The Delhi Sultanate united North India for the first time since the reign of Emperor Harsha (r. 606-647). It integrated India into the international trading networks and cosmopolitan civilization of the Islamic world. It also introduced new ideas in art, architecture, religion and technology, including paper-making which revolutionized literature, scholarship and the graphic arts.
The Mongol invasions of Central Asia and Khorasan during the thirteenth century caused Persian speaking poets, artists and Sufis to flee cities like Balkh, Bukhara and Samarqand and settle in and around Delhi. For a while, in fact, Delhi was seen as a haven for Persian scholars and artists in Asia.
Indo-Persian literature developed during the Delhi Sultanate through both court patronage and through an expansion of ever-widening networks of Persian-speaking literati, merchants, artists and Sufi monasteries (khanqah) across North India. Sufi centres like Nizam ud-Din Auliya’s (1238-1325) in Delhi also attracted men of learning like Amir Khusrau (1253-1325) and the historian, Zia ud-din Barani (1285-1358) who wrote in Persian.
One branch of literature that Persian introduced to India was the writing of history. In fact, Persian literature introduced new genres such as biography, memoirs, chronicles, travel writing and letter writing to Indian literature.
The two best-known works of history written during the Delhi Sultanate were Barani’s, The History of Firoz Shah (Tarikh-e- Firozshahi) and The Rules of Government (Fatwa-i-jahandari). The former chronicled the history of the Sultanate from Balban (1266-87) to Firoz Shah Tughlaq (1309-1388) while the latter emphasized the importance of the study of history.
The compilation of conversations between Sufis and their disciples (malfuzat) was another branch of Indo-Persian prose literature that figured prominently during the Sultanate. The malfuzat also included hagiographies on the Sufi masters and their teachings. The Morals of the Heart (Fawa’id al-Fawad) by Amir Hasan Sijzi (1254-1337) was one such malfuzat on Nizam ud-Din.
The Delhi Sultanate also saw the appearance of Indo-Persian fiction which combined Persian, Arabic and Indic styles of storytelling. The Tutinama of Zia al-Din Nakshabi Badayuni (d. 1350), based on the Sanskrit Sukasapatati (‘Seventy Tales of the Parrot’), was one such collection of fifty-two tales told by a parrot to its mistress to prevent her from committing adultery.
While Sufi poets like Shah Bu ‘Ali Qalandar (d. 1323) and Fahkr-al Din Iraqi (1213-1289) wrote during this period, few poets could match the renown and influence of Amir Khusrao.
Amir Khusrao remains one of the greatest Indo-Persian poets. A court poet for five of the Delhi sultans and a disciple of Nizam ud-Din, Khusrao composed five dīwān (collections) of poetry that included qasida (panegyric), masnavi (narrative) and over four thousand ghazal (love poems).
Born Abu’l Hasan Yamin ud-Din Khusrao in Delhi in 1253, Khusrao was raised by his maternal grandfather, Imad al-Mulk, a powerful nobleman in the service of the Sultan Iltutmish (r. 1211-1236).
Khusrau began his career as a poet at the age of 20 as the protégé of senior poets at the courts of Delhi. He also served patrons in Bengal and Multan and was on one occasion, captured by the Mongols who raided Multan in 1285. He later wrote an elegy on his experience:
People shed so many tears in all directions
That five other rivers have appeared in Multan
I wanted to speak of the fire in my heart
But a hundred fiery tongues flared up in my mouth
In 1289, Khusrau returned to Delhi where he became the chief court poet of Jalaluddin Khalji (r. 1290-96) and Ala’ ud-Din Khalji (r. 1296-1316). It was during this period that he wrote much of his finest work including his ghazals on love and longing:
I am about to breathe my last.
Come, so I may live.
What good will it do for you
to come once I am no more?
My heart left me but longing
for you won’t leave my heart.
My heart broke apart, but pain
For you won’t diminish.
Khusrao wrote in a style at once mystical and secular:
Bring bright wine,
for dawn has shown its face
At a moment like this
there’s no being without wine.
There is a prosperous and populous city
where fragments of moon gleam at every turn.
Each fragment holds a shard of my shattered heart.
His poetry also captured the Indian landscape of monsoon clouds and rainy seasons:
The clouds and the rain and
I and my love waiting to say farewell:
For my part, weeping,
and for the cloud’s part,
and for my love’s.
He also wrote of his love for Nizamuddin:
I have become you, you have become me
I have become life, you have become body
From now one, let no one say that
I am other and you are another.
Amir Khusrau is one of the few Indo-Persian poets who became well known outside of India. His verse is said to have even inspired the great Persian poet, Hafiz of Shiraz (1315-1390). His works are still read in Iran, Afghanistan and Tajikistan while in India and Pakistan, his poetry has been popularized through musical traditions like qawalli.
 Richard M. Eaton, India in the Persianate Age: 1000-1765 (University of California Press, Oakland, CA), 136. See also Keay, India: A History (Harper Collins, London: 2001), 247.
 Eaton, India in the Persianate Age, 60.
 Ibid., 98.
 Nabi Hadi, History of Indo-Persian Literature (Iran Culture House: New Delhi, 2001), 178-179. See also Perso-Indica online (http://www.perso-indica.net/work/fables_and_tales/tuti-nama-1).
 Amīr Ḫusraw Dihlawī, Duwal Rānī wa Ḫiżr Ḫān in Perso-Indica: An Analytical Survey of Persian Works on Indian Learned Traditions (online at http://www.perso-indica.net/work/fables_and_tales/duwal_rani_wa_h%CC%AEidr_h%CC%AEan)
 Paul E. Losensky and Sunil Sharma (trans.), In the Bazaar of Love: The Selected Poetry of Amir Khusrau (Penguin Books, New Delhi, 2011), xix.
 Paul E. Losensky, In the Bazaar of Love (Ghazal 26), 47.
 Ibid, (Ghazal 1772), 75.
 Ibid., (Ghazal 1), 3.
 Ibid., xxx.