Historico-Political, Cultural and Religious Scenario in the 14th-16th Centuries in Portugal
Speech of Maulana Hazir Imam
Author: Aga Khan IV (H.H. Prince Karim)
Your Worship the Mayor,
City Councillors, Honoured guests,
Citizens of Lisbon.
Whilst Lisbon and I share the fact of a Muslim past, it is particularly meaningful that it is in its built environment that we find the historical links that provide a bridge to the present. Standing here in this magnificent hall, I am reminded by the medallion of Gil Vicente above us, of this renowned sixteenth century satirical playwright.
In one of his most well-known plays, Comedia da Rubena, Vicente includes a very popular Medievalsong of the troubadour tradition – Qalbi Arabi.
Centuries after, the Qalbi Arabi was first recited in the 1970s, a Portuguese poet, an Arabic scholar, adopted the name of this song as the title of an anthology of Andalusian Muslim poetry.
It is perhaps not so coincidental that the space for cultural interaction which I hope to create in the Centro Ismaili, together with my fellow Lisboetas, will draw some of its inspiration from Andalusia.
The Centro’s architectural language will seek authenticity from the Manueline vocabulary of search and exploration, linking religious inspiration with the nautical imagery which recalls the great voyages of discovery that were launched from this serene harbour, Alis Ubbo, or in its Moorish rendering, Al Usbuna.
I find myself contemplating whether this serenity will still reign in the Lisbon which will emerge in the twenty-first century.
As the city expands, this nation’s economic epicentre will radiate within the European Union and like its ancient voyages of discovery, Lisbon will continue to strive to link Europe with Africa, Asia and South America.
Alfama
Rua de Bemformosa
Wall of “Bicos”
Castle of St. George
Castle of Sintra
“Manueline dictionary of search and exploration.”
Definition:denoting an ornate style of Portuguese architecture developed during Reign of Manuel 1 from 1495-1521.
King Manuel I
King Manuel I
Tower of Belem
Monastery of Jeronimos
“Some architectural inspiration from Andalucia”
“Comedia de Rubena by Gil Vicente.”
In 1820, the Liberal Revolution led by the Marques of Pombalhad taken place and in 1834, Comedia de Rubena re- appeared to the public.
Comedia de Rubena was published in 1907, 1912and 1914.
The Tribunal of Inquisition of Portugal prohibited publication of the third edition(of Comediade Rubena) in 1624.
Gil Vicente lived from 1465-1536 (or 1540)and had experienced thevicissitudes underthe reigns of three Portuguese Kings:
- Joao ll
- Manuel l
- Joao lll
And Gil Vicente was a living witness to whathappened in the reigns of the three Portuguese Kings.
Gil Vicente used to fraternise with the Mouro(Muslim) Community
Comedia de Rubena was first staged in the court of King Manuel I in 1521 and was dedicated to Prince John (Infante Joao).
Adquiri o texto e estou a ler. As ” Coplas” foram escritas em castelhano, mas há boas traduções para português
A “Comédia de Rubena” é uma peça eminentemente política e simbólica. Diz respeito ao destino, no tempo histórico de GilVicente, das duas religiões do Livro ( islamismo e cristianismo) a partir de uma hipotética ligação, referenciada no relacionamento havida entre Rubena e o Clérigo novo. Na 1Cena, uma ” parteira” convoca 4 diabos e 1 feiticeira para fazerem desaparecer Rubena e esconderem a filha, nascida do namoro. A parteira refere-se numa deixa às canções que sabe e canta, de entre elas “Qalbi Arabi”: todas as canções marcam um itinerário intelectual que diverge da história oficial de confronto e guerra entra católicos e maometanos. Assim, a parteira, que por profissão faz ” dar à luz”, introduz em cena o “Segredo” em que depois se desenvolve ou poderá instalar-se o monismo de Deus. // Não encontrei quaisquer “coplas completas, mas apena aquela referência à canção: Costa Pimpão identifica-a com a tradição popular.
O Tribunal de Inquisição foi abolido, há 200 anos, no reinado de D Jose 1,histórico da Inquisição
“Antes de retirares o cinturão que sustem o sabre/ apressa-te junto daquela que tem uma cintura delicada/ e toma a tua desforra sobre o amor/ apertando-a contra ti e abraçando-a./ E as suas joias entre vós farão ouvir uma canção tão doce/ como a dos pássaros que se respondem ao romper da aurora.”, Ibne Amar ” A Almutâmide que Regressava do Combate”, Portugal na Espanha Árabe (ABCoelho), Seara Nova, IV- 1975, p.372
“Arabic Scholar,”
Qalbi Arabi (what happened to qalbi Arabi and why was it lost?
Qalbi Arabi transitioned from Portuguese Calvi Aravi to Castilhano o Rei Alfonso.
Only the music survives and about ten notes.
Antology Qalbi Arabi was compiled by AdalbertoAlves from the works 48/50 Poets of the Andalusian Troubadour tradition.
Lots of original works were in Arabic, which the compiler, picked up from different libraries, in Egypt, Morocco, Tunisia, Algeria, Spain,Portugal and other countries and finally put them together under the name, “my heart is Arab, O meu Coração é Arabe, Calbi Arabi”.
“Linking religious inspiration with the nautical imagery which recalls the great voyages of discovery that were launched from this serene harbour of Alis Ubbo or in Moorish Rendering Al – Usbuna.”
The monument of discovery in Lisbon marks the inaugural sail of Vasco da Gama from Lisbon to India.
This will be discussed in the following article
“From Alamut to Lisbon,India and Space”