The neighboring cities started feeling jealous. Before an all-out bidding war could break out between the princely states of India to steal the storytellers from Lucknow, a group of troopers astride fleet-footed Arabian mares, arrive in Lucknow early one evening covered in dust. Their leader remains cloistered with Mir Ahmed Ali and his two disciples for many hours and leaves early the next morning with his entourage.
The Prince of Rampur has made a pre-emptive strike. Mir Ahmed Ali has accepted the prince’s invitation to become the court storyteller of Rampur. The terms of the offer and the perks are not disclosed.
When Mir Ahmed Ali packed his belongings, his two disciples, Rasa and Khan, also packed theirs. They would follow him. Along with their bed and bedding, Rasa and Khan also packed their families, including sons Zamin Ali and Ghulam Raza. Both boys would also become storytellers. One of them would write another version of Hoshruba.
When the caravan of storytellers sets out for Rampur in oxen-driven carriages, the citizens of Lucknow – men, women and children, young and old alike – accompany it on foot to the limits of the city. There is not a single dry eye in the crowd. Mir Ahmed Ali shamelessly cries loudest of all.
He would never have left Lucknow if he had not been convinced that he was leaving Hoshruba in safe hands. He had passed on his mantle to a young storyteller named Muhammad Amir Khan, who began narrating episodes from Hoshruba in Lucknow some time earlier, with Mir Ahmed Ali’s blessings. He had a knack for creating the episodes about tricksters. Khan did not let Mir Ahmed Ali down. He continued spreading the tale among the Lucknow audience. He also wrote at least two volumes of the tale.
By the time the oxen-driven carriages arrive in Rampur, Mir Ahmed Ali has stopped crying. On the way, he has thought up a fine magic war involving a magic effigy that kills a sorcerer by casting a love spell over him. When he is led to his lodgings by the prince’s attendants he tears open his bag, takes out his inkwell and paper, and starts scribbling. It was impossible to take notes during the jolting carriage ride.
Only an infidel would doubt that it did not happen exactly in this manner.
At the Rampur court, Mir Ahmed Ali continued his storytelling work. He also put on a lot of extra weight from eating all the good stuff from the royal kitchen. Life was kind to him. His cheeks were ruddy and he laughed easily. He composed two tales at this time, one in Persian, another in Urdu, but he did not write Hoshruba. Once he organized the different episodes of the story, he probably improvised the rest of the details just using notes.
It fell to his disciple, Amba Prasad Rasa, to transcribe his notes. We do not know how detailed these notes were, or whether Rasa added some details to them. That manuscript is now lost; until recently even its existence and provenance were unknown.
Later, Rasa’s son, Ghulam Raza, who adopted the pen name Raza, was commissioned by the Rampur court to compose the tale of Hoshruba. He wrote it down in fourteen volumes between 1858 and 1880. His work remained in manuscript.
But Hoshruba began to acquire a life of its own. While Raza’s work on his manuscript was coming to an end in Rampur, Mir Ahmed Ali’s home town of Lucknow was again about to become the official headquarters of Hoshruba. Thanks to the work started by him and his disciples and carried on by Muhammad Amir Khan, Hoshruba was winning over the Lucknow audience in ever greater numbers.
By then it was commonly accepted as part of the Amir Hamza cycle of tales. In fact, it also had a specified place in the cycle as its fifth book. In the early 1880s, the erudite and enterprising Munshi Naval Kishore, owner of the Naval Kishore Press, decided to publish the entire, longer Amir Hamza cycle of tales. The Naval Kishore Press decided to start its publication project with Hoshruba because it was an independent story and already extremely popular in oral narration.