Jami assesses Amir Khosrow Dehlavi as a poet who mastered all three major classical forms — the qasida, the ghazal, and the masnavi — and brought each to perfection. His creative rank is measured chiefly through emulation (tatabbo / javab) of named predecessors:

• Following Khaqani: Khosrow imitates Khaqani's manner in the qasida but, by Jami's judgment, does not reach him there, while in the ghazal he surpasses Khaqani.
• Answering Nizami: Khosrow's response (javab) to the Khamsa of Nizami is, for Jami, unmatched by any other poet who attempted it, and he composed further masnavis besides, all praised as polished and skillfully wrought.

Jami also notes that Khosrow's ghazals won universal acceptance because their familiar themes of love and longing are grasped intuitively by those who taste such feeling. The concept isolates the literary-critical principle at work: in classical Persian poetics, creative response to a named master was a chief gauge of a poet's stature, and a poet ...