The Klari Futh of Amir Khusrat has often been referred to by the later historians of India. Sir Syed Ahmad Khin has quoted it in the second volume of his Axir-es-Sanadid and even Sir Henry Elliot has noticed it in the third volume of his History of India as told by her own Historians. But I doubt if in the six hundred years that have elapsed since its author’s death any one has cared to study the work with the care it deserves. Kamarau’s immortal reputation as the greatest of Indo-Persian poets, was founded essentially on his depth of feeling, his lyrie gift and his supremely attractive personality. Scholar, mystic, philosopher, poet, soldier and politician, few people have been able to bring such diverse attributes together. It was the same with his poetry. He composed verses in Arabic, Hindi and Persian and in the Persian language, to which the mass of his work , he tried his hands at every kind of verse and every forms of metro. He was a musician also, and in one of the lines quoted by Daulat Shah in his Tankirata’ Shu’arü, Khusran claims that his musical compositions, it they could be written, would be as voluminous as his verses. Many poets of equal eminence have lived in obscurity and want; but Khusrau was born to fame and had no difficulty in obtaining recognition from his contemporaries.