Amir Khusro Dehlavi (1253-1325) 
I wonder about the House where I was last night,
All around me were half-slaughtered victims of Love,
Tossing about in agony.
There was a nymph-like beauty
With cypress-like form and tulip-like face,
Ruthlessly playing havoc with the hearts of the lovers.
God himself was the Master of Ceremony in that Heavenly Court.
O Khusro,
Even Prophet Muhammad was shedding light like a candle,
In that "House" where I staying was last night.
کافر عشق | شعر از امیر خسرو دهلوی
هر رگ من تار گشته حاجت زنار نیست
از سر بالین من برخیز ای نادان طبیب
دردمند عشق را دارو به جز دیدار نیست
ناخدا در کشتی ما گر نباشد گو مباش
ما خدا داریم ما را ناخدا در کار نیست
خلق می گوید که خسرو بت پرستی می کند
آری آری می کنم با خلق ما را کار نیست
I am a pagan and a worshiper of Love
The creed of Muslims I do not need.
Every vein of mine has become taunt like a wire,
The Brahman’s Girdle I do not need.
Leave from my bedside, you ignorant physician!
The only cure for the patient of love
Is the sight of his beloved
Other than this, no medicine he needs.
If there is no captain in our ship, let there be none
We have God in our midst, the captain we do not need.
The people of the world are saying:
Khusrau worships idols!
So he does, so he does,
The people he does not need!
O Khusrau
What you need to do is
To concentrate deep, like a Hindu does:
He even burns himself as an offering to God.
O Khusrau
The River of Love
Runs in strange directions:
One who jumps into it drowns,
And one who drowns, gets across!
Day and night, I see an empty bed, and cry
Calling for my Beloved, I remain restless for ever.
With my beautiful face all adorned,
I went to the Beloved,
I saw His Face, and forgot all about my own beauty.
I, Khusrau,
Play the game of Love with my Beloved:
If I win, The Beloved’s mine,
Defeated, I’m Beloved’s!
Khusrau spends the eve of his wedding
Awake with his Beloved
The body belongs to his, but heart to the Beloved:
The two becoming one.
The dervish who caught
the scent of HIS Reality
Can wave the baskets of Love
even though his hands are cut off.
I have become You and You have become me
I manifest as body, You are The Spirit
Let no one say after this union:
that You are different and I am different!
The creed of Muslims I do not need.
Every vein of mine has become taunt like a wire,
The Brahman’s Girdle I do not need.
Leave from my bedside, you ignorant physician!
The only cure for the patient of love
Is the sight of his beloved
Other than this, no medicine he needs.
If there is no captain in our ship, let there be none
We have God in our midst, the captain we do not need.
The people of the world are saying:
Khusrau worships idols!
So he does, so he does,
The people he does not need!
O Khusrau
What you need to do is
To concentrate deep, like a Hindu does:
He even burns himself as an offering to God.
O Khusrau
The River of Love
Runs in strange directions:
One who jumps into it drowns,
And one who drowns, gets across!
Day and night, I see an empty bed, and cry
Calling for my Beloved, I remain restless for ever.
With my beautiful face all adorned,
I went to the Beloved,
I saw His Face, and forgot all about my own beauty.
I, Khusrau,
Play the game of Love with my Beloved:
If I win, The Beloved’s mine,
Defeated, I’m Beloved’s!
Khusrau spends the eve of his wedding
Awake with his Beloved
The body belongs to his, but heart to the Beloved:
The two becoming one.
The dervish who caught
the scent of HIS Reality
Can wave the baskets of Love
even though his hands are cut off.
I have become You and You have become me
I manifest as body, You are The Spirit
Let no one say after this union:
that You are different and I am different!
Amir Khusrau Dehlavi
"Known as the "Tuti" (songbird) of India, Amir Nasir al-Din Abu al-Hassan Khusrau ibn Amir Saif al-Din Mahmud Dihlavi is India's foremost Sufi poet using the Persian language as the medium of his poetry. His father, Saif al-Din Mahmud was one of the chiefs of the Lachin tribe of the Karakhitais of Kush, Transoxania. During the Mongol invasion, Saif al-Din moved his family away from Kush and settled in India. There, he had married the daughter of Imad al-Mulk, an Indian nobleman. Amir Khusrau is the fruit of that marriage. He was born in Patiali, in the district of Etah, Uttar Pardesh, in 1253. Although he became an orphan at the age of seven, he managed, due to the high status of his family, to elevate himself and become a major figures at the courts of Indian sultans. Amir Khusrau died in 1325. Amir Khusrau spoke Persian fluently and was familiar with Arabic, Hindi, and Sanskrit. From his early days, he was attracted to Persian literature, especially the poetry of the poet of Ganja, Nizami. Emulating the poetry of Nizami, he himself, over the years became one of the most celebrated Sufi poets of his day. Additionally, Amir Khusrau was a born musician. He mastered the art of Indian music at a very early age and went on to perfect it. His invention of the sitar, an instrument with three-strings, testifies to his dedication to the art. Like musician poets Rudaki and Farrukhi before him, Amir Khusrau adapted to the life at court and distinguished himself in the circle of the dignitaries as a grand poet. His prestige became even more noticeable when Shaykh Muslih al-Din Sa'di recommended him as a worthy candidate for a position originally offered to himself at Prince Muhammad's court. It is related that one day, Saif al-Din Mahmud took his three sons to the presence of the chief of Sufi poets Shaykh Nizam al-Din Muhammad ibn Ahmad Dihlavi popularly known as Nizam al-Din Auliya of the Chishtiyya order. Nizam al-Din took a particular interest in Amir Khusrau who himself, following the advice of the Shaykh became one of the major figures of the order.
Nevertheless, Amir Khusrau never publicized his writings unless they had been read and sanctioned by the Shaykh. In fact, their lives mirror each others, both in mundane success and in spiritual ascension. Living in a milieu suffused with turmoil and intolerance, they shared the same tendency towards tolerance and struggle to rise above petty conflicts. And both rebelled against the confines of narrow orthodoxy to redefine the limits of philosophical profundity and devotional spirituality.
Altogether Amir Khusrau has written several multi-volume works, a collection of lyrics, and three prose works. His multi-volume collection the Panj Ganj (five treasures), with the following specification:
1) Tuhfat al-Saghir: Youthful melodies, sonnets and odes composed when he was between sixteen to nineteen years of age.
2) Wasat al-Hayat: poems composed when the was between the ages of twenty and thirty-four.
3) Ghurrat al-Kamal: middle age poems collected at the request of his brother. A brief biography of the poet introduces the collection.
4) Baqiyya-i Naqiyyah: miscellany or old-age poems in praise of kings of India
5) Nihayat al-Kamal: Amir Khusrau's last poems.
His other multi-collection, referred to as Samaniyyah Khusraviyyah (eight Khusravi Mathnavis), includes:
1) Duvalroni Khizirkhan: deals with the love of Khizir Khan for the daughter of the Raj of Gujarat. The love story composed on request of Khizir Khan is prefaced with a brief history of the spread of the Islamic faith in India under the Ghurid dynasty.
2) Taj al-Futuh is composed in honor of the ascension to the throne of Sultan Jalal al-Din Firuz.
3) Noh Sepehr: a mathnavi in nine chapters composed in honor of Qutb al-Din Mubarak Shah Khalaji.
4) Tuqluq Namah composed on the occasion of the establishment of the Tuqluq dynasty of Delhi by Ghiyas al-Din Tuqluq Shah.
5) Matla' al-Anwar: A treatise on Sufi thought along the line of Nazami's Makhzan al-Asrar.
6) Shirin wa Khusrau: An imitation of Nizami's mathnavi of the same name. A scene in which the king invites the learned of the realm to his palace and discusses philosophical points with them is original to Amir Khusrau.
7) Majnun-i Layli: Also a poor imitation of Nizami's mathnavi of the same name.
8) A'ina-i Sikandari: A continuation of Nizami's mathnavi of the same name. Amir Khusrau, however, deals mostly with Alexander's post-conquest train of thought and his death.
9) Hasht Bihisht: A response to Nizami's Haft Paikar."
"Known as the "Tuti" (songbird) of India, Amir Nasir al-Din Abu al-Hassan Khusrau ibn Amir Saif al-Din Mahmud Dihlavi is India's foremost Sufi poet using the Persian language as the medium of his poetry. His father, Saif al-Din Mahmud was one of the chiefs of the Lachin tribe of the Karakhitais of Kush, Transoxania. During the Mongol invasion, Saif al-Din moved his family away from Kush and settled in India. There, he had married the daughter of Imad al-Mulk, an Indian nobleman. Amir Khusrau is the fruit of that marriage. He was born in Patiali, in the district of Etah, Uttar Pardesh, in 1253. Although he became an orphan at the age of seven, he managed, due to the high status of his family, to elevate himself and become a major figures at the courts of Indian sultans. Amir Khusrau died in 1325. Amir Khusrau spoke Persian fluently and was familiar with Arabic, Hindi, and Sanskrit. From his early days, he was attracted to Persian literature, especially the poetry of the poet of Ganja, Nizami. Emulating the poetry of Nizami, he himself, over the years became one of the most celebrated Sufi poets of his day. Additionally, Amir Khusrau was a born musician. He mastered the art of Indian music at a very early age and went on to perfect it. His invention of the sitar, an instrument with three-strings, testifies to his dedication to the art. Like musician poets Rudaki and Farrukhi before him, Amir Khusrau adapted to the life at court and distinguished himself in the circle of the dignitaries as a grand poet. His prestige became even more noticeable when Shaykh Muslih al-Din Sa'di recommended him as a worthy candidate for a position originally offered to himself at Prince Muhammad's court. It is related that one day, Saif al-Din Mahmud took his three sons to the presence of the chief of Sufi poets Shaykh Nizam al-Din Muhammad ibn Ahmad Dihlavi popularly known as Nizam al-Din Auliya of the Chishtiyya order. Nizam al-Din took a particular interest in Amir Khusrau who himself, following the advice of the Shaykh became one of the major figures of the order.
Nevertheless, Amir Khusrau never publicized his writings unless they had been read and sanctioned by the Shaykh. In fact, their lives mirror each others, both in mundane success and in spiritual ascension. Living in a milieu suffused with turmoil and intolerance, they shared the same tendency towards tolerance and struggle to rise above petty conflicts. And both rebelled against the confines of narrow orthodoxy to redefine the limits of philosophical profundity and devotional spirituality.
Altogether Amir Khusrau has written several multi-volume works, a collection of lyrics, and three prose works. His multi-volume collection the Panj Ganj (five treasures), with the following specification:
1) Tuhfat al-Saghir: Youthful melodies, sonnets and odes composed when he was between sixteen to nineteen years of age.
2) Wasat al-Hayat: poems composed when the was between the ages of twenty and thirty-four.
3) Ghurrat al-Kamal: middle age poems collected at the request of his brother. A brief biography of the poet introduces the collection.
4) Baqiyya-i Naqiyyah: miscellany or old-age poems in praise of kings of India
5) Nihayat al-Kamal: Amir Khusrau's last poems.
His other multi-collection, referred to as Samaniyyah Khusraviyyah (eight Khusravi Mathnavis), includes:
1) Duvalroni Khizirkhan: deals with the love of Khizir Khan for the daughter of the Raj of Gujarat. The love story composed on request of Khizir Khan is prefaced with a brief history of the spread of the Islamic faith in India under the Ghurid dynasty.
2) Taj al-Futuh is composed in honor of the ascension to the throne of Sultan Jalal al-Din Firuz.
3) Noh Sepehr: a mathnavi in nine chapters composed in honor of Qutb al-Din Mubarak Shah Khalaji.
4) Tuqluq Namah composed on the occasion of the establishment of the Tuqluq dynasty of Delhi by Ghiyas al-Din Tuqluq Shah.
5) Matla' al-Anwar: A treatise on Sufi thought along the line of Nazami's Makhzan al-Asrar.
6) Shirin wa Khusrau: An imitation of Nizami's mathnavi of the same name. A scene in which the king invites the learned of the realm to his palace and discusses philosophical points with them is original to Amir Khusrau.
7) Majnun-i Layli: Also a poor imitation of Nizami's mathnavi of the same name.
8) A'ina-i Sikandari: A continuation of Nizami's mathnavi of the same name. Amir Khusrau, however, deals mostly with Alexander's post-conquest train of thought and his death.
9) Hasht Bihisht: A response to Nizami's Haft Paikar."
امیر خسرو دهلوی، طوطی خوش زبان هند
گم شدم در سر آن کوی مجویید مرا
او مراکشت شدم زنده مپو یید مرا
بر درش مردم و آن خاک بر اعضای من است
هم بدان خاک درآید و مشویید مرا
عاشق و مستم و رسوایی خویشم هوس است
هر چه خواهم که کنم هیچ مگویید مرا
خسروم من : گلی ازخون دل خود رسته
خون من هست جگر سوز مبویید مرا
جان برلب است عاشق بخت آزمای را
دستوریی خنده لب جان‌فزای را
مطرب بزن رهی و مبین زهد من از انک
بر سبحه‌ی نست شرف چنگ و نای را
نازک مگوی ساعد خوبان که خرد کرد
چندین هزار بازروی زور آزمای را
ای دوست عشق چون همه چشم است گوش نیست
چه جای پند خسرو شوریده رای را
شفاعت آمدم ای دوست دیده‌ی خود را
کزو مپوش گل نو دمیده‌ی خود را
رسید خیل غمت ورنه ایستد جانم
کجا برم بدن غم رسیده‌ی خود را
بگوش ره ندهی ناله‌ی مرا چه کنم
چه ناشنیده کند کس شنیده‌ی خود را
چنین که من ز تولب می‌گزم کم ار گویی
که مرهمی برسانم گزیده‌ی خود را
به چاه شوق فرو مانده‌ام خداوندا
فرو گذاشت مکن آفریده‌ی خود را
ای صبا بوسه زن ز من در او را
ور نرنجد لب چو شکر او را
چون کسی قلب بشکند که همه کس
دل دهد طره‌ی دلاور او را
رو سوی سر و تا فرو بنشیند
زانکه بادیست هر زمان سر او را
دل مده غمزه را به کشتن خلقی
حاجت سنگ نیست خنجر او را
چون بسی شب گذشت و خواب نیامد
ای دل اکنون بجو برادر او را
ای باد برقع برفگن آن روی آتش‌ناک را
وی دیده گر صفرا کنم آبی بزن این خاک را
ریزی تو خون برآستان من شویم از اشک روان
که آلوده دیده چون توان آن آستان پاک را
زان غمزه عزم کین مکن تاراج عقل و دین
مکن تاراج دین تلقین مکن آن هندوی بی باک را
تا شمع حسن افروختی پروانه وارم سوختی
پرده دری آموختی آن امن صد چاک را
جانم چو رفت از تن برون و صلم چه کار آید کنون
این زهر بگذشت از فسون ضایع مکن تریاک را
گویی بر آمد گاه خواب اندر دل شب آفتاب
آندم کز آه صبح تاب آتش زنم افلاک را
خسرو کدامین خس بود کز شور عشق از پس بود
یک ذره آتش بس بود صد خرمن خاشاک را
Click on above link to read Amir Khusrau's works in Persian/Farsi
مجموعه اشعار امیر خسرو دهلوی
او مراکشت شدم زنده مپو یید مرا
بر درش مردم و آن خاک بر اعضای من است
هم بدان خاک درآید و مشویید مرا
عاشق و مستم و رسوایی خویشم هوس است
هر چه خواهم که کنم هیچ مگویید مرا
خسروم من : گلی ازخون دل خود رسته
خون من هست جگر سوز مبویید مرا
جان برلب است عاشق بخت آزمای را
دستوریی خنده لب جان‌فزای را
مطرب بزن رهی و مبین زهد من از انک
بر سبحه‌ی نست شرف چنگ و نای را
نازک مگوی ساعد خوبان که خرد کرد
چندین هزار بازروی زور آزمای را
ای دوست عشق چون همه چشم است گوش نیست
چه جای پند خسرو شوریده رای را
شفاعت آمدم ای دوست دیده‌ی خود را
کزو مپوش گل نو دمیده‌ی خود را
رسید خیل غمت ورنه ایستد جانم
کجا برم بدن غم رسیده‌ی خود را
بگوش ره ندهی ناله‌ی مرا چه کنم
چه ناشنیده کند کس شنیده‌ی خود را
چنین که من ز تولب می‌گزم کم ار گویی
که مرهمی برسانم گزیده‌ی خود را
به چاه شوق فرو مانده‌ام خداوندا
فرو گذاشت مکن آفریده‌ی خود را
ای صبا بوسه زن ز من در او را
ور نرنجد لب چو شکر او را
چون کسی قلب بشکند که همه کس
دل دهد طره‌ی دلاور او را
رو سوی سر و تا فرو بنشیند
زانکه بادیست هر زمان سر او را
دل مده غمزه را به کشتن خلقی
حاجت سنگ نیست خنجر او را
چون بسی شب گذشت و خواب نیامد
ای دل اکنون بجو برادر او را
ای باد برقع برفگن آن روی آتش‌ناک را
وی دیده گر صفرا کنم آبی بزن این خاک را
ریزی تو خون برآستان من شویم از اشک روان
که آلوده دیده چون توان آن آستان پاک را
زان غمزه عزم کین مکن تاراج عقل و دین
مکن تاراج دین تلقین مکن آن هندوی بی باک را
تا شمع حسن افروختی پروانه وارم سوختی
پرده دری آموختی آن امن صد چاک را
جانم چو رفت از تن برون و صلم چه کار آید کنون
این زهر بگذشت از فسون ضایع مکن تریاک را
گویی بر آمد گاه خواب اندر دل شب آفتاب
آندم کز آه صبح تاب آتش زنم افلاک را
خسرو کدامین خس بود کز شور عشق از پس بود
یک ذره آتش بس بود صد خرمن خاشاک را
Click on above link to read Amir Khusrau's works in Persian/Farsi
مجموعه اشعار امیر خسرو دهلوی
یکی از چهره های بزرگ شعر و ادب سرزمین هندوستان، امیر خسرو دهلوی است. او در سال 651 هجری در شهر دهلی دیده به جهان گشود. در همان کودکی پدر خود را از دست داد و در دوره جوانی به خدمت نظام الدین اولیا عارف پر آوازه دهلی پیوست و به سیر و سلوک عرفانی پرداخت. پس از چندی به رسم شاعران دیگر، در پی یافتن ممدوحی بر آمد.در خدمت یکی از همین ممدوحان بود که در جنگی در سال 683 اسیر گشت و دو سال در بلخ زندانی بود. پس از آزادی به هندوستان بازگشت و در آنجا به مدح جلال الدین خلجی پرداخت و به امیر خسرو معروف گشت. امیر خسرو در سال 725 در تنهایی و اندوه درگذشت و در کنار آرامگاه پیر و مرشد خود شیخ نظام الدین اولیا به خاک سپرده شد. امیر خسرو به جز شاعری، نویسندگی و مورخی هم می کرد.او توانایی خود در نثر را در کتاب اعجاز خسروی کاملا نشان داده است. آثار فارسی امیر خسرو که اکثرا به تقلید از آثار نظامی بود عبارتند از
دیوان که شامل 5 بخش مجزاست و هر بخش به قسمتی از زندگی او تعلق دارد
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