Name	Surbahar

Surbahar (; ), sometimes known as bass sitar, is a plucked string instrument used in the Hindustani classical music of North India. It is closely related to sitar, but it has a lower tone. Depending on the instrument's size, it is usually pitched two to five whole steps below the standard sitar, but Indian classical music having no concept of absolute pitch, this may vary. The instrument can emit frequencies lower than 20 Hz.

Surbahar is over 130 cm (51 inches). It uses a dried pumpkin as a resonator, and has a neck with very wide frets, which allow a glissando of six notes on the same fret through the method of pulling. The neck is made out of tun (Cedrela tuna), or teak wood. It has four rhythm strings (cikari), four playing strings (the broadest 1 mm), and 15 to 17 unplayed sympathetic strings. There are two bridges; the playable strings pass over the greater bridge, which is connected to the tabli with small legs, which are glued in place. The sympathetic strings pass over the smaller bridge which is directly glued on the tabli. The main bridge has a slightly bent upper surface which results in a droning sound, because the vibrating span of the strings quivers ever so slightly. The instrumentalist plays the strings using a metallic plectrum, the mizrab, which is fixed on the index finger of whose right hand. Three plectrums are used to play the dhrupad style of alap, jor, and jhala on surbahar. In the dhrupad style, instead of performing the sitarkhani and masitkhani gats, the instrumentalist plays the slow dhrupad composition in accompaniment with pakhawaj. Some researchers believe that surbahar was invented around 1825. Though the invention is generally attributed to Ustad Sahebdad Khan, recent research shows that Lucknow-based sitarist Ustad Ghulam Mohammed may have been the inventor.

Notable performers

Ustad Imdad Khan (1848–1920)

Ustad Enayet Khan

Ustad Vilayat Khan

Ustad Imrat Khan

Hidayat Khan

Vidushi Annapurna Devi

Irshad Khan

Budhaditya Mukherjee

Chandrashekhar Naringrekar

Jagdeep Singh Bedi

Kokila Vasant Rai

Kushal Das

Pushparaj Koshti

Rajeev Janardan

Ramprapanna Bhattacharya

Shubha Sankaran

Suvir Misra

Rajendra Vishwaroop

See also

Sitar

Hindustani classical music

References

http://www.ragascape.com/Ragascapes/3.html Surbahar page at Ragascape.com

External links

Surbahar page at Chandrakantha.com

Surbahar.com

Video

Surbahar videos

Surbahar Video Performance by Beenkar Suvir Misra, Raga Chandrakauns Alaap, 10 mins

Surbahar Video Performance by Beenkar Suvir Misra , Raga Chandrakauns Jod and Jhala, 10 mins

References

Category:Sitars Category:Necked bowl lutes Category:Hindustani musical instruments

Caption	Byers and Rey Maualuga during their time at USC.
Currentteam	Denver Broncos
Currentnumber	63
Currentpositionplain	Center
Birthdate	November 07, 1985
Birthplace	Loveland, Colorado
Heightft	6
Heightin	3
Weight	301
College	Southern California
Undraftedyear	2010
Pastteams
Nfl	BYE270861

Jeff Byers (born September 7, 1985) is an American football center for the Denver Broncos of the National Football League. He was signed to the practice squad on September 6, 2010 after being released by his former college coach, Pete Carroll, now the head coach of the Seattle Seahawks.

High school career

Byers attended Loveland High School, where he participated in basketball, track and excelled at football. In 2003 he played both offense and defense: That season, on defense as a linebacker, he had 203 tackles, 56 tackles for loss, 10 sacks, 14 forced fumbles and 3 fumble recoveries (with a touchdown). On offense, as a center he recorded 34 pancake blocks in one game and never allowed a sack in his career. Loveland won the Class 4A state championship in 2003. He was named the 2004 Gatorade Player of the Year, as the nation's top high school athlete.

College career

Although Byers arrived at USC as a center, the Trojans already had then-sophomore Ryan Kalil who kept the position for three seasons; as a result, he moved to left guard. As a freshman, Byers started 4 and played in all 13 games during the 2004 season, as the Trojans went on to win the National Championship.

In the spring before the 2005 season, Byers had hip surgery and missed the entire season under a medical redshirt. He started the 2006 season as a reserve in the opening game against Arkansas, but suffered a back sprain in subsequent week that required surgery. He missed the rest of the season.

Byers recovered in time for the 2007 season, where he started all 13 games: 12 starts at left offensive guard and as center against Washington State University. He missed most of the training camps the following spring after contracting Rocky Mountain spotted fever. He was able to recover and was selected as a team captain for the 2008 season. After starting all 12 regular season games, Byers was selected to the 2008 All-Pac 10 Second Team by conference coaches.

Due to the health issues that caused him to miss the 2005 and 2006 seasons, Byers petitioned the NCAA for a "clock-extension waiver". In December 2008, the NCAA granted him an additional season of eligibility.

Byers received his bachelor's degree in business administration in the summer of 2007, he is currently studying under the Master of Business Administration program at the USC Marshall School of Business. During the 2008 season, USC head coach Pete Carroll had Byers lecture the entire team on the subprime mortgage crisis. He made the 2007 Pac-10 All-Academic second team.

In 2009, Byers was listed at No. 1 on Rivals.com′s preseason interior lineman power ranking in 2009.

With the injury of starting center Kristofer O'Dowd, Byers was moved to starting center for the Trojans 2009 season opener against San Jose State.

Professional career

2010 NFL Draft

After going undrafted in the 2010 NFL Draft, Byers signed a free agent contract with the Seattle Seahawks.

References

External links

USC Athletic Department Biography: Jeff Byers

Category:USC Trojans football players Category:Seattle Seahawks players Category:Denver Broncos players Category:American football offensive linemen Category:1985 births Category:Living people Category:People from Larimer County, Colorado

Name	Annapurna Devi
Background	non_vocal_instrumentalist
Born	April 23, 1927Maihar, India
Instrument	surbahar
Genre	Hindustani classical music
Associated acts	Alauddin Khan, Ali Akbar Khan, Ravi Shankar

Annapurna Devi (Devanagari: अन्नपूर्णा देवी; born Roshanara Khan on 23 April 1927) is a reclusive surbahar (bass sitar) player of Hindustani Classical Music.

Family and life

Devi's father and guru Alauddin Khan, founder of the "Senia Maihar Gharana" or "Senia Maihar School" of Hindustani classical music, was considered a singular phenomenon in the twentieth century Indian classical music. Her uncles Fakir Aftabuddin Khan and Ayet Ali Khan were revered musicians at their native place Shibpur in the present-day Bangladesh. Her brother Ali Akbar Khan was a legendary Sarode maestro and was considered a "national living treasure" in India and the USA. Her former husband Sitarist Ravi Shankar is perhaps the best-known Indian classical musician abroad.

Annapurna Devi was born in 23 April 1927 at Maihar, a small princely state of British India (now a part of Madhya Pradesh state of India), where her revered father Alauddin Khan was a royal court musician at that time. But, her family has their ancestry in the village of Shibpur, Brahmanbaria, in the then British India, present Bangladesh. Annapurna Devi grew up in Maihar as Roshanara Khan. She was one of the three daughters (Jahanara, Sharija, Roshanara) of Alauddin Khan. Sharija died an early death suffering from diseases in her childhood. When Alauddin's other daughter, Jahanara, got married, and a jealous mother-in-law burnt her Tambura, a shocked Alauddin Khan decided not to train his only other daughter Roshanara. One day, however, he came home to discover Annapurna teaching her brother Ali Akbar Khan, and her talent made the emotional father change his mind. Annapurna, since then, started learning classical vocal music, Sitar, and Surbahar from her father.

Early career

Annapurna Devi became a very accomplished Surbahar player of the Maihar Gharana (school) within a few years of starting to take music lessons from her father, and started guiding many of his father's disciples , Nikhil Banerjee and Bahadur Khan) in classical music as well as in the techniques and intricacies of instrumental performances. Meanwhile, Alauddin Khan's Sitar student Ravi Shankar fell in love with Annapurna and sought permission from Alauddin to marry his daughter (There is no documentary evidence of this statement, saying on the basis of Pandit Jotin Bhattacharya's two vol. Bengali book, Ustad Allauddin Khan o Aamraa. Marriage took place because of the eagerness and proposal of Uday Shankar.). The marriage between Ravi Shankar and Annapurna Devi took place when Ravi was 21 years, and Annapurna was only 14 years old. On marriage, she converted to Hinduism and received the name Annapurna from the Maharaja of Maihar . The marriage lasted more than two decades, and she gave birth to a son, Shubhendra Shankar (1942–1992), whom Annapurna Devi trained in Sitar. Shubhendra Shankar (or "Subho", as he was popularly known) had rigorous training in Sitar under the tutelage of his mother Annapurna Devi, but decided to opt for painting when he grew up and subsequently settled down in the USA. However, though Subho did not have a solo career in classical music, he used to assist his illustrious father Ravi Shankar in concerts all over the world.

In early life, both Ravi Shankar and Annapurna Devi have performed even duets in a number of concerts nationwide. But later, while Shankar decided to go out to perform the Sitar all over the world, Annapurna Devi increasingly chose to rest.

Teaching

Notable mentions among her students would be her nephew Sarod maestro Aashish Khan; Pandit Jotin Bhattachaarya received a lot of training from her; Biren Banejee of Howrah also received training from her; renowned flautists Pandit Hariprasad Chaurasia and Nityanand Haldipur; Sitarists Pandit Nikhil Banerjee received training from her, Chandrakant Sardeshmukh, the late Sudhir Phadke, and Professor Rooshikumar Pandya; and Sarodists Pradeep Barot, Amit Bhattacharya and Basant Kabra. The list of other occasional students includes Sandhya Apte (Sitar), Amit Hiren Roy (Sitar), Stuti Dey (Sarode), Uma Guha (Sarode), Milind Sheorey (Flute), and Kokila Rai, wife of the late Vasant Rai (Surbahar). All of them carry on the legacies of Annapurna Devi's, and thus Alauddin Khan's, music through their recitals.

She is also the key figure of Acharya Alauddin Music Circle (an association in the memory of the late Alauddin Khan for promoting Indian classical music), in Mumbai.

Honours

Though she refrained from taking music as her profession, she received utmost reverence in all circles of Indian classical music especially for her unending repertoire in Indian classical music, and her traditional "dhrupadi" approach to music. She has received some of the most distinguished musical and civilian honours of India. She is the recipient of, among many, the Padma Bhushan (India's third highest civilian honour) in 1977; and the Sangeet Natak Akademi Award (the highest Indian honour in performing arts) in 1991; and the Deshikottam which is an honorary doctorate degree by Nobel laureate poet Rabindranath Tagore's Visva-Bharati University in 1999. In the year 2004, the Sangeet Natak Akademi, the Government of India's highest organisation for promoting music and other fine arts, has appointed her a "Ratna" or jewel fellow (a lifetime honour).

She has not recorded any music albums. But some of her performances (notably, 1. Raga Kaushi Kanara and Raga Majh Khamaj, Surbahar recital; and 2. Raga Yaman duet Surbahar recital with Ravi Shankar) that have been secretly taped from her earlier (1950s) concerts, are non-commercially available among a percentage of music lovers in India.

In spite of her avoidance of media-limelight, she continues to be thought of as a classical instrumentalist of the highest calibre in India.

Footnotes and references

Unveiling the Mystique of a Reclusive Artiste, Jaya Ramanathan, The Hindu, 28 June 2005. Swapan Kumar Bondyopadhyay: An Unheard Melody: Annapurna Devi – an Authorised Biography, Roli, New Delhi, 2005. ISBN 81-7436-399-8.

External links

Annapurna Devi's music, Source: The Vijaya Parrikar Library of Indian Classical Music

Annapurna Devi by Mohan Nadkarni

;Video

Annapurna Devi, surbahar, Raag Manjh Khamaj, rare footage

Category:1927 births Category:Bengali musicians Category:Converts to Hinduism from Islam Category:Hindustani instrumentalists Category:Indian Hindus Category:Living people Category:Maihar Gharana Category:Recipients of the Padma Bhushan Category:People from Madhya Pradesh Category:Recipients of the Sangeet Natak Akademi Award Category:Recipients of the Sangeet Natak Akademi Fellowship Category:Bangladeshi former Muslims

Shafaatullah Khan is a tabla, sitar and surbahar player. He is the fourth (youngest) son of Imrat Khan.

Early life and career

In the rich history of Indian classical music, Shafaatullah Khan excels in performing on three different instruments Sitar, Surbahar and Tabla, thus distinguishing him from others in the Imdadkhani Gharana.

He began his career at an early age on sitar and surbahar under the tutelage of his father Ustad Imrat Khan. In addition, Shafaatullah also studied tabla under Ustad Ibrahim Khan, a well known master of the old and rare tabla compositions of various regions in India.

Performances

Shafaatullah debuted at the Kingslynn Festival in England at the age of 11 which was opened by the Queen Mother. He has subsequently performed live worldwide for the last 2 decades at such prestigious venues as the Acropolis, Athens; Royal Albert Hall, London; The Great Hall of the Kremlin, Moscow; Lincoln Center, New York; Suntory Hall, Tokyo; and the Smithsonian Institution, Washington D.C. His television credits include a program shared with Ray Charles on Bio-Bannholf in Germany, several BBC programs, interviews on TV Asia's 'Face to Face,' Philadelphia's FOX & WYBE networks, and many other telecasts worldwide.

Teaching

In addition to performing in numerous festivals and concerts, Shafaatullah Khan has also led lecture-demonstrations and conducted workshops at college campuses throughout the country, including Harvard University, UCLA, Haverford College, Bryn Mawr College, University of Vermont, University of New Hampshire, and Columbia University, and for SPICMACAY organizations in India and the US. At the invitation of the University of Pennsylvania, he taught at their Department of South Asian Regional Studies for three years. Shafaatullah has also been an Artist-in-Residence at Lafayette College in Easton, PA for two years.

Recordings

His various recordings are available on Nimbus, Edelweiss, EMI, Lyrichord, and Music of the World labels, in addition to many others. Recently he released a series of three CDs entitled The Rhythms of Nature, produced by Deepak Chopra, on which Shafaatullah performed on the sitar/surbahar, and accompanied himself on the tabla — a first in the history of Indian classical music.

References

External links

Shafaatullah Khan's website

Category:Etawah Gharana Category:Hindustani instrumentalists Category:Living people Category:Sitar players Category:Tabla players Category:Year of birth missing (living people)

Name	Naheed Akhtar
Birth name	Naheed Akhtar
Background	solo_singer
Origin	Multan, Punjab, Pakistan
Genre	Pakistani music
Occupation	singer
Years active	1974–1991
First film song	Kisi meharban ne aa ke meri zindgi..

Naheed Akhtar (or Nahid Akhtar) is a Pakistani playback singer. She was discovered by veteran musician M. Ashraf as a teenage sensation in the mid-1970s. Naheed Akhtar was a successful replacement for Runa Laila, who left Pakistan the same year. Her debut film was "Nanha Farishta" in 1974 and that year she climbed to the top with super hit songs in the film "Shama". Journalist Asif Ali Pota married her in the mid-1980s, when she left the film scene.

Naheed Akhtar is married to Jang Group's senior investigative journalist Asif Ali Pota.

About The Nightingale Of Pakistan Naheed Akhtar - http://anisshakur.tripod.com/id48.html

External links

Introduction to naheed Akhtar - Mazhar.dk

Naheed Akhtar's Songs - The Music.com

Category:Year of birth missing (living people) Category:Living people Category:Pakistani female singers Category:Pakistani singers

Imrat Khan (born 17 November 1935) is a leading sitar and surbahar player. He is the younger brother of sitar maestro Ustad Vilayat Khan.

Training and early career

Imrat was born in Calcutta into a family of musicians tracing its pedigree back for several generations, to the court musicians of the Mughal rulers. His father was Enayat Khan (1895–1938), recognised as a leading sitar and surbahar player of his time, as had been his grandfather, Imdad Khan (1848–1920), before him. His father died when Imrat was a child, so he was raised by his mother, Bashiran Begum and her father, singer Bande Hassan Khan. In 1944, the family moved with rising star Vilayat Khan, Imrat's elder brother, to Bombay where both the brothers learned extensively from uncle Wahid Khan, Enayat Khan's brother. Wahid Khan was one of the greatest surbahar players of his generation and a top-level sitar player, and taught Imrat on the instruments in the family style, known as the Imdadkhani gharana (school), or Etawah Gharana, after a village outside Agra where Imdad Khan lived.

In 1952 Vilayat and Imrat moved in together in Calcutta. They performed together for many years. From the 1960s onwards, Imrat has performed and recorded solo, playing both sitar and surbahar.

Solo career and legacy

For decades, Imrat has recorded extensively on both his instruments. His full performance practice starts with a surbahar alap in dhrupad ang (embellished with more romantic touches), followed by a shorter alap on the sitar leading into gat in traditional Imdadkhani style. (Sitar players such as Ravi Shankar and Nikhil Banerjee added bass strings to their sitars to achieve at least some of the surbahar's lower range on a single instrument).

He has toured to Europe, the Americas, and East and Southeast Asia. Surbahar players are rare today, and Imrat is the main living exponent.

Imrat has four sons, Nishat, Irshad, Wajahat and Shafaatullah, who are all classical musicians: Nishat plays the sitar, Wajahat concentrates on the sarod and Shafaatullah is accomplished on sitar, tabla, and surbahar. The surbahar tradition is largely upheld by Irshad (also a sitar player), who has made some very traditional solo recordings.

Imrat Khan currently spends a portion of each year teaching classical Indian music and instructing sitar students at Washington University in Saint Louis. In addition to his sons, Brian Jones of the Rolling Stones and George Harrison of The Beatles (who also studied under Ravi Shankar) have been some of his famous students.

References

External links

Official web site

Musical Career Summary

Category:1935 births Category:Etawah Gharana Category:Hindustani instrumentalists Category:Living people Category:Sitar players Category:Washington University in St. Louis faculty

Name	Amir Khusrow
Background	non_vocal_instrumentalist
Birth name	Ab'ul Hasan Yamīn al-Dīn Khusrow
Born	1253 Patiali, Etah, Uttar Pradesh, India
Died	1325 (aged 72)
Genre	Ghazal, Khayal, Qawwali, Rubai, Tarana
Occupation	Musician, Poet

Ab'ul Hasan Yamīn ud-Dīn Khusrow (1253-1325 CE) (; Hindi: ) , better known as Amīr Khusrow (also Khusrau, Khusro) Dehlawī (امیر خسرو دہلوی; ), was an Indian musician, scholar and poet. He was an iconic figure in the cultural history of the Indian subcontinent. A Sufi mystic and a spiritual disciple of Nizamuddin Auliya of Delhi, Amīr Khusrow was not only a notable poet but also a prolific and seminal musician. He wrote poetry primarily in Persian, but also in Hindavi.

He is regarded as the "father of qawwali" (the devotional music of the Indian Sufis). His poetry is still sung today at Sufi shrines throughout Pakistan and India.

Amir Khusrow was the author of a Khamsa which emulated that of the earlier poet of Persian epics Nezami Ganjavi. His work was considered to be one of the great classics of Persian poetry during the Timurid period in Transoxiana.

Amir Khusrow and the origins of the Sitar and the Tabla

Amir Khusrow is credited with fashioning the tabla as a split version of the traditional Indian drum, the pakhawaj.

Popular lore also credits him with inventing the sitar, the Indian grand lute, but it is possible that the Amir Khusrow associated with the sitar lived in the 18th century (he is said to be a descendant of the son-in-law of Tansen, the celebrated classical singer in the court of the Mughal Emperor Akbar). See Origin Of Sitar and About Sitars.

Some samples of Khusrow 's poetry

Persian poems

Kafir-e-ishqam musalmani mara darkaar neest Har rag-e mun taar gashta hajat-e zunnaar neest; Az sar-e baaleen-e mun bar khez ay naadaan tabeeb Dard mand-e ishq ra daroo bajuz deedaar neest; Nakhuda dar kashti-e maa gar nabashad goo mubaash Ma khuda daareem mara nakhuda dar kaar neest; Khalq migoyad, ki Khusrau butparasti mikunad Aare-aare mikunam, ba khalq mara kaar neest.

I am a pagan (worshiper) of love: the creed (of Muslims) I do not need; Every vein of mine has become taut like a wire; the (Hindu) 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 does he need. If there be no pilot on our ship, let there be none: We have God in our midst: the pilot we do not need. The people of the world say that Khusrau worships idols. So I do, so I do; the people I do not need, the world I do not need.

Hindavi couplets

ख़ुसरो दरिया प्रेम का, उलटी वा की धार, जो उभरा सो डूब गया, जो डूबा सो पार.

Khusro dariya prem ka, ulṭī vā kī dhār, Jo ubhrā so ḍūb gayā, jo ḍūbā so pār.

Khusro! the river of love has a reverse flow He who floats up will drown (will be lost), and he who drowns will get across.

सेज वो सूनी देख के रोवुँ मैं दिन रैन, पिया पिया मैं करत हूँ पहरों, पल भर सुख ना चैन. Sej vo sūnī dekh ke rovun main din rain, Piyā piyā main karat hūn pahron, pal bhar sukh nā chain.

Seeing the empty bed I cry night and day Calling for my beloved all day, not a moment's happiness or rest.

Hindavi poems

छाप तिलक सब छीनी रे मोसे नैना मिलाइके बात agam कह दीनी रे मोसे नैना मिलाइके प्रेम भटी का मदवा पिलाइके मतवारी कर लीन्ही रे मोसे नैना मिलाइके गोरी गोरी बईयाँ, हरी हरी चूड़ियाँ बईयाँ पकड़ हर लीन्ही रे मोसे नैना मिलाइके बल बल जाऊं मैं तोरे रंग रजवा अपनी सी रंग दीन्ही रे मोसे नैना मिलाइके खुसरो निजाम के बल बल जाए मोहे सुहागन कीन्ही रे मोसे नैना मिलाइके छाप तिलक सब छीनी रे मोसे नैना मिलाइके बात अजब कह दीनी रे मोसे नैना मिलाइके

Chhāp tilak sab chīnī re mose nainā milāike Bāt agam keh dīnī re mose nainā milāike Prem bhaṭī kā madvā pilāike Matvālī kar līnhī re mose nainā milāike Gorī gorī baīyān, harī harī chuṛiyān baīyān pakaṛ har līnhī re mose nainā milāike Bal bal jāūn main tore rang rajvā Apnī sī kar līnhī re mose nainā milāike Khusro Nijām ke bal bal jaiye Mohe suhāgan kīnhī re mose nainā milāike Bāt adham keh dīnī re mose nainā milāike

You've taken away my looks, my identity, by just a glance. By making me drink the wine from the distillery of love You've intoxicated me by just a glance; My fair, delicate wrists with green bangles in them, Have been held tightly by you with just a glance. I give my life to you, Oh my cloth-dyer, You've dyed me in yourself, by just a glance. I give my whole life to you Oh, Nijam, You've made me your bride, by just a glance.

Hindavi riddles

Nar naari kehlaati hai, aur bin warsha jal jati hai; Purkh say aaway purkh mein jaai, na di kisi nay boojh bataai.

Is known by both masculine and feminine names, And lightens up (or burns up) without rain; Originates from a man and goes into a man, But no one has been able to guess what it is.

Answer: Nadi (Stream)

Pawan chalat weh dehe badhavay Jal peevat weh jeev ganvavay Hai weh piyari sundar naar, Naar nahin par hai weh naar.

With the blow of wind she flares up, And dies as soon as she drinks water; Even though she is a pretty woman, She’s not a woman, though she’s feminine.

Answer: Aag (Fire)

Unique Multi-lingual Poem

Note:

Green = Persian

Blue = Brij Bhasha

Zeehaal-e miskeen makun taghaful, duraye naina banaye batiyan; ki taab-e hijran nadaram ay jaan, na leho kaahe lagaye chhatiyan.

Shaban-e hijran daraz chun zulf wa roz-e waslat cho umr kotah; Sakhi piya ko jo main na dekhun to kaise kaatun andheri ratiyan.

Yakayak az dil do chashm-e jadoo basad farebam baburd taskin; Kise pari hai jo jaa sunaave piyare pi ko hamaari batiyan.

Cho shama sozan cho zarra hairan hamesha giryan be ishq aan meh; Na neend naina na ang chaina Na aap aaven na bhejen patiyan.

Bahaqq-e roz-e wisal-e dilbar ki daad mara ghareeb Khusrau; Sapet man ke waraaye raakhun jo jaaye paaon piya ke khatiyan.

Meaning

The phrase "Zeehaal-e-miskeen" comes from a poem of Amir Khusrow. The unique thing about this poem is that it is a macaronic, written in Persian and Brij Bhasha. In the first verse, the first line is in Persian, the second in Brij Bhasha, the third in Persian again, and the fourth in Brij Bhasha. In the remaining verses, the first two lines are in Persian, the last two in Brij Bhasha. The poem showcases Amir Khusrau's mastery over both languages. The English translation is:

Do not overlook my misery Blandishing your eyes, and weaving tales; My patience has over-brimmed, O sweetheart, Why do you not take me to your bosom.

The nights of separation are long like tresses, The day of our union is short like life; When I do not get to see my beloved friend, How am I to pass the dark nights?

Suddenly, as if the heart, by two enchanting eyes Is beset by a thousand deceptions and robbed of tranquility; But who cares enough to go and report To my darling my state of affairs?

The lamp is aflame; every atom excited I roam, always, afire with love; Neither sleep to my eyes, nor peace for my body, neither comes himself, nor sends any messages

In honour of the day of union with the beloved who has lured me so long, O Khusrau; I shall keep my heart suppressed, if ever I get a chance to get to his place.

Works

Tuhfa-tus-Sighr (Offering of a Minor) his first divan, contains poems composed between the age of 16 and 19

Wastul-Hayat (The Middle of Life) his second divan, contains poems composed at the peak of his poetic career

Ghurratul-Kamaal (The Prime of Perfection) poems composed between the age of 34 and 43

Baqia-Naqia (The Rest/The Miscellany) compiled at the age of 64

Qissa Chahar Darvesh The Tale of the Four Dervishes

Nihayatul-Kamaal (The Height of Wonders) compiled probably a few weeks before his death.

Qiran-us-Sa’dain (Meeting of the Two Auspicious Stars) Mathnavi about the historic meeting of Bughra Khan and his son Kyqbad after long enmity (1289)

Miftah-ul-Futooh (Key to the Victories) in praise of the victories of Jalaluddin Firuz Khilji (1291)

Ishqia/Mathnavi Duval Rani-Khizr Khan (Romance of Duval Rani and Khizr Khan) a tragic love poem about Gujarat’s princess Duval and Alauddin’s son Khizr (1316)

Noh Sepehr Mathnavi. (Mathnavi of the Nine Skies) Khusrau’s perceptions of India and its culture (1318)

Tarikh-i-Alai ('Times of Alai'- Alauddin Khilji)

Tughluq Nama (Book of the Tughluqs) in prose (1320)

Khamsa-e-Nizami (Khamsa-e-Khusrau) five classical romances: Hasht-Bahisht, Matlaul-Anwar, Sheerin-Khusrau, Majnun-Laila and Aaina-Sikandari

Ejaaz-e-Khusrovi (The Miracles of Khusrau) an assortment of prose compiled by himself

Khazain-ul-Futooh (The Treasures of Victories) one of his more controversial books, in prose (1311–12)

Afzal-ul-Fawaid utterances of Nizamuddin Auliya

Ḳhāliq Bārī a versified glossary of Persian, Arabic, and Hindawi words and phrases attributed to Amir Khusrau, but most probably written in 1622 in Gwalior by Ẓiyā ud-Dīn Ḳhusrau

Jawahar-e- Khusrovi often dubbed as the Hindawi divan of Khusrau

References

E.G. Browne. Literary History of Persia. (Four volumes, 2,256 pages, and twenty-five years in the writing). 1998. ISBN 0-7007-0406-X

Jan Rypka, History of Iranian Literature. Reidel Publishing Company. ASIN B-000-6BXVT-K

Shīrānī, Ḥāfiż Mahmūd. “Dībācha-ye duvum [Second Preface].” In Ḥifż ’al-Lisān (a.k.a. Ḳhāliq Bārī), edited by Ḥāfiż Mahmūd Shīrānī. Delhi: Anjumman-e Taraqqi-e Urdū, 1944.

Further reading

Important Works of Amir Khusrau (Complete)

The Khaza'inul Futuh (Treasures of Victory) of Hazarat Amir Khusrau of Delhi English Translation by Muhammad Habib (AMU). 1931.

Poems of Amir Khusrau The History of India, as Told by Its Own Historians: The Muhammadan Period, by Sir H. M. Elliot. Vol III. 1866-177. page 523-566.

Táríkh-i 'Aláí; or, Khazáínu-l Futúh, of Amír Khusrú The History of India, as Told by Its Own Historians: The Muhammadan Period, by Sir H. M. Elliot. Vol III. 1866-177. ''Page:67-92.

Bibliography

External links

Amir Khusro Website

See also

Indian literature

Urdu literature

List of Persian poets and authors

List of Urdu poets

Urdu poetry

Category:Urdu poets Category:Indian poets Category:Indian Muslims Category:Persian poets Category:Indian Sufis Category:Sufi poets Category:Delhi Sultanate Category:Muslim writers Category:Performers of Sufi music Category:Hindi poets Category:Medieval writers Category:1253 births Category:1325 deaths Category:Chishti Order Category:People from Etah Category:Macaronic language