This paper examines the image of Muhammad, and the Muslim at large, as delineated by William Langland in his “Piers Plowman”. Langland draws on Muhammad’s traditional iconography as established by medieval polemicists. At the center of this iconography is the idea that Mohammad is typologically an Antichrist type and hence epitomizes the root of the Antichristian evil—cupidity. As such, in his deception of the heathen, he becomes a parody of Christ, and a symbol of the Antichrist’s two traditional natures: deception and hypocrisy. As the book is based on the charity-cupidity thesis, Mohammad’s life becomes a metaphor for the movement from charity to cupidity, in that he was a cardinal, a member a Church, but he became a heretic, an enemy to the Church and hence to the Christians. In this sense, he becomes a ready metaphor for the English clergy, who, in their corruption and cupidity, lead people away from the Christian truth.
M. Shuqair, K., & A. Al-Hajji, B. (2012). Muhammad’s Iconography and the Antichristian
Evil in William Langland’s “Piers Plowman”. Annals of the Faculty of Arts, Ain Shams University, 40(october - december), 495-506. doi: 10.21608/aafu.2012.6139
MLA
Khaled M. Shuqair; Badria A. Al-Hajji. "Muhammad’s Iconography and the Antichristian
Evil in William Langland’s “Piers Plowman”". Annals of the Faculty of Arts, Ain Shams University, 40, october - december, 2012, 495-506. doi: 10.21608/aafu.2012.6139
HARVARD
M. Shuqair, K., A. Al-Hajji, B. (2012). 'Muhammad’s Iconography and the Antichristian
Evil in William Langland’s “Piers Plowman”', Annals of the Faculty of Arts, Ain Shams University, 40(october - december), pp. 495-506. doi: 10.21608/aafu.2012.6139
VANCOUVER
M. Shuqair, K., A. Al-Hajji, B. Muhammad’s Iconography and the Antichristian
Evil in William Langland’s “Piers Plowman”. Annals of the Faculty of Arts, Ain Shams University, 2012; 40(october - december): 495-506. doi: 10.21608/aafu.2012.6139
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