The Jews are the axis of normalization and the parties.

The Jews were the core of the coalition of factions and the battle to eradicate the prophetic project during the trench phase and the initial phase of Jewish corruption. They set traps, schemes, and conspiracies to eliminate the prophetic project. Their first project with the factions, Arabs, and Quraysh was the "normalization strategy," utilizing the people of Mecca, who were aware of Quraysh's animosity towards the Muslims. They recognized the existing ignorance within Quraysh and the envious and spiteful Arab nationalism that could be exploited, as well as waiting for any opportunity to eradicate the Muslims, in addition to their military capabilities and their extensive connections with the tribes around them.

A delegation of Jews led by Banu Qurayza headed to Mecca, which included Huyayy ibn Akhtab, Salama ibn Abi al-Haqiq, and Abu Ammar al-Waeli. This was a normalizing conference between the Arab and Jewish institutions, similar to the normalization conferences and summits in Manama, Aqabah, and Al-Naqab between the normalizing Arab regimes and the Zionist entity.

This delegation incited the Quraysh to attack the Muslims and fight the Messenger, peace and blessings be upon him, and promised them that if they went out to fight, they would support and aid them. One of their cunning tactics was their understanding of the Qurayshi psychology, which craved praise and was fond of leadership and status that the prophetic mission had disrupted. They exaggerated their praise for the Quraysh and flattered them, testifying that they were in the right and on the path of guidance, despite their knowledge of the polytheism and misguidance of the Quraysh. Thus, Allah Almighty revealed the following about them: ( Have you ˹O Prophet˺ not seen those who were given a portion of the Scriptures yet believe in idols and false gods and reassure the disbelievers¹ that they are better guided than the believers?) ( An-Nisa:51) That coincided with the desires of the people of Mecca, and they promised to return to fight the Prophet (peace be upon him) after the promise they made at Uhud.

From physical penetration to pathological penetration.

They failed to penetrate the physical clayey land, which is the city, the state, and its trench. Therefore, they sought to think about penetrating the psychological and spiritual land, which is the psyche of the Muslim and believer in the city, in order to weaken their moral spirit in the face of prophethood and the recommendations of the Mujahideen. The gateway for psychological penetration was the "Institution of Hypocrites," but with a process and strategy of full normalization with the Jewish institution; in direction and coordination, to penetrate the psyche and mind of the Islamic community and its army.

The parties have formed alliances, and the masses gathered, overwhelming for anyone to handle. They surrounded the city from every direction in order to confront the deluge of the Adnan (peace be upon him), which is the flood of the call that turned into a mission in a great state and city named Medina, the center of politics, justice, and the administration of the Islamic state. The Jewish institution, along with the institution of Arab Quraish tyranny and the hypocrites, have united in a tripartite alliance to invade the core of this international center and penetrate the hearts of the Islamic community and the hearts of the Companions (may Allah be pleased with them) who revived in the nation a spirit, thought, and action to purify the land from all defilement and worship Allah in peace and security.

Normalization is a triangular, conspiratorial situation among the three spiteful parties (the deceitful Jews and the Arabs) regarding the project of purification and prophethood, which is tasked with instilling the spirit of the mosque through faith, awareness through thought and knowledge, and action through deeds and work. The responsibility for organizing and bringing together this corrupt triangular coalition lies with the "Institution of the Jews," and the rabbis, the Torah, historians, and experts of distortion, fortifications, and walls. Today, they will employ a dangerous apparatus with the desire to dismantle the city's community and the Islamic community into disarray and chaos, especially after the failure of the triangular normalization effort to overcome the fortified earthly trench that was created alongside prophethood and the idea of Salman the Persian, may God be pleased with him.

But how will the Jewish worker employ the psychology of the Arab hypocrite who normalizes relations to create a device that penetrates the ranks of Muslims and believers to spread fear, propaganda, and lies?

The hypocritical normalizers and the description of the disease.

The Jews were masters of knowledge, thought, and history, and even experts in the psychology of societies and humanity, especially the wicked aspects of it. The Jewish power understood that the hypocrites among them possessed a wicked, devilish trait that allowed them to join the project of uprooting the prophetic methodology, even serving as official agents to dismantle the Islamic community. This trait is referred to as "the trait of illness," and revelation comes to specify the type of trait that emerged particularly in the Battle of the Confederates, with the illness manifesting in various forms. ( The hypocrites and the sick at heart said, ‘God and His Messenger promised us nothing but delusions! ) (Al-Ahzab:12) Let us observe that the Jewish spirit found in the hypocrite a disease that must be escalated in its action and result on earth, and to transform the psychological illness into a project on the ground, spreading throughout the Islamic state, in order to disseminate the contagion of hypocrisy, frustrate the weak, and dismantle the ranks of the strong within the nation.

The disease is an internal malice against Islam and Islamic jihadist power; the disease is envy from within themselves and a hatred that has turned into hypocrisy and a sickness that required a Jewish spirit to embody the psyche of the sick hypocrites. Thus, the Jewish expert doctor met with the Arab hypocritical patient and formed an alliance with him, and this Jewish spirit penetrated the sick Arab psyche and transformed the hypocritical disease into a vengeful earthly action. The result was the existence of official employees in the battle for existence.

It is, then, the battle of souls, a battle between the Jewish spirit that inhabits sick bodies to imprint upon them, and the spirit of the mosque that enters the hearts of the believers, transforming them into men of blessing, light, and liberation.

Retaliatory normalization!

Some people believed that normalization was a process of official political or diplomatic normalization between an entity and an Arab state, in order for the occupation to gain recognition of its existence and achieve coexistence and peace as they call it. This concept of normalization was characteristic of the "Camp David" and "Oslo" phases when the Zionist entity merely needed Arab recognition after the wars of the Nakba and the wars in Sinai and the Golan. However, normalization after the so-called "Deal of the Century" is something else; the true initial goal of normalization has appeared, which is to fragment Arab and Islamic peoples, divide them, and weaken them in preparation for a sinister agenda in Palestine that the forces of Zionist extremism seek to achieve.

After "Sword of Al-Quds," the "Deal of the Century" failed, and the strength of the peoples refusing Zionism and normalization emerged. The "Al-Aqsa Flood" came and undermined the slogans of coexistence, peace, and normalization. Zionist extremism revealed its weight to narrow the battle to Gaza and the West Bank without relying on a normalization strategy, which involves support from Arabs and regimes to eliminate resistance and the Palestinian people.

At the same time, in the countries of the Arab and Islamic peoples, Zionism emerged that had normalized relations with rulers and regimes, transitioning from normalization through official economic, military, political, sports, or artistic agreements to vengeful normalization. By this, we mean direct revenge against the people, which we have observed in some Arab countries that have created platforms of frivolity and programs that dilute youth, despite the ongoing genocide in Gaza. Moreover, corruption has escalated through direct announcements, in front of the media and channels, about Zionist worship rituals, amidst Arab cities flooded with Quranic schools, universities, and mosques.

The translated text is: "But the question here is: What is the reason for this shift among the normalizing Zionists in some Arab countries?

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The following picture presents Safiyya's depths after the Messenger - peace be upon him - offered her the choice between Islam and remaining on her religion.

Ah, I have rolled in the bed of luxury and grandeur, and I grew up among the fathers of kings. Around me are servants and attendants, and beneath my feet is gold. I command, and they obey, yet I did not feel happiness and contentment until I saw you, O light of hearts and their spring. Ah... I loved you when you were alone in Mecca, calling to God, bearing hardship and suffering, and rejecting compromises. I loved you as you migrated, confident in God's victory. I loved you as you faced fierce battles; O noblest of warriors, resisting the crowds, including my father, shattering the pride of the arrogant and the vengeful, emerging from every melee strong and radiant, brushing the dust and precious blood from your pure forehead. You call for prayer... You did not kill the Banu Qurayza; they killed themselves... My father killed them. You did not kill the Jews; rather, you eradicated the vices of humanity, destroying hatred, subterfuge, and intrigue. For snakes do not let humans enjoy comfort once they emerge from their dens. O giver of joy to my wretched heart, and igniter of my mind with the light of truth, O fountain of love, order, and hope, O dawn of our new life....⁽¹⁾

living organism.

It is a vibrant character with a complete artistic portrayal within the context of the historical reality it inhabits. It embodies the image of a character in traditional novels, appearing as a living being with a physical presence. Its features, stature, voice, clothing, complexion, age, desires, obsessions, hopes, pains, happiness, and sorrow are described. This character plays a significant role in traditional narrative works, similar to the characters created by Balzac, Zola, Mahfouz, and others.⁽²⁾

If Safiyya is present in the narrative of " Noor Allah " due to the development of the call movement and the struggle with the Jews, presenting a general presence that carries its fundamental features; we will find her in a specific and detailed presence that elaborates on the characteristics, traits, distinctions, depths, perceptions, and morals in the narrative of "At the Gates of Khaybar," where her husband was a leader of the Jews of Khaybar and their commander until he was killed later along with the defeat of his people. Khaybar was targeted for conquest as a direct result of the Jewish betrayal that revealed its face.

Zaynab bint Al-Harith

On the other hand, we see Zainab bint al-Harith, the wife of Salam bin Mishkam, embodying the opposite of Safiyya bint Huyayy bin Akhtab. She is filled with hatred, spite, selfishness, and fanaticism. She openly incites hostility against Muslims and intrudes into the gatherings of Jewish men, stirring feelings of aggression and brutality against Muhammad (peace be upon him). Although she shares the same hostile traits towards Islam and people in general as her husband Salam bin Mishkam, stemming from the racist inclination of the Jews, who claim to be the "chosen people of God," she was preoccupied with how to defeat the Muslims without battle. She expressed her dreams of enslaving the mothers of the believers and making Aisha a handmaiden to serve her, rub her feet, and endure humiliation along with other Muslim women as never seen before. It is God's will that she be taken as part of the captives of Khaybar to Yathrib, and her evil wish of enslaving the mothers of the believers does not come true

forbidden pleasure.

Zaynab bint al-Harith is not satisfied with her husband, Salam ibn Mishkam. Instead, she recruits, as part of her plans to harm the Prophet (peace be upon him), a slave owned by her husband named "Fahd," preparing him for a mission to assassinate the Prophet. To this end, she offers herself to him, as she desires him and sees in him the man who fulfills what her husband has failed to provide, spending nights of forbidden pleasure with him. The maidservants whisper about what the chief's wife is doing, causing a crack in her thinking. The slave lets her down after the defeat of Khaybar and announces his conversion to Islam, leading her to collapse into despair.

The novel portrays the depths of Zainab's character with strong imagery after she has fallen into the abyss of misery and humiliation. It reveals the brutality of Jewish hatred and the desire for revenge against innocent people who have done her no wrong. It also highlights her racist views towards others and her eagerness to achieve her interests through hypocrisy and deception, even if it means lowering herself to those she despises and looks down upon. In her state of despair, she presents a fragile human model that cannot withstand resistance; rather, it seeks death to escape troubles and hardships.

one of the slaves.

Ah, woe is me. Woe is me. The shame has engulfed my life, and humiliation hovers over my head, in my eyes. Just yesterday, I was Zainab bint al-Harith, the wife of Salam ibn Mishkam, but now I am one of the captives. I dreamed of Aisha bowing at my feet, and the captives from the women of the Messenger of God anointing me with perfume, combing my hair, waving fans in front of my face, and gathering the leftovers from the tables behind me. How has the situation reversed?? Zainab bint al-Harith will go to the house of Muhammad to serve his women. My noble honor is being dragged through humiliation and filth!! O my calamity!! And the wretched son of a wretched (Fahd), as soon as I granted him freedom and gave him my heart and body, he rebelled and rushed into his meanness to declare his Islam and join the ranks of the Muslims. O my sorrow!! I clung to the tail of the filthy. I shed tears. I told him I gave you freedom to be mine alone, to ease the sorrow of time and its betrayal... Let us escape... and live far from the eyes (of others). I will make my cheek a cushion for you... and you, the wretched slave... But he roared, saying: I will not sell my afterlife for my worldly life; I will run to God. So run, son of the vile, until you break your leg, and thorns tear at your feet... Despair is choking my neck, gripping my thoughts, and burning me with the whips of regret... What is the value of life after that??...⁽³⁾

Poisoned Sheep
After the victory of the Muslims and the death of her husband, she executes her final plan by declaring her Islam insincerely and deceitfully. She invites the Prophet – peace be upon him – and the companions to a feast to celebrate her conversion to Islam and presents a poisoned sheep. One of the companions (Bashir ibn al-Bara’) dies after eating a piece of it. She confesses to her crime and is killed as a retribution for what her hands have committed.

The wife of Abdullah ibn Ubayy

Here, we see another Jewish woman who is somewhat parallel to the character of Safiyya bint Huyayy ibn Akhtab. She represents a pure human instinct that is not influenced by Jewish hatreds and their evil plans. She is the wife of Abdullah ibn Ubayy, the leader of the hypocritical Jews. When he expresses to his wife his hatred for the Muslims who triumphed at Badr and his feeling of oppression and helplessness because Muhammad has usurped his position in leadership and authority, she responds by saying that Muhammad did not fight anyone, and that if Ibn Ubayy had followed a straight path from the beginning, he might now be one of Muhammad's close companions. However, he is neither a believer nor a disbeliever; if he had remained in his old religion, he would have been a leader among Muhammad's opponents, and if he had embraced Islam without hesitation or weakness, he would have become a notable figure among the Muslims. Nevertheless, Muhammad continues to treat him gently and overlooks his dangerous actions, and his punishment of the Banu Qaynuqa is more merciful than what the Arabs do to their defeated enemies.

Faith and Disbelief
The Jewish wife here represents the voice of reason and logic, and she is the voice of truth that her hypocritical Jewish husband ignores. She sums up the issue for him as being faith and disbelief. ⁽⁴⁾

The Jewish wife exposes her husband's hypocrisy and refutes his claims. She sees that he is treading a treacherous path that will lead him to burn his fingers and hopes, because what he is doing is envy towards Muhammad and contradicts his Islam.

As you see, the death of Ka'b ibn al-Ashraf was a justice he deserved because he openly committed aggression against the Muslims, he made advances towards their women, exposed their privacy, mocked their Prophet, and harassed them with his tongue without justification. This led his wife, the leader of the hypocrites, to perceive that Muhammad had harmed slaves, women, and the common folk, and that their son opposed him while his wife opposed him and was angry with him. "The people have been afflicted by a delusion.⁽⁵⁾

Then it reveals his cheap hypocrisy and deep hatred for Islam and Muslims when joy and happiness appeared on his face as the army of Quraysh and the tribes approached Medina in the Battle of the Confederates to crush the Islamic call, at a time when he tries to convince his wife that he will defend the city with the Jews in fulfillment of an oath and pact they signed with the Muslims.

The wife of the leader of the hypocrites represents the voice of reason and logic that is drowned out by hatred and desire, confirming that not all Jews are the same. And because the wife represents the side that her husband, the leader of the hypocrites, lacks, she comes across as flat, and we know nothing about her except her role (as a wife and a mother), without getting to know her depths or her behavioral or moral traits or other details of living, developing characters.

The Flirtatious Jewess

She is a character that I believe has been created and has real historical and contemporary counterparts. The flirtatious Jewess does not have a name in the narrative of historical realism; the author simply refers to her as "the flirtatious Jewess," a name that carries significance and implications. Her role signifies Jewish scheming in the use of the woman as a weapon to entrap victims and elements that resist other means. Sex is a potent weapon in the hands of the Jews in many situations, except against those who have true faith, along with money, which tempts the vulnerable and those who love the transient pleasures of this world.

The flirtatious Jewess is a Jewess ready to do anything for the Jews: seduction, espionage, gathering intelligence, conveying secrets, moving among the Jews to disseminate the directives of Jewish leaders and commanders. She also possesses a critical mind that directs blame, criticism, and mockery toward the Jews when they are defeated and fail. Initially, she tried to seduce and entrap Umar ibn al-Khattab, who was a Muslim, as she used to do in the pre-Islamic era, but she found resistance and a firm stance from him. Umar escaped an assassination attempt in her house; how often demons disguise themselves in the form of a woman.⁽⁶⁾

The Gossip of the Jewish Woman

And she has an influential word among her people, and prominent Jewish leaders resort to her for advice, as Ka'b ibn al-Ashraf did. This reveals the inability of the Jews in their secret meeting to ignite war after the rise of Muhammad's star. He will think alone, for his people, and he sees in Judaism a source of sustenance and delicious food, but it awakens him in the morning and tells him that Muhammad has triumphed at Badr, and those who remained from the Quraysh fled seeking safety.⁽⁷⁾

From the house of the Jewish woman, Ka'b ibn al-Ashraf emerges to incite the Quraysh and the tribes to invade the city, denouncing Huyayy ibn Akhtab, that fool who refused to launch an assault on the city while its people were unaware and in the absence of the Messenger.⁽⁸⁾

The flirtatious Jewish woman informs Omar about what Ka'b ibn al-Ashraf intends, and his intention to break the pact of the Jews with Muhammad and openly declare hostility against the Muslims. Omar is astonished by the Jewish woman's gossip about Ka'b, as he is a Jew like her. However, she claims that the Jews deny his actions and have decided not to shelter him and to sever their ties with him. Omar smiles and says: "You speak as if you are an ambassador for the Jews or as if you are a prominent leader among their thinkers.

In Umar's dialogue with the Jewish woman, he reminds her of her treacherous role in their interactions by comparing the role of the "lover" she played yesterday to the role of the "ambassador" she is playing today. How vast is the difference between the two situations! Umar is not unaware that the Jewish woman wanted to rely on cunning and protect her people if betrayals like that of Ka'b ibn al-Ashraf and others were to surface. Umar recalls what Pharaoh did, and the power, tyranny, and rule he possessed along with his soldiers and sorcerers, yet he could not stand against the flood, and Pharaoh drowned while the word of God became supreme.

The intelligence of Umar
Judaism has returned to tell its people that she has executed everything precisely, and that Umar realized her objective and that the Muslims possess a tremendous energy of intelligence and inspiration. And he did not care much about what Ka'b ibn al-Ashraf was planning.⁽⁹⁾

After hearing the plans of the Jews that express their resentments, she bursts into tears and says to them: "I am tired of these disgusting roles... I am exhausted. Every day, I take on a new form. Do you know what boredom is? I am tired; I want to go home and sleep peacefully, happily. Leave me alone... I am weary of everything.⁽¹⁰⁾ It seems that human nature rejects the resentful, conspiratorial behavior of the Jews that never rests. We will notice that Jewish women, in general, tend to reject their behavior in some way and lean towards peacefulness. However, in our era, they are leading gangs of killing and destruction!

Bedding settlement
And we will find this playful Jewish woman other roles, as she believes that the Banu Qaynuqa must submit to the authority of Muhammad after their treachery and aggression were revealed, and the failure of Huyayy ibn Akhtab and Banu Qurayza to come to their aid; otherwise, destruction would be their fate.

They also describe the Jews as fools while they conspire to kill Muhammad according to the suggestion of Amr ibn Juhash, and Abdullah ibn Ubay accuses them of failing to lure Umar ibn al-Khattab into their trap, claiming that they are only good at making beds, socializing during the evenings, and competing in drinking.⁽¹¹⁾ After their failure, the Jews decide to imprison her in an abandoned house on the outskirts of the homes of Banu Nadir, after binding her and placing guards around her. She curses the Jews, exposing their flaws, malice, and stupidity, and confirms to them that Muslims are a different kind of people. Following the revelation of the Banu Nadir's conspiracy to kill Muhammad and their siege, they release her. She grabs the throat of Amr ibn Juhash and accuses the Jews of stupidity and marching toward their doom, telling them that they are repeating the story of Banu Qaynuqa anew: "The dark road filled with thorns, terror, thirst, hunger, and loss... how miserable and wretched we are! ⁽¹²⁾

Judaism reappears once again after the betrayal of Banu Qurayza against the Muslims and the tearing up of the treaty during the Battle of the Confederates, as tribes gather to crush the city and eliminate the call. It speaks to the Jews, weeping, revealing their addiction to treachery and betrayal: “Try loyalty once… just once ⁽¹³⁾

The Miserable Fate
 

Then she confronts the Jewish leader, Huyayy ibn Akhṭab, with what no one else could confront him with, accusing him of being responsible for the blood of the Jews and their freedom: "O Huyayy ibn Akhṭab... the blood of men is upon your neck. O Huyayy ibn Akhṭab, the captivity of women and children is upon your neck... O Huyayy ibn Akhṭab, you are responsible for the long journey of loss and misery...⁽¹⁴⁾

However, he resorts to her after the defeat of the parties and asks for her opinion, support, and help. But she - while waiting for her miserable fate - tells him that there is no point in doing anything; she is waiting for death, feeding off her sorrow, and shedding tears. She sees that the traitors must pay the price and that the traitors should be punished with justice:

"Indeed, O Huyayy ibn Akhtab... what are you waiting for from a man you wanted to kill?? And with what face will the Muslims greet you after you have betrayed them at the most critical times and devised terrible plans to eliminate and exterminate them?? Do you not believe, O Huyayy ibn Akhtab, that the reward is of the same kind as the action... and that in retribution there is life?? ⁽¹⁵⁾

In the moment of retribution against him, she says to him:
"You are the maker of tragedy, you cursed one... I warned you, O Huyayy ibn Akhtab... O opener of the paths of mazes, torment, and loss... May you be cursed.⁽¹⁶⁾

Ultimately, Judaism ends up contemplating the matter of invocation after that journey filled with blood, tears, and loss in the lands of Banu Qaynuqa, Banu Nadir, and Banu Qurayza, leading to the utterance of the two testimonies and the declaration of Islam, arriving at the port of safety, tranquility, and spiritual and human reassurance.⁽¹⁷⁾

The Rational Madwoman

The playful Jewish woman appears again in the novel "At the Gates of Khaybar," but in a somewhat limited and different form compared to the narrative of Nur Allah. However, in any case, she is "that madwoman... the rational one... the Jewess, who warned us the day of Banu Qaynuqa... and advised us before the tragedy of Banu Nadir occurred... and who nearly went mad seeing us commit the third mistake in Banu Qurayza. We belittled her, ridiculed her opinions, and branded her as mad and foolish... This woman has clear, explicit words, and sometimes has a beneficial psychological effect...⁽¹⁸⁾

______________________________
Sources :

1. Naguib al-Kalani, at the gates of Khaybar, p. 141
2. Abdel Malek Murtad, in the theory of the novel, p. 86).
3. On the Doors of Khaybar, p. 129
4. Noor Allah, Volume 1, Pages 92-93.
5. Noor Allah, Volume 1, Page 107.
6. The complete story of the conspiracy is in: Noor Allah Vol. 1, on pages 57-61.
7. The previous one, pages 68-69.
8. The previous one as well, p. 71.
9. Noor Allah Volume 1, pages 77-78
10. the previous one, p.79
11. The previous one as well, p. 149.
12. Noor Allah Vol. 1, Page 159
13. The previous one, p. 198.

• The previous one as well, p. 200.

15. Noor Allah, Volume 1, Page 250.

• The previous one, p. 278

17. For the previous one as well, pp. 297 and following.
18. On the gates of Khaybar, p. 18.

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The Jews in our modern narrative literature.

There are those who claim that Ihsan Abdul Quddous is the only Arab writer who devoted special attention to Jewish characters in his literary works ⁽¹⁾  "This is not true. Ali Ahmad Bakathir, Fuad Ghanem, and Najib al- Kalani, and before them Ibrahim Abd al-Qadir al-Mazini, were more concerned than others with writing about the Jewish character, albeit with varying perspectives and portrayals.

Ihsan wrote the novel "Don't Leave Me Here Alone" and several short stories: "Far from the Earth," "Where is My Jewish Friend," "Light Up the Lights So We Can Deceive the Fish," "I Will Not Speak and I Have Not Forgotten," and "It Was Difficult and Arrogant," to present a Jewish character who does not live with a racist mentality, although in the end he appears to be a cunning opportunist loyal to the Jewish gangs in occupied Palestine!

Far from traditional characteristics.

Ihsan Abdel Quddous presents the Jewish character away from the traditional traits commonly associated with Jews in world literature. He offers us a Jew who represents an outcome of the social and political reality of Egyptian society, portraying the humiliated and degraded Jew, rather than the one who replaces human emotions with feelings of human cruelty and demands a pound of flesh from his creditors in exchange for debt, akin to Shakespeare's Shylock in "The Merchant of Venice." Instead, he presents a Jew who is driven by the desire to benefit from the existing conditions of reality in which he lives, adapting to the social, economic, historical, and psychological pressures, and trying to escape or alleviate traditional animosity towards Jews in Islamic societies. The Jew in Ihsan's depiction is an integral part of the general Egyptian fabric, preferring to remain in Egypt as long as external circumstances do not pressure him to detach from this fabric.⁽²⁾

It appears that Ihsan, due to his work at Rose al-Youssef, was influenced by the perspective of Egyptian communists regarding the Jewish invaders who seized Palestine. The Egyptian communists, led by the Jewish figure "Henri Curiel," founder of communist parties in Egypt and the Arab world, stood by the Jews in the seizure of Palestine. They issued statements condemning the entry of Arabs into the 1948 war in defense of the Palestinians, and their loyalty was primarily and ultimately to the Jewish godfather of communism in the Arab countries.

The Communist Influence

I do not blame Ihsan Abdel Quddous for his stance as much as I attribute it to the influence of his colleagues at work. Moreover, he did not seem to be well-versed in their history and reality sufficiently, although he visited Palestine before its occupation and was interested in its events in the magazine Rose El-Youssef and others. It is enough to note that Jews in Egypt, before the establishment of their usurping entity, exploited the tolerance of Egyptian Muslims to build their usurping entity in Palestine, to which they all fled either directly or indirectly. They established newspapers, collected funds, and built military brigades which they showcased in Alexandria, sending them to fight alongside the Jewish gangs against the Palestinians.

Unfortunately, some Egyptian communists still defend the Egyptian Jews who betrayed their homeland and fled to occupied Palestine, under the pretext of distinguishing between Zionism and Judaism in politics. They claim that Jewish leftists in Egypt reject Zionism and consider it a means to sow hostility between Jews and Arabs! However, these were few or an exception that proves the rule, and their position was a kind of role distribution that the invading Jews have mastered throughout all ages, even to this day.

Escape to the entity.

In reality, hundreds of thousands of Egyptian Jews remain in Egypt today, with only about fifty people left, most of whom are elderly. The subject has been documented by a good number of researchers, including Awaatif Abdel Rahman (a leftist) in her book.⁽³⁾ The books of Suham Nassar can be reviewed: Egyptian Jews: Their Newspapers and Magazines - Israeli Press and Zionist Propaganda in Egypt - Egyptian Jews Between Egyptian Nationalism and Zionism - The Stance of the Egyptian Press on Zionism 1897-1917. And Hussein Kafafi.⁽⁴⁾ Let's see the myth of the distinction between Egyptian Jews and Zionism!

The Evil Depths

As for Bakathir, Fathi Ghanem, and Najib al-Kilani, they were interested in presenting the Jewish character and delving into its evil depths through abundant novelistic and storytelling production. Meanwhile, Naguib Mahfouz remained completely silent about referring to it, except for a marginal mention in the trilogy regarding a Jewish girl whom one of the characters in the novel (Kamal) falls in love with, with this love ultimately failing. In the novel "Al- Midaq Alley," he indicates through the voice of Hamida that the lives of Jewish women are the true lives, and that all working Jewish women are adorned in beautiful clothes, and that Jews are liberated from norms and traditions.

Unfortunately, some of those who have addressed the Jewish character in Egypt from the current generation seek to get closer to the Jews— as previously mentioned— and strive to wash the reputation of the Jewish character from lies, hatred, animosity, racism, aggressiveness, and greed for money and usury. For instance, there are novels such as "Days of Diaspora" by Kamal Rahim, "Santa Teresa" by Baha Abdel Meguid, "The Nabati" by Youssef Zidan, "The Last Jews of Alexandria" by Moataz Fattihah, and "The Edge of Temptation" by Amr Afia.

It revolves around coexistence and acceptance of the other, and belief in the religious pluralism that existed between Muslims, Christians, and Jews, as well as love between a Jew and a Muslim, or vice versa, and empathy for the naturally peaceful Jewish character that lives like the rest of the people.

The literary climate.

There is a solitary novel by Mustafa Nasr titled "Jews of Alexandria," which attempts to timidly present the true image of Jews intertwined with malice, greed, and avarice. However, the Egyptian literary climate promotes false narratives about Jews before the establishment of the usurping Zionist entity, claiming they were part of the social fabric of Egypt. This is foolish talk with no basis in reality. Most of them lived with insatiable appetites for usury, mortgages, exploitation, and conspiracies, spying for the invading occupiers. Henri Curiel, the patron of communism in Egypt and the Arab countries—by his own admission—was a spy for the British when he opened a library in downtown Cairo to send reports to the British leadership.⁽⁵⁾

malignant roots.

Naguib al-Kalani says:

"The Jewish danger strikes its malicious roots deep in the annals of history and continues to infiltrate even to our time. What is strange is that the most dangerous positions faced by Islam in its early days were at the hands of Jews such as Ka'b ibn al-Ashraf, Huyayy ibn Akhtab, Omar ibn al-Jahsh, Ka'b ibn Asad, and others. They were the ones who incited Quraysh during the Battle of Uhud, and they were the ones who manipulated the Arabs with their cunning, wealth, and conspiracies in the perilous Battle of the Confederates. They were also the ones who attempted to assassinate the Prophet – peace be upon him – and betrayed agreements and covenants in the darkest of circumstances."⁽⁶⁾

Therefore, Jewish characters in the historical realism novels of Naguib Kalani appear to have a dominant presence; they seem to be more artistically vibrant and dynamic than Islamic characters due to their deviation, cunning, and malicious intent. They express a complex artistic personality that is intricate, diverse, and varied, reflecting the multiplicity of desires, doctrines, ideologies, cultures, civilizations, anxieties, and human natures.⁽⁷⁾

The character of the Jewish woman in the historical realism novels of Najib al-Kalani appears to be more dominant and present than that of the man, even though the man is the one who takes center stage, makes decisions, carries out actions, and fights. Meanwhile, the woman—at least in theory—among the Jews is merely a housewife and mother to the children, executing what the lord of the house, her husband, demands!

Among the most important Jewish female characters addressed by the historical realism novel by Al-Kalani:

Safiyya bint Huyayy

She is considered one of the most famous Jewish women of all time. Her father, Huyayy ibn Akhtab, was a prominent man of high status, known for his opinion and influence among his fellow Jews, and he had close connections with the leaders of the Arab tribes throughout the Arabian Peninsula. It is said that she is a descendant of the Prophet Aaron, the brother of the Messenger of God, Moses (peace be upon them). Her husband, Kinana ibn al-Rabi, was a leader of his people, wealthy, strong, and protected by swords, gold, and extensive trade, while also possessing an ancient faith. At the same time, she was remarkable for her beauty, intelligence, and generosity; she greeted people with a smile, gave to the poor, and comforted the sad. In fact, she enjoyed more affection from the Jewish people, both men and women, than her husband did. She was never disconnected from the major issues of her time, whether in the fields of politics, religion, war, or finance.

excessive curiosity.

And a woman of this nature did not close her mind or shut her eyes to what was happening regarding the new Arab prophet. She was researching his news, persistently seeking information, and receiving the verses of the Quran with the enthusiasm of someone who is overly curious. She attentively observed the echoes of the Islamic call in the noisy Jewish communities, following the developments of the situation moment by moment and stage by stage.

The Jews had hoped that the new prophet, heralded by their scriptures, would side with them. Safiyya discussed with her husband, Kinana bin al-Rabi, the matter of this prophet who believes in Moses, Jesus, and the prophets before them. The foremost Jewish scholar, Ibn Salam, who was devoted to the Jewish faith, had accepted him. However, Safiyya's husband informs her that the Jews do not believe in anyone other than the prophets of the Children of Israel and their scriptures. He reveals the intention of the Jews to oppose the Arab prophet because he accuses their scriptures of forgery, distortion, and alteration. Kinana sees the declaration "There is no god but Allah, and Muhammad is the Messenger of Allah" as a dangerous slogan because it equates the leaders of the Jews with Muhammad's followers, who are considered slaves.

Arrogance and Hubris

Safiyya does not rest with her husband's ideas; she aligns her heart and mind with what Muhammad calls for in terms of brotherhood, equality, and values and virtues that are accepted by reason and a living conscience. She is moved by what she hears from the verses of the Holy Quran. However, her husband does not heed the voice of reason and conscience, and he does not care about what Safiyya says. He sees her merely as a woman who should not discuss matters of religion; women are meant for the bed, cooking pots, and housekeeping!

She hates her husband’s arrogance and haughtiness, and his disdain for her and her ideas, even though he acknowledges her captivating logic and amazing dialogue. However, he treats her as one would treat a servant. He believes that women do not know how to think or cannot do what is right.

Inside Safiyya, there grows a rebellion against the logic of her arrogant husband, and she withdraws into herself, stifling her pain as she does not want to harm her husband or her father, for she is the wife of a king and the daughter of a king.

The Vision of the Illuminated Moon.

In the midst of this psychological and spiritual struggle, Safiya has a strange vision: a bright moon shines in the thick darkness, coming from Yathrib, crossing the sky, getting closer to her, and then entering her lap. However, this dream disturbs her husband, whose features change as he strikes her in the face with his fist and says in anger: "It’s as if you wish to be under this king who comes from the city?!

Kenana sees his wife as rebellious and asks her not to speak to him about such dreams or nonsense. In a meeting with her father, Huyayy ibn Akhtab, after she learns of the Jews' plans and their conspiracy against the Islamic call, she says to him: "Why don't you leave Muhammad alone and focus on what is beneficial?" He replies: "Is there anything more important than religion that we should concern ourselves with?⁽⁸⁾

The father of Safiyya, Huyayy ibn Akhtab, does not differ from her husband in his hatred for Islam and his collaboration with the leaders of Khaybar, Banu Nadir, Banu Qurayza, and Banu Qaynuqa in plotting schemes and conspiracies against Islam and the Muslims. He explains to his daughter, who has never seen the Jews care about religion as much as they do now, that Muhammad exposes their shortcomings, mocks their dreams, accuses their scriptures and scholars, and calls them to his religion.

Where are you, my daughter?

Her father, the distinguished man and respected voice among his people, was killed after the defeat of the Jews of Banu Qurayza, and she lived mourning and weeping for him. Her relationship with her husband, Kenana bin al-Rabi', was tense and far from ideal, showing much disapproval of his actions and ideas.

When Huyay bin Akhtab is taken to be killed as punishment for his treachery, conspiracy, and betrayal, he remembers Safiyya: 'Where are you, my daughter Safiyya? Surely, you will be wailing and filling the land with tears and cries… Women of Khaybar will come to you to offer their condolences… Your father, Safiyya, was a great man… And you, Safiyya, always opposed my plans… You preferred to reconcile with Muhammad, to live beside him, and to remain faithful to his promises… Were you, Safiyya, more far-sighted than I? Didn’t your heart tell you about this terrible position your father finds himself in?⁽⁹⁾

The Divine Reward

The character Safiyya is one of the Jewish figures that resonates with human nature in its purity and clarity. The writer portrays her from both within and without, presenting her as one who wishes well for her people through their following of the new prophet. Her thoughts do not stop at the marginal boundaries of the new call; instead, they reflect, ponder, question, and provide answers, ultimately resting at the edges of faith in this call and its prophet. She rejects the aberrant Jewish behavior that insists on opposing the call and the caller, not content with mere opposition but scheming and planning to eradicate the new religion and its followers altogether. She is, after all, a kind and beloved character, cherished by the Jews more than her husband, who respect and appreciate her for their sympathy towards her.

God rewarded Safiyya with the marriage to the best of creation – peace be upon him – and she carried the title of Mother of the Believers.

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Sources :

1. Rashad Abdullah Al-Shami, the Jewish character in the literature of Ihsan Abdel Quddous, Dar Al-Hilal, Cairo, 1992, p. 7.
2. Rashad Abdullah Al-Shami, the Jewish character in the literature of Ihsan Abdel Quddous, Dar Al-Hilal, Cairo, 1992, p. 8 and following.
3. The Egyptian Jews and the Zionist Movement," (Dar Al-Hilal, Al-Hilal Book Series, Cairo, 2017)
4. Henry Curiel: The Legend and the Other Face, General Organization for Books, Series of Egyptian History No. 240, Cairo 2003.
5. Najib Al-Kalani, Noor Allah - Vol. 1, p. 9.
6. Abdul Malik Murtad, in the theory of the novel, p. 83
7. Noor Allah, Volume 1, pages 42-48
8. At the Gates of Khaybar, p. 11.
9. " Noor Allah, Volume 1, Page 276

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The question of identity is complex and can often haunt a person, amid the difficulty of answering it, in the midst of challenges imposed by tremendous technological advancement and the technical evolution in means of communication and interaction. This has made the world a small village, and consequently, humanity has become prey to everything new and strange.

But it is wise to simplify matters for young children and teenagers of both sexes, and to provide answers to big questions in a smooth and concise manner, so that our children do not fall victim to alienation, globalization, intellectual and cultural invasion, and civilizational estrangement, without a savior.

To begin with, the compass must be clearly and visibly established for our children, especially regarding their Islamic identity, and being a Muslim who professes the testimony of faith, believes in God, His angels, His messengers, and the Day of Judgment, and that the religion with God is Islam. They should understand that there are limits set by God, and commands and prohibitions that they must adhere to, as well as a Sharia within the framework of the Quran and Sunnah, which serves as their guide and path in this worldly life

Some may think that these are self-evident matters, but the waves of Westernization, atheism, and deviation that have hit new generations and dominated the media and communication require us to reaffirm those constants, revive those roots, and illuminate the path to bring those generations from darkness to light, guided and with clear evidence, without any doubt or suspicion, and where their beliefs are not shaken by hypocrites or atheists.

The second question of identity relates to the Arab being, in terms of language, tongue, history, and geography, and the connection to the Arab nation, with its past, present, and future, taking pride in that, in word and deed, being certain of the dignity of its nation when it clings to its language and religion. It established a civilization that led nations in previous centuries and achieved cultural accomplishments recognized by history.

Some of the new generations may feel shame and embarrassment from their affiliation with an Arab country that ranks low in indicators of knowledge, progress, and development. They might feel embarrassed by their Arabic language, picking up several words in English or French, and continuously chatter in those languages, believing that this reflects sophistication and advancement. This results in a neglect of their own culture and Arabic language, leading to a sense of inferiority in front of speakers of other languages, and retreating before cultures that do not compare to what our culture embodies in terms of values, principles, heritage, and history.

The third question of identity is unconventional and is the result of new changes that have imposed themselves on the world of adolescents and youth, who may be accused of rigidity and backwardness by their peers, especially when it comes to traditional and classical lifestyles versus "modern" ones. This question carries within it social and material pressures related to clothing style, hairstyle, the type of phone one owns, shopping habits, and even food and drink choices. In a consumption-driven world that follows trends and global brands in a blatant materialistic manner, these issues are particularly pressing.

There may be other questions related to identity that touch on different aspects of the lives of teenagers and young adults, such as the European team they support in football, the legendary player whose jersey they love to wear, the American star whose movies they adore, the pop band whose music and songs they are addicted to, the wrestler whose moves they imitate, the famous YouTuber whose channel they follow on YouTube, and the TikToker whose views and visits they are captivated by, among others. These questions have emerged from new perspectives and dimensions related to youth identity, which is indeed lost in the world of fashion.

A new identity is manifesting before our eyes, which I might assert has transcended the triad of religion, language, and history, imposing other components that touch upon belief, custom, and habit, alongside ethics and values. This includes aspects of education, marriage, friendships, and other forms of modern social life in the twenty-first century, which have reshaped and crafted new and strange identities, marked by a Western touch and a distorted flavor.

With the rapid development of platforms and means, the increasing diversity of ideas, the intense competition between ideologies, the cross-fertilization of cultures, and the multiplicity of purposes and goals, it has become a pressing obligation to study these identities, explore their characteristics and essence, delve into their roots and principles, and investigate what they contribute and what they lack. It is also important to unveil the concepts they promote, the visions they present, and to determine whether they are a constructive component and a qualitative addition or a factor of destruction and dependency in a new guise.

We may need to establish clubs for knowledge and cultural exchange, or centers for identity formation, to help new generations find themselves, explore their identities, engage in dialogue with others, and connect with their roots. This is not merely about an eternal relationship with parents and grandparents, but about launching from those roots into broader horizons that adapt to the changes of reality in this digital world. This should be done within the framework of an open and disciplined engagement with what others have offered and their achievements on all fronts, without being awed by them, belittling them, or adopting a sense of superiority over them, but rather merging all that is useful into a cohesive and robust identity that fosters creativity.

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Soft power has posed a significant danger to historical facts, Arab and Islamic identity, and the origins and history of nations. American cinema, in particular, has contributed to solidifying the meanings of intellectual occupation, using "Hollywood" and its stars to change fixed concepts. Many dramatic films have been written that played with history and attempted to appeal to the audience to present a different image of the Zionist reality since the inception of the Zionist movement, as well as to improve the Jewish narrative from before Christ in an attempt to connect the Jews of the past with the Jews of the present to impose rights that do not belong to them and a history that is not theirs.

One of the most prominent American production companies that contributed to the service of Zionist thought is the "American Cannon" company.⁾¹⁾ Among its dubious productions are the films "Eight After One," "The Hole," "The Exit," "She," "The Shadow of the Giant," "Independence Day," and other films devoted to defending Zionist thought.

And even today, despite the daily massacres by the Zionist entity in Gaza and Rafah, the trade of alleged persecution throughout history is still ongoing, especially at the Berlin Festival. One of the most famous films related to this historical genre is 'Schindler's List' directed by Steven Spielberg.⁽²⁾

A dubious Zionist cinematic history.

Zionism used the idea of cinema since its spread at the beginning of the last century. One of the most important ideas that were presented and for which prior plans and a substantial amount of spending were allocated was the idea of the right of return and the old homeland. The West responded to the idea of creating an alternative and artificial homeland for the Jews, gathering them from the diaspora and implanting them in Palestine to protect Western colonial interests in Arab and Muslim lands.

Then came "Sykes-Picot," which significantly contributed to the fragmentation of the Arab homeland and facilitated the process of its occupation and the implantation of the entity within it. The most important companies in Hollywood were established to serve this idea and work artistically and subtly to impose the notion of a land without a people, for a people without a homeland. American cinema, in particular, was active in two stages: the first before the establishment of the entity, aiming to create the state, and the second aimed at consolidating the so-called state.⁽³⁾

The deceptive means to achieve the first goal was to market the Nazi persecution of Jews in Europe, in addition to the Holocaust, which was exaggerated and inflated, with many events being claimed before and during World War II (1938-1945). This persecution was considered a justification for Europe to unite in finding a solution in an alternative homeland for these persecuted individuals.

In the second phase, the Arab-Jewish wars were used to portray Arabs as a people of rabble, chaos, racism, and terrorism, while depicting Jews as a peaceful people with a historical right to the land and status. Jewish cinema managed to excel and promote its unjust cause, while the rightful Arab and Muslim owners were lagging behind in using soft power in general. Arab arts were limited to presenting aspects that were not concerned with the history or future of the nation. This was further aided by the Jews' control over the art market in its early stages, their influence on Arab production companies, and their ability to conceal their identities by changing their Jewish names to Arabic ones to avoid being rejected in Arab societies as actors, producers, and directors.

Film 'The Return of the Mummy' and the Search for Identity.

The film "The Mummy Returns"⁽⁴⁾ was shown in the Arab countries after its release in America and Europe. This film promoted the idea that Jews were the ones who built the pyramids, claiming they were slaves under the Egyptian pharaoh. The scenes in the film depicted Egyptians as a group of savage, ignorant, and superficial people. Despite the power of the mummy, the Star of David was portrayed as the only defense against the mummy's wrath, due to the star's supernatural power and ability to protect those who believe in and carry it. The mummy ultimately submits to the Jewish character and takes him as a friend and assistant. Although the mummy refers to the Jew as merely her servant, the initial implication for the viewer is that the Jews are the true origin of the matter, and that they are the rightful heirs to that civilization, even if they are depicted in the film as mere servants who have suffered oppression and injustice.

Similarly, to that film and the use of implicit and indirect messages, Zionist cinema has followed this approach. As we previously mentioned, the control of Zionists over production companies was not limited to American production companies, but also included production companies with Arabic names, some of which carried Islamic names, especially during the 1950s and 1960s. Examples of these artists of Jewish descent who conveyed the Jewish message through their films include the Egyptian artist Omar Sharif, or Michel Chalhoub.⁽⁵⁾ In his latest French film "Monsieur Ibrahim and the Flowers of the Qur'an," he plays the role of a Muslim merchant who has no goals in life and no ambitions in his simple trade, except for his concern for a Jewish boy whom he adopts in a humanitarian way to help solve the many problems resulting from the absence of his "wronged" father, who suffered from depression due to the persecution he faced as a Jew. The boy is driven to theft, but the man lets him go out of sympathy. Their relationship then develops after the Jewish boy steals the Muslim man's trade, creating a sense of moral responsibility between the Muslim and the child, who was forced by circumstances to steal from the man and seize his business. This sends a clear message about a deep normalization process and acceptance of the status quo, even showing empathy for the favored Jew.

Jewish cinematic attempts to distort Islam

The idea of cultural normalization and imposing a Jewish reality on the world did not overshadow the call for a Zionist homeland. Attempts to directly distort Islam through cinema largely failed, although some of those attempts succeeded to a significant extent. In 1926, Dawad Arifi, of Turkish Jewish origin and interested in cinema and art, came to Egypt. He wanted to produce a film about the Prophet Muhammad (peace be upon him), aiming to portray the character of the Prophet. He presented the idea to the Egyptian actor Youssef Wahbi, but he rejected the idea outright. When King Fuad learned of this, he issued an order for Arifi's expulsion from Egypt, and the Egyptian Ministry of Interior completely rejected the idea.

However, Arifi claimed to be Muslim and approached a production company owned by one of the Egyptian actresses, Fatima Rushdi, to present several questionable films that touch on religion and foundational concepts, but under Islamic Arab titles such as the film "The Call of God." Thus, some Jews managed to infiltrate Arab cinema and produce films that were able to create a public consciousness contrary to Islamic values and Arab traditions. Arifi was not the only name that succeeded in infiltrating the depths of our country and artistically distorting the awareness of its masses; rather, the Zionist control over Arab cinema was the foundation.

After those horrifying facts about the Zionist artistic history - which is but a tiny part of those facts - Muslim businessmen and institutions concerned with Islamic thought must pause to reflect on the issue of artistic production and engage in the film industry to create alternatives and confront corrupt ideas with correct thought. Especially since the Islamic artistic concept has succeeded greatly through a series of Turkish historical series such as "Resurrection: Ertugrul," "Ottoman," "Saladin," and others that have gained unprecedented popularity and success, to the extent that one of them occupies the top ratings globally. This matter deserves attention after a long history of collusion and conspiracy.

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Sources :

1. An American company that produces some of the most influential films in Hollywood's history, known later for Cannon Films, produced a number of action and romantic movies whose profits went to founders "Israeli," namely: Menahem Golan and Yoram Globus.
2. "Schindler's List" is an American film produced in 1993, directed by Steven Spielberg, based on the book "Schindler's List" (also known as "Schindler's Ark") by Thomas Keneally. The film tells the story of Oskar Schindler, a German Christian industrialist who saved 1,100 Polish Jews from being murdered during the Holocaust in World War II.

The film won 7 Oscars out of 12 nominations, ranked ninth on the American Film Institute's list of the top 100 films of all time, and placed sixth on the Internet Movie Database's rating of the top 250 films in history.

3. The Cinema and Zionist Media by Samir Farid, with modifications.
4. The Mummy Returns: an American adventure film produced in 2001, written and directed by Stephen Sommers and starring Brendan Fraser, Rachel Weisz, John Hannah, Oded Fehr, Patricia Velasquez, and Arnold Vosloo.

The film is a continuation of the events of the movie "The Mummy," which was produced in 1999, set in 1926. The film "The Mummy Returns" continues the story in 1933 (one year after the original "The Mummy" was released in American theaters in 1932). The film was shot in the United Kingdom, Morocco, and Jordan.

5. Omar Sharif (his original name was Michel Yusef Dimitri Chalhoub), (1350 - 1436 AH / 1932-2015 AD) was an Egyptian actor who participated in many films in Hollywood. Among his most famous roles are starring in films such as "Doctor Zhivago," "The Pink Panther," and "Lawrence of Arabia." Sharif was nominated for an Oscar and won 3 Golden Globe Awards, as well as a César Award.

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