The encounter between Muslim and Hindu remains one of the defining issues of South Asian society today. This encounter began as early as the 8th century, and the first Muslim kingdom in India would be established at the end of the 12th century. This powerful kingdom, the Sultanate of Delhi, eventually reduced to vassalage almost every independent kingdom on the subcontinent. In Love's Subtle Magic, a remarkable and deeply original book, Aditya Behl uses a little-understood genre of Sufi literature to paint an entirely new picture of the evolution of Indian culture during the earliest period of Muslim domination. These curious romantic tales transmit a deeply serious religious message through the medium of lighthearted stories of love. Although composed in the Muslim courts, they are written in a vernacular Indian language. Until now, they have defied analysis, and been mostly ignored by scholars east and west. Behl shows that the Sufi authors of these charming tales purposely sought to convey an Islamic vision via an Indian idiom. They thus constitute the earliest attempt at the indigenization of Islamic literature in an Indian setting. More important, however, Behl's analysis brilliantly illuminates the cosmopolitan and composite culture of the Sultanate India in which they were composed. This in turn compels us completely to rethink the standard of the opposition between Indian Hindu and foreign Muslim and recognize that the Indo-Islamic culture of this era was already significantly Indian in many important ways.

The encounter between Muslim and Hindu remains one of the defining issues of South Asian society today. It began as early as the 8th century, and the first Muslim kingdom in India, the Sultanate of Delhi, was established at the end of the 12th century. This power eventually reduced to vassalage almost every independent kingdom on the subcontinent. In Love's Subtle Magic, a remarkable and highly original book, Aditya Behl uses a little-understood genre of Sufi literature to paint an entirely new picture of the evolution of Indian culture during the earliest period of Muslim domination. These curious romantic tales transmit a profound religious message through the medium of adventurous stories of love. Although composed in the Muslim courts, they are written in a vernacular Indian language and involve Hindu yogis, Hindu princes and princesses, and Hindu gods. Until now, they have defied analysis. Behl shows that the Sufi authors of these charming tales sought to convey an Islamic vision via an Indian idiom. They thus constitute the earliest attempt at the indigenization of Islamic literature in an Indian setting. More important, however, Behl's analysis brilliantly illuminates the cosmopolitan and composite culture of the Sultanate India in which they were composed. This in turn compels us completely to rethink the standard of the opposition between Indian Hindu and foreign Muslim and recognize that the Indo-Islamic culture of this era was already significantly Indian in many important ways.

Mirigavati or The Magic Doe is the work of Shaikh Qutban Suhravardi, an Indian Sufi master who was also an expert poet and storyteller attached to the glittering court-in-exile of Sultan Husain Shah Sharqi of Jaunpur. Composed in 1503 as an introduction to mystical practice for disciples, this powerful Hindavi or early Hindi Sufi romance is a richly layered and sophisticated text, simultaneously a spiritual enigma and an exciting love-story full of adventures. The Mirigavati is both an excellent introduction to Sufism and one of the true literary classics of pre-modern India, a story that draws freely on the large pool of Indian, Islamic, and European narrative motifs in its distinctive telling of a mystical quest and its resolution. Adventures from the Odyssey and the voyages of Sindbad the Sailor-sea voyages, encounters with monstrous serpents, damsels in distress, flying demons and cannibals in caves, among others-surface in Suhravardi's rollicking tale, marking it as first-rate entertainment for its time and, in private sessions in Sufi shrines, a narrative that shaped the interior journey for novices. Before his untimely death in 2009, Aditya Behl had completed this complete blank verse translation of the critical edition of the Mirigavati, which reveals the precise mechanism and workings of spiritual signification and use in a major tradition of world and Indian literature.

Mirigavati or The Magic Doe is the work of Shaikh Qutban Suhravardi, an Indian Sufi master who was also an expert poet and storyteller attached to the glittering court-in-exile of Sultan Husain Shah Sharqi of Jaunpur. Composed in 1503 as an introduction to mystical practice for disciples, this powerful Hindavi or early Hindi Sufi romance is a richly layered and sophisticated text, simultaneously a spiritual enigma and an exciting love-story full of adventures. The Mirigavati is both an excellent introduction to Sufism and one of the true literary classics of pre-modern India, a story that draws freely on the large pool of Indian, Islamic, and European narrative motifs in its distinctive telling of a mystical quest and its resolution. Adventures from the Odyssey and the voyages of Sindbad the Sailor-sea voyages, encounters with monstrous serpents, damsels in distress, flying demons and cannibals in caves, among others-surface in Suhravardi's rollicking tale, marking it as first-rate entertainment for its time and, in private sessions in Sufi shrines, a narrative that shaped the interior journey for novices. Before his untimely death in 2009, Aditya Behl had completed this complete blank verse translation of the critical edition of the Mirigavati, which reveals the precise mechanism and workings of spiritual signification and use in a major tradition of world and Indian literature.