Punjabi folklore in the context of "Tragedian"

A tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character or cast of characters. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure," for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.

Originating in the theatre of ancient Greece 2500 years ago, where only a fraction of the works of Aeschylus, Sophocles and Euripides survive, as well as many fragments from other poets, and the later Roman tragedies of Seneca; through its singular articulations in the works of Shakespeare, Lope de Vega, Jean Racine, and Friedrich Schiller to the more recent naturalistic tragedy of Henrik Ibsen and August Strindberg; Nurul Momen's Nemesis' tragic vengeance & Samuel Beckett's modernist meditations on death, loss and suffering; Heiner Müller postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers—which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan, and Deleuze—have analysed, speculated upon, and criticised the genre.

Heer Ranjha (Punjabi: [ɦiɾ ɾaːnd͡ʒ(ʱ)aː]) is a classical Punjabi folk tragedy with many historic poetic narrations; with the first one penned by Damodar Gulati in 1600s, on the preexisting oral legend; and the most famous one, Heer, written by Waris Shah in 1766, in the form of an epic. Set in Takht Hazara and Tilla Jogian, it follows the story of love, forced separation, and eventual simultaneous demise of two youths in the Punjabi countryside.

It is one of the four popular tragic romances of the Punjab. The other three are Mirza Sahiban, Sohni Mahiwal and Sassi Punnun.

Damodar Gulati (Punjabi: [dəmoːdəɾ gʊlaːʈi]; c. 16th century – 17th century) also known as Damodar Das Arora, was a Punjabi Hindu poet, of the 16th and 17th centuries, hailing from Jhang. He is widely celebrated for his poetic narration of the romance tragedy, Heer Ranjha, on the preexisting Punjabi oral legend; his tradition continued to be adapted throughout centuries in Punjabi literature. He lived during the reign of Mughal king Akbar.

Tilla Jogian (Punjabi: ٹلا جوگیاں; Urdu: ٹلہ جوگیاں, meaning "hill of jogis "), also known as Balnath Tilla or Gorakh Tilla, is an abandoned Hindu temple and monastic complex located on the summit of the Tilla Jogian mountain in the Salt Range in the Jhelum district of Punjab province, Pakistan. Several temple structures exist at the site, albeit in a dilapidated and deteriorating condition. The summit of the mountain is heavily forested.

The complex was the most important centre for Hindu jogis in Punjab prior to 1947, and had housed hundreds of ascetics. In the pre-partition period, many pundits and yatris (pilgrims) visited the site, with the local environment being described as being lively. Post-partition, the site fell into disuse and decayed. The site is also important in Sikhism for its association with the founder of the Sikh faith, Guru Nanak. The site also features in the Waris Shah's version of the Punjabi folktale Heer Ranjha, being the location where Ranjha became a jogi and pierced his ears.

Mirza Sahiban (Punjabi: [mɪɾzaː saːɦɪbãː]) is a classical Punjabi folk tragedy, originally recorded in literary form by the 17th-century poet Pilu. Set in a village (now in Jhang district of Pakistan), the tragedy follows the romance between two youths, belonging to chieftain families of their respective clans, their elopement and eventual demise.

It is regarded as one of the four popular tragic romances of the Punjab. The other three are Heer Ranjha, Sohni Mahiwal and Sassi Punnun.

Sohni Mahiwal (Punjabi: [soː(ɦ)ɳiː məɦĩʋaːl]) or Suhni Mehar is a classical Punjabi–Sindhi folk tragedy. Set in northern Punjab or central Sindh, depending upon the version of the tragedy, the folktale depicts the separation of two lovers and their tragic demise.

In Punjab, it is one of four of the most popular romances, the other three being Heer Ranjha, Mirza Sahiban and Sassui Punnhun. In Sindh, it is one of the seven popular tragic romances. The other six are Sassui Punnhun, Umar Marvi, Momal Rano, Lilan Chanesar, Sorath Rai Diyach and Noori Jam Tamachi.

Sassui Punnhun is a Sindhi, and Balochi and Punjabi tragic folktale. Set in Sindh and Makran, the tragedy follows the story of a faithful lover who endures many difficulties while seeking her beloved husband who was separated from her by rivals.

It is one of the seven popular tragic romances of Sindh. The other six are Umar Marvi, Momal Rano, Sohni Mehar, Lilan Chanesar, Sorath Rai Diyach, and Noori Jam Tamachi. In Punjab, it is among four of the most popular romances. The other three are Heer Ranjha, Sohni Mahiwal and Mirza Sahiban.