In the 8th/14th century, nabaviyyāt poetry began to spread in literary centers such as Iraq, Syria, the Hejaz, Egypt and al-Andalus. Shihab al-Din Mahmoud (d. 725/1325), Safi al-Din al-Hilli (d. 749/1348), Muhammad al-Warraq (d. 757/1356 [?]), Ibn Nubata al-Misri (d. 768/1366), Ibn Jabir al-Andalusi (d. 780/1378), Izz al-Din al-Mawsili (d. 789/1387), and Abdurrahim al-Burai (d. 803/1400) are the prominent poets who produced works in the nabaviyyāt during this period. It is claimed that, as a reflection of the literary understanding of this period, practices such as the extensive use of badīʿ arts in poetry, producing mu‘āraza and tahmīs poems by drawing on famous odes, and favoring a didactic style over a lyrical tone also dominated nabaviyyāt poetry. Poets are criticized by modern researchers for their extensive use of badīʿ arts, such as tauriyyah and jinās, in their poetry. However, existing studies are not yet comprehensive or detailed enough to fully reveal the state of the nabaviyyāt genre during this period. The vast archive on the Prophet Muhammad and the potential strength of Arabic poetry suggest the possibility that much more refined works in the nabaviyyāt may have existed during this period. In this paper, Shihab al-Din Mahmoud’s eulogies for the Prophet Muhammad are analyzed in terms of stylistic and thematic features within the framework of the poetic understanding of the period and the nebeviyyât tradition. The primary conclusion of this study is that the criticisms regarding tasannuʻ and takalluf often attributed to Mamluk-era literary works do not apply to the poetry of Shihab al-Din Mahmoud.