Comprehensive Study Guide for the Romance del Rey Moro Que Perdió Alhama

Historical and Geographical Context of Alhama and Granada

Spain around the year 1500 was defined by the transition of power during the Reconquista. Alhama was a vital city and fortress located to the southwest of the great city of Granada. In the 15th century, its strategic importance was rooted in its dominance over the routes leading from Granada. In February 1482, Alhama was attacked, and it fell into the hands of the Catholic Monarchs (Los Reyes Católicos) one month later.

Granada served as the final enclave of the Muslim kingdom on the Iberian Peninsula toward the end of the 15th century. It finally surrendered to the Catholic Monarchs on January 2, 1492. Alhama itself was an impressive fortress of the Granadine sultans. Beyond functioning as a sumptuous palace and mosque (mezquita), it possessed the capacity to house a garrison of $40,000$ men.

Urban Landmarks and Cultural Signifiers in Medieval Granada

The architectural and social fabric of the city was defined by specific gates and markets. The Puerta de Elvira was one of the primary entrances in the walls of the medieval city. Another significant entry point was the Puerta de Vivarrambla.

El Zacatín was a notable area in Granada whose name translates to "Clothing Market." During the Arabic era, textiles and fabrics were sold in the lower part of the street. This zone also hosted a diverse array of artisans, including silversmiths (plateros), tanners (curtidores), dyers (tintoreros), shoemakers (zapateros), and hatters (sombrereros).

The Legend of the Abencerraje and Social Classifications

The name Abencerraje originates from the surname of a noble family of that era who resided within the Alhambra. According to legend, the Abencerraje family had political rivals known as the Zenete. The Zenete conspired to eliminate their opponents by inventing a fabricated romantic affair between the sultana and a man from the Abencerraje family. Blinded by jealousy and rage, the sultan came to view the Abencerraje as his enemies. During a feast held in the hall that now bears the family name, he ordered the decapitation of $37$ knights of the Abencerraje line over a fountain, leaving the supposed culprit for last.

Specific social terms define the players in this historical period:

• Tornadizos: These were renegades or "turncoats." They were Christians who had converted to Islam but were viewed with doubtful loyalty.
• Alfaquí: A spokesman for the people and an expert in Islamic law. In the literary tradition, the alfaquí serves as the voice of accusation against the Moorish king.

Visual Contrast: The Vanquished vs. The Victors

In historical artistic representations, a clear semiotic divide is established between the Moors (los vencidos) and the Catholic Monarchs (los vencedores):

• Color Palette and Symbolism: The Moors are depicted with darker colors such as black, brown, blue, and gray, often appearing poor or villainous. They are shown holding a key. Conversely, the Catholic Monarchs are depicted in brilliant colors, appearing wealthy and heroic, while holding a cross.
• Equine and Environmental Details: The horses of the Moors are darker, and the figures are often shown standing in mud. The horses of the Catholic Monarchs are white, and they stand upon green grass.
• Composition: The Moors occupy less space in the paintings and lack a crowd in front of them. The Catholic Monarchs occupy more space and are shown with people facing them.
• Attire: The Moors wear simpler, more common clothing, whereas the Monarchs wear elegant garments.

Literary Analysis: Romance del rey moro que perdió Alhama

This anonymous poem belongs to the Medieval Period and the Reconquista literary movement. It is written from a Christian perspective, though it narrates the Moorish loss. The tone of the piece is one of sadness, lament, and distress (tonos de tristeza, lamento, congoja).

Structure and Characteristics:

• Metric: The poem is composed of octosyllabic verses ($8$ syllables per line).
• Rhyme: It utilizes assonant rhyme in the even-numbered lines ($a-a$). There is no rhyme in the odd lines.
• Narrative Style: The poem begins in media res (in the middle of the action). It focuses on a key historical moment and incorporates dialogue between characters.
• Refrain (Estribillo): The phrase "¡Ay de mi Alhama!" is repeated throughout, emphasizing the collective grief and the loss of the city.

Plot Summary and Accusation

The poem narrates the loss of the fortress of Alhama and the reaction of the Moorish king. The king is seen walking through Granada, from the Puerta de Elvira to the Puerta de Vivarrambla. Upon receiving letters informing him that Alhama was taken, he burns the letters and kills the messenger. He then mounts a horse and rides up through the Zacatín to the Alhambra.

He orders the sounding of trumpets, silver flutes (añafiles), and war drums (cajas de guerra) to call his people to arms. An old Moor (moro viejo) asks the king why he has called them, and the king reveals the "unfortunate news" (nueva desdichada) that the brave Christians have taken Alhama.

An alfaquí with a long, grey beard accuses the king, stating that he deserves this double punishment. The king is blamed for the loss of the kingdom because he murdered the Abencerraje family—described as "the flower of Granada"—and accepted the tornadizos from Cordoba. The poem concludes that for these actions, both the king and the kingdom of Granada are lost.

Literary Devices and Terminology

• Poliptoton: The repetition of a verb in different forms, such as "emplea" and "empleara" or "llamas" and "llamada."
• Metaphor: The "cajas de guerra" (drums) serve as symbols that something is wrong. Reference is also made to "bloody Mars" (sangriento Marte), the Roman God of War.
• Sincopa: The omission of a letter within a word, such as "Bencerrajes" for "Abencerrajes."
• Metonymy: Using a related term to represent a concept, such as using "the flower of Granada" to represent the best of its nobility.

Versification Categories:

• Arte Menor: Verses of $2$ to $8$ syllables, including bisílabo ($2$), trisílabo ($3$), tetrasílabo ($4$), pentasílabo ($5$), hexasílabo ($6$), heptasílabo ($7$), and octosílabo ($8$).
• Arte Mayor: Verses of $9$ or more syllables, including eneasilabo ($9$), decasílabo ($10$), endecasílabo ($11$), dodecasílabo ($12$), tridecasílabo ($13$), and alejandrino ($14$).