The article is devoted to clarifying the information contained in women’s tazkiras about Rabia Balkhi and is written on the basis of research and study of materials from tazkiras and encyclopedic works about women poets. The author, through a comparative analysis of all the mentioned sources, concludes that despite the repetition of much of the information, the value of these tazkiras lies in the data they provide about Rabia’s personality, biography, and literary heritage. In addition, references to scholarly articles about Rabia and to the sources of some of her ghazals are also very important for Rabia studies.In conclusion, it is noted that among the 15 women’s tazkiras examined in the article four of them (tazkiras Ata, Kishavarzi Sadr, Salimi, Mogha Rahmani) contain more extensive information. These works emphasize that Rabia was a pioneer of the art of mulamma and the creator of a new metrical pattern in Tajik prosody.
Rabia Balkhi; women’s tazkiras; biography; literary heritage; tazkiras Ato; Kishovarz Sadr
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