The first writer to use Urdu as the medium of poetic expression was

1. Evolution of Vernacular Languages in Medieval India (basic)

To understand the literature of Medieval India, we must first understand the evolution of vernacular languages—the transition from the elite, formal Sanskrit of the ancient period to the vibrant, regional 'tongues of the people.' While the Gupta period was the golden age of Sanskrit grammar and lexicons like the Amarakosa History, class XI (Tamilnadu state board 2024 ed.), The Guptas, p.99, the medieval era saw a shift. Languages began to diverge from Apabhramsa (the late stage of Middle Indo-Aryan languages) into distinct regional identities. For instance, Odiya emerged from old Apabhramsa while enriching itself with Sanskrit vocabulary, and Assamese developed its own unique grammar and pronunciation Geography of India, Majid Husain, Cultural Setting, p.50.

The primary catalyst for this linguistic flowering was the Bhakti and Sufi movements. Devotional saints realized that to reach the heart of the common man, they had to speak his language. In South India, a wave of Tamil devotionalism led by the Nayanmars and Azhwars simplified the Tamil language by setting hymns to music, bringing local ethos into the mainstream History, class XI (Tamilnadu state board 2024 ed.), Cultural Development in South India, p.130. Similarly, in the North, the synthesis of Persian and local dialects gave birth to Hindavi (an early ancestor of Urdu and Hindi). The legendary poet Amir Khusrau was a pioneer here; he used this 'mixed speech' for sufi poetry and introduced forms like the qaul in Qawwali, bridging the gap between Persian courtly culture and Indian folk traditions THEMES IN INDIAN HISTORY PART II, NCERT 2025 ed., Chapter 6, p.158.

This evolution wasn't just linguistic; it was geographical. By the late medieval period, the map of India was a mosaic of linguistic regions—from Gujarati in the west to Bengali in the east, and Kannada, Telugu, and Malayalam in the south Geography of India, Majid Husain, Cultural Setting, p.48. These languages became the primary vehicles for the great literary works we will study in the coming hops.

Language Category	Primary Influence/Source	Key Evolutionary Driver
Indo-Aryan (North/East/West)	Sanskrit & Apabhramsa	Sufi synthesis (e.g., Hindavi) and Bhakti poetry.
Dravidian (South)	Ancient Roots (e.g., Tamil)	Bhakti movement (Nayanmars/Azhwars) and temple culture.

Sources: History, class XI (Tamilnadu state board 2024 ed.), The Guptas, p.99; Geography of India, Majid Husain, Cultural Setting, p.50; History, class XI (Tamilnadu state board 2024 ed.), Cultural Development in South India, p.130; THEMES IN INDIAN HISTORY PART II, NCERT 2025 ed., Chapter 6: Bhakti-Sufi Traditions, p.158; Geography of India, Majid Husain, Cultural Setting, p.48

2. Courtly Literature of the Delhi Sultanate (intermediate)

The literature of the Delhi Sultanate (1206–1526) represents a fascinating synthesis of Persian traditions and Indian cultural elements. Persian served as the official language of the court and administration, leading to the creation of extensive chronicles that documented the reigns of the Sultans. Notable among these were Al-Beruni’s Tarikh-Al-Hind, which explored Indian religion and philosophy, and Minhaj us Siraj’s Tabaqat-i-Nasiri (1260), which provided a history of the Islamic world up to the early Sultanate period History class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.136. These works, while often hyperbolic in their praise of rulers, are essential for understanding the political intrigues and military campaigns of the era, such as Ziauddin Barani’s Tarikh-i-Firoz Shahi, which detailed the history of the Sultanate up to the time of Firuz Shah Tughlaq History class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.141.

The most iconic figure of this literary age was Amir Khusrau (1253–1325), often called the 'Parrot of India.' Khusrau was a prolific court poet who served multiple Sultans, writing works like Mifta Ul Futuh (on Jalal-ud-din Khalji) and Tughlaq Nama (on the Tughlaq dynasty) History class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.136. More importantly, he was a linguistic pioneer. He was the first major poet to blend Persian with Hindavi (early Urdu/Hindi), using the vernacular to create a unique form of devotional music known as Qawwali, specifically the qaul History CLASS XII (NCERT 2025 ed.), Chapter 6: Bhakti-Sufi Traditions, p.158. This cross-pollination enriched the courtly culture, moving it beyond purely foreign origins toward a rooted Indo-Islamic identity.

Furthermore, the Sultanate period saw a massive effort to translate Sanskrit classics into Persian, effectively bridging two great intellectual worlds. For example, Zia Nakshabi translated a collection of Sanskrit stories into Persian titled Tuti Namah (The Book of Parrots) History class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.152. To facilitate this exchange, scholars even compiled Persian dictionaries, such as Farhang-i-Qawas, which included Hindavi equivalents for Persian words. This intellectual curiosity extended to major Indian epics like the Mahabharata and historical texts like the Rajatarangini, which were translated into Persian to make Indian heritage accessible to the Persian-speaking elite History class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.152.

Work	Author	Significance
Tabaqat-i-Nasiri	Minhaj us Siraj	Early World Islamic and Sultanate history.
Tarikh-i-Firoz Shahi	Ziauddin Barani	Major historical source for the Khalji and Tughlaq eras.
Tuti Namah	Zia Nakshabi	Sanskrit stories translated into Persian.
Tughlaq Nama	Amir Khusrau	Poetic history of the Tughlaq dynasty.

Sources: History class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.136, 141, 152; History CLASS XII (NCERT 2025 ed.), Chapter 6: Bhakti-Sufi Traditions, p.158

3. Sufism and the Language of the Masses (intermediate)

To understand the literary landscape of medieval India, we must first recognize that while Persian was the language of the court and administration, it was not the language of the street. Sufi saints, aiming to spread their message of divine love and social harmony, realized that to reach the heart of the common man, they had to speak his tongue. This led to a remarkable linguistic synthesis, where Sufi shrines became melting pots for the evolution of regional languages, most notably Hindavi (an early form of Hindi/Urdu).

Amir Khusrau (1253–1325) stands as the most iconic figure in this transition. Though a master of Persian, he is celebrated as the first major poet to use the vernacular Hindavi for poetic expression. He didn't just write poetry; he innovated musical forms like the qaul (a hymn) used in qawwali, which blended local dialects with Persian motifs Themes in Indian History Part II, Bhakti-Sufi Traditions, p.158. This accessibility ensured that Sufi teachings weren't confined to scholarly circles but resonated through the sama' (musical gatherings) and ziyarat (pilgrimage to shrines) attended by people of all social backgrounds Themes in Indian History Part II, Bhakti-Sufi Traditions, p.155.

This trend was not limited to Delhi. Sufis across India adopted local idioms to explain complex spiritual concepts through simple allegories. For instance:

• Baba Farid: Composed verses in the local Punjabi dialect, which were so deeply resonant that they were later incorporated into the Guru Granth Sahib Themes in Indian History Part II, Bhakti-Sufi Traditions, p.158.
• Malik Muhammad Jayasi: Utilized the prem-akhyan (love story) tradition in Awadhi. His famous work, Padmavat, used the romance between Padmini and Ratansen as a symbolic allegory for the human soul’s arduous journey toward the Divine Themes in Indian History Part II, Bhakti-Sufi Traditions, p.158.

Sufi Poet	Language/Dialect	Literary Contribution/Style
Amir Khusrau	Hindavi / Persian	Qaul, Qawwali, and folk poetry
Baba Farid	Punjabi	Devotional verses (Shaloks)
Malik Muhammad Jayasi	Awadhi	Prem-akhyan (Epic Allegories)

Through these efforts, Sufism played a role in Islam similar to the Bhakti movement in Hinduism—acting as a bridge for cultural syncretism and making spiritual knowledge a public good rather than an elite privilege History Class XI (Tamilnadu State Board), Cultural Syncretism: Bhakti Movement in India, p.192.

Sources: Themes in Indian History Part II, Bhakti-Sufi Traditions, p.155, 158; History Class XI (Tamilnadu State Board), Cultural Syncretism: Bhakti Movement in India, p.192

4. The Bhakti Movement and Linguistic Diversity (intermediate)

The Bhakti movement was not just a religious reform; it was a linguistic revolution. Before this era, spiritual knowledge was largely locked in Sanskrit, a language accessible primarily to the priestly class. The Bhakti poet-saints broke this monopoly by composing their hymns in the vernacular—the regional languages spoken by the common people. This shift was intentional. By using local dialects, these saints could bypass traditional intermediaries and reach women and 'lower castes'—groups often excluded from orthodox Brahmanical frameworks THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.), Chapter 6: Bhakti-Sufi Traditions, p.143. This democratisation of language allowed for a 'spirit of oneness' to emerge, as seen among the Marathas through the works of Tukaram, Ramdas, and Eknath, whose Marathi hymns created a social bond that transcended caste lines History, class XI (Tamilnadu state board 2024 ed.), The Marathas, p.225. One of the most fascinating examples of this linguistic synthesis is the work of Amir Khusrau (1253–1325). While he was a master of Persian, he is celebrated as the earliest poet to use Hindavi (an early form of Urdu/Hindi) for poetic expression. He famously introduced the qaul—a foundational form of Qawwali—which blended Persian with local speech, creating a unique syncretic medium for Sufi devotion THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.), Chapter 6: Bhakti-Sufi Traditions, p.158. This shows that the movement wasn't just about regional pride, but about creating new, shared languages that reflected the diverse cultural landscape of Medieval India. Furthermore, these linguistic traditions were highly mobile. Saint Namadeva, a tailor from Maharashtra and a devotee of Vithala, composed Abhangs (devotional songs) in both Marathi and Hindi. His influence was so profound that his teachings travelled as far as Punjab, where they were eventually incorporated into the Guru Granth Sahib History, class XI (Tamilnadu state board 2024 ed.), Cultural Syncretism: Bhakti Movement in India, p.194. This illustrates how the Bhakti movement served as a bridge between different linguistic regions, fostering a pan-Indian spiritual consciousness.

Saint	Region/Language	Key Contribution
Namadeva	Maharashtra (Marathi/Hindi)	Composed Abhangs; teachings reached Punjab.
Amir Khusrau	North India (Persian/Hindavi)	Father of Qawwali; used early Urdu for Sufi poetry.
Tukaram	Maharashtra (Marathi)	Promoted social equality through devotional hymns.

Sources: THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.), Chapter 6: Bhakti-Sufi Traditions, p.143, 158; History, class XI (Tamilnadu state board 2024 ed.), Cultural Syncretism: Bhakti Movement in India, p.194; History, class XI (Tamilnadu state board 2024 ed.), The Marathas, p.225

5. The Birth of 'Hindavi' and Early Urdu (exam-level)

The birth of Hindavi (the precursor to modern Urdu and Hindi) represents one of the most beautiful examples of India's composite culture, or Ganga-Jamuni Tehzeeb. It emerged as a bridge language during the 13th century when the Persian-speaking ruling elite of the Delhi Sultanate interacted with the local population speaking various Prakrit-derived dialects like Khari Boli, Braj Bhasha, and Haryanvi. While Persian remained the formal language of the court, the need for a common medium of communication in the markets, Sufi shrines, and military camps led to the birth of a language with Indo-Aryan grammar but a vocabulary enriched by Persian, Arabic, and Turkic loanwords.

The pioneer of this literary tradition was the legendary Sufi poet Amir Khusrau (1253–1325). He was the first major scholar to consciously use this emerging speech, which he called Hindavi or Dahlavi, for poetic and devotional expression. Khusrau’s genius lay in his ability to blend Persian aesthetics with Indian themes. He is credited with introducing the qaul—a hymn or utterance used in Qawwali—which often utilized this mixed speech to reach a wider audience Themes in Indian History Part II, Bhakti-Sufi Traditions, p.158. Unlike the high Persian of the court, Khusrau's Hindavi was the language of the folk, visible in his riddles (paheliyan) and folk songs that are still sung today.

By the 18th century, this language began to be known as Urdu (derived from the Turkic word Ordu meaning 'camp'). It gradually transitioned from a commoner's tongue to a sophisticated medium of social intercourse among the upper classes of northern India Modern India (Old NCERT), Indian States and Society in the 18th Century, p.42. While Hindavi initially used various scripts, Urdu eventually stabilized using the Perso-Arabic script, distinguishing it from Hindi which adopted the Devanagari script Geography of India, Cultural Setting, p.49. It is crucial to remember that while 19th-century giants like Mirza Ghalib brought Urdu poetry to its zenith, the foundation was laid five centuries earlier by the 'Tut-i-Hind' (Parrot of India), Amir Khusrau.

Sources: Themes in Indian History Part II, Bhakti-Sufi Traditions, p.158; Modern India (Old NCERT), Indian States and Society in the 18th Century, p.42; Geography of India, Cultural Setting, p.49

6. Amir Khusrau: The Tuti-e-Hind (Parrot of India) (exam-level)

Amir Khusrau (1253–1325) stands as a monumental figure in Indian history, often called the Tuti-e-Hind (Parrot of India). He was a polymath — a poet, musician, and a devoted disciple of the Sufi saint Shaikh Nizamuddin Auliya. Khusrau is perhaps most significant for being a cultural bridge; he was one of the first major poets to write in Hindavi (an early form of Urdu/Hindi), blending Persian structures with local Indian vocabulary. While later figures like Mirza Ghalib would dominate the 19th century, Khusrau laid the very foundation of this linguistic tradition in the 13th and 14th centuries THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.), Bhakti-Sufi Traditions, p.158. Beyond literature, Khusrau revolutionized Indian music. He is credited with introducing the qaul — an Arabic word meaning "saying" — which is a hymn sung at the opening or closing of a qawwali session. This gave the Chishti sama' (musical gathering) a unique identity that persists today in Sufi shrines across the subcontinent THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.), Bhakti-Sufi Traditions, p.158. His patriotism was equally profound; in his work Nu Siphr ('Nine Skies'), he passionately praised India’s climate, its flowers, its music, and even its languages, specifically mentioning the beauty of Sanskrit History, class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.152. Khusrau also served as a court poet to several Sultans, documenting their military successes and reigns in Persian verse. His historical works provide us with vital primary accounts of the Delhi Sultanate’s expansion.

Work	Subject Matter / Significance
Nu Siphr	Praise of India's culture, languages, and environment.
Khazain-ul-Futuh	Records the victories of Alauddin Khalji.
Tughlaq Nama	History of the Tughlaq dynasty.
Qaul	The foundational musical form of the Qawwali.

History, class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.136.

Sources: THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.), Bhakti-Sufi Traditions, p.158; History, class XI (Tamilnadu state board 2024 ed.), Advent of Arabs and Turks, p.136, 152

7. Solving the Original PYQ (exam-level)

Now that you have explored the evolution of the Sultanate period and the synthesis of Indo-Islamic culture, this question brings those building blocks together. You have learned how the interaction between Persian-speaking elites and local populations led to the birth of Hindavi—the linguistic ancestor of modern Urdu and Hindi. When the UPSC asks for the first writer to use this medium, they are testing your ability to identify the historical "inflection point" where vernacular speech first transitioned from common street parlance into the realm of high literature and Sufi devotion.

To arrive at the correct answer, you must look for the figure who bridges the gap between the 13th and 14th centuries. Amir Khusru (1253–1325) is the definitive choice because he pioneered the use of a mixed linguistic style. As highlighted in THEMES IN INDIAN HISTORY PART II (NCERT 2025 ed.), he introduced forms like the qaul in qawwali, blending Persian with the local vernacular. By identifying Khusru as the "root," you distinguish the origin of the language from its later classical refinement.

UPSC often uses temporal traps by listing figures who are more famous for the language's peak rather than its start. Mirza Ghalib and Bahadur Shah Zafar (Option B and C) are 19th-century figures who represent the Mughal zenith and decline, as detailed in Modern India by Bipin Chandra (Old NCERT). Similarly, Faiz (Option D) is a 20th-century modern poet. The trick is to not let the cultural prominence of Ghalib distract you from the chronological priority of Amir Khusru, who was writing five centuries earlier.