The genius that Amir Khusro was!
Khusrau was a very prolific author and poet of rare distinction. He is widely respected as a Persian, Hindavi, and Rekhta poet who evolved a unique diction and an inimitable language, beyond the apbhransha, for his literary expression besides being a pioneer in a lot more areas!
By: Bashir Ahmad Dar
AbulHasanYaminuddin, better known as Amir Khusrau (1252-1325) after being decorated with the title of Emir by one of his patrons, had the unique distinction of being a soldier, courtier, sufi, poet, litterateur, and music maestro. And he introduced the ghazal poetry form to India. Khusrau was probably a pioneer too in the art of the poem-riddle, called paheli. He was also a fine poet, with compositions both in the high Persian of the court and in the rough Hindi of the North Indian countryside.
Khusrau is also said to have invented qawwali and is also credited by some historians with inventing Sitar and the Tabla.Some say he invented the khayal and tarana styles of singing. As such he is said to have laid the foundations of Hindustani music.
Although the details of his life and works remain uncertain to a considerable extent, we have much that helps us construct his figure in various avatars that he richly represented. It has been generally agreed upon that after suffering the onslaughts of Chengez Khan, his father, a Turk chieftain, migrated to India during the reign of ShamsuddinAltutmish who gave him a high position in his army. Khusrau was born in 651 Hijra corresponding to 1253 C.E. in Patiali in Etah district of Uttar Pradesh where his father had settled.Some have recorded his year of birth 1255 and still some mention it as 1254. Amir Saifud-Din and BibiDaulatnaz had three boys, including Khusrau, and a daughter as their firstborns. His father’s influence allowed him to become fluent in Turkish, Persian, Arabic, Islam, and Sufism.
He was called Tuti-i Hind (“Parrot of India”). This “compares the eloquent poet to the sweet-talking parrot. It also highlights his canonical stature as a poet of Persian,” according to the Encyclopaedia of Islam. While he was just eight years old, Amir Saifud-Din Mahmud died in an army action in 1260 after which his mother brought him to Delhi to live with his maternal grandfather who also passed away when he was only twenty years old. Khusrau was a gifted child. He studied poetry and wrote poems since he was nine years old.
According to the introduction to his Divan “Garatul Kamal” he began composing verses from twelve years of age whereas “SairulAwaliya” mentions that he began it when HazratNizamud din Auliya left Delhi to settle at Patiali. He would present the verses to his Murshid who would do the necessary corrections.
An extremely intelligent and resourceful person who honed many skills of poetry and courtly manners, he did not find it difficult to seek his source of sustenance when he was left on his own to do so. Beginning in the reign of Sultan Balban of the Slave (Mamluk) Dynasty, he served two Mamluks, three Khiljis and two Tughlaqs, variously as a court poet, soldier, royal historian and noble. During his lifespan of 72 years, Khusrau spent almost 60 years in the courts of as many as ten distinct Delhi Sultans like Malik AlauddinKashlu Khan alias Malik Chhajju, Bughra Khan, Khan Mohammad, SardarHatim Khan, Kaikobad, JalaluddinFirozeKhilji, AlauddinKhilji, Qutbuddin Mubarak Shah, GiasuddinTughlaq and Mohammad Tughlaq. Khusrau was given the title “Amir” by Jalal ud din Firoz. He was respected and loved in his court. He was given the title “Mushaf-dar” for his effort.
Khusra created Tuhfat and published it as Tuhfat us-Sighr (The Gift of Childhood), his first Divan (collection), in 1271. It contained poems that were composed between the ages of 16 and 18. Reaching thirty he composed his second Divan known as “Wastul Hayat”.He composed an eulogy or funeral verses (Marsiya) on the death of his patron Sultan Mohammad Qaan prince of Balban who was killed while fighting Tatars under in 1285 at Multan.
It is said that Amir Khusro was taken as a captive by the Tatars after this battle though some claim his period of captivity as long as two years. This eulogy got much fame among the contemporary Persian lovers.
In 1289 he composed his first historical masnavi “QirunSaidain” and in 1291 the second historical Masnavi “MifthaulFutuoh” which forms part of his third Divan “Garatul Kamal”. In “Garatul Kamal” he showers praise on India and its people. “QirunSaidain” comprising of nearly four thousand verses depicts the contemporary political,cultural, social aspects of Delhi as also its arts and crafts. The events have been presented in verses in such a beautiful manner that it is regarded as a chronicle carrying significance of a primary source as well as a literary masterpiece.
It is said that his Hindi verses numbered around one lac but due to the vicissitudes of the time these have not been preserved barring some songs, riddles, kahmukriyan and Dohae which were and are most popular among the common masses. Even though he held high positions in several courts,it did not hinder his spiritual urge and interest and he remained a devoted disciple of HazratNizamuddin (RA).
There is an interesting story regarding Khusro being initiated as a disciple of his Murshid. It is reported that his father and brother accompanied him to the khanqah of HazratNizamuddin (RA). Reaching the place he sat outside the room whereas his father and brother went inside. Khusro composed the following extempore verse
Tuaanshahikiberaiwanqasrat
Kabutargernishanandbazgardud
Garaibimustemandiber der aamed
Biyayedanderoon ye bazgaerdud
Translation:
Your spiritual abode is so towering that if a pigeon rests there,it turns out to be a falcon;
I as a poor seeker has come to your door, shall he enter there or return back.
The Sheikh is said to have replied the would be disciple through this verse
Biyayedanderoonmardehaqeeqat
Ki ba ma yeknafshamrazgardud
Ager aanboud ay mardnadaan
Azaanrahikiaamudbazgardud
Translation:
One must enter inside if he is the seeker of Reality so that he gets close to me and secrets are revealed to him.
If he is unwise,he must return the way he came.
Khusro sought his spiritual training and strength from his MurshidHazratNizamuddin, and at whose feet he lies buried. Khusrau, as Nizamuddin and other Sufis, was from all accounts free from religious bigotry.
Nizamuddin belonged to a Sufi spiritual order, and ran a khanaqah, or monastery, in what is now the heart of today’s New Delhi (the entire neighbourhood is still called Nizamuddin). People from every faith thronged the shrine, as they do even today. Khusrau wrote too of his abiding love for his spiritual master, Nizamuddin. In this vein Khusrau is portrayed as a bride whose heart, personality and identity have all been surrendered upon a single glance by the groom, ‘Nizaam’.
He had so much love for his master and his belongings that once a person came to HazratNizamuddin (RA) and begged for something. The Sheikh had nothing in possession at that time. He gave him his slippers. Khusro was on a tour and he happened to stay in the same Sarai where this man having the slipper of the Sheikh was lodged. Seeing the slippers, Khusro gave the entire belongings to the person and purchased these slippers.
Legend has it that when Sufi Saint HazratNizamuddinAulia (1238-1325) died, his most devoted disciple Amir Khusro mourned his spiritual master’s death in a couplet which is part of folklore in a disciple’s devotion to his master: “Gorisovaysej par, mukh par dare kes/chalKhusrogharaapne, saanjhbhaeechahu des Translation: (The fair maiden rests on a bed of roses, her face covered with a lock of hair/Oh Khusrau, let’s return home now, the dusk settles in the four corners of the world).
Khusrau was a very prolific author and poet of rare distinction. He is widely respected as a Persian, Hindavi, and Rekhta poet who evolved a unique diction and an inimitable language, beyond the apbhransha, for his literary expression.
He assigned a new role to human speech which is evident from the astounding variety of nearly a hundred works he produced in poetry and prose that broadly include several divans, mathnawis, treatises, and other compositions. He chose Persian as his preferred language for poetry composition. He also wrote about 500,000 verses in other languages, including Turkish, Arabic, BrajBhasha, Hindavi, and KhadiBoli.His Persian verses alone account for around four lac verses.
Though the number of his works cannot be ascertained for sure, nor can the authenticity of works ascribed to him be determined with any confidence, he remains an iconic poet on account of the works available from different sources. Amir Khusro diverted his attention from the court to concentrate on his legendary works. Every night before the king, melodious females would shout the ghazals that Amir Khusro had written in fast succession to music.
He composed a quintet (khamsa) during the reign of AauddinKhilji using 5 masnavis: The first khamsa “Matla-ul-Anwar,” or “Growing site of luminosities,” had 3320 stanzas composed in 1299. This was written with Sufi,mystic and ethical themes in fifteen days. This was followed by “Khusrau and Shirin,” another masnavi, having 4000 stanzas. Another masnavi, “LailaMajnun,” containing 2660 verses describing a love story too was penned down in the same year. It is said that while Khusro was busy in compiling this Mathnavi, he lost his mother as well as his brother. As a result this work depicts the pain of love and the melancholy of departing.
The fourth enormous masnavi, “Aina-e-Sikandari,” having 4500 verses was composed in 1300 C.E. and describes Alexander the Great’s audacious deeds. The fifth masnavi, “HashtBihisht,” comprising of 3350 verses was written in 1302 and the beloved disciple presented it to his loved Murshid(master)HazratNizamudd din (RA) .This masnavi composed in the style of “Haft Paikar”ofNizamiGunjavi and “Shahnama” of Firdousi, is related to King BahramGur’s events and presents stories in a beautiful style. Besides the court atmosphere of this Iranian king, Khusro introduces folktales told by seven princesses described in an enchanting style.
Most famously, Khusro appears to be the first writer to have added ‘The Three Princes of Serendip’ as characters and the story of the alleged camel theft and recovery.AlauddinKhilji was incredibly pleased with his works and showered him with honour. Even the great Persian literary icon Moulana Jami says that no other work than the “HashtBihisht,” compares fairly with the Khamsa of Nizami.
Continuing his literary journey, he composed “Khaza’inul-Futuh” (The jewels of success) in 1311. It describes Alauddin’s construction projects, military campaigns, and governmental structures. This was followed by Masnavi “Dool Rani Khizir Khan” in 1315 C.E. sketching the love affair between KhizirKhan, the prince of AlauddinKhilji and DoolRani,a princess of the Raja of Gujarat.
Amir Khusrau wrote a Masnavi titled “NuhSipihr” (Nine Skies) on Qutubuddin Mubarak Shah Khilji that details the events of his reign,dividing its poetry into nine divisions, each segment designated as a different sky.In its third section, he wrote a detailed account of India’s surroundings. It includes the seasons, plants, and fauna, as well as its ideas, traditions, ethos, and researchers. “AfzalulFawaid” was penned down in 1319 which contains the Malfuzat (discourses) of HazratNizamuddin besides completing “AijazKhusrvi”. Prior to his death in 1325 C.E. he wrote his fifth Masnavi “TughluqNama and the fifth Divan Divan “Nihayat-ul-Kamal”. On the birth of Qutubuddin Mubarak Shah’s son, he set up the child’s horoscope, based on which some predictions were made. The masnavi “Saqiana” contains this horoscope.AmirKhusro became a significant figure in poetry due to each of these efforts.
The literary works of Khusrau are of vital significance as far as the factual information with historical relevance is concerned. The later historian ZiauddinBarani quotes Khusrau on many occasions to confirm some of the major points of view on the contemporary events. In many works Barani’s assertion was supplemented by the facts provided by Amir Khusrau.
It is interesting to see Khusrau becoming eloquent where Baranī chooses to remain silent. Looking from this point of view,the works of Amir Khusrau and his contemporary writers are of great importance to us as historians. From the prism of modern history-writing, Khusrau was not writing history. He was merely penning down the events with his own interests, comfort, superfluities, additions, omissions, slips, exaggerations and experiences. But while doing this, he has left a huge amount of data behind, which is of extreme importance for the researchers of modern historians. His style is full of exaggerations and metaphorical descriptions, but the facts of history are given with tolerable fidelity. The present day student of history has to bear in mind his biases and favours and then look at his masnavis to reconstruct the history of the Sultanate.
Moving beyond literature, Khusrau also made his contribution to music. His connections to several sultans allowed him to visit and reside in different parts of India, exposing him to various regional customs.This made it easier for him to incorporate many musical influences.He created ragas, developed khayal, tarana, qaul, and qawwali.Qawwali music, which incorporates tabla, sitar, Tarana, and Sufi music, was created by Khusrau.
He helped India get to where it is today thanks to his writing and singing talents. His words still inspire sufi shrines across the subcontinent. Khusrau produced a variety of poetry and songs, some of which were about his spiritual master HazratNizamuddinAuliya (RA). Even though he left for the eternal world, his melodies revere-beat, echoed throughout the subcontinent which still motivate us.
Amir Khusrau created the stringed instrument known as the sitar. It has a long neck and a body shaped like a gourd. It is used in Hindustani classical music. A plectrum is used to pluck the strings of the sitar. A well-known inventor, Khusrau is primarily recognised for creating the three-stringed sitar as also invented tabla the two instruments that clearly distinguish and characterise Indian music from others.
He changed the name of the triple-stringed TritantriVeena to a Sehtaar as numerous veena varieties became available in India. Because of its Persian ancestry, the Sehtaar later came to be known as the sitar.Tarana and Trivat are also said to have been invented by Khusrau. To quote philosopher and musicologist Jaidev Singh who says, “a song is referred to as a Tarana in Persian.Khusrau created Taranaentirely on his own.
Khusrau indeed had Nirgit songs utilisinguk-akaras and p-akaras, nonsensical terms, as an example (mnemonic syllables of the mridang).
At least since the reign of Bharat, these songs have been popular. Nonetheless, the Nirgit tended to utilise harsh consonants.Two changes were made to this style of vocal music by Khusrau. Originally, he introduced largely soft-consonant Persian nouns. Second, he ordered these words so that they made sense.He also supplied a few Hindi words to complete the sentence. Only Khusrau’s intellect could have combined these sentences to produce any sense. His successors could not accomplish this, and the Tarana was just as meaningless as the ancient Nirgit.
It is said that Khusrau invented the Tarana approach as he tried to imitate GopalNaik’s presentation in RaagKadambak. Khusrauissaid to have devised the Tarana method after spending six days in concealment. He studied GopalNaik’s performance using meaningless phrases (mridangbols).
Amir Khusrau is also said to have composed riddles.Some of the riddles passed down in Khusro’s name deal with ideas that weren’t even created during his lifetime, such as the hookah . There is considerable debate over whether Khusro was the genuine author of the riddles attributed to him. The collection consists of 286 riddles, divided into six categories ‘supposedly based on the structure of the riddle and the response.’ Many specialists of the subject presume that Khusro is the inventor of these puzzles even though they are “in the style of the common people.” The puzzles make use of Matrika meters.
Khusrau is extremely remarkable for defining the various forms and genres of literature and arts as the domains where the sublime and the plebeian could meet together and complement each other. He wrote on a variety of subjects that include patriotism, liberalism, integration, folk life, and the religious values of living that emerge with a fine blending of social norms and cultural practices, as well as dialects and dictions.
His Khaliq-e-bari, the world’s first printed dictionary, features Persian and Hindi words.
One of the famous ghazals of Khusrao,mostly presented as a qawali, describes a unique phenomenon.Even the first line of it points to a destination which the writer claims was beyond his knowledge.
Na mi daanam chi manzilboodshabjaayki man boodam;
Ba harsuraqs e bismilboodshabjaayki man boodam.
Paripaikarnigaar e sarwqaddelaalahrukhsare;
Sarapaaafat e dilboodshabjaayki man boodam.
Khudakhudmeer e majlisboodandarlaamakanKhusrau;
Muhammad (SAW) shamm e mehfilboodshabjaayki man boodam.
Translation:
I know not what place it was, where I was in the night;
There everywhere it was a dance of the half-slaughtered, where I was in the night.
There were angel-faced sweethearts, of cypress-figure and tulip-countenance;
The appearance of the beloved made hearts to torment, where I was in the night.
Oh Khusrau, Allah Himself was leading the ceremonies in the laamakan(beyond space); Mohammed (SAW)was the light of the gathering, where I was in the night.
Khusro is one of the leading figures who have focused on the cultural history, language, flora and fauna of the Indian subcontinent. Amir Khusrau has stood for a major cultural icon in the history of Indian civilization for almost seven hundred years.The contribution of Amir Khusrau as a poet, musician, courtier and historian in Delhi Sultanate is remarkable.He was proud to be an Indian and his literary works are reflecting the great patriotism and upholding the diversity of India . Khusrau has praised the Indian languages, including Hindi (which he calls Hindavi). He wrote many playful riddles, songs and legends which have become a part of popular culture in South Asia. He was also an accomplished musician and took part in religious musical gatherings (Sama) organized by the famous Sufi saint, NizamuddinAuliya.
Amir Khusrau as a Muslim was able to draw upon a vast treasure-house of Muslim folk and religious lore and was able to enhance the Indian Muslims’ sense of belonging to a universal culture; they could identify themselves as not merely a local immigrant sect. Khusraus’ love for India shows that the Turkish ruling class was no longer prepared to behave as a foreign ruling class, and that the ground had been prepared for a cultural rapprochement between the people living in India irrespective of religious or regional belongings. The writings of Khusro did light the candle of love and affection which illuminate the dark corners and the Sufi circles derive much from it for their journey on the path of eternal Truth.
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