Khusrau compiled his first diwan Tuhfat-us-Sighar. In this qasidas are in praise of Sultan Ghiyasuddin Balban and his son Prince Muhammad Khan Nasiruddin, the Martyr Prince. The diwan also contains a very interesting poem (dirge) on the demise of two birds, pets of the poet. It also has a short masnavi - Shikayatnama Mominpur describing his unpleasant experience and dislike of the place.
“It is all due to my misfortune that I happen to be here, otherwise, Patiali was not the proper place where Sultani should have stayed. My place was Qubbat-al-Islam, a Qiblah of the Kings of the seven climes, That place is Dehli, which is the twin sister of the holy paradise and a true copy of the Arsh (throne of God or the highest heaven) on the page of the earth.”


Khusrau completed his second diwan Wasat-ul-Hayat in which there are qasidas in praise of God, the Prophet, Nizamuddin Auliya, on Balban, Kaiqubad, Bughra Khan, Ikhtiyaruddin Kishli Khan, Shamsuddin Dabir, Tajuddin Alp bin Azhar, Jalaluddin Firuz Shah Khalji etc. He wrote a marsiya (elegy) on the demise of Sultan Mohammad shahed called Khan-e-Shaheed A folio from Khayalat-i-Amir Khusrau Folios ; Ms. Acc. No. 784.8 Collection: Banaras Hindu University, Varanasi
“I tied the belt of service on my waist and put on the cap of companionship. For another five years I imparted lustre to the waters of Multan from the ocean of my wits and pleasentries.”
Detail of a illuminated folio of Qiran-us-Sa’dain Folios 193b; Ms. Acc. No. W623.000390.300 Collection: Walters Art Museum, Baltimore


In Qiran-us-Sa’dain, Khusrau describes the cultural role of Delhi, its magnificent buildings and the gardens. He then describes the events of the reign of Kaiqubad, the peace that prevailed in Delhi till the news of the march of Sultan’s father Bughra Khan from Lakhnauti and their meeting at Awadh. Qiran-us-Sa’dain also tells us that he had profound knowledge of astronomy. He has elonquently described the planets, stars, zodiacs, lunar mansions and other astrological aspects as much as permitted by rhyme, rythm and meter.


MIftah-ul-Futuh is a detailed account of the
accession of Jalaluddin Khalji and of his military achievements.
Khusrau explains the early career of his hero before
his arrival in India. His work is free of flattery and
describes the events as they occured. Khusrau
accompanied the Sultan on his expeditions and describes the topography of the region, rivers, barren
deserts and beauty of Jhain’s palace. Khusrau’s verse,
inspite of its rhyme and metre doesn’t lack simplicity.

“The king of the world, Jalal-ud-Din , in reward for my infinite pain, which I undertook in composing verses, bestowed upon me an unimaginable treasure of wealth.”


Duwal Rani Khizr Khan This masnavi has for its story the love-affairs of Duwal Dei, the daughter of Karan Rai of Gujarat, with Khizr Khan, the son of Alauddin Khalji and Malka-e- Jahan, fell in love with Duwal Dei and wanted to marry her. But Malka-e-Jahan did not want this marriage to take place. Anyhow, in spite of all the hurdles, prince Khizr Khan was at last married to Duwal Dei.


Khazain-ul-Futuh is a detailed history of the reign of Sultan Alauddin Khalji from the time he was the governor of Kara. The work was written in an ornate style to draw the attention of the King for reward, which he had promised.


Amir Khusrau’s khamsa contains the five versified narratives in line with Nizami’s work. To distinguish his work he titled them - Matla-ul-Anwar, Shirin wa Khusrau, Majnun wa Layla, Aina-i-Sikandari, and Hasht-Bihisht. While Nizami’s work was exquisitely crafted with beautiful language and subtle thoughts over many years, Amir Khusrau’s khamsa was completed within three years - in fast paced light-hearted narrative, wordplay and double meaning phrases and words.


In Nuh Sipihr, Khusrau chronicled all the conquests and achievements that Sultan Qutbuddin Shah had made in the early years of his reign. Khusrau has presented many aspects of Indian culture, philosophy, sciences along with that of music and horoscopes of his son.


I’jaz-i-Khusravi means miracles performed by Khusrau and provides glimpses into the social life of Khusrau’s times while being autobiographical at times.


Ghurrat-ul-Kamal was also written around this time. It is the most comprehensive one in which he has expressed his dislike for pedagogic type of poetry, and also described a number of literary artifices.


Baqiya Naqiya was completed after the death of Alauddin Khalji. There are a large number of ghazals in this diwan along with a few riddles.


In the last year of his life, Khusrau compiled his fifth and last diwan, known as Nihayatul Kamal. It contains some good qasidas and a few important elegies of historical importance, particularly, the one, which he had composed on the death of his son, Khwaja Haji. “O! the soldier. do not go tarry till I reach you. You have not left behind any indication of the place you are proceeding to or of the final destination nor any account of the mile-stones, falling in the path of your journey. That recitation of a ghazal (in the Jama't Khana) has become a commemorative event of your life. What a recitation it was. It made the audience go mad in ecstacy.”