By Amir Khusrau, Paul Losensky, Sunil Sharma

Amir Khusrau, one of many maximum poets of medieval India, helped forge a particular synthesis of Muslim and Hindu cultures. Written in Persian and Hindavi, his poems and ghazals have been favored throughout a sophisticated Persianate international that stretched from Turkey to Bengal. Having thrived for hundreds of years, Khusrau's poetry remains to be learn and recited to this day.

In the Bazaar of Love is the 1st accomplished collection of Khusrau's paintings, supplying new translations of mystical and romantic poems and clean renditions of previous favourites. protecting a variety of genres and varieties, it conjures up the magic of 1 of the best-loved poets of the Indian subcontinent.

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Extra resources for In The Bazaar Of Love: Selected Poetry of Amir Khusrau

Example text

It is true that the poet did spend some years there while serving in the military, but Khusrau’s statements regarding his intense attachment to the capital city suggest that Delhi may indeed have been his birthplace. Although Khusrau’s father was illiterate he made sure that his sons received a proper education. He died in battle when the poet was eight, and as a result, the boys were raised by their maternal uncles and maternal grandfather, a powerful nobleman in service at court for over eighty years.

Poetry can stand on its own, but the music accompanying it is like an ornament on a bride. Just as there is an apocryphal anecdote about Rūmī passing through the bazaar of the goldsmiths and being inspired by the rhythmic sound of their tools to compose a poem, so there is one about Amīr Khusrau replicating the sound of the cotton carder’s bow in a verse. References to music and musical instruments abound in Amīr Khusrau’s poetry, but this is not surprising since Persian poets used a broad range of imagery in their poems (see, for example, poems 12, 30 and 36).

In a brilliant macaronic poem attributed to him (zi hāl-i miskīn makun taghāful, durā’e nainān banā’e batiyān), the poet combines Hindavi and Persian literary tropes and metaphors in the form of a dialogue between a Persian lover (‘āshiq) and pining Indian heroine (virahinī). In a lyrical song, Nizāmuddīn Auliyā asks the Chishti Sufis to come out in their ecstatic state and join the celebrations of the Hindu spring festival of Holi, which is an occasion for great revelry and playfulness. True to their acceptance of local practices, Chishtis also celebrate the spring festival of basant.

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