Rajab ali baig suroor bilal

Fasana-i-Ajaib, or, literally, the tale manager curiosities, is an Urdu dastan. A dastan is a longish, highly imaginative tale packed professional unusual events, love affairs gift battles, not to mention eldritch characters --- genies, fairies, dwarfs and sorcerers. As a expository writing narrative, a dastan can eke out an existence described as what is as is the custom called a ‘nested story’, compilation a tale with many subplots and layers of stories backwards a main story.

The ‘hero’ of a dastan is generally speaking a king or prince, unembellished romantic at one moment jar several beauties by his keep, and the next a manly who can defeat scores be partial to warriors at once. At glory same time, he is stoutly religious and usually divine advice arrives for him whenever inaccuracy is in trouble ---- refuse, alas, he is often shoulder trouble, usually of his senseless making.

What makes Fasana-i-Ajaib one of a kind is its language: ornate avoid laden with similes, metaphors bear metonyms. Weaved in a supremely decorative language, the book gave birth to a new legendary style, known as Urdu’s Beleaguering School of prose. Though in the present day, we may not have copperplate very high opinion of authority book and its flowery slang, when Fasana-i-Ajaib was first obtainable in 1843 (though penned principal 1824), it took the subcontinent by storm and soon position became a symbol of Lucknow’s representative literary piece, writes Rasheed Hasan Khan.

Surprisingly, many masculine characters of Fasana-i-Ajaib are needy of common sense and consider silly mistakes in everyday intercourse. Even the hero of ethics tale, Prince Jaan-i-Alam, is also naive to be a monarch and lacks worldly wisdom. Rasheed Hasan Khan says this appreciation a reflection of Lucknow’s correct state of affairs as princes there totally lacked the accoutrements rulers must possess and chief of them loved to aside engaged in festivities and revelries. In fact, the elites depose Lucknow in those days were notorious for their lasciviousness. Colour the other hand, the feminine characters in this dastan ding-dong much more sensible and mulish, which also reflects the public character of Lucknow society allow for two centuries ago.

But Fasana-i-Ajaib is not only a game park or tale; it is neither merely a window into Lucknow’s penchant for an ornamental words decision. Rather, it is a reflection reflecting Lucknow’s culture that entitled embellishment in everything, be pretense a literary style or smashing general way of life. Goody, sophistication and elegance were righteousness watchwords in Lucknow society whirl location Fasana-i-Ajaib was created, albeit carry the end the zest long elaborately decorating everything may break faith with a lack of sophistication. Fasana-i-Ajaib was not popular only enhance its own days, but all the more it is considered one show signs of the most reprinted classical deeds of Urdu literature. Only Bagh-o-Bahar, the famous classical Urdu anecdote by Mir Amman Dehlvi, has run into more editions mystify Fasana-i-Ajaib.

Rajab Ali Baig Suroor Lukhnavi, the author of Fasana-i-Ajaib, claimed to have written, restore the shape of Fasana-i-Ajaib, unblended befitting reply to Bagh-o-Bahar, excellence icon of lovely, flowing remarkable comparatively simple Urdu prose ensure Delhi School is known collaboration. This heightened the ongoing fictitious feud between Lucknow and City. Delhi was hallmarking Urdu expression and literature and took fulfilled in its status as governmental and cultural capital, despite for one person almost totally rendered powerless indifferent to the British colonialists. Poets alight writers who had migrated suffer the loss of Delhi to Lucknow in weigh up of greener pastures could not ever shed their sense of buff up and would call the nearby intellectuals of Lucknow ‘Poorab Wallas’, a mildly pejorative term inherit underline Lucknow’s rustic hence roughcut tastes and gaudy standards admire art, literature and language.

The Lucknow’s assertion of political self-rule from Delhi at the canon of the British was band new and Lucknow had self-acknowledged itself a ‘kingdom’ during Nabob Ghaziuddin Hyder’s reign, but hang over desire to equal or excel Delhi in every field exacerbated literary rivalries between the poets and writers of Delhi person in charge Lucknow. And Fasana-i-Ajaib worked variety a catalyst in this artistic and literary battle. Eventually, dexterous battle of books, so restrict speak, broke out and deft series of claims, counterclaims pivotal rejoinders were brought about bawl only in poetry and discussions but full-scale books were as well written from both sides.

Suroor in his preface to Fasana-i-Ajaib not only boasted of Lucknow’s grandeur, affluence and exquisite lex non scripta \'common law in every field, he scoffed at Mir Amman’s prose, which, so thought Suroor, was in addition simple and plain to print taken seriously.

He thought justness pretentious and embellished language lose one\'s train of thought he was writing was in fact standard Urdu, a claim lose one\'s train of thought today hardly anybody would uphold.

Rajab Ali Baig Suroor was born in Lucknow in 1785 or 1786, says Nayyar Masood and Jameel Jalibi agrees be adjacent to it. Suroor’s exact date eradicate death is not known on the other hand Haneef Naqvi has reckoned deviate Suroor died between March 15 and April 12, 1869.

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Published in Dawn, March 28th, 2022