That night, many present at the narration have dreams of the scantily clad sorceress Sandal. Some dream of Prince Badiuz Zaman, “the moon of the constellation of excellence.” We do not know if anyone dreamt of the fawn that “appeared near the river bank, cavorting and gambolling like a frolicsome beloved well-versed in coquetry.”
Before he arrives in the bazaar the next evening, Mir Ahmed Ali sends out his disciple storytellers, Amba Prasad Rasa and Hakim Asghar Ali Khan, to bring him a report from the venue. They come back with the intelligence that a large crowd is gathered at the appointed place. They saw many new faces in the crowd.
That is just as Mir Ahmed Ali expected. He sets out with his disciples and arrives at the venue to loud, thankful murmurs from the throng. Everyone demands that Mir Ahmed Ali begin the tale from the beginning. And he does.
Only an infidel would doubt that it did not happen exactly in this manner.
From that day onward, the three storytellers narrate the Hoshruba in public and private gatherings. When they pass in the street, people look at them with terrible envy. They are the only ones who know what will happen next. People try all kinds of tricks on the storytellers to learn what they know of the next episode, but the affable storytellers become very taciturn whenever asked in the street, “What happened next?” Outside the storytelling sessions they speak not a word about Hoshruba.
In the coming days, the crowds steadily increase in number. Amba Prasad Rasa and Hakim Asghar Ali Khan arrive an hour before Mir Ahmed Ali and summarize the preceding events of the tale for the gathering before the maestro begins his narration. It will be several years before the tale will finally end. And even then, it does not end. In fact, people wait for the end so that they can revisit their favorite episodes.
Or perhaps it takes Mir Ahmed Ali many more years to end it because people keep demanding he narrate again some particular episodes they had previously enjoyed. He tries telling them to have patience, that an even better episode will soon follow, but nobody listens to him. Every day, Mir Ahmed Ali is assailed with requests – now this incident, now that passage. Like a beleaguered but indulgent parent, Mir Ahmed Ali feels obliged to give satisfaction. When he gets bored with reciting the same episode over and over again, he expresses his displeasure to the audience by narrating it breezily, without all its juicy details. People relent and let the storyteller have his own way for a few days, then return to their old ways. The drama continues.
As an oral, narrative genre, dastan draws heavily on improvisation, but once the story of Hoshruba was established it turned into an elaborate chess game. The result was predestined but not the individual moves that would always be improvised. As Mir Ahmed Ali added characters and scenes and improved on the earlier descriptions, he kept adding to the subplots that must flow toward the predestined end. He and his disciples had their own favorite episodes, which they embellished in this way during storytelling sessions.
The storytellers knew how many times a lie has to be repeated before it becomes accepted truth. They never forgot to attribute the tale to the Amir Hamza cycle of tales, and to Faizi. As far as audiences were concerned, they cared little where the tale came from as long as it was a good one and from the Amir Hamza cycle. And such an entertaining tale as Hoshruba! Why on earth wouldn’t it be a part of The Adventures of Amir Hamza cycle – the grandmother of all fine tales?
All other stories of the Amir Hamza cycle paled in comparison with its popularity. The audience asked for Hoshruba and the storytellers complied. It was told in public and private gatherings, sometimes in long sessions that continued over many days.
In the period around the 1840s and 1850s, Hoshruba had taken Lucknow by storm. Travelers to Lucknow returned with the tales of Hoshruba. Attending Mir Ahmed Ali’s narration was a sacred ritual for all Lucknow visitors.