Legends & Romances of Spain. Lewis Spence

but I pray God that He will change your heart in this matter.”

      King Alfonso had no son of his own, and in an ill moment proposed that Charlemagne, the mighty Emperor of the Franks, should be regarded as his successor. But his nobles remonstrated against his choice, and refused to receive a Frank as heir to the throne of Christian Spain. Charlemagne, learning of Alfonso’s proposal, prepared to invade Spain on the pretext of expelling the Moors, but Alfonso, repenting of his intention to leave the crown to a foreigner, rallied his forces around him and allied himself with the Saracens. A battle, fierce and sustained, took place in the Pass of Roncesvalles, in which the Franks were signally defeated, chiefly by the address of Bernaldo, who slew the famous champion Roland with his own hand.

      These and the other services of Bernaldo King Alfonso endeavoured to reward. But neither gift nor guerdon would young Bernaldo receive at his hands, save only the freedom of his father. Again and again did the King promise to fulfil his request, but as often found an excuse for breaking his word, until at last Bernaldo, in bitter disappointment, renounced his allegiance and declared war against his treacherous uncle. The King, in dread of his nephew’s popularity and warlike ability, at last had recourse to a stratagem of the most dastardly kind. He assured Bernaldo of his father’s release if he would agree to the surrender of the great castle of Carpio. The young champion immediately gave up its keys in person, and eagerly requested that his father might at once be restored to him. The treacherous Alfonso in answer pointed to a group of horsemen who approached at a gallop.

      “Yonder, Bernaldo, is thy father,” he said mockingly. “Go and embrace him.”

      “Bernaldo,” says the chronicle, “went toward him and kissed his hand. But when he found it cold and saw that all his colour was black, he knew that he was dead; and with the grief he had from it he began to cry aloud and to make great moan, saying: ‘Alas! Count Sandias, in an evil hour was I born, for never was man so lost as I am now for you; for since you are dead and my castle is gone, I know no counsel by which I may do aught.’” Some say in their cantares de gesta that the King then said: “Bernaldo, now is not the time for much talking, and therefore I bid you go straightway forth from my land.”

      Broken-hearted and utterly crushed by this final blow to his hopes, Bernaldo turned his horse’s head and rode slowly away. And from that day his banner was not seen in Christian Spain, nor the echoes of his horn heard among her hills. Hopeless and desperate, he took service with the Moors. But his name lives in the romances and ballads of his native country as that of a great champion foully wronged by the treachery of an unjust and revengeful King.

      Although the cantares of Fernán González and the Children of Lara also lie embedded in the chronicles, I have preferred to deal with them in the chapter on the ballads, the form in which they are undoubtedly best known.

The “Poema del Cid”

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      But by far the most complete and characteristic of the cantares de gesta is the celebrated Poema del Cid, the title which has become attached to it in default of all knowledge of its original designation. That it is a cantar must be plain to all who possess even a slight familiarity with the chansons de gestes of France. Like many of the chansons heroes, the Cid experiences royal ingratitude, and is later taken back into favour. The stock phrases of the chansons, too, are constantly to be met with in the poem, and the atmosphere of boastful herohood arising from its pages strengthens the resemblance. There is also pretty clear proof that the author of the Poema had read or heard the Chanson de Roland. This is not to say that he practised the vile art of adaptation or the viler art of paraphrase, or in any way filched from the mighty epic of Roncesvalles. But superficial borrowings of incident appear, which are, however, amply redeemed by originality of treatment and inspiration. The thought and expression are profoundly national; nor does the language exhibit French influence, save, as has been said, in the matter of well-worn expressions, the clichés of medieval epic.

Its Only Manuscript

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      But one manuscript of the Poema del Cid is known, the handiwork of a certain Per or Pedro the Abbot. About the third quarter of the eighteenth century, Sanchez, the royal librarian, was led to suspect through certain bibliographical references that such a manuscript might exist in the neighbourhood of Bivar, the birthplace of the hero of the poem, and he succeeded in unearthing it in that village. The date at the end is given as Mille CCXLV, and authorities are not agreed as to its significance, some holding that a vacant space showing an erasure after the second C is intentional, and that it should read 1245 (1207 new style). Others believe that 1307 is the true date of the MS. However that may be, the poem itself is referred to a period not earlier than the middle of the twelfth nor later than the middle of the thirteenth century.

      As we possess it, the manuscript is in a rather mutilated and damaged condition. The commencement and title are lost, a page in the middle is missing, and the end has been sadly patched by an unskilful hand. Sanchez states, in his Poesías Castellanas anteriores al Siglo XV (1779–90) that he had seen a copy made in 1596 which showed that the MS. had the same deficiencies then as now.

Its Authorship Unknown

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The personality of the author of the Poema del Cid will probably for ever remain unknown. He may have been a churchman, as Ormsby suggests, but I am inclined to the opinion that he was a professional trovador. The trouvères, rather than ecclesiastics, were responsible for such works in France, and why not the trovadores in Spain?1 That the writer lived near the time of the events he celebrated is plain, probably about half a century after the Cid sheathed his famous sword Colada for the last time. On the ground of various local allusions in the poem he has been claimed as a native of the Valle de Arbujuelo and as a monk of the monastery of Cardeña, near Burgos. But these surmises have nothing but textual references to recommend them, and are only a little more probable than that which would make him an Asturian because he does not employ the diphthong ue. We have good grounds, however, for the assumption that he was at least a Castilian, and these are to be found in his fierce political animus against the kingdom of Leon and all that pertained to it. That Pedro the Abbot was merely a copyist is clear from his mishandling of the manuscript; for though we have to thank him for the preservation of the Poema, our gratitude is dashed with irritation at the manner in which he has passed it on to us, for his copy is replete with vain repetitions, he frequently runs two lines into one, and occasionally even transfers the matter of one line to another in his haste to be free of his task.

Other Cantares of the Cid

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That other cantares relating to the Cid existed is positively known through the researches of Señor Don Ramón Menéndez Pidal, who has demonstrated that one of them was used in the most ancient version of the Crónica General, of which three recensions evidently existed at different periods, and it is now clear that the passage in question does not come from the Poema as we have it, as was formerly believed.2 The passages on the Cid in the second version of the Crónica are also derived from still another cantar on the popular hero, known as the Crónica Rimada,3 or Cantar de Rodrigo, evidently the work of a juglar of Palencia, and which seems to