Who wrote the Punjabi legendry folk ove story of "mirza sahiban"???

Answer 1

Shayer Pillo

Mirza–Sahiban, a love-lore is a treasure of Punjabi literature. It is a romantic tragedy. Sahiban was another love-lorn soul. Shayer Pillo raves about her beauty and says,” As Sahiban stepped out with a lungi tied around her waist, the nine angels died on seeing her beauty and God started counting his last breath…”

Mirza and Sahiban who were cousins and childhood playmates, fell in love with each other. But when this beauty is about to be wedded forcibly to Tahar Khan by her parents, without any hesitation she sends a taunting message to Mirza, whom she loves, to his village Danabad, through a Brahmin called Kammu.

“You must come and decorate Sahiban’s hand with the marriage henna.”

This is the time you have to protect your self respect and love, keep your promises, and sacrifice your life for truth. Mirza who was a young full-blooded man, makes Sahiba sit on his horse and rides away with her. But on the way, as he lies under the shade of a tree to rest for a few moments, the people who were following them on horseback with swords in their hands catch up with them.

Sahiba was a virtuous and a beautiful soul who did not desire any bloodshed to mar the one she loved. She did not want her hands drenched in blood instead of henna. She thinks Mirza cannot miss his target, and if he strikes, her brothers would surely die. Before waking up Mirza, Sahiban puts away his quiver on the tree. She presumes on seeing her, her brothers would feel sorry and forgive Mirza and take him in their arms. But the brothers attack Mirza and kill him. Sahiban takes a sword and slaughters herself and thus bids farewell to this world.

Innumerable folk songs of Punjab narrate the love tale of Sassi and Punnu. The women sing these songs with great emotion and feeling, as though they are paying homage to Sassi with lighted on her tomb. It is not the tragedy of the lovers. It is the conviction of the heart of the lovers. It is firmly believed that the soil of the Punjab has been blessed. God has blessed these lovers to. Though there love ended in death, death was a blessing in disguise, for this blessing is immortalized.

Waris shah who sings the tale of Heer elevates mortal love to the same pedestal as spiritual love for God saying,” When you start the subject of love, first offer your invocation to God”. This has always been the custom in Punjab, where mortal love has been immortalized and enshrined as spirit of love.

Just as every society has dual moral values, so does the Punjabi community. Everything is viewed from two angles, one is a close up of morality and the other is a distant perspective. The social, moral convictions on one hand give poison to Heer and on the other make offerings with spiritual convictions at her tomb, where vows are made and blessings sought for redemption from all sufferings and unfulfilled desires.

But the Sassis, Heers, Sohnis and others born on this soil have revolted against these dual moral standards. The folk songs of Punjab still glorify this rebelliousness.

“When the sheet tear,
It can be mended with a patch:
How can you darn the torn sky?
If the husband dies, another one can be found,
But how can one live if the lover dies?”

And perhaps it is the courage of the rebellious Punjabi woman, which has also given her a stupendous sense of perspective. Whenever she asks her lover for a gift she says,

” Get a shirt made for me of the sky
And have it trimmed with the earth”

...all the best.

Answer 2

Mirza Sahiba

Answer 3

God knows what has happened to the indian media, especially Star News, all they want to do is to dig dirt on Shoaib Malik. I thought India was moving forward but i guess i was wrong, i mean everyone has the choice to marry who they want, so WHY CANT SANIA MIRZA?? GET A GRIP INDIAN MEDIA!!!!

Answer 4

Birth day of Mirza & Sehban

Answer 5

That was my ancestor, ha bib Rene Vasquez. Yes, he was in India in 1485! What happened was[ according to family records] that 'ole ha bib Rene was cleaning the president's house, and stealing stuff. Well, over 20 years of work and stealing, the president made 'ole ha bib Rene a offer. Marry his daughter, [ Lilly pad ch okra] named because she was a wide as one, or be killed. 'Ole ha bib Rene got married.. But his heart belonged to another, and thus the story!!!

Answer 6

Complete Book of Punjabi Poetry Mirza Saheban by Peelu
Complete Book of Punjabi Poetry Mirza Saheban by Peelu. Presented by: APNA An organization to promote Punjabi language, literature, culture and harmony ...


The Adventures of Saheban
Biography of the Relentless Warrior

A novel by Fauzia Rafiq


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Introduction, Saheban's Name



Burre Sialaan de moamale, burri Sialaan dee raah
Buriyaan Sialaan diyan aurtaan, laindiyan jadoo pa
Kudh kaleja khandian, mere jhate tel na pa

Bad are affairs of Sialis, bad the path leading to them
Bad are women of Sial, casting magic spells
[They] take out the lungs [of lovers] to eat, don't fool me by putting oil in my disheveled head

—Peelu, “Mirza Saheban”



Saheban or 'SahebaN' is by no means a popular name for women in Peenutstan, and it is strange that Saheban's mother Jattee chose to give this name to her daughter. The reasons for this unpopularity are few yet sufficient and begin from Sial, a nondescript village in the vast and plain countryside of the Punjab where the only other woman by this name, the folk legend Saheban, was born.

The folk legend Saheban was in love with Mirza but was being forced to marry someone else. She sent a message to Mirza who lived some distance away from Sial. Mirza came riding his mare Bukki, and snatched away his lover Saheban on the eve of her wedding. This action changed the color of the moon that night, the soil of Sial by the next day, and the language and culture of the Punjab for centuries to come.

“Mirza Saheban” is a story of teen love that turned into an epic plot of honor killing, the practice whereby family members have the right to kill their female relatives for bringing 'shame' on the family. The youths who lost their lives at the hands of this global custom were the children of the rulers of the area, and that made this instance of honor killing an unusual event in the Punjab inspiring poet Peelu to write their story. Peelu's effort did secure them a tentative place with the elite of Punjabi folk lore where most stories such as Heer Ranjha, Sehti Murad, Sohni Maheenwal and Sussee Punoon end in honor killings yet Mirza Saheban is a snake difficult for us Punjabis to swallow or throw up.

Poet Peelu first told the story of Mirza Saheban before 1676 but it was not brought to a written form until 1900s when Richard Carnac Temple documented it. Richard C. Temple (1850–1931) was the son of Sir Richard B. Temple (1826–1902), and together the two have left lasting impressions on both my homelands: Pakistan and Canada. Where C. Temple is remembered to this day for saving our valuable texts in the Punjab, there is an actual 11,625-foot mountain bearing the name of Sir B. Temple in Alberta. Under these circumstances, a specter of dual gratefulness confronts me. Should I be grateful to both father and son? To me, our capacity to save our literature was never in question. I worry about texts that touch a nerve, making promoters and publishers of the time squint away from them. The legend of “Mirza Saheban” and the poems of Kashmiri poetess Lal Ded, for example, stir threatening themes.

Lal Ded was an ascetic poet of transcendental spiritual love and while that is and was, acceptable in South Asia, she did not acknowledge gender, went around naked making it impossible for the local patrons to publish or promote her work. “Mirza Saheban” is a short tale in comparison to the five other Punjabi legends of love, but it is here that the thread of tradition snaps at every stitch.

Mirza, son of the Kharls, instead of choosing to suffer the loss of his love at the news of his lover Saheban's arranged marriage, jumps on his horse to reach her village Sial, with the obvious intentions of claiming an engaged woman. As for Saheban, she decides to run away with him where she was expected to have sacrificed herself for the honor of her family by getting married to the son of the Chadhars. As if these actions were insufficient to cut their popularity, Mirza and Saheban pitched in again. Mirza killed one of Saheban's brothers in front of her, and then decided to take a nap within the hostile Siali territory. For her part, Saheban heard her brothers approach and responded by throwing Mirza's arrows away leaving him unarmed and helpless. Mirza was killed on the spot; Saheban was later strangled by her brothers.

According to Temple, after the deaths of Mirza-Saheban, the Kharls attacked Sialis and the Chadhars, retrieved the bodies of Mirza and Saheban, and buried them in Dhanabad where they still lie. Temple also mentions the grim impact this event had on the area, where Sialis were ready to fight at the mention of Saheban's name, and Kharls began to kill their female babies.

A layer of this story questions the integrity of a young woman on the issue of split loyalties and after claiming her life, takes her role as further evidence for the general condemnation of all womankind and in particular, of the women of Sial. Here, I have to tell you that there may be something going on in all of this, because Siali women do feature in three of the six love legends of the Punjab: Heer of “Heer Ranjha,” Sehti of “Sehti Murad” and Saheban of “Mirza Saheban.” But other than that, it is hard to discern whether the story of Mirza Saheban has generated more awe or more condemnation for its female protagonist.

The violent end to the lives of these two bright and beautiful youths also gave rise to a haunting lament in Punjabi music: the Sudd call. Singers of every generation have sung their songs, and writers have written about them; still, nothing has made Saheban a popular name for women in Peenutstan. It is strange then that Jattee, the mother of the Relentless Warrior Saheban, picked this name for her daughter.

It appears that for Jattee, the decisive factor was the lament of the Sudd that came to her heart as she realized that she had given birth to a daughter instead of a son. Like most parents, she was seized at the time by the sad predicament of producing a female baby as opposed to the societal expectation of bringing another male to this world. Unlike most parents though Jattee did not recoil from the prospect but embraced it by giving Saheban's name to her daughter. In the minds of superstitious people, Jattee had sealed the fate of Baby Saheban by laying such a loaded name on her.

Saheban the Relentless Warrior

As the only child of two domestic servants, Saheban the Relentless Warrior, held the attention of the world because of her courage and her determination to acquire knowledge of certain things beginning as soon as she was born in “Vital Parts” (Saheban vs. the Crisis of Identity).

Though her first encounter with the pervasive ‘object' did occur in the "Holy It" (Saheban vs an Instance of Object Part) when she was four but the incident had failed to become a knowledgeable experience for Baby Saheban giving her no reason to abandon her quest.

Saheban began her career at seven-and-a-half as an unpaid apprentice for the position of a domestic cook where she received on-the-job-training from her mother Jattee for four years without being hired. In the fourth year, at eleven-and-a-half, Saheban walked out, both on her future employer and her current supervisor, over withheld information about some sort of clothes in "Coming of the Clothes" (Saheban and the Rites of Reproduction).

At the time, the Thanadian International Development Agency (THIDA), under a pilot program drive in the area, was offering a number of charitable youth training programs to a vast number of disadvantaged Third World youth. Headed by Ego Feathers, the Magic Civilian Program (MCP) was funded both by Civil Magicia and Thanada in their attempt to enable the unfortunate youth to become Magic Civilians (MCs): the people who control the traffic during power outages, run to pick up a body or a valuable object for a small tip and are prepared to offer shoulders, arms or anything that is required by a lawful employer. Saheban completed the MCP training with proverbial flying colors and effected a smooth transition from domestic to civilian service as both required similar skills, in “Magic Civilians” (Saheban and the Best Career Opportunity ).

Later, it did surprise some people when, after being trained for the local conservative service industry, Saheban went on to work as a freelance warrior in the global arena. After going through ten cardboard boxes full of legal-sized paper comprising the “Ego Book”, and meeting countless oral historians of the Sontreal Merai Oratorium in Puebec, I can tell you that this was not a decision made by Saheban but an action spurred by chance that occurred at the time of Saheban's narrow escape from the treacherous Love Heights in “The Unnecessary” (Saheban vs. a Practicum of Heternal Love).

The loss of the socalled 'Unnecessary' caused Saheban to be placed in the clutches of the Err-Handler in “Damaged Goods” (Saheban vs. the Err Handler) where she fought for her life till she was temporarily saved by the gallant Huzur who did not hesitate to lead her through the wrong door.

Her ensuing struggle with Huzur in "the Lord of the Trap" (Saheban vs. the Universal Trap Institution) made her take a left turn instead of the !Right, and that fateful motion landed her close to a job fair organized by the Underground Women Warriors Association (UWWA) in Thanada, instead of taking her into the heart of Civil Magicia following the passengers of Flight 711.

The UWWA may just have hired Saheban because of her inherent abilities to represent cultural diversity and affirm affirmative action, not because of her as yet unproven skills in global warfare in “The One Who Has Your Voice” (Saheban & a Concept of Collectivity).

The term “tokenism” was coined that day. And from that creation, no one could have guessed that Saheban, a mere tokenette, would take up the Civil Magician, the !Rightful employer of the Whole Wide World in “A Benevolent Ruler” (Saheban vs. the Civil Magician).

This Volume

In this volume, a selection from Ego's code is published with each story to retain the flavor of her personality and to give you the feel of what it took to glean this story from the clutches of Bisual Gasic (now 'Visual Basic') code.

Most of Ego's 'ly' words are retained, as is, to some extent, her repetitive style, where she uses the exact same expression for an emotion expressed earlier. “Saheban was taken aback at this turn of events” is used at all junctures where Ego perceived Saheban confronting unexpected circumstances.

The Endnote provides additional information on the legend of Mirza Saheban, the life and work of Ego Feathers, and the problems encountered by this writer because of the funding covenants of the ICH.