Qamar and the Naval Kishore Press sat up. They decided they were up to the challenge. That Qamar was extremely prolific also helped. Naval Kishore Press brought out the first part of the fifth volume in just a few months in 1891, followed shortly with the second part. The competition with Jah seems to have been the main reason for the haste: it is the only volume of Hoshruba that was published in two parts.
After publishing the first part of the fifth volume, Jah fell silent. Perhaps he was ill. He had mentioned a long period of illness in the third volume. Only one copy of this privately published, slim volume survived and was discovered recently by Urdu researcher Rifaqat Ali Shahid. Throughout the first four volumes, Jah had acknowledged the contribution of other storytellers. But it is in this privately published fifth volume that he methodically lists the three sources he had borrowed from. Its first four pages, in which he may have explained his reasons for leaving the Naval Kishore Press, are missing.
Qamar himself is uncharacteristically tight-lipped about the incident. In the notice printed in the fifth volume of Hoshruba, he cursorily mentions that “some chance events” ended Jah’s association with the publisher.
Only fragmentary information is available about the professional relationship between Jah and Qamar. In his first published work, Tilism-e Fasahat, Jah acknowledges Ahmed Husain Qamar as his instructor. However, Urdu scholar Shamsur Rahman Faruqi has suggested that the uncharacteristic exaggeration and hyperbole he uses on the occasion suggests that Jah paid the compliment sarcastically. This theory is quite plausible because in a later edition, those words of hyperbole were removed. Qamar himself never made any claims to be Jah’s teacher and we can be sure that had it been otherwise, Qamar would have proclaimed the fact daily from the roof of Naval Kishore Press while he lived, and had it engraved on his tombstone.
Qamar’s head may not have been as large as the false god Laqa’s, but it was as full of vanity. He loved himself with a powerful love that sometimes forced him to claim credit for deeds he had not done. He often experienced small episodes of jealousy during the writing of Hoshruba. In some weak moments, he declared himself to be the “original author” of Hoshruba. But then Qamar would have other weak moments in which, while deriding Mir Ahmed Ali or Jah, or calling their integrity into question, he would make statements that totally contradicted his earlier claim. All this abuse was hurled within the narrative itself, of course. The old mutineer in Qamar had not died. All his subversive talents were now channelled into the dastan genre.
Qamar also liked to make guest appearances in the narrative in the middle of scenes to give the characters a chance to praise him and his many talents. From magic slave girls to Laqa’s devil-designate, to the Emperor of Sorcerer Afrasiyab, everyone takes a turn praising Qamar’s first-rate poetical mind, his skill in composing Persian verses, and his ability to decode knotty Arabic prose. Unlike Jah, who always acknowledged the least contribution to the narrative by his seniors and contemporaries, Qamar never credited anyone besides himself. But despite all these personality quirks and the licenses he took with the narrative, Qamar was as profoundly gifted as a storyteller as was Jah, although their talents lay in different areas.
Jah died between December, 1890, and October, 1893. According to Faruqi’s research, he died at a relatively young age. The Hoshruba project was completed around the same time. The publication of the sixth volume in 1892 was quickly followed by the seventh and last volume in 1893.
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.