Aspectos arábigo-andaluces en la producción literaria de Antonio Gala

435 Pages·2015·3 MB·Spanish

UNIVERSIDAD COMPLUTENSE DE MADRID
FACULTAD DE FILOLOGÍA
Departamento de Filología Española II
(Literatura Española)
TESIS DOCTORAL
Aspectos arábigo-andaluces en la producción literaria de Antonio Gala
MEMORIA PARA OPTAR AL GRADO DE DOCTOR
PRESENTADA POR
Naïma Badri Guezza
Directora
Francisca Rubio Gámez
Madrid, 2016

©Naïma Badri Guezza, 2015
UNIVERSIDAD COMPLUTENSE DE MADRID
FACULTAD DE FILOLOGÍA
Departamento de Filología Española II

ASPECTOS ARÁBIGO-ANDALUCES EN LA PRODUCCIÓN
LITERARIA DE ANTONIO GALA
Memoria para optar al grado de doctor
Presentado por
Naïma Badri Guezza

Bajo la dirección de la catedrática
Dra. Dª. Francisca Rubio Gámez

Madrid 2015
AGRADECIMIENTOS

Con la presentación de esta tesis culmino una gran etapa de mi vida que se inició, hace
ya muchos años, como un largo viaje por las desconocidas rutas de la lengua española.
Permítanme que, en estos momentos, dirija mis primeras palabras de agradecimiento a
mi padre Ahmed, recientemente fallecido. Fue él quien me alentó a abrazar el español
y me animó a aceptar la beca del ICMA. Emprendí en soledad este largo viaje. Pero,
haciendo el camino, se descubren parajes hermosos y personas maravillosas.
Ha sido un viaje intenso. A veces duro. Ha supuesto mucho esfuerzo estudiar y
trabajar en un país tan distinto a aquél en que nací. Pero ha merecido la pena sentir y
amar en español.
La culminación de la tesis es obra también del esfuerzo y dedicación de todas aquellas
personas que me han apoyado en este tiempo.
Quiero mencionar expresamente a Doña Fanny Rubio, quien desde el principio estuvo
a mi lado animándome, enseñándome, con cariño y con rigor. Muchas gracias Fanny
por tus consejos, por tus enseñanzas, por tantas charlas compartidas durante las
correcciones. Gracias siempre por tu buen criterio.
También quiero agradecer sus atenciones a mi admirado Don Antonio Gala. Siempre
recordaré la entrañable entrevista que me concedió en su casa de Madrid y en la que
conocí a sus nobles amigos. Comparto con él el amor a los perros. Gracias por su “don
de la palabra” y su “arte de la palabra”. Usted es todo “un hombre aparte”.
Y no puedo dejar de agradecer el apoyo y disposición de Don José María Gala. En
todas las visitas a la Fundación he recibido su sabio consejo y cariñoso trato.
También en la Fundación Antonio Gala quiero recordar los encuentros y charlas
mantenidas con los jóvenes creadores.
Me gustaría agradecer profundamente a la Dra. Françoise Dusbosquet el haber
contestado siempre a mis cartas desde 1996 y desde Rennes, con el fin de orientarme o
de remitirme escritos suyos acerca de Antonio Gala. Recuerdo con gran satisfacción
la entrevista que mantuvimos en Madrid.
También agradecer a Don José Romera Castillo por facilitarme diversas ponencias
suyas.
Agradecimientos póstumos al hispanista Carlos Serrano de la Universidad París-
Sorbona (París IV) por su colaboración.
Dar las gracias al Sr. Hazel Cazorla, que desde Dallas me mandó la información que le
había pedido.
Mi reconocimiento, asimismo al Sr. Gerard Wiegers por enviarme desde Amsterdam
una bibliografía completa sobre el Islam y los moriscos.
Agradezco a Don Luis Martínez de Merlo el acceso a su trabajo sobre los Sonetos de
la Zubia de Antonio Gala.
Póstumamente, al Sr. Mikel de Epalza Ferrer, por haberme facilitado, no sólo librerías
árabes especializadas en el tema, sino también escritos suyos, todo ello pese a su
enfermedad.
También a Don Fausto Díaz Padilla por su colaboración.
Deseo dar las gracias, así mismo, a mi familia y amigos por su comprensión y ánimo.
Y también a Esperanza y Encarni por las desinteresadas aportaciones a la redacción y
corrección de la tesis.
INDICE

AGRADECIMIENTOS
INDICE ........................................................................................................................................................... 1
INTRODUCTION ........................................................................................................................................... 3
INTRODUCCIÓN ......................................................................................................................................... 12

PRIMERA PARTE. ANTONIO GALA Y LA LITERATURA ESPAÑOLA .............................................. 22
1. LA APARICIÓN DEL ESCRITOR ANTONIO GALA EN LA LITERATURA ESPAÑOLA DE
POSTGUERRA ............................................................................................................................................. 23
2. LA LITERATURA POSTFRANQUISTA: ANTONIO GALA, UN ESCRITOR MULTIGENÉRICO .. 43
3. ANTONIO GALA. SU FORMACIÓN Y SU OBRA ............................................................................... 58
3. 1. Su formación .................................................................................................................................... 58
3. 1. 1. Vocación andaluza. De la cuna a la pluma ................................................................................ 58
3. 1. 2. El gran impulso en la vida literaria ............................................................................................ 63
3. 2. Gala, hombre de opinión .................................................................................................................. 75
3. 2. 1 La política española y algún peso de poder ............................................................................... 76
3. 2. 2 Las instituciones ........................................................................................................................ 78
3. 2. 3. El compromiso de España con los países árabe musulmánes .................................................... 80
3. 2. 4. El pueblo, según Gala ................................................................................................................ 85
3. 3. Gala, hombre de letras ....................................................................................................................... 89
3. 3. 1. Las constantes de la trayectoria literaria de Antonio Gala: un escritor de destino .................... 89
3. 3. 2. Los recurrentes temas de Antonio Gala ..................................................................................... 93
3. 3. 3. Los géneros .............................................................................................................................. 106

SEGUNDA PARTE. LA NARRATIVA DE ANTONIO GALA Y EL MANUSCRITO CARMESÍ ....... 158
1. ANDALUCIA, LA CENICIENTA, EL GRAN AMOR DE ANTONIO GALA, EL PRÍNCIPE .......... 159
1. 1. Los recuerdos y amores galianos en Andalucía ............................................................................... 163
1. 2. Andalucía en el contexto de la España actual .................................................................................. 171
1. 3. Andalucía en el contexto de la España de Al-Ándalus y el legado árabe ........................................ 175

2. LA GRANADA NAZARÍ ENTREVISTA EN LA OBRA DE ANTONIO GALA ............................... 185
2. 1. La Alhambra y otros monumentos .................................................................................................. 188
2. 2. Las costumbres y la sociedad .......................................................................................................... 193
2. 3. La reconquista. Granada, reino amenazado ..................................................................................... 200
2. 3. 1. Capitulaciones y rendición ...................................................................................................... 205
2. 3. 2. Inquisición y Reyes Católicos ................................................................................................. 221

3. EL MANUSCRITO CARMESÍ .............................................................................................................. 228
3. 1. Introducción. .................................................................................................................................... 228
3. 2. Contexto social y cultural de EL MANUSCRITO CARMESÍ. Algunos datos................................. 239
3. 3. El peso de la Historia e historia ....................................................................................................... 242
3. 4. Una escritura singular ...................................................................................................................... 249
3. 5. Boabdil, el hombre “Zogoybi” en El manuscrito carmesí ............................................................... 259
3. 5. 1. Boabdil, personaje histórico .................................................................................................... 263
3. 5. 2. Boabdil personaje galiano ....................................................................................................... 302
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CONCLUSIONES. La incomprensión de los críticos y la repercusión internacional ................................ 334

ENTREVISTA PERSONAL CON DON ANTONIO GALA .................................................................... 343

APÉNDICES ............................................................................................................................................... 363
Apéndice 1. Cela frente a la censura, dos cartas. ..................................................................................... 364
Apéndice 2. Expediente de la censura de “El Jarama” ............................................................................ 365
Apéndice 3. Las diferentes portadas de la novela El manuscrito carmesí ............................................... 366
Apéndice 4. Portadas extranjeras de la novela El manuscrito carmesí .................................................... 370
Apéndice 5. Cuadro sincrónico de Antonio Gala y de los hechos políticos y literarios en España ......... 371
Apéndice 6. ¡VIVA ANDALUCÍA VIVA! ............................................................................................. 392
Apéndice 7. Capitulaciones generales, para la entrega de Granada ......................................................... 400
Apéndice 8. Capitulaciones privadas entre los Reyes Católicos y Boabdil. ............................................ 408

BIBLIOGRAFÍA ......................................................................................................................................... 413

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INTRODUCTION

The presence of a Muslim community in the Iberian Peninsula from the 8th to the
17th century, which takes the time since the Arab conquest until the expulsion of the
Moorish, makes the Muslims an inevitable literary topic. The most primitive epic texts
have depicted Al-Ándalus Muslims not only as the antagonists of the heroes but also
playing other literary roles as portrayed in Cantar del Mio Cid or Los infantes de Lara.
Even Occitan troubadour compositions deal with Al-Ándalus Saracens.

Muslims become a genre on their own in Castilian literature in the 15th century,
when they become imaginary Moors in the frontier romances giving birth to the
Muslim attraction, making Granada Moors enter Literature. The idealization of
Granada Moors in the Spanish literature is fascinating since it takes place while there
is a cruel war in Granada -as seen in the frontier romances- and the Moorish Rebellion
and the ideological confrontation of the Christians and the Muslims. Furthermore, it is
also dealt with in the Golden Age, a phenomenon brilliantly summed up by Emilio
García Gómez in his research on Ibn Zamrak as: “No better silver bridge had ever
been built to a fleeing foe.”

There is still no satisfactory explanation to this phenomenon as it cannot be a
simple psychological resource, as Juan Goytisolo argues, since Spain had several other
defeated enemies who were never idealized. It cannot be considered protest literature
against the national policies as other authors claim. We believe that on the one hand,
the Muslim appreciation is essentially aesthetic, not ethical and, on the other hand it
begins before all war and ideological conflicts in the peninsula. This idealization of
Granada Moors is clearly portrayed in Alfonso XI’s Chronicles in 1344.

Al-Ándalus, as a literary topic, does never disappear completely in spite of the
“isms” of the early and mid 20th century and research on the influence of Arabic-
Andalusian Poems by Emilio García Gómez, published in 1930, on the Spanish poetry
and rebirth of the aesthetic imaginary of the Generation of ’27 should be conducted one
day. Antonio Machado’s verses read:

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Yo soy como esas gentes que a mi tierra vinieron,
la raza mora vieja amiga del sol,
que todo lo ganaron y todo lo perdieron,
tengo el alma de nardo del árabe español.

When Al-Ándalus seemed to be a worn out topic in the Spanish Literature, a
strange phenomenon occurred. In 1975, after the death of General Franco and the new
democratic State panorama was settled, the regional nationalism in different areas in
Spain took up the topic in their literature again. Andalusia’s new nationalism
movement claims Al-Ándalus as their own in their traditions, which are as popular as
political. Blas Infante, for instance, literally evoked Al- Mu `tamid King of Seville.
The novel is the genre in which the Andalusian writers deal with the Arabic-
Andalusian topic more often. El manuscrito carmesí, (1990) is just one example in
which Antonio Gala writes about Boabdil, the last King of Granada.

We can say that the Arabic-Andalusian topic is still present in contemporary
Spanish literature even in these troubled times. The new millennium brought an
optimistic omen with the fall of the Communist Block. However, the terrorist attacks
of the Radical Islamists in Washington and New York, closely followed by the
massacre in Atocha changed the approach drastically. Suddenly there was a
confrontation of civilizations. In this geographical and political scenario it is not easy
to appeal to understanding or intercultural relationships. However, literature is the best
place to dream. The day idealism disappears from the art world or the educational
universe we will be utterly dead: we will be targeted to buy, to kill or die but there will
be no human beings in the strict sense of the word.

The effort Antonio Gala, passionate for Andalusia and Al-Ándalus, makes to
bring the Arabic and our world together is really praised and needed specially now.
The people who know about the Andalusí splendour and can spread their knowledge
efficiently can do much good.

“Life is based on two things: traditions and projects, that is to say the effective past and the
future, both of them are based on two concepts: friendship, -living together-and culture in the
sense of creation. These two concepts are opposite to destruction. Friendship, in the sense of
coordination at the highest level- blurs the frontiers, the roots and times. The Spanish-Arabic
coexistence and friendship can be disturbed. They have slowly grown with us and built their
nests on the branches of the unforgettable blood. Cohabitation in the depth of centuries, matured
in battles, conflicts and hugs, based on difficult but pure understanding. A violent friendship that
stayed on the Al-Ándalus territories forever. Talking about the Spanish- Arabic relationships we
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should resemble the double-faced gods who learn from the past while they look into the future.
We are not alone, we cannot improvise everything. Nobody can go on without remembering and
there is no future founded on forgetfulness. I carry Omeya names on my soul, Bani Abbad’s
name on my forehead and the name of Granada Nazaríes in my heart.”1

Our initial interest on post-war and post-Franco Spanish literature naturally leads
us to the desire to outline the literary work of the compromised Córdoba writer. A
writer who has developed multiple genres since he is a poet, a playwright, a novelist, a
script and article writer. Antonio Gala is a member of a select group of artists who
seem to master all the words. Reading his work is similar to pouring the most delicious
wine impregnating oneself with the most beautiful, the most cherished, the most
accurate, the wisest and the deepest words. The most tender and the saddest ones.
Reading Gala is like attending the creation of a precious jewel. He handwrites what his
wisdom and style produce. His writing is pure art. His prose and poetry are made by
written filigree of the most exquisite taste. The Spanish language, alive and eager to
live. Gala, fated to write so that the language and men don’t lack oxygen. He writes.
He wrote, in 1990, his first novel El manuscrito carmesí: homage to Boabdil, Zogoibi,
the last Nazarí king.

We would like to answer the following questions throughout my work: why the
Arabic-Andalusian culture?, why Antonio Gala?, why, El manuscrito carmesí ? What
implications do the Arabic-Andalusian culture, Antonio Gala and El manuscrito
carmesí have?

The answers to these questions follow and they do thanks to a personal interview
with Antonio Gala, the thorough study of his work and the numerous visits to the
Antonio Gala Foundation for Young Creators: « The role of Islam in the transmission of the
Greek legacy and the Oriental literatures to Occident is widely acknowledged »2

Antonio Gala, despite not having been born in Córdoba, is a passionate advocate
of Al-Ándalus since the Arabic conquest by Ibn tariq, who crossed the Strait, until the

1 HAIDAR. Roots of the Arabic-Spanish culture. Andalusian issues. Virtual Community.
Webislam.com, Damascus, may 9, 2003.
2 “The role of Islam in the spread of the Greek legacy and the Oriental literatures to Occident is in
everybody’s minds” in CORTANZE, Gérard de. Cent ans de littérature espagnole, Ed. La Différence,
París, 1989, p. 463.
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reconquest of Granada by the Catholic Monarchs expelling the last Nazarí King from
his kingdom and, later, Spain.
We are moved by Gala’s interest on the Arabic-Andalusian culture and we mean
to enter the kingdom of El manuscrito carmesí and finish our thesis thanks to
Boabdil’s help on Moroccan lands.

In the first part of our research, our main goal is to set a bibliographical record
going through periodic publications since 1936, when it was born, until the present
together with other contemporary writers. We will travel through his poetry, drama
and novels.

In poetry, the mixture of poetic tendencies was popular in the mid 20th
century, in Spain and overseas. It is then when books of poems by the most important
social poets such as Blas de Otero Ángel fieramente humano, 1950; Gabriel Celaya
Paz y concierto, 1953; Antonio Gala, Enemigo íntimo, 1959 appeared. All these poets
published their poetic compositions in magazines. Antonio Gala cooperated and
founded some Andalusian magazines such as Aljibe, Platero…, with Bernardo Víctor
Carande, Aquilino Duque, Ángel Medina Lemos among others. According to Fanny
Rubio, these poets encouraged “a recent Andalucist poetry, full of popular and
sensorial flames…”3

Gala’s drama has been the most important part of Antonio Gala’s writing. His
over twenty dramatic Works have been tremendous hits in the Spanish theatre world.
Gala has been blessed and smashed by the critics, censored in many occasions but,
almost unilaterally applauded by the audiences. He is considered a member of the
Realist Generation of Spanish Theatre, which begins with Historia de una escalera by
Buero Vallejo and other plays by playwrights such as Alfonso Sastre, José María
Recuerda, José María Rodríguez Méndez and Laura Olmo.

Since its opening Los verdes campos del Edén (1963) El sol en el hormiguero (1966),
Noviembre y un poco de yerba (1967), Carmen, Carmen (1988), La Truhana (1992),
Café cantante (1997), Las manzanas del viernes (1999) y Inés desabrochada (2002),

3 RUBIO, Fanny. The Poetic Spanish Magazines, 1939-1975. Alicante, Universidad, 2004. (1ªed. 1976),
p. 357.
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