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Hadîth Bayâd wa Riyâd
“The Tale of Bayâd and Riyâd”
- Title/name : Hadîth Bayâd wa Riyâd
- Production place : Al-Andalus, Spain?
- Date / period :
13th century
- Materials and techniques : Paper, coloured ink, pigments; Andalusian calligraphy
- Dimensions : 30 folios; 28.2 cm x l.20 cm
- Conservation town : Rome
- Conservation place : Biblioteca Apostólica Vaticana
- Inventory number : Vat. Ar. Ris. 368
- Inscription :
This manuscript, which is incomplete, is comprised of thirty folios and fourteen miniatures. It is a romance about the love of Bayâd, son of a merchant from Damascus, for Riyâd, a singer and the favourite slave of the Hâjib[1]. Other characters enter the tale such as The Old Woman, who plays a role equivalent to that of the go-between in the literature of the Late Middle Ages, and Hâjib’s daughter Sayyida.
Returning from Damascus, Bayâd sees Riyâd near the river and falls in love with her. The Old Woman takes him under her wing and arranges for the two youths to meet each other. During this meeting, Riyâd also falls madly in love. As the young woman is the Hâjib’s favourite, The Old Woman tries to dissuade Bayâd from pursuing his love. Bayâd, however, succeeds in persuading The Old Woman to set up another meeting, during which Riyâd foolishly declares her love. Sayyida, furious, locks her up. The Old Woman manages to hide Bayâd by taking him in. The two lovers then begin a long correspondence. Unfortunately, as parts of the manuscript were destroyed, we will never know the beginning or the end of the story.
The author of this tale is unknown; although he is thought to be an Andalusian from the 13th century. While the Maghreb and al-Andalus shared a very similar writing form, certain details in the paintings—the architecture and clothing—indicate that the story takes place in al-Andalus, or more precisely in early 13th-century Seville during the Almohad epoch. The illustrations are particularly interesting for the precious details they give us about the everyday life of the period: its clothes, architecture and the use of water. One of the illustrations represents a noria, for instance.
The text is in prose and verse. Prose is used to establish the context in which the action takes place and to recount the most reasonable or sensible elements of the story, while all passionate sentiments are expressed in verse. We encounter this combination of verse and prose in contemporaneous works from Christian Europe; this is the case of another anonymous work entitled Aucassin et Nicolette, and of Guillaume de Dole, or Jean Renart’s works. We also see a similar treatment in the accounts of the Troubadours.
The central theme of this story has its parallels as much in earlier Arabic literature as in Christian literature. There are striking similarities, for instance, to one of the most famous myths in the Arabic literary tradition, namely Majnûn et Layla. Just like Majnûn, Riyâd commits the error of indiscreetly openly expressing her love. This story was copied many times: in the Adab anthology from the Abbasid epoch, written by Abû al-Faraj al-Isfahânî, and in the Kitâb al-Aghânî, which very likely circulated in al-Andalus as ’al-Hakam II had a copy in his library. Although his copy was undoubtedly destroyed by al-Mansûr, the book must have continued to circulate in Andalusia as we encounter echoes of it in the work of later writers such as Ibn Sa‘îd.
The story of Bayâd and Riyâd also shares certain themes with other works from the North-African literary tradition, an example being Qutb al-surûr fî awsâf al-Anbidha wa-l-khumûr قطب السرور في أوصاف الأنبذة والخمور (The Zenith of Pleasure in Descriptions of wine) by Ibn al-Raqiq who lived in Kairouan in the 10th century. In this work the author has gathered together a number of khamriyyat[2] and offers some advice for preparing a meeting. There are undeniable links between this novel of Bayâd and Riyâd and other works of the Late Middle Ages written in Christian Spain, such as the Libro del buen amor by Juan Ruiz, archpriest of Hita.
Robinson, C., « Bayad wa-Riyad, Hadit/Qissat », in Enciclopedia de al-Andalus. Diccionario de Autores y Obras Andalusíes, Fundación El Legado Andalusí, 2002, p. 111-117.
Al-Andalus : the Art of Islamic Spain, (cat. exp., Grenade, Alhambra / New York, The Metropolitan Museum of Art, 1992), 1992, p. 312-313.
Arié, R., « Le Costume des Musulmans de Castille au XIIIe siècle d’après les miniatures du Libro del Ajedrez », in MCV, II (1966), p. 59-66.
Monneret de Villard, U., « Un codice arabo-spagnolo con miniature », in La Bibliofilia, XLIII (1941), p. 209-23.
Nykl, A.R ., Historia de los amores de Bayad y Riyad, una chantefable oriental en estilo persa (Vat. Ar. 368), New York, 1941.
Robinson, C., « The Lover, His Lady, Her Lady and a Thirteen-Century Celestina: A Recipe for Love Sickness from al-Andalus », in Grabar, O. ; Robinson, C., (éd.) Seeing Things: Textuality and Visuality in the Islamic World, Princeton : Princeton Papers, 2000.
Ettinghausen, R., La Peinture arabe, Genève : Skira, 1977.
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