As a child I used to listen to the story- now it has been translated to English; THE ADVENTURES OF AMIR HAMZA-Lord of the Auspicious Planetary Conjunction.
By Ghalib Lakhnavi and Abdullah Bilgrami.
Translated by Musharraf Ali Farooqi- via Ajay Shah
A review at NYT;
On display was a single work of art: a painted manuscript of the “Hamzanama,” a spectacular illustrated book commissioned by the sympathetic and notably tolerant Mughal emperor Akbar (1542-1605). To the delight of art historians, the Sackler brought together the long-dispersed pages of what is probably the most ambitious single artistic undertaking ever produced by the atelier of an Islamic court: no fewer than 1,400 huge illustrations were commissioned. More than anything else, it was the project that created the Mughal painting style, and in the illustrations one can see two artistic worlds — that of Hindu India and of Persianate Islamic Central Asia — fusing to create something new and distinctively Mughal.
But the exhibition was of great literary importance, too. The “Hamzanama” was once the most popular oral epic of the Indo-Islamic world. “The Adventures of Amir Hamza” is the “Iliad” and Odyssey” of medieval Persia, a rollicking, magic-filled heroic saga. Born as early as the ninth century, it grew through oral transmission to include material gathered from the wider culture-compost of the pre-Islamic Middle East. So popular was the story that it soon spread across the Muslim world, absorbing folk tales as it went; before long it was translated into Arabic, Turkish, Georgian, Malay and even Indonesian languages.
It took particular hold in India, where it absorbed endless myths and legends and was regularly performed in public spaces in the great Mughal cities. At fairs and at festivals, on the steps of the Jama Masjid in Delhi or in the Qissa Khawani Bazaar, the “street of the storytellers” in Peshawar, the professional storyteller, or dastango, would perform nightlong recitations from memory; some of these could go on for seven or eight hours with only a short break. The Mughal elite also had a great tradition of commissioning private recitations. The greatest Urdu love poet, Ghalib, was celebrated for his dastan parties, at which the Hamza epic would be expertly told.
“The Adventures of Amir Hamza” collected a great miscellany of fireside yarns and shaggy-dog stories that over time had gathered around the travels of its protagonist, the historical uncle of the Prophet Muhammad. Any factual backbone the story might once have had was through the centuries overtaken by innumerable subplots and a cast of dragons, giants, jinns, simurgh, sorcerers, princesses and, if not flying carpets, then at least flying urns, the preferred mode of travel for the tale’s magicians.