The presence of women’s poetry and creativity in general was only achieved through intermediaries, either narrators or bloggers, while her voice and name remained under the shadow, although the intermediaries, narrators and bloggers, controlled the publication. Then the situation deteriorated until the name itself became taboo, and we do not know with certainty when it became public. Its name is awrah. This did not happen in pre-Islamic times with the prevalence of infanticide, nor in the early eras of Islam. Rather, it came late, and it may have been a civil culture and not a Bedouin or rural one in origin. The culture went to great lengths to monopolize the poetic sound and meaning on the man and not the woman, and the man specialized in the term virility. With women being deprived of this characteristic, it has even been stated in the meaning of (the virile) that it means the fluent tongue, while the virile is the eloquent tongue, which means that moving a woman’s tongue with the voice is a cultural sin that must be avoided and prevented, and when writing became widespread in the Abbasid era, the virile voice came to prevent The woman is the one who learns to write. The book (Al-Isaba fi Preventing Women from Writing) was written by the Al-Baghdadi jurist Numan bin Abi Al-Thana’ Al-Alusi, in order to prevent her from circumventing the laws of cultural blocking by using writing that does not need a sound, but needs a name. It happened that her name was considered shameful, and it is Then preventing her from writing and withholding her name combined to suppress her creativity, but she never stopped being creative. A distinguished man once told me that there were more than forty female poets in his large family, and when I blamed him for not writing down this huge family heritage, he frowned and said: No, no, shame. Shame, he deliberately stopped talking to me and interrupted my flow of questions. This is not an individual story, but rather an ingrained cultural heritage.
However, the fact that women finally learned to write revealed Abu al-Thani’s cleverness in protecting the empire of stallions when he called for preventing women from learning to write, as once they learned, they truly competed with men in creativity, and demonstrated their skills and abilities, meaning that the plan to prevent them from writing was the most important obstacle against women’s creativity. Since with writing, she revealed her name just as she revealed her revelation, and showed that using the tongue is not authority, but rather moral authority and cultural uniqueness, and she followed the tongue with pen and paper, and then creativity appeared and feminization appeared to be a moral and cognitive force, and this began with emotional writing, as the female desert researcher has. , and May Ziadah, then poetry, as Nazik al-Malaika did in a duel with the stallions of vertical poetry, and opened the horizons of the ta’feela poem, and in the two examples together, a cultural revelation disobeys the culture of the stallions by learning the magic of writing, and if the poetic sea is male, then the ta’feela is female, and here the culture reaches fair equality in the scale of speech. , as in the balance of nature.
Saudi writer and thinker
Professor of Criticism and Theory/ King Saud University – Riyadh
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