By Mary B. Quinn
This ebook unearths basic connections among nationalist violence, spiritual identification, and the origins of the unconventional within the early glossy interval. via clean interpretations of song, literature, and historical past it argues that the expulsion of the Muslim inhabitants created a old and inventive aperture that was once addressed in new literary types.
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Por Antequera suspira,” for example, depicts the agony of the Rey Chico of Granada who has discovered that his beloved is now a captive of the Christians. The king values her above his lost kingdom, and thus displays the sensuality typical of Christian depictions of Moors. , ¿di si estás aprisionada? ” He did not sigh for his lost realm, For he was in another better: He sighs for a Moorish girl, The flower of all Granada … Tears streamed down from his eyes, As he spoke these words: “Oh soul of my very soul, Tell, are you now a captive?
Ed. Thomas Binkley and Margit Frenk. Bloomington: Indiana University Press, 1995. Measures 6–25. ”48 Furthermore, the text usually consists of a slow-moving melodic line that is accompanied by a much more exciting vihuela part. While the sung text, therefore, is musically less interesting than its accompaniment, it retains prominence because of its static nature. So, what are we to make of the union between the vihuela ballad form, its musical and narrative qualities, and its sympathetic treatment of Muslim themes?
Set by three vihuelists, “Passeávase el rey moro” remains one of the most important and popular examples of the allegiance of nostalgia, the Moor and the ballad form in the vihuela repertoire. Proof of its popularity, this ballad not only circulates in the vihuela books, but also in a variety of other cancioneros, pliegos sueltos, and Ginés Pérez de Hita’s Guerras civiles de Granada: Historia de los bandos de los Zegríes y los Abencerrajes. The story narrates the reaction of the king of Granada when he receives news that Christians have captured his town, Alhama.