صورةُ السَّيِّدةِ فاطمة الزَّهراء (v) في الشِّعْرِ العربِيِّ حَتَّى نِهَايَةِ العَصْرِ العبَّاسِيِّ دِراسةٌ تَحليليَّة

Rp-The Image of Lady Fatima al-Zahra (PBUH) in Arabic Poetry until the end of the Abbasid era.pdf

Praise be to Allah, Who alone is worthy of praise by His majesty; Who guided minds with His light to the path of righteousness; Who, in His kindness, bestowed upon humankind the gift of knowledge, teaching them the secrets of sciences they had not known, opening for them the gates of understanding, and elevating them to a position of honor among creation. Peace and blessings be upon Fatima, her father, her husband, her sons, and the hidden secret entrusted within her—a divine mystery that none can comprehend except those who have been nourished from the Kawthar of divine nearness.
Thereafter, Lady Fatima al-Zahra (peace be upon her) holds a profound presence in the Islamic consciousness and occupies an exalted status. She is the direct spiritual extension of the Noble Messenger (peace be upon him and his family), the wife of his successor, the Commander of the Faithful Imam Ali (peace be upon him), and the mother of the pure Imams (peace be upon them). This extensive presence has had clear manifestations in Arabic poetry, beginning in the first century AH and continuing to this very day. Poets have persistently drawn from her luminous personality, borrowing from her radiance and drinking from her unending light. Therefore, anyone who ventures into the realms of her character will find abundant material in poetry and a rich literary legacy deserving of renewed analysis and interpretation in light of contemporary critical methods—approaches capable of unlocking texts and steering them away from distortion, misinterpretation, or superficial and unproductive readings.
Hence, the urgency I felt to study the image of Lady Fatima al-Zahra (peace be upon her) stems from several factors. Some are personal—rooted in my deep affection and devotion to this pure lady—while others are academic and objective, arising from the need to explore how her image has been portrayed over centuries, and to trace the general features of its development over time. Initially, this image in poetry—despite being a domain governed by imagination—was heavily grounded in reality, portraying Fatima in both her physical and moral excellence. However, over time, this image was reshaped and reframed by political and social influences, evolving in accordance with the prevailing conditions of each era. This study focuses on a broad body of poetry stretching from the first Islamic century to the end of the Abbasid era, in order to examine the transformation of her image, gauge the pace of its evolution, and understand the impact of cultural contexts on it. Notably, the image of Lady Fatima al-Zahra in Andalusian poetry was not included, due to objective reasons—primarily the geographical and political distance of al-Andalus from the centers of influence in the Arab East and Egypt, as well as a desire to prevent the study’s corpus from becoming overly vast and unmanageable.
As for the methodology employed, it is an open and integrative approach, suitable for a subject shaped by multiple factors—religious, social, mythological, and historical, among others—thus requiring a methodology that draws from various tools and perspectives, ranging from historical inquiry to the concepts and terminology of cultural criticism.
Regarding previous studies, the researcher found no comprehensive academic work that specifically paired the notion of “image” with Lady Fatima al-Zahra (peace be upon her) in its title—aside from a few historically inclined studies that, while useful, did not give the concept of “image” as an active poetic element the focused attention it deserves. Notable among these are: “Al-Fatimiyyat: Origins and Development until the Seventh Century AH” by Dr. Ali Al-Muslawi; “Al-Fatimiyyat” by Sheikh Ali Al-Mu’ayyad; and “Fatima al-Zahra (peace be upon her) in the Arabic Poetic Canon”, published by the Department of Islamic Studies – Zahra Foundation. However, this present study is not a continuation of those works, as it uniquely emphasizes the poetic construction of her image as a key aesthetic and ideological component.
The chapters of this study are structured in accordance with the evolving nature of Lady Fatima’s image, aligned with the demands of each historical period—though not strictly segregated, given the overlapping nature of literary expression across time.
Thus, the study is divided into an introductory preface, followed by three main chapters. The preface outlines the basic parameters of the study, offering a brief overview of Lady Fatima’s biography and her portrayal in Arabic poetry. It also clarifies the study’s understanding of the term image—not limited to rhetorical devices such as simile, metaphor, and metonymy, but rather, approached as a broader network of linguistic relations constructed uniquely by poetic language. The third section of the preface explores the motives behind the formation of Lady Fatima’s poetic image during the period under study.
Chapter One, titled “The Image of Lady Fatima al-Zahra: Foundations and Emergence”, includes two main parts. The first discusses the “nucleus image”—the earliest poetic depictions shaped primarily by contemporaries of Lady Fatima, who composed their verses inspired by her towering presence and real-life virtues. These images were grounded in truth and reflected a sincere poetic response. The second part, “The Image as Document”, addresses the advent of documentation, marking the shift from oral to written transmission, which stabilized and preserved poetic representations that were previously subject to alteration.
Chapter Two examines “The Image of Lady Fatima al-Zahra Between Continuity and Transformation”. It explores two trajectories: the first, “Cumulative Images”, which were reinforced by religious, political, and social references to promote specific beliefs; and the second, “Alternative Images”, which broke from traditional forms and introduced fresh dimensions, reflecting broader cultural openness and ideological shifts.
Chapter Three focuses on two key functions inherent to Lady Fatima’s poetic image from its inception: the aesthetic function, which renders the image attractive, impactful, and artistically compelling through narrative embellishment; and the argumentative function, which supports ideological positions, especially in the context of doctrinal or intellectual conflicts—making this image one that demands reflection and critical inquiry.
The study concludes with a set of findings derived from the research. While we do not claim to have delivered the final word on the matter, we take solace in the effort exerted and the sincerity of our endeavor.
The study faced several challenges, notably the vast scope of the poetic corpus—spanning more than six centuries—and the diversity of poets and their output, which ranged from sparse to prolific. Additionally, the sacred nature of the subject placed the researcher at the crossroads of personal reverence and academic objectivity. Yet, with the guidance of my supervisor, Professor Dr. Muhammad Hussein al-Mahdawi, we managed to navigate these obstacles.
As an expression of gratitude, I must acknowledge the immense role played by my supervisor, Professor Dr. Muhammad Hussein Abdullah al-Mahdawi, whose generous efforts in reviewing and guiding this research were invaluable. His scholarly insight, constructive feedback, and personal support—along with access to his rich personal library—greatly enhanced this work. My time with him throughout the research journey was not only intellectually enriching but also deeply human.
And finally, I express my profound gratitude to the esteemed members of the academic committee who dedicated their valuable time to reviewing this work. If this study has succeeded in its objectives, the credit belongs first to divine grace, and second to the guidance of my supervisor. And if there are shortcomings, then I take responsibility, having strived earnestly, and—indeed—every diligent seeker is entitled to their share