Centenario Cervantes

Granada en el Diván

Cervantes Centenary

The masterpieces of Cervantes and his close relationship with Granada . Moors Moriscos and Turks.

Cervantes has a close relationship with Granada , its inhabitants, its history. The voice of the expelled becomes permanent , it is the leitmotif and the raison d’être and inevitable in all his work.

Great poet and artist, cultivates ambiguity at a time that did not allow more choice than equivocal, multiple senses, ” taqyya ” dissimulation, at the same time showing his undisguised appreciation for all the losers, in this case were none other than those who suffered intolerance, the awkwardness of the most obtuse casticismos, which blood cleansing and religious fidelity beyond their principles, to be “hammered” by heretics and dissidents of all stripes.

And there are many things to learn from those hard times, for what will be our guide Cervantes famous and undisputed master. In his hands, we will make unexpected discoveries. and most of all , will enable us to approach the knowledge of our history, formally absent from classrooms and schools, accessible only to a handful of researchers -men and women- who insist his life in an endless work of deciphering of a single work so widely discussed, as poorly known by people.

Bautismo

Capítulo 52 – I Parte

Pero el autor desta historia, puesto que con curiosidad y diligencia ha buscado los hechos que don Quijote hizo en su tercera salida, no ha podido hallar noticia de ellas, a lo menos por escrituras auténticas; sólo la fama ha guardado, en las memorias de la Mancha, que don Quijote, la tercera vez que salió de su casa, fue a Zaragoza, donde se halló en unas famosas justas que en aquella ciudad hicieron, y allí le pasaron cosas dignas de su valor y buen entendimiento. Ni de su fin y acabamiento pudo alcanzar cosa alguna, ni la alcanzara ni supiera si la buena suerte no le deparara un antiguo médico que tenía en su poder una caja de plomo, que, según él dijo, se había hallado en los cimientos derribados de una antigua ermita que se renovaba; en la cual caja se habían hallado unos pergaminos escritos con letras góticas, pero en versos castellanos, que contenían muchas de sus hazañas y daban noticia de la hermosura de Dulcinea del Toboso, de la figura de Rocinante, de la fidelidad de Sancho Panza y de la sepultura del mesmo don Quijote, con diferentes epitafios y elogios de su vida y costumbres.

Don Quijote

El CÁLAMO SUPREMO (AL-QALAM AL- ACL}) DE CIDE HAMETE BENENGELI


Luce López-Baralt

Cervantes closes the chivalric saga of Don Quixote à l’envers giving the final say to the pen of Cide Hamete, speaking independently, without the guiding hand while hanging by a thread wire tied to a prosaic espetera. Amazing entelequia certainly worthy of a charming wise: the scene is so incongruous that seem an unmotivated fraud. The incongruity of this enigmatic joke, however, may be only apparent, because if we read the scene from Islamic cultural coordinates, with which Cervantes may have been familiar both in Algiers and Spain, the prodigious boom that seem concocted Quixote save close relationship with the “supreme calamus” or al-Qalam al-acla the Koran (68:11) Cide’s pen, necessarily arabizante given the lineage of its owner, welcomes the work was born “to herself” and that the company of his writing was “saved” for her. And with that Cervantes returns to honor his Islamic contextuality, since this primordial pen Mohammedan, associated with the holy writ of God the Creator and his Supreme Intellect, writes of the “Preserved Tablet” (al-law! H at-ma! HFA! z), also of Koranic race (85: 21-22), the inexorable destiny of human beings. Seen from this perspective, the final scene of Don Quixote, as we shall see, let us be absurd and ironic he begins to deliver its secrets.

El calamo supremo (Al-Qaman Al-ACl~) de Cide Hamete Benengeli Sharq al-Andalus, 16-17 (1999-2002), pp-175-186

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