Sacred Space

Khusrau, a great pillar of 14th century Persian literature.

One of the most prolific genres composed by Khusrau are the pahelis, riddles that children of the subcontinent grow up enjoying. Deeply influenced by the spiritual philosophy of Like his master, Hazrat Nizamuddin, Khusrau believed in tolerance and affection between people of separate faiths. Khusrau loved Hindustan, India, with all its fragrant flowers, fruits, vegetables, trees and animals and likened it to Paradise writing, ‘The heavens said that of all the countries which have come out of the earth, it is Hindustan that has achieved the height of excellence’.

Through his playful riddles, songs, melodies and poems, Hazrat Amir Khusrau, the poet disciple of Hazrat Nizamuddin Auliya remains a household name throughout the subcontinent Awarded the title of  Tooti e Hind’, Nightingale of Hindustan; Khusrau was a prolific writer of ghazals, qasidas, mathnawis, rubais and prose in Arabic, Persian and Hindawi. The skilled mystic played a pivotal role in the evolution of Indian classical vocal and instrumental music, fusing local styles with Arab, Persian and Indian compositions. The creation of the sitar and the tabla are attributed to Amir Khusrau.

Khusrau’s dynamism in philosophy, music and literature earned him the patronage of seven successive Sultans of Delhi. Together with Saadi, Nizami and Firdausi, Khusrau is acknowledged as one of four great pillars of fourteenth century Persian literature.  

Khusrau’s friend and historian Ziauddin Barani records in his ‘Tarikh e Firuz Shahi’: ‘The incomparable Amir Khusrau stands unequalled for the volumes of his writings and the originality of his ideas. In addition to his wit, talent and learning, he is an advanced mystic.’

Born in 1253 AD, Amir Khusrau lost his father at the age of eight years. He completed his education at Delhi and lived with his maternal grandfather Imad ul Mulk, whom he accompanied to literary assemblies held in the city. Khusrau’s first appointment was by Sultan Balban’s nephew Alauddin Kishli Khan, who welcomed him to the royal court. Later he joined the court of Bughra Khan, the governor of Samana in Punjab. Khusrau then moved to the court of Bughra Khan’s elder brother, Muhammad Khan, the governor of Multan. He stayed there for five years along with Amir Hasan Sijzi, poet and fellow disciple Khusrau continued as the court poet during the tumultuous period of the Delhi Sultanate.

Khusrau’s literary works include Mathnawi Miftah ul Futuh, Ghurrat ul Kamal, Khaza in ul Futuh, Ashiqa, Baqiya Naqiya, and Khamsa. The works Nuh Siphir and Nihayat ul Kamal were compiled just before his death. Tughlaqnama, an account of the victory of Ghiyasuddin Tughlaq over Naseeruddin Khusrau, remains another important historical treatise.

In 1319 AD, Amir Khusrau compiled the voluminous Ijaz e Khusrawi that features articles, treatises, and copies of official and non-official documents. The four volumes include the description of urban trades, the skills of blacksmiths, embroiderers, bow masters, arrow manufacturers, artists, cobblers, tanners, tailors, rope makers and other craftspeople. These accounts recreate urban life in Delhi during the medieval period. The poet mystic had a passion for the living language of the people as spoken in towns and villages. He created a number of poetic works in Khari Boli dialect and compiled a Hindi–Persian dictionary in verse.

One of the most prolific genres composed by Khusrau are the pahelis, riddles that children of the subcontinent grow up enjoying. Deeply influenced by the spiritual philosophy of Hazrat Nizamuddin, Khusrau believed in tolerance and affection between people of separate faiths. Khusrau loved Hindustan, India, with all its fragrant flowers, fruits, vegetables, trees and animals and likened it to Paradise writing, ‘The heavens said that of all the countries which have come out of the earth, Among them it is Hindustan that has achieved the height of excellence’.

Amir Khusrau had been devoted to Hazrat Nizamuddin from an early age, since the time he was introduced to the Shaykh by his father. On his first visit, the eight-year-old Khusrau stood outside the khanqah refusing to enter the premises. The child composed a quatrain and sent it to the Shaykh. It read:

"Thou art such a King that when a pigeon perches up

On top of thy palace it becomes a falcon

A poor and distressed person stands on thy threshold

Is he permitted to go in or should he return?"

Hazrat Nizamuddin composed a reply, dispatching it to the child peering from outside.

"The seeker of truth should enter

To share our secrets for a while

But if he is ignorant and a fool

He should return"..

Amir Khusrau would present his verses to the Master for correction, acknowledging that he was a disciple in both spirituality and literature. Hazrat Nizamuddin would pray for the disciple’s success. Often, the poet brought some sugar and placed it under the Master’s cot. Later, the Master would sprinkle some over Khusrau’s head and ask the disciple to eat from it. Almost all of Khusrau’s diwans begin with sincere tributes to the Master:

"Where ever his breath has reached

Thousands of the mountains of grief have melted away".

Hazrat Nizamuddin loved his disciple, addressing him as, ‘My Turk’. He would say, ‘Khusrau is the keeper of my secrets. And I shall not set foot in paradise without him. If permissible by Islamic law, I would have willed that Khusrau be buried in the same grave as I.’

Once Hazrat Nizamuddin refused to grant an audience with Sultan Jalaluddin Khilji. The ruler began to plan a surprise visit to the Sufi’s khanqah. Amir Khusrau learnt of the Sultan’s intent and informed his Master, who left Delhi and travelled to Baba Farid’s dargah at Ajodhan. The Sultan took Khusrau to task for divulging royal secrets, and the disciple pleaded: ‘In disobeying the Sultan I stand in danger of losing my life but in being untrue to my Master, I stand in danger of losing my faith.’

Impressed with the poet’s eloquence and devotion, the Sultan let the incident pass without trial for treason. Aware of Hazrat Nizamuddin’s affection for Khusrau, other disciples sought his intercession with the Master. Once when the Master showed displeasure with Burhanuddin Gharib, Khusrau secured his pardon. Another time Hazrat Nizamuddin professed, ‘When God questions the offering I have brought from this world, I will present the sorrow in the heart of Khusrau the Turk.’

Hazrat Nizamuddin bid his farewell to the world on 18th Rabi ul aakhir 1325 AD, He would say to Khusrau, ‘Pray for my life, for you will not be able to survive me long’.  Amir Khusrau happened to be in Bengal with the armies of Sultan Mohammad Bin Tughlaq when sorrow filled his heart. He took permission from the Sultan to return to Delhi. On arrival, Khusrau learnt that his beloved mentor had passed away. He let out a shriek at Hazrat Nizamuddin’s tomb and cried aloud, ‘The sun has gone underground and Khusrau is yet alive’. The lover blackened his face, tore his garments, lay his face down on the tomb of his beloved, reciting his last verse.

Gori sove sej par, mukh par daare kes

Chal Khusrau ghar aapne, rain bahi chahun des

The fair one lies on the couch with her black tresses scattered over her face

O Khusrau, go home now, for night has fallen over the world.

After his Master’s death, Khusrau distributed his wealth to the poor, spending the rest of his days beside his Master’s tomb. His health deteriorated for he lost the desire to live, and he died exactly six months later on 18 Shawwal 725 Hijri/1325 AD. Khusrau lies buried in the dargah complex of Hazrat Nizamuddin Auliya in Delhi. Devotees, who come to seek the blessings of Hazrat Nizamuddin Auliya, begin with offering homage to Amir Khusrau. His poetry continues to be sung in all the dargahs of the subcontinent, enthralling devotees through the centuries.

 

 

 

 

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