City of Roses / Part 2: We all know that flowers have a beautiful life and their sweet, irresistible scent, and there are those who care for them and take care of them, and they are the children of the “human being of roses” until they become strong and face difficulties despite everything bad that happens to them, but their being is delicate and weak, quickly shaken by problems and withering. Until it becomes weak and dry, and thus it is fit for the needs of the picturesque “City of Roses” and its good residents, and there is a just and merciful king over his flowers and the children of “Bishr al-Ward” and he does not accept injustice when one of them invades, so he punishes the one who wronged and honors the oppressed, and you help him. A wonderful and wise princess to renew and develop the “City of Roses” until it became modern in life and view... (Let us go through a new experience together in the depths of the fictional novel and sail with its heroes until the end)...
Was it still possible to add anything about Al-Mutanabbi, who filled the world and preoccupied the people, throughout these centuries that extended from his birth until now?!.. And did there remain a side of him that had not been studied, examined, and examined in more than one way, nor was it subject to discussion and debate among the fans of this great poet? And between his critics and haters?!..
Al-Mutanabbi is a unique figure in our literary heritage. His lovers, readers, and memorizers of his poetry are more numerous than those who can be counted, and it is too dangerous to clash with them without prior preparation and readiness. They have extensive knowledge of his poetry and many of the stages and details of his life. Their zeal in defending or attacking it is immeasurable. Therefore, the prior image is more binding. The imagined picture of him that they drew for him is too attached to the imagination to be discussed. Its relationship with national identity is more rooted and dangerous. This is what makes attacking him, for many, an attack on one of the nation’s “values and symbols.”
But I am writing about Al-Mutanabbi after I spent two full years reading him, analyzing his poetry, and studying the details of his life in order to write a television series about him. Dramatic writing requires its author to penetrate as much as he can into the souls of his heroes in order to understand them, to imagine them in the situations in which humans might be, and to draw their reactions, with dramatic logic, as human reactions might be. All of this is within the framework of documented historical information.
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