Moriscos en clandestinidad: la aplicación de la taqiyya islámica en la obra Amar después de la muerte de Pedro Calderón de la Barca

[Autom. eng. transl.] The first day of the Calderonian work Amar after death opens with the representation of a crypto-Muslim ritual celebration in which the entire Moorish community of Granada participates secretly. The ceremony is interrupted dryly upon hearing the portal of the abode. The Cadi indicates to all those present to proceed to the dissimulation. It is precisely in this same dramatic moment that literature reflects history: in a single verse Calderón saves and reveals the cultural and religious horizon of a Moorish minority rejected and strongly fought for a long time by the Christian authorities. The author then records the authentic past of the Moors and sends it in literary form. In the first scene, he constructs, in fact, a descriptive space perfectly adherent to historical reality, giving the viewer the possibility of glimpsing the clandestine scope of the new Moors Christians. At the beginning of the literary function, the playwright decides to provide in the same scene all the fundamental elements for the recreation of a hidden religious contour that is functional for the successive unfolding of the dramatic events. This work, then, intends to make a reflection that begins at that first literary moment and moves towards an observation of the modality with which the practice of dissimulation, taqiyya, is presented in Calderonian work. According to this same line of research, crypto-Islamic praxis - that habit so distinctively Moorish and historically attested even in the aljamiado manuscript of the young man from Arévalo - may be shown, due to its intimate condition, in a manner opposite to the visibly revealing conduct of the author who seeks to reveal to the public the secret essence of a practice exclusively reserved for the Moorish complex. In short, the Calderonian theater discovers hidden fragments of history and explicitly refers to the mystery of the minority. The author may hope that Spanish subjectivity will be confronted with the Moorish clandestine otherness, using precisely the literary circumstance to consent to the revelation and the consequent communication of historical truth.