452:, the episode of the death of the father of Jimena and the arrangement of weddings, the ups and downs on the peninsula, the bellicose feats against Moors (against the Moor Burgos de AyallĂłn) and Christians (confrontation with the dispatch rider of the king of Aragon). In addition, the text accumulates ecclesiastic affairs of the local environment, how the crypt of Saint Antoninus was found or the relocation of the bishop Bernaldo to his Palentine see, along with military campaigns of universal importance, how the confrontation between Ferdinand and Rodrigo with all the extraparliamentary political powers of the time: king of France, emperor and pope. The concluding feeling is that of finding oneself facing a flood of material due to the many drafts of the gesta.
969:...thanks to one specific discovery... it can be known that was made in the year 1400. This date is found at the end of the folio in which the scribe abandoned his work, two centimeters below the last verse. The fact that it was not seen is due to it not being written by pen, instead it is marked with a stamp. In addition, it is partially covered by the seal of the Library where the manuscrito is located. The inscription, whose legibility is only possible at very close lighting, says: "
541:, where he habitually conducts himself with exquisite restraint. In text in question, he is seen as an arrogant, pompous and proud boy, including on occasions being disrespectful to his king Ferdinand. One example is the first occasion in which they meet. The king had summoned Rodrigo and his father, Diego LaĂnez, to propose for Rodrigo to bury the death of Jimena's father with the matrimony. But Rodrigo distrusts:
40:
203:
519:. Moving beyond the aforementioned traditional cliché of the postponed promise, other motifs are found. Among these could be cited that of the fleeing of the prisoner helped by a woman, or of the annual tribute of fifteen noble virgins that are requested of Ferdinand by the pope, emperor and king of France.
485:, was fully aware of the literary art, and in which the transmission of news-worthy contents would have already been destined to the prose of chronicles, fundamentally. If this is so, it should be investigated as to what motivated the author to write with an arrangement in the mold of ancient gestas.
480:
It is strange to prove how a genre like that of the epic poem was maintained, habitually considered to be of traditional gestures and oral diffusion in the early stages of formation of the villages, even in an age as late as the second half of the 14th century. This is a date in which, for example, a
459:
According to
Armistead, the ending should be the raising to emperor or "par to emperor" of the King Ferdinand among the other kings of the peninsula. Another possibility, supported by Deyermond, is that the ending is constituted by the homage to Bernaldo once restored to his episcopal see, an episode
455:
The initial lines of the prosed work are not credited to the author (as indicated by
Victorio) instead to the scribe, because this scribe appears to have resumed part of the rhyming text which was being transcribed, and from these there is evidence of the remainders of the assonance that occur in the
271:
places the writing of the manuscript around 1360 in the region of
Palencia, credited to an educated author, possibly a priest, who, according to Deyermond and Samuel G. Armistead, was re-elaborating a text from the second half of the 13th century, now lost, and which is known by the name of "Gesta de
603:
To start with this is because, as mentioned earlier, it is regarding the latest realization of the medieval
Spanish epic, and so, this constitutes that the archaic style of the epic endured up to the closing of the 14th century, and its linguistic stereotypes should be valued very carefully in terms
558:
And later on (vv.422-429) he refuses, in presence of the king, to recognize himself as the king's vassal and to kiss his hand, saying "because thou, my father, I am spoiled" (v. 429). In addition, he audaciously responds in a defiant way to the Pope (vv. 1100–1116), when the Pope asks king
Ferdinand
295:
of some
Leonese linguistics, the knowledge of Zamorano microtoponymy shown by the author, the constant placing of the king's court in Zamoma in the poem, the encounter that Rodrigo has with King Ferdnando in Granja de Moreruela (Zamora), and imprecisions that deal with the local Palentine traditions
1206:. Pero la referencia no dice que hubiera una expediciĂłn real, sino que, como nota Deyermond (1969), solo se habla de un territorio detentado por dicho rey. Esta menciĂłn, pues, ni siquiera permite atestiguar una leyenda cidiana organizada, y mucho menos un cantar completo sobre las mocedades del Cid.
275:
The fact that earlier versions of the poem do not allude at all to the diocese of
Palencia suggests that the work was composed to publicise this ecclesiastical demarcation during a period of time spanning an economic and political crisis. To associate the figure of an already very legendary Cid to
522:
On the other hand, due to the influence of foreign epics, the author shows knowledge of the French epic, such as alluding to "Almerique de
Narbona", "Los Doçe Pares" or to "Palazin de Blaya", characters of French chansons de geste. By this time, the spreading of material from France was very much
391:
now preserved in its more moderate tone, with a less rebellious hero, and in which there appear no mention of the history of the diocese of
Palencia. This divergence constitutes the principal motif by which Deyermond thought the preserved text would have been composed by an author from this zone.
633:
is the last surviving example of
Spanish chanson de gesta. From its breakdown were born, according to all indications, the romances. This text is close to those works in its novelistic and imaginative nature and in the majority amount of octosyllabic hemistiches of which the poem is formed. With
444:
In the text various episodes cross, each only weakly related to the others. The latest of the Hispanic epic poems, it appears to have been the last draft composed from diverse material, in as much chronicles as epics from oral tradition, perhaps even a proto-Spanish romance of El Cid. This is
579:
Juan Victorio, in his prologue in the edition cited, thinks, nevertheless, there are precedents when the cliché of the rebelliousness of the hero in all Spanish epics, along the lines of the nature these show with respect to his king the most important episodes of the legend of
566:"Thou giveth God bad thanks, oh Roman pope! We have come for that which is to be won, not that which is already won, Since the five kingdoms of Spain without you already kiss his hand: It remains to conquer the empire of Germany, which by right must be inherited."
445:
confirmed by the around dozen holes existing within the text, some very notable. In particular, a prominent one causes the interruption of the manuscript, which forces the conjecture of the ending based on the chronicles that transmit earlier versions of the poem.
607:
On the other hand, it is regarding a text that generates the tradition of romances about the youth of El Cid, and one of its episodes, such as the death of the father of Jimena at the hands of the hero, gave origins by way of the Spanish romances to the work from
548:
Guardeth thine Lord without deceit and without skill, If thou wish for the bailiff to apprehend him, for much would he want to kill him, How black a day findeth the king like the others that are there! Thou cannot say traitors for thou killeth the king..."
415:
The number of verses per series oscillates between the 264 of the number XVII and the two verses from various others (II, V, V, etc.). It is possible that many of these cases are regarding remains of incomplete series, because the text contains many holes.
255:
from Castile, amongst the items demanded in tribute are fifteen noble virgin maidens each year. Faced with this situation, Rodrigo encourages King Fernando to conquer France and together, finally, they will triumph over the coalition formed by the count of
210:
After the initial character genealogy, in which the ancestry of the hero is recounted, the poem tells how the young Rodrigo killed an enemy of his father, the count Don GomĂ©z, himself father of Jimena DĂaz. In order to make amends for his guilt, King
575:
In this characterization the novelistic (and not so much epic) will is probably influenced to attract the public with the surprise, the immoderation and the running wild of imagination, appropriate for the development of fiction in the 14th century.
299:
Victorio also indicates that, apart from the propagandistic zeal of the diocese of Palencia (where the poem could be drafted, notwithstanding the aforemention of the author's origin) the author shows a convincing political positioning in favor of
488:
Menéndez Pidal indicates to this respect which the public, by already knowing all too well the feats of maturity of the hero, now solicits new discoveries regarding his childhood adventures. In the words of the famous erudite:
215:
orders him to marry Jimena. However the hero refuses, in a common folkloric motif of postponement of an obligation through the pursuit a difficult and long-lasting mission, until he has won five battles.
419:
As in many Spanish cantares de gesta, there is no fixed number of syllables for each verse, even though there exists a tendency for these to measure between 14 and 16 metric syllables with a pronounced
600:
have come to be considered as a hardly relevant text considering its strictly literary value. However, from a point of view of the history of literature, it is an extraordinarily interesting text.
291:(who very well may be related professionally with the diocese of Palencia) and educated, as shown by the author's diplomatic and heraldic knowledge. His theory is supported by the presence in the
180:
has been valued more for its role in the history of literature that as literature itself. It generated a tradition of romances about the youth of El Cid that culminated in the French drama
559:
if he would like to be invested "emperor of Spain" (v. 1108). It is then shown how Rodrigo steps forward, without letting his king respond first, for whom it corresponds by protocol:
523:
extensive throughout the peninsula, as demonstrated in the quantity of characters the epic boasts which appear in the Spanish romances, than this gesta precisely during this time.
1198:) remitan a versions anteriores of this lost cantar and postulates that this allude to a material informe legendario heterogéneo y folkloric. Above all, the early mention of the
499:] of his strength; but later... this engenders a general curiosity to know a multitude of details that earlier were of no interest... To this curiosity the author of the
276:
the history of this religious demarcation was to bring parishioners and resources to the bishop. This same motivation had already been present in the propagandist work of
448:
By this way, there are various plot nuclei: the historical and genealogical introduction in prose, the tale of the most prominent events of the life of the epic hero
383:" (which according to Victorio, was adapted in the second half of the 13th century), and this gives origin to the cycle of romances about the youth of Rodrigo. The
260:, the King of France, the Emperor and the Pope. After this tremendous victory and in the middle of the negotiations over the surrender, the manuscript ends.
1260:
761:, editorial, prologue and notes by Stefano Arata, preliminary study by Aurora Egido, Barcelona, Critique, 1996 (Classic Library, 59), pp. 9–82.
724:
Matthew Bailey, ed. & translator, Las Mocedades de Rodrigo, The Youthful Deeds of Rodrigo, the Cid, Toronto, University of Toronto Press, 2007.
1202:(1236) de Lucas de Tuy, que ni siquiera alude al Cid y solo notifica que Fernando I el Magno poseĂa un territorio ultrapirenaico que llegaba
281:
320:, the French monarch and the Pope. In this way, the author not only uses this text to promote ecclesiastical interests, but also political.
953:, editorial, prologue and notes by Stefano Arata, preliminary study by Aurora Egido, Barcelona, CrĂtica, 1996 (Classic Library, 59), p. 37.
721:
Leonardo Funes con Felipe Tenenbaum, eds. Mocedades de Rodrigo: Estudio y ediciĂłn de los tres estados del texto, Woodbridge, Tamesis, 2004.
223:, in this particular text, they can be considered to be the victory against the Moor Burgos de AyllĂłn, the victory against the champion of
150:
1380:
1663:
1082:
923:
907:
878:
863:
848:
812:
797:
766:
743:
316:
that the enemies of the young Rodrigo are the same who, in this conflict contemporary to the author, are enemies to King Peter: the
638:
contains, the nature of the Spanish romance is well explained, with assonance rhyming in the pairs of octosyllables, the beginning
460:
that goes well with the clerical and publicity character that the poem has according to the theories of the Anglo-Saxon Hispanist.
1101:
differ in some events of the structure, with the five pitched battles of the earlier gesta being distributed into later versions.
708:, this text was taken as a basis for many of the later editions, such as that of Carlos Alvar and Manuel Alvar, op. cit. infra.).
585:
449:
364:. Finally, a priest or educated author would have adapted all this material by around 1360 in the version that is known today.
1398:
360:. Subsequently, this version gives a new location, with the additional of other epic material, to the one that appears in the
1678:
535:, the young Cid appears with a very divergent nature that are shown in other versions of his legend, particularly to that of
482:
1392:
332:
from the 13th century have been postulated in mentions of narrative elements of the work in chronicles. These appear in the
642:
and ending interruptions, in addition to an elevated component of novelistic fiction in the recreation of historic events.
1513:
1386:
1253:
235:
against the conspiracy of the treacherous counts, the battle against five allied Moors and the moving of the seat of the
1590:
1404:
634:
merely placing the verses in two lines, one per hemistich, and taking into account the fragmentation and holes that the
493:
Of any hero of primary interest are his most notable actions, those that brought an end during the plentitude [
1673:
1658:
1182:
Montaner Frutos (1988, pp. 432-434) denies that the references of the 13th century anteriores to the version of the
818:
Bailey, Matthew, "Oral Composition in the Medieval Spanish Epic", "PMLA", Vol. 118, No. 2 (Mar., 2003), pp. 254-269.
1668:
1566:
780:, 46 (1978), pp. 313–327. Extract translated to Spanish (pp. 316–320) in "Trayectoria de una gesta: las
1325:
1046:
1246:
240:
1614:
305:
212:
933:
The number of verses of the citations of this work reflect the edition of Victorio (1982) noted above.
659:
Manuscript number 12 of Spanish form, in National Library of Paris, olim Cod. 9988 Bibliothèque Royale
507:
More than the epic Spanish tradition, universal folkloric motifs contribute to the composition of the
1653:
1457:
1238:
609:
345:
1606:
1336:
1313:
1022:, Madrid, Espasa-Calpe, 1951, pp. 257-289. Samuel G. Armistead, on his part, proposed to title his
984:
581:
309:
1630:
1622:
1307:
236:
232:
134:, composed around 1360, that relates the origins and exploits of the youth of the legendary hero
511:, in the mode of those that appear in popular oral storytelling, and which have been studied in
428:, of which the first tends to be octosyllabic. This feature could indicate its proximity to the
1532:
1498:
1330:
1284:
1078:
919:
903:
874:
859:
844:
808:
793:
762:
739:
537:
317:
288:
277:
244:
126:
1427:
617:
301:
187:
1683:
1537:
1319:
1301:
1219:
1119:
191:
130:
1137:, 46 (1978), pp. 316-320; taken from the version to Spanish: "Trajectory of a Gesta: The
153:. The text that has reached us lacks a title, and critics have variously titled the work
1582:
1421:
1374:
588:. This is, besides, one of the most abundant motifs in the heroes of Spanish romances.
429:
405:
268:
949:
Stefano Arata, "Prologue" (epigraph "The Medieval Phase of the Legend", pp. 36-39) to
356:
there is found a more complete mention which has a plot of a history missing from the
1647:
1598:
1439:
512:
1147:
Note: the asterisk (*) indicates that this regards a work of hypothetical existence.
141:
There are 1,164 surviving verses, preceded by an initial prose fragment. The only
516:
69:
1484:
1471:
1114:, Barcelona, Ariel, 2001 (first edition 1973), p. 94 and Miguel PĂ©rez Rosado,
146:
1075:
Acts of the First Congress of the Hispanic Association of Medieval Literature
900:
Acts of the First Congress of the Hispanic Association of Medieval Literature
683:, Paris, 1858 (from the verse 294 in the edition cited below from Victorio).
425:
409:
401:
228:
1116:
History of Hispanic Literatura. Middle Ages. The Medieval Poetry. The Epic.
436:
copies the two hemistiches from the same epic verse in each separate line.
1433:
287:
On the other hand, Juan Victorio postulates the author to be a native of
902:(Santiago de Compostela, 1985), Barcelona, PPU, 1988, pp. 431–444.
412:
in á-o, which appear in fifteen series, that is, a total of 972 verses.
219:
Although the five battles had remained vague in earlier versions of the
39:
1222:
History of Hispanic Literature. Middle Ages. Medieval Poetry. The Epic.
421:
252:
676:
AgustĂn Durán, Biblioteca de Autores Españoles (BAE), volume 16, 1851.
1574:
1358:
1353:
1269:
1234:
Edition of the poem in Old Spanish with an oral rendering of the text
1233:
622:
433:
224:
182:
135:
89:
unique manuscript. Bibliotèque Royale, Paris, nº 12, olim Cod. 9988.
1077:(Santiago de Compostela, 1985), Barcelona, PPU, 1988, pp. 431-444.
257:
201:
142:
1158:
Epic Poetry and the Clergy: Studies on the «Mocedades de Rodrigo»
834:
Epic Poetry and the Clergy: Studies on the «Mocedades de Rodrigo»
713:
Epic Poetry and the Clergy: Studies on the "Mocedades de Rodrigo"
312:, between the years 1357 and 1369. One could adduce that in the
248:
1242:
1228:
1143:
History and Critique of Spanish Literatura, vol. 1. Middle Ages
843:, Barcelona, Ariel, 2001 (first edition 1973), pp. 94–99.
790:
History and Critique of Spanish Literature, vol. 1. Middle Ages
545:"Listen, sayth I, friends, relatives and vassals of my father:
495:
202:
962:
Juan Victorio, in the "Introduction" to his edition of the
704:, Madrid, Espasa-Calpe, 1951, pp. 257–289.(entitled
1112:
History of Spanish Literatura, vol. 1: The Middle Ages
841:
History of Spanish Literatura, vol. 1: The Middle Ages
400:
The cantar is composed of approximately 30 series of
375:, proses the material of a cantar predecessor to the
686:
A.M. Huntington (edition facsimile), New York, 1904.
563:
Here spoke Ruy DĂaz, before the king Sir Ferdinand:
464:
Characteristics in relation to medieval Spanish epic
1524:
1449:
1414:
1367:
1346:
1294:
1276:
109:
101:
93:
83:
75:
65:
57:
46:
23:
856:The Castilian Epic Poem Through Spanish Literatura
807:, Salamanca, Salamanca University Editions, 2000.
693:, 24 (I), 1911, pp. 310–357. (with the title
165:("A Recasting of the Youthful Deeds of Rodrigo"),
788:)", in Francisco Rico (dir.) and Alan Deyermond,
1141:", in Francisco Rico (dir.) and Alan Deyermond,
1034:, 46 (1978), pp. 313-327. See also the section:
1014:, 24, 1911, pp. 310-357. Menéndez Pidal adopted
967:
966:(Madrid, Espasa-Calpe, 1982, p. 54.), comment:
792:, Barcelona, Critique, 1980, pp. 123–126.
561:
543:
491:
805:The Epic Tradition of the Mocedades de Rodrigo
1254:
8:
1024:A Recasting of the Youthful Deeds of Rodrigo
304:in the war confronting the candidate of the
161:("The youthful deeds of Rodrigo, the Cid"),
1261:
1247:
1239:
718:Juan Victorio, Madrid, Espasa-Calpe, 1982.
328:Signs of the existence of material of the
169:("Song of Rodrigo and King Fernando") and
20:
1145:, Barcelona, Critique, 1980, pp. 123-126.
711:A.D. Deyermond (paleographic edition) in
1093:Montaner Frutos (1988) stated that the *
206:Young Rodrigo defeating count Don GĂłmez.
1173:, Madrid, Espasa-Calpe, 1982, pp. 9-44.
942:
408:which predominate in absolute mode the
163:RefundiciĂłn de las Mocedades de Rodrigo
1047:Battle between Martin Gomez and El Cid
53:(The lay of Rodrigo and King Fernando)
32:The youthful deeds of Rodrigo, the Cid
702:Reliquias de la poesĂa Ă©pica española
616:and this, in turn, to the drama from
173:("The Rhyming Chronicle of El Cid").
7:
1063:Heroic Deeds of the Youth of Rodrigo
1035:
951:Las Mocedades del Cid (First Comedy)
888:Heroic Deeds of the Youth of Rodrigo
886:Gesta de las mocedades de Rodrigo* (
759:Las mocedades del Cid (First Comedy)
669:Francisque Michel and J.F. Wolf, in
706:Cantar de Rodrigo y el rey Fernando
167:Cantar de Rodrigo y el Rey Fernando
51:Cantar de Rodrigo y el Rey Fernando
1059:Gesta de las mocedades de Rodrigo*
14:
1192:Gesta de las mocedades de Rodrigo
1020:Relics of the Spanish Epic Poetry
1016:Song of Rodrigo and King Fernando
734:ALVAR, Carlos and Alvar, Manuel,
629:It is important to note that the
570:Mocedades de Rodrigo, vv. 410-414
553:Mocedades de Rodrigo, vv. 410-414
381:Gesta de las Mocedades de Rodrigo
369:Chronicle of the Kings of Castile
354:Chronicle of the Kings of Castile
105:anisosyllabic with assonant rhyme
1270:Rodrigo DĂaz de Vivar ("El Cid")
432:of the Spanish romances, so the
424:, that divides the verse in two
38:
1169:Juan Victorio, "Introduction",
1133:and Neo-Individualist Theory",
1030:and Neo-individualist Theory",
884:MONTANER FRUTOS, Alberto, "The
836:, Londres, Tamesis Books, 1969.
776:and Neo-Individualist Theory",
671:Wiener JahrbĂĽcher fĂĽr Literatur
302:Peter I the Cruel or the Lawful
1428:Tomb of El Cid and Doña Jimena
1160:, London, Tamesis Books, 1969.
1057:Alberto Montaner Frutos, "The
1008:The Rimed Chronicle of the Cid
918:, Madrid, Espasa-Calpe, 1982.
873:, Madrid, Espasa-Calpe, 1980.
858:, Madrid, Espasa-Calpe, 1974.
823:The Rimed Chronicle of the Cid
757:ARATA, Stefano, "Prologue" to
715:, London, Tamesis Books, 1969.
604:of the dating of these works.
149:from 1400 that is kept in the
136:El Cid (Rodrigo DĂaz de Vivar)
1:
1556:
1541:
1503:
1488:
1475:
1462:
871:Relics of Spanish Epic Poetry
829:, 24, 1911, pp. 310–357.
352:. Later, around 1300, in the
1188:Specific Chronicle of El Cid
1071:Specific Chronicle of El Cid
1010:(El cantar de Rodrigo)", in
896:Specific Chronicle of El Cid
784:(Trajectory of a Gesta: the
145:that contains the work is a
772:ARMISTEAD, Samuel G., "The
695:Rhyming Chronicle of El Cid
272:las Mocedades de Rodrigo."
1700:
1514:CrĂłnica particular del Cid
1129:Samuel G. Armistead, "The
1067:CrĂłnica particular del Cid
1004:Rimed Chronicle of the Cid
892:CrĂłnica particular del Cid
296:that the cantar contains.
1405:Diego Fernández of Oviedo
1399:GarcĂa RamĂrez of Navarre
1073:)", in V. Beltrán (ed.),
898:)", in V. Beltrán (ed.),
738:, Madrid, Cátedra, 1997.
700:Ramón Menéndez Pidal, in
456:paragraphs in the prose.
350:Chronicle of Twenty Kings
336:, by Luke of Tui, in the
151:National Library of Paris
37:
30:
1664:14th-century manuscripts
1326:Battle of Almenar (1082)
473:in the tradition of the
282:San Millán de la Cogolla
1610:(animated series, 1980)
1567:CrĂłnica popular del Cid
854:MENÉNDEZ PIDAL, Ramón,
342:First General Chronicle
16:Castilian medieval song
975:
914:VICTORIO, Juan (ed.),
573:
556:
527:The nature of the hero
505:
227:for the possession of
207:
171:CrĂłnica rimada del Cid
1679:Epic poems in Spanish
1626:(animated film, 2003)
1220:Miguel PĂ©rez Rosado,
736:Medieval Spanish Epic
614:Las Mocedades del Cid
367:The narration of the
251:demand a humiliating
243:, the Emperor of the
239:. At this point, the
205:
1552:Mocedades de Rodrigo
1458:Carmen Campidoctoris
1424:(cultural itinerary)
1184:Chronicle of Castile
1139:Mocedades de Rodrigo
1131:Mocedades de Rodrigo
1028:Mocedades de Rodrigo
1018:into his edition in
1000:Mocedades de Rodrigo
998:Bourland titled the
964:Mocedades de Rodrigo
916:Mocedades de Rodrigo
832:DEYERMOND, Alan D.,
786:Mocedades de Rodrigo
782:Mocedades de Rodrigo
774:Mocedades de Rodrigo
748:Mocedades de Rodrigo
648:Mocedades de Rodrigo
533:Mocedades de Rodrigo
501:Mocedades de Rodrigo
373:Chronicle of Castile
221:Mocedades de Rodrigo
155:Mocedades de Rodrigo
122:Mocedades de Rodrigo
79:composed around 1360
25:Mocedades de Rodrigo
1615:Rodrigue et Chimène
1607:Ruy, the Little Cid
1578:(tragicomedy, 1637)
1314:Battle of Golpejera
596:Traditionally, the
582:Bernardo del Carpio
306:House of Trastámara
264:Date and authorship
176:Traditionally, the
1674:Spanish literature
1659:14th-century poems
1623:El Cid: The Legend
1555:(cantar de gesta,
1450:Historical sources
1387:Cristina RodrĂguez
1308:Battle of Llantada
754:, pp. 99–162.
689:B.P. Bourland, in
371:, also called the
346:Alfonso X the Wise
237:bishop of Palencia
208:
192:Quarrel of the Cid
1669:Cantares de gesta
1641:
1640:
1634:(TV series, 2020)
1594:(sculpture, 1927)
1570:(biography, 1498)
1533:Cantar de mio Cid
1517:(biography, 1512)
1499:Historia Roderici
1331:Battle of Morella
971:Anno domini m c d
821:BOURLAND, B.P., "
746:. Edition of the
679:Damas Hinard, in
610:Guillén de Castro
538:Cantar de mio Cid
503:tried to satisfy.
475:cantares de gesta
387:differs from the
362:Chronicle of 1344
340:(also called the
318:Kingdom of Aragon
278:Gonzalo de Berceo
245:Holy Roman Empire
231:, the defense of
190:and the ensuing "
117:
116:
1691:
1591:El Cid Campeador
1561:
1558:
1546:
1545: 1140–1207
1543:
1508:
1507: 1181–1190
1505:
1493:
1490:
1480:
1477:
1467:
1464:
1337:Battle of Bairén
1263:
1256:
1249:
1240:
1207:
1204:usque ad Tolosam
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1375:Jimena DĂaz
1333:(1084–1088)
1287:(1094–1099)
988:, number 12
654:Manuscripts
517:narratology
483:Juan Manuel
426:hemistiches
402:monorhyming
113:1164 verses
97:epic poetry
70:Old Spanish
1648:Categories
1525:Depictions
1485:Ibn Bassam
1472:Ibn Alqama
1401:(grandson)
1395:(daughter)
1389:(daughter)
1283:Prince of
1065:) and the
890:) and the
729:References
379:known as "
147:manuscript
102:Verse form
1118:Apdo. 5.
1099:Mocedades
636:Mocedades
631:Mocedades
618:Corneille
598:Mocedades
592:Valuation
509:Mocedades
471:Mocedades
440:Structure
410:assonance
377:Mocedades
358:Mocedades
330:Mocedades
314:Mocedades
293:Mocedades
229:Calahorra
213:Ferdinand
178:Mocedades
127:Castilian
58:Author(s)
1434:Torrecid
1285:Valencia
1224:Apdo. 5.
1190:of the *
1171:op. cit.
1097:and the
1026:in "The
310:Henry II
247:and the
66:Language
1295:Battles
1196:c. 1300
1186:or the
531:In the
422:caesura
253:tribute
233:Castile
159:del Cid
61:unknown
1684:El Cid
1631:El Cid
1599:El Cid
1583:Le Cid
1575:Le Cid
1436:(camp)
1430:(tomb)
1415:Places
1377:(wife)
1368:Family
1359:Colada
1354:Tizona
1347:Swords
1339:(1097)
1322:(1079)
1316:(1072)
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877:
862:
847:
825:", in
811:
796:
765:
752:ibidem
742:
623:Le Cid
584:or of
434:scribe
406:verses
389:Cantar
289:Zamora
225:Aragon
183:Le Cid
110:Length
1383:(son)
1277:Reign
1095:Gesta
937:Notes
931:Note:
430:meter
396:Meter
385:Gesta
258:Savoy
143:codex
94:Genre
1079:ISBN
920:ISBN
904:ISBN
875:ISBN
860:ISBN
845:ISBN
809:ISBN
794:ISBN
763:ISBN
740:ISBN
515:and
481:Sir
469:The
249:Pope
198:Plot
119:The
76:Date
1002:as
869:——
839:——
803:——
496:sic
194:".
186:by
157:or
1650::
1557:c.
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