The study came in four chapters preceded by a preface and followed by a conclusion. The preamble included the introduction of the linguistic and normative meanings of the three pillars that constitute the title of the study: image, enemy and equestrian. The first chapter is the image of the enemy before the battle, where he took his picture from four sides: the enemy group, the individual enemy or the century, the enemy commander, and the ethics of the enemy. The second chapter dealt with the image of the enemy during the battle. He studied the enemy's place and time, the image of the enemy army, the image of the enemy knight, and the enemy of war. And the third chapter presented the image of the enemy after the battle, defeating the enemy and fleeing, and the image of the dead and wounded, and the image of the prisoners and the scenes, and the image of the victorious or neutral enemy. The fourth chapter discussed the most important aspects and the technical tools in which the Knights poets woven the image of the enemy by studying the artistic image, language and style, rhythm and music. The researcher reached several results, including: The Persian cavalry poets were keen to portray their enemies in different forms in the event of their collective attack, in the sense of abundance, strength, courage and good organization. In contrast, other pictures show their weakness, mismanagement and neglect. They were keen to portray the enemy commander before the battle because it has an impact on its events, and has been portrayed by the various cavalry poets, some of which indicate his entitlement to leadership and his own yard, while another picture shows his ignorance of the methods of leadership and lack of his mind and his opinion. It was found that the most places where the battles took place were the valleys and the rugged lands, which met with the meanings of distress and fear, in line with the narrowness of the battle and its calamity. In time, the jockeis used it for their benefit in the battle. They chose the day and especially the morning to meet their enemy, demonstrating their courage and having the initiative. , And the element of surprise and surprise in the war. The image of the enemy came during the battle in two forms, the first positive in which the valiant poets knighted their enemy, and they gave the enemy's army a picture that shows its strength and intensity in the battle. The second is negative, in which the enemy army appears weak and unable to defend itself. The image of the enemy is negative after the evacuation of the battle, completely contradicting the positive image painted by him - often - the cavalry poets before the battle, has been keen images of poets to portray the spread of murder in his ranks, and the sedition of prisoners captive, and his wives Spaya but there are some poets, And portrayed him in his victory as portrayed in his defeat. The image of the enemy in the poets of the Knights varied in its rhetorical side, and emerged with the pictures: analogy, metaphorical, canonical and sentencing. They also have sensory images: visual, auditory, tactile, and auditory.