Reading Order

Le Dernier Abencérage

Les Aventures du dernier Abencérage Reading Order

Les Aventures du dernier Abencérage (The Adventures of the Last Abencerage, written 1809-10, published 1826) by François-René de Chateaubriand is a short prose tale — simultaneously a novella and a prose poem — set in the Alhambra and the mountains of Andalusia, about Aben-Hamet, the last prince of the Moorish Abencérage clan, who returns to Grenada after the Reconquista and falls in love with Blanca, a Spanish Christian noblewoman descended from the Christian conquerors who defeated his people. It is one of the most beautiful and condensed things Chateaubriand wrote — a meditation on defeat, memory, and landscape that uses the Alhambra and the contrast between Moorish and Christian civilizations to explore the same themes of exile, lost grandeur, and the persistence of the past that animate all of his work. The tale was written during the same period as the travels described in Itinéraire de Paris à Jérusalem but kept back and only published in the Oeuvres complètes in 1826, probably because Chateaubriand recognized its political sensitivity in the years of the Napoleonic wars with Spain. It is now recognized as one of the founding works of the Orientalist prose tradition in French literature.

Where to start

The tale is short (around 60 pages) and should be read complete — it is one of the few works in the French canon that is perfectly unified from first to last line. Pair with the Alhambra section of Washington Irving's The Alhambra (1832) for a contemporary American perspective on the same setting.

Complete Le Dernier Abencérage Book List

  1. 1

    Les Aventures du dernier Abencérage

    François-René de Chateaubriand·1826·Available in French in the Pléiade Oeuvres romanesques et voyages (Volume 2); also in standalone Gallimard Folio editions. Usually paired with Atala and René in anthologies of Chateaubriand's shorter fiction.
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  2. Atala

    Optional
    François-René de Chateaubriand·1801·The earlier short prose tale about doomed love across cultural and religious lines — the essential companion, showing that the Dernier Abencérage develops a theme Chateaubriand had been working on since his American period.
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Le Dernier Abencérage — Frequently Asked Questions

What is the Abencérage clan?

The Abencérages were a noble Moorish family in the Nasrid Kingdom of Grenada who, according to legend, were massacred by the king of Grenada in the Hall of the Abencérages in the Alhambra on suspicion of treasonous contact with the Christian kingdoms. The massacre (which may be legendary rather than historical) made the Abencérages a symbol of tragic Moorish nobility in European Romantic culture — the doomed aristocratic family destroyed by tyranny and treachery, whose destruction prefigured the fall of Moorish Spain in 1492. Chateaubriand took up this legend and used it to create a type of Romantic hero: the last survivor of a destroyed civilization, carrying his grief and his identity through a world that has moved on without him. The character Aben-Hamet embodies the same nostalgia for lost grandeur and the same melancholy dignity in defeat that Chateaubriand found in the ruins of Greece, Jerusalem, and his own Ancien Régime France.

Is the tale based on a real historical period?

The tale is set in the early sixteenth century, shortly after the fall of Grenada in 1492 and the completion of the Reconquista — the period when the last Muslims were being expelled from Spain or forced to convert (the Moriscos). Aben-Hamet's return to Grenada is part of a semi-legendary Moorish exile tradition — the nostalgia of the expelled Moors for Andalusia, which became a major theme in Spanish ballads and chronicles and was transmitted to French literature through the Romancero and its translations. Chateaubriand uses this historical moment to create a meeting between two civilizations at the point of their maximum incompatibility: the Moorish culture at its most refined and beautiful (as represented by the Alhambra) and the Christian culture at its most militant and triumphant (as represented by Blanca's family). The love story is impossible not because the individuals are incompatible but because their civilizations are — which is the Romantic premise the tale develops with great economy and beauty.

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