The word Dastangoi supports to the specialty of narrating or orating, it is a compound mixture of two Persian words Dastan and goi which intends to tell a story Dastan. Dastans were legends, regularly oral in nature, which were presented or perused so anyone might hear and generally resembled medieval sentiments all over the place. Telling stories of experience, enchantment and fighting, Dastans mapped new universes and skylines, experienced the concealed and ensured the saint through numerous travails and sweethearts as he proceeded onward his journey.


The legend’s experiences could once in a while parallel the spiritualist mission, at different occasions the story portrayed a simply debase story. During the time spent recounting the story the storytellers openly acquired tropes and topics from different stories, subsequently it was that Rumi’s Masnavi and Arabian Nights both came to contain numerous accounts from the Panchtantra custom. While Dastans had numerous principals and numerous accounts, the narrative of Hamza started to emerge at an early stage.

Starting with an obscure Arabic form the Persian adaptations of the story portrayed the life and undertakings of Amir Hamza, as far as anyone knows an uncle of the Prophet Mohammed. Set apart out by pixies, djinns and predictions, Hamza goes to various grounds in his early stages and even as a youthful kid demonstrates incredible physical ability and brave. His acclaim spreads far and wide and he is called by the main clergyman of the King of Persia to help the last in his inconveniences, experiencing numerous undertakings, creatures, species and domains Hamza stays triumphant and unvanquished, appropriate to the end.

By the sixteenth century, renditions of the Hamza story had started to flow in India. Specified first in the Deccan courts, the story achieved its aesthetic apogee in the court of Emperor Akbar. By at that point, particular tellers of the story, called Dastangos had developed.