The most beautiful sea, hasn't been crossed yet. The most beautiful child, hasn't grown up yet. Our most beautiful days, we haven't seen yet. And the most beautiful words, I wanted to tell you I haven't said yet...
― Nâzım Hikmet
In the kingdoms of sand, where the moon lies cracked like a blade, And palaces rise from bones of sages and ruins of caravans made, There ruled a Caliph named Yazan ibn Subh, Seated upon a throne of fire, guarded by jinn and the whispering hush.
And far in a rival land, across the cursed river's sweep, Lived Princess Zahra, whose eyes could make angels weep. Her grandfather had fallen to Yazan's kin in a war of old, So between their houses, hatred ran bitter and cold.
But hearts know no borders when first they ignite, They met in a souk where shadows flirt with light. Zahra was trading with spirits, in spells and silver dust, Yazan watched, enchanted—his duty undone by lust.
"Why stare so boldly, O stranger in royal thread?" She asked, voice laced with dread. "Because," he said, "I have never seen dawn in flesh, And now I must chase it, though the world turn to ash."
And the Spirits Moved in the Shadows
The enemies of love allied: Yazan’s kin from one side, And Zahra’s sorceress-mother from the other, steeped in pride. They summoned seers of stars, bound jinn in chains of fate, Wove spells to turn passion into a poisoned plate.
The markets burned with rumor, the alleys whispered of doom, Slaves were stirred to fury, rebels were led from gloom. The witches spat curses upon the Caliph's crown, Sowing chaos like wheat, hoping to strike him down.
A secret faction rose: The Sacred Shadow, sworn to dethrone, A band of fanatics who claimed justice but wanted the throne. They whispered of Yazan's sins and Zahra's foreign blood, Till the streets turned against them, like rivers turned to mud.
An End Written by Darkness, with Ink of Starlight
The rebels came at moonrise, like wolves with steel for teeth, Yazan stood on the palace roof, the wind a dying wreath. Below him, fire and fury, above, a sky too still, And in his hands, her final note—a prayer, a will.
"If you fall today, know you have my heart in your hand, If you flee, take me far in search of nameless land: No thrones. No homeland. Just you and I— The shadow and the prayer, beneath one sky."
They fought like myths, but myths too must die, Yazan fell with blade in hand, and Zahra fled with a cry. For forty years the sun refused to shine on that sand, Till travelers claimed to see two ghosts walk hand in hand.
They say on moonlit dunes, when the stars are brave, You may see a Caliph and his beloved beyond the grave. Still they dance, still they sing, love stronger than time, A tale told in sorrow, in rhythm, and rhyme.
Thus ends the scroll—but never the longing...
I HAVE NO POWER
"I have no power to change you or explain your ways Never believe a man can change a woman Those men are pretenders who think that they created woman from one of their ribs, A woman does not emerge from a man's ribs, not ever! it is he who emerges from her womb, like a fish rising from depths of water
and like streams that branch away from a river It's he who circles the sun of her eyes and imagines he is fixed in place.."
- Nizar Qabbani
I didn’t fall in love, I walked right into it with steady steps and eyes open to their limit. I’m standing in love, not fallen in it. I want you with my full awareness.
| Ghada al-Samman
You’re the purple scar that appears for no reason,
The images that give rise to nostalgia without features,
You are the ecstasy that did not complete,
A torment that lasted for an entire lifetime.
You...
You're like a trip I’ve been saving for months,
and when it was time to go,
I felt a desire not to leave.
Had I told the sea
What I felt for you
It would have left
it’s shores
It’s shells
And followed me
- Nizar Qabbani
I feel the urge to shout to the world
the anguish of my soul,
The torments I’ve experienced,
all my sorrows-
I’m speaking of my suffering.
I’m speaking from the heart.
~ Close-up, Abbas Kiarostami
Born in Balkh (modern Afghanistan) in 787, a former hadith scholar who turned to the stars in midlife.
His Kitāb al-Madkhal al-Kabīr (The Great Introduction) became the bedrock of European astrology when translated into Latin.
He systematized planetary natures, zodiac signs, houses, aspects, and the elements.
His “conjunction theory” argued that history moves in great cycles, marked by rare celestial alignments—especially Jupiter-Saturn conjunctions, which he claimed heralded the rise of prophets and empires.
"All change under heaven is written first in the sky."
A polymath in the Abbasid court, blending Greek philosophy with Islamic theology and celestial theory.
In De Radiis Stellarum (On the Stellar Rays), he proposed a theory of stellar influence—not superstition, but a natural force, like light or magnetism.
He laid early groundwork for what would become natural philosophy (proto-science), suggesting stars transmit influence through rays affecting Earthly matter and human temperament.
Though more astronomer than astrologer, he cataloged astrology in full without ever endorsing its claims outright.
His Kitāb al-Tafhīm contains precise definitions of astrological terms, planetary motions, and how horoscopes are calculated.
A master of cultural synthesis: he compared Greek, Indian, and Persian systems, noting their commonalities and contradictions.
Developed the astrolabe, armillary spheres, and zij tables—astronomical charts used by astrologers to pinpoint planetary positions with astonishing accuracy.
Arabs didn’t just practice astrology—they thought about it. They debated whether the stars compel or merely incline.
Al-Farabi and later Avicenna argued the stars could only affect the body, not the soul—a blend of Neoplatonism and Islamic ethics.
The stars whisper, they do not command.
Arabs inherited and enhanced horoscopic astrology from the Greeks:
Twelve Houses (Bayūt): Places in the chart signifying career, love, health, death.
Lots (Arabic Parts): Points calculated from planetary positions, like the Lot of Fortune and Lot of Spirit, used to fine-tune predictions.
Triplicities and Dignities: Systems to assess planetary strength.
Interrogations (Horary Astrology): Divining answers to specific questions, such as “Will I marry?” or “Will the king win this war?”
Astrologers like Abū Maʿshar claimed that world events—plagues, conquests, religious shifts—were written in planetary cycles.
Used to time coronations, launch battles, found cities.
Caliphs would sometimes delay decisions until the astrologers said the heavens were "favorable."
Used zodiac signs to diagnose and treat illness—Aries rules the head, Pisces the feet, and so on.
Ibn Sina (Avicenna) himself, though skeptical of predictive astrology, used astrological charts for medical diagnoses, especially in fevers and crisis periods.
The Qur’an warns against claims to know the unseen:
"Say: None in the heavens or on the earth knows the unseen except Allah." (Qur’an 27:65)
So Islamic scholars:
Allowed astronomy (for timekeeping, Qibla direction).
Permitted astrology only if used to understand natural rhythms—not fate.
Condemned fortune-telling or attributing independent power to stars.
Yet astrology persisted—not as dogma, but as courtly art, folk belief, and scientific curiosity.
Translations of Arabic astrological texts into Latin via Toledo and Sicily reawakened Europe’s interest in the stars.
Terms like zenith, nadir, azimuth, almanac, and even algorithm come from Arabic.
Albumasar, Albohali, Messahala—all Arabic astrologers Latinized into the canon of European learning.
The Renaissance astrologers (like Ficino and Agrippa) drank deeply from Arab wells.
The Arabs did not merely gaze at the stars—they listened to them, charted them, debated them, and passed on their wisdom in tomes that still echo today. Astrology, as they practiced it, was never just fortune-telling—it was philosophy, poetry, medicine, and mathematics entwined in a cosmic dance.
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