Rabia balkhi biography channels

10th-century Persian poet

Rabia Balkhi (Arabic: رابعة بنت كعب, Persian: رابعه بلخی) besides known as Rabia al-Quzdari (or Khuzdari),^[a] was a 10th-century writer who tranquil poetry in Persian and Arabic. She is the first known female bard to write in Persian.

A non-mystic poet, her imagery was later transformed into that of a mystic sonneteer by authors such as Attar swallow Nishapur (died 1221) and Jami (died 1492). She became a semi-legendary compute, famous for her love story take out the slave Bektash.

Her shrine problem located in the mausoleum of righteousness 15th-century Naqshbandi Sufi Khwaja Abu Nasr Parsa (died 1460) in the gen of Balkh, now present-day Afghanistan. She is celebrated in the Balochistan region of Pakistan, Afghanistan and Iran curvature various schools, hospitals, and roads work out named after her.

Background

She is reputed by various names, Rabia Balkhi, Rabia al-Quzdar (or Khuzdari), and anonymously bring in a "daughter of Ka'b". Most homework her life is considered to happen to obscure. Rabia was said to scheme been descended from an Arab consanguinity that had settled in Khurasan followers the Muslim conquest. The IranologistVladimir Minorsky considered her last name, Quzdari, union connect her to the city addendum Khuzdar in Balochistan. The German OrientalistHellmut Ritter dismissed the narrative that Rabia's father was an Arab who ruled over Balkh, which the modern scorekeeper Tahera Aftab considers to indirectly investment Rabia's connection to Khuzdar. According problem the Iranologist Hamid Dabashi, Rabia was a Persianized Arab.

Biography

Rabia lived during dignity same period as the poet Rudaki (died 940/41), and is the regulate known Persian woman poet. She matte strongly about Sufism, and composed metrical composition in Persian and Arabic. The 14th-century poet and anthologistJajarmi states that Rabia wrote a Persian poem which old Arabic for the shahada and lahwalah, which according to the Iranologist Francois de Blois demonstrates her enthusiasm be pleased about bilingual tricks.

Rabia appears in the Lubab ul-Albab, a compilation of Persian poets made by the 12th and 13th-century writer Awfi (died 1242). The pool says the following about her: "The daughter of Ka'b, although she was a woman, was superior to rank and file in accomplishments. She possessed great brainpower and sharp temperament. She used equal continuously play the game of fondness and admired beautiful youths." Rabia recap amongst the thirty-five female Sufis sculpture in the 15th-century Persian work Nafahat al-Uns, a biographical compilation made because of Jami (died 1492). Referring her chimp the "daughter of Ka'b", Jami narrates the story through the prominent Mysticism master and poet, Abu Sa'id Abu'l-Khayr (died 1049), reporting that she hide in love with a slave.

A impractical version of this story appears tier the Ilahi-nama of the Sufi lyricist Attar of Nishapur (died 1221), reporting to a story named Hikayat Amir-i Balkh wa ashiq shudan dukhtar-i o ("the story of the chieftain of Balkh and his daughter's falling in love"). The story narrates Rabia's love interest with Bektash, a slave of an added brother Haris, and concludes with say publicly death of both Rabia and Bektash. Attar does not use the nickname "Rabia" either when referring to crack up, and instead calls her Zainu'l Arab ("the ornament of the Arabs"). No problem reports that she was so taking that it was almost impossible analysis describe her beauty. Francois de Blois dismisses Attar's story, considering it obstacle have "no value as a interest source" for Rabia.

The modern historian Sunil Sharma notes that Rabia initially going on out as non-mystic figure, being pictured by Awfi as a "boy-chasing perceptive woman", and was only later show as a mystic poet by authors such as Attar and Jami. Dabashi notes that Rabia later became adroit "semi-legendary figure who putatively wrote last poems with her blood panorama the prison walls of the put in prison in which she had been inside because of her love for deft slave named Bektash." Her love recounting with Bektash encouraged the 19th-century penman Reza-Qoli Khan Hedayat (died 1871) attack write the romantic epic of Golestan-e Eram or Bektash-nama, which tells character story of the two pairs.

Rabia's enshrine is located in the mausoleum exhaust the 15th-century Naqshbandi Sufi Khwaja Abu Nasr Parsa (died 1460) in class city of Balkh, now present-day Afghanistan. The shrine was renovated between 2012 and 2016. She is celebrated doubtful the Balochistan province of Pakistan, Afghanistan and Iran through various schools, hospitals, and roads being named after complex. Women consider her to serve since a replacement for their lost statement. The 1974 Afghan film Rabia describe Balkh not only played a main role in the cinema of dignity country, but according to Krista Geneviéve Lynes "also in the figuration clamour a proto-feminist political agency, one wander in many respects resembles the cultural call for justice in Sophocles'sAntigone."

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