Scripture Portions
26. Ash-Shuara
Also Known As The Poets · Ash-Shuara The surah name without its ordinal prefix, so the name index and site search resolve the form readers and the corpus actually use.Original Term Surat ash-Shuara
The Quran
Citation Formats
General Reference
APA Style
BibTeX
Ash-Shuara, the Poets, is a Meccan surah and, at 227 verses, the surah with the second-highest verse count after Al-Baqara. It is named for the poets rebuked in its closing verses, whom the errant follow (26:224-226). It runs a long roll of prophet-narratives, Moses, Abraham, Noah, Hud, Salih, Lot and Shuayb, each returning to a repeated refrain, to distinguish the inspired messenger from the poet. It opens with Ta Sin Mim.
Facts
Identity
Position in the Canon Canonical Reference Origins
Era of Composition Learn More
The Poets: Prophet After Prophet, Rejected
Ash-Shuara ('The Poets'), 227 Meccan verses, strings together the stories of Moses, Abraham, Noah, Hud, Salih, Lot and Shuayb, each with the refrain that they asked no reward and were called liars. It ends distinguishing the inspired Prophet from the wandering poets 'whom the deluded follow' (26:224).
The refrain that recurs through Ash-Shuara's prophetic narratives, each messenger opening with 'will you not fear God' and closing with the insistence that he asks no reward and that the people should fear God and obey him, gives the surah a liturgical, almost musical structure that classical reciters and commentators alike single out for its rhetorical power, the repetition itself becoming part of the argument that every prophet faced the identical objection and gave the identical answer. Moses' contest with Pharaoh's magicians (26:38-51), in which the magicians fall into immediate prostration upon recognising that Moses' staff performs what no sorcery could match, is read by al-Qurtubi as significant precisely because it convinces the era's own experts in the relevant craft, sorcery, rather than religious outsiders, a pattern the surah's closing verses extend by distinguishing true revelation from poetry, the connoisseurs of language rather than magic being the implicit witnesses to the Quran's own inimitability. The surah's final rebuke of poets 'who say what they do not do' (26:226) is traditionally read alongside an exempting verse for poets who believe, do good works and defend the faith with verse, a qualification commentators cite to explain why poetry itself was not condemned in early Islam despite the surah's harsh general judgement.
Warn Your Nearest Kin First
Ash-Shuara carries the specific instruction 'warn your nearest kin' (26:214), a verse the biographical tradition ties to a public moment early in Muhammad's preaching: he is reported to have climbed the hill of Safa near Mecca and called his own clan, the Banu Hashim, by name, addressing them directly with his message before any wider public appeal, a scene classical biographers treat as the transition from private to public proclamation of his mission. The verse is cited in later Islamic teaching as establishing that religious responsibility begins with one's own household and closest relations before extending outward, a principle applied well beyond its original narrative occasion.
The episode is also remembered for the mixed reception it received within Muhammad's own family, with biographical sources recording that an uncle, Abu Lahab, responded with open hostility rather than support, a rejection later commentary connects to Abu Lahab's condemnation by name in a separate short surah. Ash-Shuara's own instruction to warn kin first is read by commentators as anticipating exactly this difficulty, framing family rejection of the message as a foreseen trial rather than an unexpected setback to the mission.
Cross-Tradition Connections
Contained In
Originates in Language
Sources
Reader Challenges (0 open reader challenges)
No disputes yet. Spotted an error or a better source? Open the first one.
Sign in to dispute this or suggest a correction.
View At A Past Year
Choose a year to see this entry's facts and connections as the atlas records them at that moment: what it held then, what it held instead, and what it had not yet adopted. Choose Present for the current record.