THE STRANGE CASE OF MOORS MAURÓFILO
Luce López-Baralt
Tuesday, March 22, 2011
Low Reactive Lymphocytes
/ University of Puerto Rico
Some of the most significant texts of the Golden still await publication. One of them, S-2 Manuscript Library of the Royal Academy of History in Madrid, which at present are in the process of editing Alvaro Source Galmés, is to throw an unexpected light on the always thorny problem of literary maurofilia. We all know that the emergence of the literary maurofilia Spain through the Inquisition is one of the most enigmatic of English letters. It seems a contradiction that the figure of the Moor was exalted and adorned with the richest clothes and weapons brightest right in the years in which he forbade the flesh Moorish its own cultural identity. A panoramic look at the ink has been spilled to reflect on the literary nonsense immediately highlights the discomfort, even with the torment which has faced criticism maurófilo enigma. Today, the pioneering interpretation of Marcelino Menendez Pelayo, which refers to the "generous idealization that the people had won their former rulers, would disappear just as the last relics of that race" (
1 and cross the Moor in our literature (
2), facing the Muslim Goytisolo mirifica the literary maurofilia the "scarecrow Hispanic buried in the subconscious" that is their back and that is also present in history of Hispanic literature. 
). Claudio Guillen nuances of the phenomenon in his brilliant essay Literature as Historical Contradiction: The Abencerraje, The Moorish Novel and the Ecloque
( It Offers a vision of peace and unity Against a backround of past wars Between Christians and Moslems, while connoting contemporary  Struggles and Religious Conflicts | "(pp. cit., P. 178). The
| Part of the Koran from illustrious Infante Don Fernando (1550-1561) Baron of Treebeard, Jerónimo Jiménez de Embún, landowner known Aragon their continuing advocacy against the inquisitorial power Moorish ( |
). Recall that the rebellion of the Alpujarras would soon be detonated and were crucial years for discredited children of Hagar. However, Guillen warned that the reader inevitably receive literature idealizing the subject moro-just like its counterpart, pastoral novella-as a work of art in open denial with their reality: "... a fictional picture of perfection Experienced is by the reader or the spectator as the antithesis of the imperfection Among Which He Lives "(p. 278). Recently, however, a critical sector has been even more suspicious of the mystery of this literature as uncomfortable, and seem to favor the hypothesis that good maurófilos part of the English Renaissance texts are nothing but a covert dissident literature. Maria Soledad Carrasco believes that the literary convention of idealized dwell-think of the Civil Wars of Granada Ginés Pérez de Hita, and in that Abencerraje - has the express purpose of dignifying the persecuted breed and promote the spirit of reconciliation and formal harmony between Christianity and the descendants of Muslims (6
). Seems more clearly intentional historical phantasmagoria of Moorish convert Miguel de Luna, the true story of King Rodrigo, in which the translator of Philip II condemns the Gothic king and dignified to invent a past with the Moors of Al-Andalus. Darius Cabanelas is responsible for giving us the keys to the enigmatic personality of Luna, mate Alonso del Castillo and suspicious, like him, being one of the authors of the famous Sacromonte lead books that both translate to the Christian authorities (
7 ). In the same line of thought, James T. Monroe plays the mysterious true story of Luna in terms of a veiled diatribe whose secret purpose of demonstrating that the coexistence of Moors and Christians could be the basis of virtue and tolerance on both sides. George A. Shipley (8 ) would agree to Monroe, in an essay that goes a step further in trying to read between the lines is maurófila literature as literature of resistance, the student rereads the plant for its beleaguered caste Abindarraez the once-honorable Abencerrajes-in terms of overlapping of the author complains of the infamy that had fallen in the lineages themselves Arabs and Jews in Spain in the XVI. The tendency for criticism of the reinterpretation of the genre as literature maurófilo "protest" culminating with the recent studies Francisco Márquez Villanueva, " The historiographical problem of the Moriscos " (Bull. Hisp. LXXXVI [1984], pp. 61-135), " The Moorish criptohistoira (The other converts) " Cuadernos Hispano CCCXC {[1982] , pp. 517-534) and " The legend will Miguel de Luna" {The Journal of Philology XXX [1981], pp. 358-395). After these tests, the belles lettres Moorish theme always seem to have lost their innocence. The apparent contradiction between the verbal and picturesque facts seem outdated for Marquez Villanueva is just the intransigence of the Christian authorities which triggers the evening protest, but firm, the Moorish-themed literature. Naturally, this literature we have to speak between lines of text, is published under censorship of the Inquisition, and we have to read it with the attitude suspicious letters claiming the dissident English Golden Age, from Celestina to Alfarache Guzman .
Whatever the ultimate motivation of the letters maurófilas, who could be an unexpected
littérature clef, the truth is that we always return to the disturbing point: the dramatic paradox of Moorish figure Once reviled and glorified. Most distressing torment me even more to criticism by sharing with it a unique discovery that has brought me luck: the strange case-case-of a Moor 'maurófilo. " The "silent contradictions" which referred to our dear friend Claudio Guillen maurófila referring to literature and historical surroundings suddenly become strident contradictions. When the Moorish flesh and blood, this dreaded "bogey buried in the subconscious Hispanic" would say Juan Goytisolo, has at last word from the pages of an unpublished manuscript of the Academy of History, behaves, in the first instance - and As expected, a report writer. Vitriolic attacks by the Holy Office, he would step heels in his later years on home soil, and mourns his tragic exile in Tunis land so bitter that year 1609. But once the vent of the atrocities suffered, what the author thinks of Moorish? For nothing less than becoming vicariously in those gallardísimos and impossible Ozmines and literature Abencerrajes maurófila more recalcitrant. The contradiction that mourned between literature scholars and idealizing maurófila unfortunate historical counterpart suddenly is synthesized in a single text, which is both dissident and escapist. And that was, moreover, written by a member of the race himself dwelling in question. still do not know who was this Moorish, author of one of the most important miscellaneous texts of all the literature written clandestinely left his nation over the centuries XVI and XVII. Eduardo Saavedra is identified as Ibrahim Bolf, author turn of 9653 and 9654 manuscripts of the Biblioteca Nacional de Madrid ( 9). John Penella, meanwhile, believes that it is Ali Pérez ('Abd al-Karim ben' Ali Smith) expelled from Spain and author of an apology Poetry of Islam which has just been edited by Luis F. Bernabé Pons ( 10). Bernabé Pons believes that there is a possibility that Ali Perez, known in his adopted country as Ibrahim Taybili Tunisia, also could have written the manuscript S-2 in hand, but did not produce evidence to that effect. Mikel de Epalza, the preface to the study of Petit Ramon A. On Ibn Turki al-Rafi 'al-Andalusi (Moorish descent takes pride in its prophetic and offers a dramatic account of her experience in Spain criptomusulmán) identifies this Al-Rafi "the author of the S-2 ( 11). However, to prolong the issue of Bernabé Pons is cautious with the award of authorship and declared the manuscript S-2 as a child of the pen "as yet unidentified author" (op. cit., P. 8). Louis Cardaillac (
12) and Jaime Oliver Asin ( 13) consider anonymous text, and myself, to deal in a separate study of the problem of authorship I have chosen to consider, to the present , anonymous ( 14). But it matters less here the name of our Moorish silenced his hot text. Without exaggeration, these pages require unprecedented a palimpsest reading that leaves the most benevolent reader an unusual state of "literary schizophrenia." Already proposed that we are facing one of the most complex and most significant of Moorish literature. With a calm imperturbable, the anonymous refugee from Tunisia passed a shocking testimony of his exile to the land of Barbary to the Italian novel interspersed with verses from Garcilaso, Góngora and Lope; erotológico an unusual treaty-the first "Kama Sutra" I am aware of English-inspired Sufi Ahmad Fez Zarrüq but topped by a sonnet by Lope de Vega ( 15
) treaties moral and religious worship (
adab) of Muslim descent, the looting of arguments such as La Serrana de la Vera de Lope and Book V of the Arcadia ( 16), instructions on how to circumvent the Kabah in Mecca. No wonder, then, that Moorish, who knew so deftly slid between violent cultural paradoxes, was both an author and an author maurófilo dissident.
Let's look first as a dissident writer. Just a sample button, as other studies have been devoted to this aspect of the Moorish rebellious. Displaying a courage front that is characteristic of aljamiado-Moorish literature of resistance, exile exile interpreted as a gracious act by which God delivered the crypto-Christian yoke, "nross [was] to get us from Serb ydólatras Christian infidels" (fol . 2r-2v) ( 17). The Moorish comes from centuries of enforced silence of his pen and gushing incessant invective against official Spain. We are facing a dramatic case of "breakout" avant la lettre right in the English Golden Age. Possibly the most violent passage of the treaty is that of the complaint to the Inquisition and the genocidal plans of Bishop Salvatierra who had proposed the castration of the Moors and the mass exile to Newfoundland and Guinea. The refugee claims referred to the plans and machinations of the Inquisition with a justificadísima indignation: "... the lettering and alabancas be to the merciful Lord, who brought us out from among these Erex Christians and the erexías ber every day BIAM and every day was increasing the hatred in them with HEART, and was force to show what they wanted, because otherwise the Uebaban waited until the Ynquicición, where we were to follow the EBRD bidas PrIBES of wealth and children, as a thought was the person in a prison dark, as black as his evil yntentos, where the left and r many years to consume the property, then Secrest [sic] della eating them (and say, with justification), and was layer of their evil and traitors guts. And the children, if they were young, gave them to raise, to put off making like them, Erex, and if large, sought how to Huyro, and besides this adbitrios sought [sic] to end this nation could not be biendo HEART drive their firm faith in his diabolical some mushroom, some said they were all killed, others were captured, others give them a button to fire a part of his body that he could not enjendrar and were dying with that consumería, as if they could undo what was determined in nross God's eternity, and these cases were day and night asking nross sacase us so much trouble and risk, and we wanted bernos land of leather ICLAM albeit in ... "(fols. 1 lv-1 Go). Although our Moorish Tunisia certainly did not "naked" ( 18), it is his wish to take refuge in Islamic lands. But cultural transplantation rarely occurs without serious emotional consequences. Just after give us news of his sad adventures of travelers forced the author seems unable to contain his English nostalgia ( 19) and the passionate dedication to writing a novel "exemplary" streaky, as we have said, of classical and popular Hispanic poetry. They say the more painful exile with age: perhaps this will be happening to refugees, who must have written his treatise in the twilight of his life, between 1630 and 1650 (20 ). Write just for the new generation of Moors, and born in Tunisia, urging them not to forget the welcome they received in his adopted country. But I left another legacy thrilling: its Hispanic dying unexpectedly but still vigorous. How much, we warned from the moment they begin to parade before our eyes the verses of Garcilaso and Góngora and Lope and Quevedo, lovingly collected within its idealized narrative. What's more, because the Moor falls into the curious temptation to go through his romances as much as some Moors. We face an unusual case in English literature known to this day: a Moorish Muslim to the core and direct victim of the Inquisition Spain, usurps the stereotype of the Moor gallant and brave but stiff and fake literary maurofilia. No one would be so obvious as our Moorish that Abenamar Zaide and had little to do with him or with his brothers banished. But the author seems unable to resist the temptation to become for a moment in a "English" full-time and features to its text joyful ballads like "I did not touch the candle / Alhambra campaign" (fols. 44v-45r); "If you have the heart, / Zaide, as arrogance" (fols. 42v-42R, attributed to Lope by Menendez Pelayo) and Medoro concerning which begins: "With those white hands / that took so many lives" / flos. 42v-42R) ( 21). Hear the refugee yearning for Daraja, the Alhambra and the Torres Bermejas: God only knows how many feelings and how much would real nostalgia in his "soul of English Arabic nard" (Manuel Machado would say) when he repeats these commonplaces of literature maurófila the rest of the text is in charge of flagrantly contradict:
bela no longer touched the hood Alhambra Towers because Bermejas silver bathed dawn without sleep Quando recalls the Moor Abenamar cuydado more I dream that bad who sleeps well and loves biendo sunrise and not leaving with Daraxa tears from his eyes tears came aquesta if dawn dawn embroidering the faithful to me with jealousy dusk step soul crying all night awaiting the morning and your condition is not going sun burns me
Banse your bright stars in my disappointment clear and although the sun is not for me
ynporta quel beautiful sun of the Indies benga and berry to bring to Spain the day if it hides of your face if embroidering dawn dawn jealousy to me with jealousy gets dark soul (fols. 44v-45r). And I could not miss the famous Moorish Alhambra Zaide, perfect epitome of the gallant picturesqueness and decadent literary maurofilia. His opponent is evoked between zambras Tarfe, luxurious drapery rods and when he launches a fiery challenge If you have the HEART, Zayde, as arrogance, And as you leave the hands
bolar words, if the war skirmishers as the ladies talk, and the horse rebuelbes
body and in the Chamber, as the gallant bolar words, if the war
if Omata the mesh lucida
steaks and hear the sound of the honpa
as are the sweet ^ yna
if you are so skilled in war and in walking
plague and as you apply
party you apply to battle
if as in the Gallardo strips
regucijo reeds in the field
enemy hurt you and abuse;
if you respond to present and absence
salt praise you know whether you defend
as the Alhambra and if you talk
dare not go out alone but what is he waiting for you,
one of your friends in your defense out, that good men
not in palaces or between women is
ADVANTAGE
the language that is where the guns are silent, and that the Moor
Tarfe
writes with so much anger and rage,
that puts the pen where the thin paper
tears and calling him a page
says, the bete Alhambra
and secretly the Moor Zayde da me this letter and I hope you dirásle where water flows lens
Xenil Jeneralife steaks and hear the sound of the honpa
as are the sweet ^ yna
if you are so skilled in war and in walking
plague and as you apply
party you apply to battle
if as in the Gallardo strips
regucijo reeds in the field
enemy hurt you and abuse;
if you respond to present and absence
salt praise you know whether you defend
as the Alhambra and if you talk
dare not go out alone but what is he waiting for you,
one of your friends in your defense out, that good men
not in palaces or between women is
ADVANTAGE
the language that is where the guns are silent, and that the Moor
Tarfe
writes with so much anger and rage,
that puts the pen where the thin paper
tears and calling him a page
says, the bete Alhambra
and secretly the Moor Zayde
to bathe (fols. 41r-42R).
important to note that the Moor, which is characterized by sharply sobering tone of his work, he uses these moral romances for some, but who delights in them, as with the Eclogues of Garcilaso, observing a ars gratia artis attitude. When the lover with the aforementioned harp that sings the final verse concludes romance, author, become a character in the "novella" says pleased how well it seemed to music (fol. 45v).
The literary maurofilia our Moorish takes even when celebrating the Europeanized footage Medoro himself in the process of being cured of his wounds on the beautiful Angelica and win over their rivals in love 'Ruger and Orlandos' (fol. 42v) (
22).
But there is more. The author maurófilo unexpected move from "English" to do nothing less than his racist tendency of literature idealized Golden Age, which did nothing, of course, to reflect the prevailing attitudes in society of the time obsessed by the necessity of purity of lineage. We all remember that novelists 'gallant' Renaissance deal to hold the blood "illustrious" of his characters, whose nobility lay not only in an accredited mainly stock but not to be contaminated with the blood of the Golden discredited English: Jewish and Arab. In our Moorish touched live in the flesh, on the other hand, the infamous laws of purity of blood, admirably studied by Albert A. Sicroff, with each English had to prove their "purity" racial, often dubious. For all this is moving, if not painful, to observe the refugee identify with the racial tenets of the official Spain cristianovieja, just biased against their nation. It seems that only a desperate desire to be English "really" may have led to Moorish to such extremes.
The modern reader can not help but smile skeptical when the author of the manuscript S-2 emphasizes that a the novel character of the unhappy Repentance, for the purpose of love to a noble widow unwilling to forget her dead husband, boasts to her of her lineage: "I'm rich and my blood and ancestry known '(fol. 49v). What this gentleman is saying he could not seem good to our extraliterary criptomusulmán in reality, just respect the miracle white hands and admire him;
the Moor is looking
with
and tenderly Bista boz
giving away and sighs and says:
oh, my sweet bida
arrest the soul out strife,
if I wrote your dear name
Corteco smooth these witnesses of these trees
of your glory and my quest agora my blood on my chest
olbidas Ruger and Orlandos many dead I confirm your faith bida ay my sweet, arrest the soul out contention (fols. 42v-42R).
ensure your loved one who does not share the blood discredited the author of the text. And our Moorish, with the same self-confidence of his beloved Lope and Tirso, take it for good.
But our Moorish reaches high on its identification with the values \u200b\u200bcristianoviejos. Has no objection to rejoice with the indirect holding of the former Visigothic Spain. The reader is genuinely puzzled that complex was the Golden Age Spain, when he hears how the refugees, using as a spokesperson for a lady of his novel, gives live the brave-and ruddy-Bamba, who has, moreover, a red cross on his chest, "they say in high boc.es / Toledo, Spain, Bamba!" (fol. 38v). Recall that the cult of the blood of the Goths and Visigoths as a panacea myth to interpret Spain's history was in full swing at the time of writing the Moor. Nothing seems further from the living environment of the victims of the statutes of purity of blood, one of whom was the author of this manuscript. Yet, refugees seem to be in secret ("involuntary?) Complicity in these values \u200b\u200bthat served as a weapon to subdue their caste. The loser often pathetically aspires to resemble the clear winner and the social, racial and ideological differences which separate them (
23). Urge to remember, moreover, that a literary tradition is imposed on the writer who is attached to it: once a refugee is decided by idealizing and maurófila rhetoric, seems to accept all the tenets comfortably artistic and social implications of this literary genre. Once within this climate aristocratic and escapist, it's not too difficult to slide, as the Moor, racist and pro-Goths, fundamentally in accordance with the values \u200b\u200bof English literature, the author learned that wants to imitate. Only one can not usurp criptomusulmán maurófilo speech (and the racist and gothic) with impunity: in the hands of a Moor who has confessed as religious and political dissident, gender maurófilo immersed in a sea of \u200b\u200bcomplexity and new meanings. The literary maurofilia a real Moorish is simply explosive. Seem legitimate to compare this situation with the literary Negroid of poetry in the twentieth century. In France no more than a simple artistic fashion, but when Caribbean writers such as Nicolas Guillen and Luis Pales Matos deal of Negroid, the case is quite another, as they themselves are black or living in countries where the black is a reality important social urgently calling for social redemption. The literary maurofilia that we have documented in this historic Moorish will undoubtedly much ink.
For now, one thing seems clear: to end the day we encourage to edit all Golden Age literature, readers will be advocated to many surprises. We had enough with the secular perplexity to which we subjected the Moorish literature, and now we have to deal with the surprise of this disturbing Moorish maurófilo I share with readers today. We will read your text, literally "schizoid" (the term guilleniano of 'contradictory' habérsenos seem too small) not without some friendly instinctive fear. Button is a sample of the Byzantine complexity of literary writing that was capable of golden ages, of which so much we have yet to meet.
Notes
2. Apud Chronicles Saracens. Iberian arena, Barcelona, \u200b\u200b1982, pp. 7-25.
novel {Granada Moorish theme. Universidad Complutense, Madrid, 1972) also gives the literature maurófila any serious historical reasons.
4. "Literature as Historical Contradiction. "The Abencerraje, the Moorish Novel and the Ecloque "apud Literature as System, Princeton University Press, 1971. 5.
Francisco López Estrada suggested that the Baron of Treebeard was converted Jew. Anyway, this man of Moors defended the status quo of coexistence Mudejar both continued in Aragon, and in doing so it acted as a typical Aragonese nobleman for whom religious tolerance was not at odds with their own economic interests. See F. LOPEZ ESTRADA, The Abencerraje and the beautiful Jarifa . Four texts and study Rebma, Madrid, 1957, and "The Abencerraje of Toledo, 1561," in Proceedings of the University of Seville, XX (1959), pp. 1-60. On the other hand, Lopez Estrada and John E. Keller set a curious parallel between the idealized vision of the Moorish English and the Native American Finishing receive from their white oppressors once ceases to be a threat to territorial expansion plans of the United States.
6. Pérez de Hita dedicated, just like that the anonymous author of Abencerraje, the second part of the civil wars of Granada to a man of Moors. This time it is the Duke of Infantry, who fought to maintain the status quo of the Mudejar de Murcia. To the vicissitudes of the publication of the two sides of the Civil Wars of Granada, see especially Maria Soledad CARRASCO, The Moorish Novel. The "Abencerraje" and Pérez de Hita, Twayne Publishers, Boston, 1976. 7.
See D. Cabanel, The Moorish Granada, Alonso del Castillo, Board The Alhambra, Granada , 1976.
8. "The literary work as a historic monument: the case of Abencerraje ', Journal oj Hispanic Philology R (1978), pp. 103-120.
9.
Speeches read before the Royal English Academy, Madrid, 1878, pp. 165-170 and 290-291.
10.
The Moorish Islamic song hispanotunecino Taybili, Institución Fernando el Católico, Zaragoza, 1988. See also the work of J. Penella, THE English Moorish immigrants to North Africa, PhD thesis, Barcelona, \u200b\u200b1971, "The religious feeling of the English Moorish immigrants: notes for a Moorish literature in Tunisia" (Proceedings of International Symposium on literature aljamiado and Moorish CLEAM, Gredos , Madrid, 1978, pp. 445-473) and "Littérature en anglais morisque in Tunisie" (Reports to "elude sur les morisques andalous in Tunisie, Institute of Hispanic- Cultura / Center for Studies Hispano-Andalusian, Tunis, 1973, pp. 128-134).
11.
See Abdelmajid TURKI, "Documents on the exodus of half Andalusian to Tunisia," Compendium of avoiding skin tags on Andalusian ..., pp. 114-127. 12.
Moriscos el Christians. A polemical confrontation (1492-1640), Klincksieck, Paris, 1977. 13.
"A Moorish Tunisia, an admirer of Lope de Vega", Al-Andalus I (1933), pp. 409-450. 14.
cf. "The secret anguish of exile, the testimony of a Moor of Tunis', Hispanic Review LL (1987), pp. 41-57 and especially the full version of this study, still unpublished, will be part of my book The Secret literature you last Muslims in Spain. 15.
prepare this edition of the treaty under the title A "Kama Sutra" English: the first treaty of our language erotic (ms. S-2 BRAH). 16.
Cf. J. Oliver Asin, op. cit., pp. 444-445. 17.
respect, not modernized, the text of the Moorish, and only add some upper and punctuation to clarify the reading. 18.
depleted not only failed, but complains of exhibitionism with which newcomers Moorish wore jewelry in Tunisia, creating resentment among their new compatriots. 19.
See my aforementioned essay "The secret anguish of exile ...." 20.
There seems little disagreement among scholars as to the date of the manuscript: Oliver Asin estimated that should have been written before 1630 (op. cii., P. 421); Henri Pieri until 1640 or 1650 ("L'accueil aux morisques eject Tunisiens parles d'Espagne: le morisque Temoignage" in Recuil d'études ..., pp. 128-134), and L. Cardaillac by 1640, as assigned by the decade of 1630-40 for the writing of the manuscript BNM 9654 and 9653 and S-2, and concludes that the S-2 is the later of the group (cf. Morisques the Chrétiens ..., p . 186). 21.
Samuel G. Armistead mentioned some of these romances in his essay "Was there a romance of oral tradition among the Moors?", In Proceedings of International Symposium ..., pp. 211-236. 22.
Here is the full text of romance: With those white hands that took many lives, Anjelica was healing of wounds Medoro, stopping him is the soul until death enemy
23. In this respect it is interesting to note that the English Moors avoid painting themselves as brown or dark-haired character in literature idealizing. Filled me with wonder my own discovery: I could not document a single dark complexion and a hair in the belles lettres blackthorn Moorish. In contrast, the violet-eyed blond characters do make their graceful appearance, everything seemed to indicate that the Moors could not hide their desire to assimilate into unacknowledged Christian caste oppressed them. Nothing more consistent with the cares maurófilos, progodos racist and our refuge. See our essay "The Aesthetics of the body between the English Moors, or how the persecuted minority loses its face", forthcoming in Publications de la Sorbonne, Paris
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