BAGH O BAHAR BY MEER AMAN IN URDU PDF

Baagh o bahar by Mir Amman. Identifier BaghOBaharPdfUnicode. Identifier-ark ark://t7wm6dv4c. Ocr ABBYY FineReader Ppi Bagh-o Bahar (Qisa Chahar Darwesh) by Mir Aman Dehlvi Nikah o Talaq Aur Hamari Zimedariyan by Mufti Muhammad ZakirIn “Ikhlaqiat”. BAGH-O-BAHAR or. Tales of the Four MIR AMMAN OF DIHLI, by. DUNCAN ( another famous Fort William story, in Hindi, Urdu, and English). ~~~~~~~~~~~.

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In Bagh-o-bahar too, an anecdote about Hatim’s generosity is what first motivates the quest of the Second Darvesh.

Bagh O Bahar Pdf Unicode

The Smith-Forbes annotations are valuable in several ways. Mir Amman’s introduction to Bagh-o-bahar famously provides an early account of the history of the Urdu language.

Views Read View source View history. Traces of this process can be seen in the three introductions reproduced on this site. But then, Bagh-o-Bahar is not a historian’s mere or a chronicle of contemporary events.

Yet they meet, chat and share their experiences without fear or inhibition. Though the symbols bear an Islamic colouring, the reader is not pushed vy an unfamiliar, unfriendly or hostile world.

In the translation that we study here, many parts of the translation, and many of the notes, are originally Smith’s, yet now they all appear smoothly assimilated into Forbes’s own work, with for the most part only Forbes’s name on them. In the history of qissah literature and other early Urdu prose in the North, both Nau tarz-e murassa’ and Bagh-o-bahar loom large; and for the study of Urdu in the twentieth century, ‘Abdul Haq himself is a towering figure.

It narrates courts, banquets, receptions, royal processions, means of travel, decorative pieces, hobbies, beliefs, prayers, weather and even the names given to the servants. See examples and a tutorial. 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.

The structure of the tales, as indeed the narrative, is woven around themes of humanity, tolerance, kindness, benevolence and charity. Consider the following facts. In a passage that would surely tease and torment present-day historians, Mir Amman commented: We see in Bagh-o-bahar a famous and in urdh ways representative example of the Persian-Urdu qissah tradition.

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Forbes’s careful diacritics have been lost to the exigencies of online display, but since I’m providing jpg images of a large chunk of the Urdu text, and since the whole Urdu text is widely available, this shouldn’t inconvenience anyone unduly. Urdu represents, though so few in our country are prepared to concede it, the values and traditions of a truly composite and syncretic culture. And that too bagar a language that is almost entirely comprehensible even today.

It is a bahae specimen of early Urdu prose, rich in texture, brilliant in conception and realistic in portraying human emotions. It is a portrait of the sub-continental culture and values painted by a maestro. They capture moments of joy and bqhar in their lives, as also their trials and tribulations.

Bagh-o-Bahar ebooks 6 by Mir Amman | Rekhta

Dozens of other such echoes are apparent to the knowledgeable reader; many ufdu the stories told by the four Darwesh and Azad Bakht as a fifth narrator are of well-known types that are found all over the world. It has been published in abridged editions and translated into many languages, including English, Hindi, Gujarati, French and Punjabi. I’m only providing Urdu page images for the introductory material including ‘Abdul Haq’s introduction and the story of the First Darvesh.

The text from which I’ve drawn the jpg images is: Other than inserting the [S: Bagh-o-bahar ya’ni qissah-e chahar darveshedited, with an introduction and a glossary, by Maulvi ‘Abdul Haq Delhi: Fort William College in Calcutta, established in as a language training center for Meeer colonial administrators, is often taken to mark the beginning of modern Urdu and Hindi bahag though this view can be disputed on various grounds, depending mostly on what is meant by “beginning” and “modern”.

Everything I’ve said above amounts to a revisiting and pulling-together of things I’ve been working on for years. You can help mere converting these articles into an encyclopaedia-style entry, deleting portions of the kind normally not used in encyclopaedia entries. Read the Bagh-o-Bahar and you will know.

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The locale is Basra, Baghdad, Damascus or Constantinople. Cross-cultural plot comparisons of all kinds constantly present themselves: One change that I did make, however, was to eliminate his frequent use of italicization, typical of his time, for proper names. It is a story-or rather, five stories set within a single-frame story-very much in the style of the Arabian Nights.

While writing the dialogues, he reproduced the language spoken ij the men and women in the street, keeping an eye on idiomatic and literary expressions when narrating the events. I had planned to go on to discuss Tahsin’s Nau tarz-e murassa’ early ‘sand Mir Amman’s huge and flagrantly unacknowledged debt to it, and the connection of both these qissahs to the Persian story tradition.

Listen to what the prince of Neemroz had to say: In that work, the text I was chiefly studying was the dastan par excellence in Urdu: Over the last two centuries, Bagh-o-bahar has received a really extraordinary amount of attention. amxn

Their appeal is truly universal. It has since run into many editions and regaled readers of all generations and in most parts of the country. All is well that ends well. In view of his own literary and historical influence, this choice of his text makes a good deal of ,eer. And those who insist on Urdu being a “foreign language” may learn a lesson or two from the tales of four dervishes. Bagh-o-bahar is also part of the great international folktale and fairy-tale and romance ocean that includes on the high end the Arabian Nightsthe Kathasaritsagarathe Decameronand countless other such texts, and on the low end the ever-spreading and intermingling waves of oral storytelling and folk narrative that provide them with raw material.