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Protest has always been at the core of great poetry and art. The severity of the moment in which the poet suffers conduces his poetic talent to express the current state urging th': poet to face the tyrant’s prejudice and carelessness to any human feelings. Thus, the poem, the painting, the sculpted object, or the piece of caricature is nothing but a protesting cry spread in the universe against such tyranny and deformity which stain human life in general. In that case, the literary or the artistic work is considered the weapon which the creator shots defending himself, his fellow - people, and the principles of goodness and beauty. If we speculate any human achievement in the field of creation, we may find that all its aspects are directed for goodness and against evilness. Hence, the creator, whatever his means of creation is, may either sing of goodness and beauty, whether physical or abstract, or protest against evilness ugliness condemning them to the utmost. If we have a look at Arabic poetry throughout the ages, we will find it concomitant with what is explained above, Arabic literature or poetry has always been an expression of a beautiful scene or a meaning of a certain virtue, as we realize in love poetry or epic verse; it has also been a protesting cry against ugliness or vice, such as the poems in which the poet condemns all passive aspects in the life of man. During the Abbasid era, with the beginning of Arabic renaissance and the spread of the ideas of liberty and human rights, protest has become overt and in public. Lots of writers and poets used their pens to protest against injustice and oppression, not only for political reasons but also for social ones. One of those poets who revolted and protested against injustice in their poetry is Abi Al Tayyb Al Mutanabbi. As a result of his works, an active critical movement began. Most of his eulogical implies a satirical revolution against all hidden and apparent forms of injustice in his society. Procedures will be taken to explain the images of protest in his eulogies, the result of which appears in his relationship with the Khalif Saif Al Dawlah, and is reflected in the eulogies in which he eulogies the Khalif. Such images of protest will be dealt with in some detail in the following pages of this paper.
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