hoshruba's three regions named Zahir the Manifest, Batin the Hidden, and Zulmat the Dark, which contained countless dominions and smaller tilisms governed by sorcerer kings and sorceress queens, and where the dreaded Seven Monsters of the Grotto lurked.
Before long, Amir Hamza's armies pursuing Laqa find themselves at war with Afrasiyab and his army of sorcerers. When hostilities break out Amir Hamza's grandson, Prince Asad, is the designated conqueror of the tilism of Hoshruba. Prince Asad sets out at the head of a magnificent army to conquer Hoshruba. With him are five matchless tricksters headed by the prince of tricksters, the incomparable Amar Ayyar, whose native wit, and wondrous talents are a match for the most powerful sorcerer's spells.
Upon learning of Prince Asad's entry into the tilism with his army, Afrasiyab dispatches a number of sorcerers and five beautiful trickster girls to foil his mission. When the trickster girls kidnap the prince, Amar Ayyar and his band of misfits continue the mission of the conqueror of the tilism with the help of Heyrat's sister, Bahar Jadu, a powerful sorceress of the tilism, who Afrasiyab had banished from his court to please his wife.
The immense popularity of the dastan had a long-lasting effect on other forms of fictional narratives. The earliest novels in Urdu as well as Hindi often seem nothing more than simplified or bowdlerized forms of Dastans. Babu Devaki Nandan Khatri's Chandrakanta and Chandrakanta Santati and Ratan Nath Dhar Sarshar's Fasana-e-Azad are only the two most stellar examples of this genre.[19] 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 dastan also influenced Munshi Premchand (1880-1936) who was fascinated and later on inspired by the stories of Tilism-e hoshruba that he heard at the tobacconist shop in his childhood days. The conventions of the dastan narrative also conditioned Urdu theatre: the trickster Ayyar, permanent friend of Hamza provided the convention of the hero's [comic] sidekick that achieved culmination in the Hindi cinema of the sixties.
The popular Hindi work, "Chandrakanta", which was modelled on "Hoshruba" and written in the Devanagari script by Devaki Nandan Khatri (1861-1913) was one of the first popular works of prose in Devanagari script. The Devanagari script was so little known that people had to go to those who could read it to listen to these tales. It was through Chandrakanta that the words such as tilism (enchanted world) and ayyar (trickster) were first introduced in Hindi and people began to learn the Devanagari script to be able to read Chandrakanta.
Farooqi: The current body of translations from contemporary Urdu fiction is still relatively small. There are many works which need to be translated. A lot of contemporary Urdu fiction writers are regularly published in the Annual of Urdu Studies at www.urdustudies.com. But when we look at the classics of Urdu literature we find that very, very few translations of Urdu classics were made into English or any other language. It does not allow a comprehensive picture to emerge of how Urdu literature evolved and developed.
Next, Mir Ahmed Ali used occult arts of the Islamic world as his inspiration to create a magical world called the tilism. A tilism is created by a sorcerer by infusing inanimate things with the spirit of planetary and cosmic forces. Once an inanimate thing becomes a tilism it appears in an illusory guise and performs supernatural functions assigned to it by the sorcerer. Tilisms can be small or large depending on the complexity of the formula used in creating them.
Mir Ahmed Ali thought up a tilism that would be a whole country, and contain other tilisms within. Its original founder sorcerers would be True Believers and the tilism would have an inalterable fate. The ruler of the tilism would be the powerful sorcerer named Afrasiyab titled the Master of the Tilism. He would rule over a vast number of sorcerers and sorceresses with a sorceress empress. But having a wife would not keep this bisexual sorcerer emperor from lusting after other princesses, and carrying on an affair with a beautiful boy. Because the emperor of sorcerers was a usurper, his empire would be filled with treachery and palace intrigues. And most important of all, he would have an ongoing border feud with a neighboring tilism and its equally powerful sorcerer emperor.
Such a dazzling, mind- and socks-blowing tilism had to have an equally magnificent name. Mir Ahmed Ali decided on Hoshruba (hosh=senses, ruba= ravishing, stealing). And with that he had the title for his story: Tilism-e Hoshruba or the Tilism of Hoshruba.
While Prince Asad is the figurative head of the camp of the True Believers inside the tilism, it is the trickster Amar Ayyar and the Sorceress Queen Mahrukh Magic-Eye who fight the war with Emperor of Hoshruba Afrasiyab.
Tilism-e Hoshruba became a bestseller. Between 1883 and 1930 eight editions were published from Lucknow alone. The tale acquired an iconic status in Urdu literature as the ultimate fantasy tale, and the word hoshruba itself became proverbial for fantastic literature.
A It comes to Urdu from Arabic and means talisman or magical inscription, but its origins are Greek. The meaning of this word changed in Urdu fantasy literature with tilism defining a magical world.
I was very excited when I was buying this as I read the complete series when I was in class 7 or 8.
However, what I read was in simple Urdu.
This edition is in old or original urdu which mostly consist of Arabic or Persian words.
Still reading and enjoying though.