THE INFLUENCE OF THE EPIC ON 
 LATER SPANISH LITERATURE 
 THE CID-CYCLE AND THE DRAMA 
 
 By 
 
 ELLA MAI WILSON 
 
 A. B. Vanderbilt University, 1919 
 
 THESIS 
 
 SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE 
 DEGREE OF MASTER OF ARTS IN ROMANCE LANGUAGES IN 
 THE GRADUATE SCHOOL OF THE UNIVERSITY 
 OF ILLINOIS, 1922 
 
 
 URBANA 
 
 ILLINOIS 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/influenceofepicoOOwils 
 


 
 
 
 
 
 
 
 
 
CONTENTS 
 
 Page 
 
 I. INTRODUCTION ..... 1 
 
 II . DRAMAS . ll-?9 
 
 A. COMEDIA DE LA MUERTE DEL REY DON SANCHO,Y RETO 
 DE CAMORA POR DON DIEGO DE ORDONEZ, POR JUAN 
 
 DE LA CUEVA 11 
 
 B. LAS HAZANAS DEL CID, Y SU MUERTE, CON LA TOMADA 
 
 DE VALENCIA, ANONYMOUS 13 
 
 C. LAS ALMENAS DE TORO, POR LOPE DE VEGA 17 
 
 D. LAS MOCEDADES DEL CID, PRIMERA PARTE, POR GUILLEN 
 
 DE CASTRO 21 
 
 E. LAS HAZANAS DEL CID 0 LAS MOCEDADES DEL CID, 
 
 SEGUNDA PARTE, POR GUILLEN DE CASTRO 26 
 
 F. EL COBARDE Ma's VALIENTE, POR TIRSO DE MOLINA . . . 29 
 
 G. EL HERMANO DE SU HERMANA, POR BERNARDO DE QUIROS 33 
 
 H. EL AMOR HACE VALIENTES , POR JUAN DE MATOS FRAGOSO 37 
 
 I. EL HONRADOR DE SU PADRE, POR JUAN BAUTISTA DIAMANTE 42 
 
 J. EL CID CAMPEADOR Y EL NOBLE SIEMPRE ES VALIENTE, 
 
 POR FERNANDO DE ZARATE Y CASTRONOVO 47 
 
 K. EL HONRADOR DE SUS HIJAS, POR FRANCISCO DE POLO 53 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
Page 
 
 L. NO ESTA EN MATAR EL VENCER, POR JUAN DE 
 
 MATOS FRAGOSO 58 
 
 M. LAS MOCEDADES DEL CID, POR GERONIMO DE CANCER Y 
 
 VELASCO 61 
 
 N. EL CERCO DE ZAMORA, POR JUAN BAUTISTA DIAMANTE 64 
 
 O. LA JURA EM SANTA GADEA, POR JUAN EUGENIO 
 
 HARTZENBUSCH 69 
 
 P. LAS HIJAS DEL CID, POR EDUARDO MARQUINA 73 
 
 III. CONCLUSION 80 
 
 IV. APPENDICES 82-85 
 
 1. ROMANCES USED BY THE AUTHORS AS SOURCES FOR 
 
 THEIR DRAMAS 82 
 
 2. ADDITIONAL PLAYS BASED ON THE CID 84 
 
 NOTES 66 
 
 BIBLIOGRAPHY 92 
 
. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
I. INTRODUCTION 
 
 No one man in all Spanish history has exerted such an 
 influence on Spanish literature as the national hero and ideal, 
 el mio Cid. He has been the inspiration of poems, romances, 
 dramas, and novels by the best Spanish writers from the time of his 
 death up to the present day. Very naturally, throughout all these 
 ages and all these writings, he has become a very much glorified 
 Cid and we, as well as his own people, forget that he was a typical 
 warrior and leader of his time, with as many vices as virtues. 
 Indeed, he has become so glorified that some have even doubted 
 that there ever really existed such a person. 
 
 Tradition has added so much toward his character and 
 deeds that some have tried to prove that he is totally a creation 
 of tradition and literature. It is impossible to quote directly 
 any of these demurrers since their works are unavailable here, but 
 Fi tzmaurice-Kelly in his Chapters on Spanish Literature seems to 
 have given the sum and substance of these denials of the Cid‘s 
 existence, in as much as his statements agree with those of 
 Menendez Pidal x and Adalbert Hamel , 2 both of whom go into the matter 
 in some detail, quoting and referring exactly to the works in 
 question. Fitzmaurice-Kelly says S "So marked are the differences 
 between the Cid of history and the Cid of legend that, early in the 
 nineteenth century his very existence was called in question by the 
 sceptical Jesuit Masaeu, an historian who delighted in paradox. 
 Maedeu's doubts were reiterated by Samuel Dunham in his History of 
 
Spain and. Portugal, and by Dunham’s translator, Antonio Maria de 
 Alcala Galiano, a writer of repute in his own day. * * * These 
 
 negations, more or less sophistical, are the follies of the learned 
 and they have their match in the assertions of another school that 
 sought to reconcile divergent views by assuming the existence of 
 two Cids, each with a wife called Jimena and each with a war horse 
 called Babieca. This generous process of duplicating everybody 
 and everything has not found favour. Cervantes expresses his view 
 through the canon in Don Quixote — 'That there was a Cid, as well 
 as a Bernardo del Carpic, is beyond doubt; but that they did the 
 deeds which they are said to have done, I take to be very doubtful. 
 Few of us would care to be so affirmative as the canon with respect 
 to Bernardo del Carpio, but he is perfectly right as regards the 
 Cid." 
 
 There is no doubt that the Cid actually existed, although 
 there is doubt that he did and said most of the things ascribed to 
 the Cid of literature and to the Cid of Spanish civilization. 
 
 The earliest document concerning the Cid of history is 
 his marriage settlement which is dated 1074 and is to-day preserved 
 
 4 t t 
 
 at Burgos. Then there is the Genealogia de Rodrigo Diaz written 
 
 in the time of St. Ferdinand and containing an account of the main 
 
 5 
 
 events of the Cid's life. Ibn-Bassam' s Dhakira appeared ten years 
 after the Cid's death and the anonymous Gesta Ruderici Campidocti 
 appeared sometime between 1140 and 1170.° The authors of these two 
 works write from opposite points of view and a statement made by 
 both may usually be taken as a fact. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Ormsby, in his translation of the Poema . gives a full 
 diagram of the ancestors and descendants of the Cid. He is a 
 descendant of NuKc Rasura, Judge of Castile, A.D. 898, and of 
 Teresa Nunez and Lain Calvo, his father being Diego Lainez and his 
 mother Teresa Rodriguez, granddaughter of Alfonso V of Leon. A 
 descendant of Rodrigo 1 s daughter Elvira was the mother of the first 
 of the line of Navarre and still another descendant was queen of 
 
 7 
 
 Richard I of England. 
 
 From the above imentioned historical documents, we know 
 
 / 
 
 that the Cid married Jimena Diaz, first cousin of Alfonso VI and 
 
 daughter of the Count of Oviedo. From the second document we get 
 
 5 
 
 a summary of the chief events of his life: "his share in the wars 
 
 of Sancho and Alfonso of Castile, his banishment by the latter, his 
 victory over Verenger of Barcelona, his conquest of Valencia, and 
 the marriages of his daughters to the Count of Barcelona and the 
 Infante Ramiro of Navarre." 
 
 The third and fourth documents agree in essentials with 
 the Genealogia as to the early life of the Cid, and give an account 
 of the Cid from his banishment in 1081 to his death at Valencia in 
 1099. e 
 
 A general outline of the Cid's life taken from the intro- 
 duction of Ormsby's translation and Fitzmaurice-Kelly' s chapter on 
 the Cid is as follows: 
 
 ✓ 
 
 Rodrigo or Ruy Diaz was born at Bivar near Burgos about 
 1040. He was later called the "Campeador" and the Cid: the former 
 title due to his prowess in single combat, the latter supposed to 
 be derived from the Arabic sidi (= my Lord) . At the age of twenty- 
 
‘ 
 
 
 
 
 
 
 
 I 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 
 
 
 
 8 
 
 
 
 
 
 
 
 
 
 
4 
 
 five, he was made standard bearer to Sancho II of Castile, who had 
 seized Leon from his brother Alfonso and Galicia from his brother 
 Garcfa. After the death of Sancho, during the first year of the 
 reign of Alfonso, the Cid was married to Jimena, Alfonso's cousin, 
 on July 19, 1074. What happens for the next few years is not known, 
 but we know that in 1081 he was exiled and went into the service of 
 Al-muktadir, a petty Moorish king. At the latter's death, he took 
 the side of his son Al-mutamen against the latter's brother 
 Mondhir who was assisted by the King of Aragon and the Count of 
 Barcelona. Owing to the Cid's bravery Al-mutamen won a complete 
 victory in spite of the fact that he was outnumbered. The king of 
 Aragon was again defeated on the banks of the Ebro. The Cid having 
 become reconciled to Alfonso VI, quarrelled with him again and was 
 again banished. The City of Toledo was surrendered to Alfonso on 
 condition that he would make Al-kadir ruler of Valencia as compensa- 
 tion for his loss of Toledo. This was accomplished by Castilians 
 under Alvar FaTiez, the Cid's nephew, against the will of the 
 Valencians. At this time there was an invasion of Spain by the 
 Almoravides, and Alfonso to defend his kingdom, had to deprive 
 Al-Kadir of his support. The latter applied for aid to Al-mutamen 's 
 son, Al-mustain, who with the Cid marched against Valencia, with 
 the secret intention of taking it for himself. The Cid and his men 
 were to have the plunder. Al-mustain left the Cid to carry out the 
 work. The latter desired nothing better, ana ravaged the outlying 
 districts of this, the huerta of Spain, advancing cautiously and 
 fortifying his positions. He played false to all three parties 
 concerned, pretending to Alfonso that he was working in the inter- 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 ■ 
 
 
 
 
5 
 
 ests of Castile, and to Al-mustain that he was working for him, 
 while encouraging Al-kadir to put down the Valencians and the 
 Valencians to rebel against Al-kadir. 
 
 He starved the city into surrendering in June 1094 on 
 generous terms, violated these terms, burned Ibn-Jehaf and his 
 chief supporters alive, and gave the people their choice between 
 banishment and slavery. In all but name he was now a king, and he 
 strengthened his hold on the city against various attacks of the 
 Almoravides. His troops were finally defeated at Alcira, and the 
 Cid’s death, hastened by grief at this defeat, occurred in 1099. 
 
 The first known poem concerning the Cid was written in 
 
 Q 
 
 Latin about 1120, some twenty years after his death." 
 
 The most important Spanish epic is the Poema del Cid . 
 dealing with our hero. This poem occupies a place midway between 
 the historical and the romantic accounts of the Cid. ,! The founda- 
 tion which the poet has laid down is historical, but the super- 
 structure he has raised upon it is either a creation of his own, 
 or, more probably, a fabric constructed out of legends which had 
 already grown up round the memory of the Cid."^ This poem was 
 written^ 1 about 1140. Menendez-Pidal tells us that it is "un poirne 
 * * * qui nous represente un Cid immuablement fidele a son 
 
 injuste souverain” . 
 
 Just a few details will suffice to show the correctness 
 of this statement. In the opening lines of the Poe ma as we now 
 have it, the people of Burgos lament the misfortune that has be- 
 fallen the Cid through the edict of exile, and they all exclaim 
 

 
 
 
 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
6 
 
 "Dios qud buen vassalio si oviesse buen seffore." 
 
 After bis first victory be sends rich booty back to bis 
 unjust and ungrateful king, and so be does after each succeeding 
 victory of any importance. When tbe Infantes of Carridh wish to 
 marry tbe Cid's daughters, tbe Cid places them both in tbe bands 
 of tbe king to do with as be pleases. Later on when tbe Infantes 
 maltreat tbe daughters, tbe Cid insists that, however great tbe 
 insult to himself and to bis daughters, it is still greater to tbe 
 king who brought about tbe marriage , and as a loyal subject of bis 
 sovereign be insists that tbe king handle tbe matter. Still later 
 when tbe princes of Navarre and Aragon wish to marry tbe Cid's 
 daughters, tbe Cid again turns tbe whole matter over to tbe king. 
 
 "It is not easy to say whether tbe abject loyalty to the 
 sovereign which tbe poem attributes to tbe Cid is to be regarded 
 as characteristic of tbe age," says Ormsby, "or merely as tbe 
 expression of tbe political bias of tbe poet; but it is, at any 
 rate, a very remarkable point of difference between tbe earlier and 
 tbe later portraits of tbe herc." 1 ^ 
 
 In addition to tbe above-mentioned accounts of tbe his- 
 torical and semi-historical Cid, there are tbe accounts of tbe 
 legendary Cid: tbe various Crdnicas and tbe Romance ro del Cid com- 
 
 posed of ballads. Tbe Crdnicas all grow out of each other: tbe 
 Primera Crdnica General of Spain was based on tbe Crdnica de 1344- . 
 From tbe Primera Crdnica came three other C rdnicas : that of tbe 
 
 Veinte Reyes , tbe Tercera General , and tbe Crdnica de C astilla 
 (sometimes known as tbe Crdni ca Rlmaaa ) . Of this last Crdnica , 
 

 
 
 
 
 
 
 
 - 
 
 
 
 
 
 
 
 
 
7 
 
 the Cronica Particular del Cid is merely an abstract. Nevertheless, 
 the derived Cronicas sometimes follow the primitive sources more 
 closely than does the Primera Cronic a. This may be due to the 
 fact that they were founded on a more perfect text of the Primera 
 Cronica than the one preserved to-day, or it may be that they used 
 other sources in addition to the Primera Cronica . 
 
 The Primera Cronica Gener al is taken from the Poe ma, 
 not as we know it to-day, but from a later recasting of it which 
 has been lost. This later text differed very slightly from the old 
 one, in the first part concerning the Cantar of the Cid‘s banish- 
 ment, but differed greatly in the Cantares of the Bcdas and of the 
 Corpes . 14: 
 
 The Cronica de 1344 differs more from the text of the 
 Poema than does the Primera ♦ And so do the C ronica de Castilla 
 and the Particular del Cid. 15 
 
 The romance during the fifteenth century was, as the 
 
 Marque's de Santillana said, the song "de que las gentes de baxa 
 
 e servil ccndicion se aiegran" . xo Menendez Pidal says that this 
 
 statement is not to be taken too literally. The higher classes 
 
 also were fond of the romances. King Enrio^ue IV, speaking of a 
 
 chronicler, said: "He sang very well all music, that of the 
 
 17 
 
 Church as well as that of romances and canciones." 
 
 In the sixteenth century, Philip II at the age of eight, 
 was so familiar with the romances that, in reply to one of his 
 courtiers, he parodied some verses from the Jura en Santa Gadea . 
 
 Among men of letters the romance was highly esteemed. 
 

 
 
 
 
 
 
 
 
 
 
 
Various writers and historians commend the romances as the most 
 effective historic poetry and speak of their lovely sound. 
 
 Musically, they were very popular. Various musicians of 
 the time include them in their works. Novelists, such as Cervantes 
 and Y^nez y Ribera, tell us how customary it was for the people in 
 the cities to sing romances, old and new in their hours of recrea- 
 tion. The girls sang them at their embroidery, dishwashers sang 
 
 them to the clatter of plates; even the children sang them on their 
 
 * 
 
 way to buy oil or wine. 
 
 In conversation, bits of a romance were quoted for 
 repartee or to add a little spice. 
 
 A particular collection of these romances that were so 
 popular during the sixteenth century, and whose subject matter is 
 the Cid, forms the Romancero del Cid . The Romance ro naturally 
 represents a Cid who would appeal to the people, a Cid who defies 
 kings, a generous, noble Cid, a Cid who is democratic and the very 
 soul of honor. 
 
 Orrnsby in his translation of the Poema gives us an 
 excellent characterization of these ballads. 
 
 M As might be expected in a country where the feeling of 
 the people found vent in ballads so freely as it did in Spain, a 
 hero whose adventures appealed so strongly to the popular imagina- 
 tion and sympathy became before long a favourite theme with the 
 popular minstrels. The ballads which had the Cid and his deeds for 
 their subject formed so conspicuous a feature in the Romanceros 
 and Cancioneros of the sixteenth century, that as early as 1613, 
 Juan de Escobar found it worth while to collect and issue them 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 • 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
9 
 
 separately as the Romancero del Cid , which has been succeeded by 
 edition after edition, each adding something to the collection of 
 its predecessor, till we come to the admirable variorum edition 
 of Carolina Michaelis (Leipzig, 1871), containing no less than 205 
 ballads. The Cid ballads, however, it must be confessed, impress 
 us 'more by their number than their light', for they do but little 
 towards the illustration of the Cid either as a picturesque hero 
 of romance or a3 a characteristic figure of mediaeval history. 
 Southey has been accused of injustice in his estimate of this 
 series of ballads, but no one who examines them with any degree 
 of care will deny that his judgment is at least substantially 
 just. Considered as a whole, and compared with the pieces belong- 
 ing to the best period of Spanish ballad poetry, the Cid ballads 
 must be rated as poor? 
 
 The Romancero del Cid , according to the Michaelis edition, 
 is divided into four parts. The first part, composed of the first 
 forty-five romances, deals with the life and deeds of the Cid 
 during the reign of Fernando I . The second part, composed of 
 romances 46-70, deals with the Cid during the reign of Sancho II 
 (1065-72) . The third division, composed of romances 71-96, 
 tells of the Cid from the death of Don Sancho to the crowning of 
 Don Alfonso VI (1072) . The fourth, romances 97-205, is concerned 
 with the Cid during the reign of Alfonso VI (1072-1109) up until 
 the Cid's death in 1099. 
 
 In this chapter we have analyzed the contents of the 
 great Spanish epic dealing with the life of the Cid, under the 
 glorified ideal that in later centuries became Spain's conception 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
of one of her national heroes. One of the amazing qualities about 
 this epic, when compared with the great epics of other nations, is 
 its naturalness and its truthfulness. Its geography is exact. All 
 the personages mentioned in it are historic. The battles took 
 place, and the number of persons engaged on both sides harmonize 
 with the facts. When the Cid's men make a charge the number killed 
 is not excessive. There i3 practically nothing of the supernatural 
 And so one might continue with details of a similar nature, all 
 proving the sobriety, self-restraint, and acquaintance with the 
 facts that were possessed by the unknown author. 
 
 We have analyzed also the chronicles derived from this 
 poem either directly or through other chronicles. 
 
 But while these conceptions of the Cid were powerful in 
 molding public opinion, they 3eem not to have had any direct 
 influence on the subsequent literature that we shall examine, and 
 this for the very good reason that tnose literary monuments lay 
 buried for several centuries. 
 
 They had, however, caused the creation of another form of 
 literature which we know as the romances, and we have analyzed 
 their general provenience, following the argument of Professor 
 Menendez PicLal. In this great body of literature, there is an im- 
 portant group of 205 romances that deal with the Cid, and it is 
 the conception of his character that is herein set forth that has 
 been used in varying degrees by the majority of the authors who in 
 later centuries have dealt with the Cid. It will be our purpose in 
 the following chapters to see how our authors have used this par- 
 ticular material. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
11 
 
 II . DRAMAS 
 
 Of all the forms of literature that have been influenced 
 by the materials we have been examining, none has been more strong- 
 ly influenced than the drama. We have therefore attempted to dis- 
 cover every drama whose principal theme is related in any way to 
 these materials. We shall study the content of all those that are 
 available in as nearly the chronological order as is possible, given 
 the uncertainty of the dates at which some of them were written. 
 
 A. CO MEDIA DE LA MVERTE DEL REY DON SANCH0,Y RETO DE JAMORA 
 
 POR DON DIEGO DE ORDONEZ ^POR JUAN DE LA CUEVA 1S 
 
 The first Spanish author to dramatize the Cid was Juan de 
 la Cueva, whose drama was played in Seville about 1579 and was pub- 
 lished between 1584 and 1588. ^ 
 
 ACT I — King Sancho, who after the death of his father 
 Fernando, has inherited Castile, wishes to possess ijamora also, 
 which has been given to his sister Urraca. He sends the Cid to 
 ^amora to ask Urraca to give up the city, offering to give her 
 some other possession instead. Urraca refuses. Vellido Dolfos, 
 one of Urraca' s subjects leaves (Jamora, goes to the king and offers 
 to give famora into his hands. From the city walls they warn 
 Sancho to beware of the traitor Vellido, but the king will not heed. 
 Vellido kills him and, mounting the king's horse flees. The Cid 
 
12 
 
 comes up and pursues the murderer but he escapes into the city. 
 
 ACT II — The nobles of Castile decide that the treachery 
 of Vellido must have been due to the (^morans. Don Diego Ordonez 
 challenges the city to a combat for its freedom. Arias Gongalo 
 responds to the challenge. Both sides are to appoint judges. 
 
 ACT III — Arias wishes to enter the combat, but finally 
 listens to the piteous pleas of Urraca, and sends his three sens to 
 fight with Ordonez who kills them, one by one, although the third 
 son wounds the horse of Ordonez and it runs outside the bounds of 
 the combat. The §amoran judge then refuses to allow him to fight 
 with any one else since he has left the place of combat. 
 
 ACT IV — The judges of Castile and famora meet to 
 decide the matter. After much argument they decide that the glory 
 of the victory is to be awarded to Don Diego de Ordonez, but since 
 he left the lists, Qamora is to be free. They then go to the city 
 wall where the Cid has Arias Goncalo and Don Diego take the oath 
 that they will abide by the decision. 
 
 Cueva was the first of Spanish dramatists to treat nation- 
 al subjects and to turn to the well known Romancero for subject 
 matter. And we find in this drama that he has followed very closely 
 his source and has introduced practically nothing of his own. Con- 
 sequently his drama is rather episodic in character. 
 
13 
 
 B. LAS HAZANAS DEL CID, Y SU MUERTE, CON LA 
 TOMADA DE VALENCIA, ANONYMOUS 21 
 
 The next treatment of the Cid in drama is an anonymous 
 22 
 
 play appearing in 1603. 
 
 ACT I — Martin Pelaez, one of the Cid's men has fled 
 from battle and is trying to excuse himself for being cowardly. He 
 hopes that no one has seen him. The Cid and his followers come 
 from the battle and are washing their hands for mealtime. Martin 
 mingles with the men, but the Cid has noticed his flight and 
 remarks on the cowardice of one of his men. He wishes to speak to 
 Martin alone, but the latter does not hear the Cid call him and 
 goes with the other men. Two soldiers of the Cid come in with two 
 Moorish women whom they have captured. The Cid buys the women to 
 send to J imena that they may become Christian. A page tells the 
 Cid that Martin is eating at the table with the knights. The Cid 
 will not tolerate this. He summons Martin from the table and 
 explains to him how he who has fled from the battle cannot sit with 
 the others. Martin tries to make up for his cowardice. When the 
 battle is renewed, he puts the Moors to flight, makes two of them 
 surrender their arras, and beg for their lives. He wishes to kill 
 them, but leads them before the Cid, who rejoices over Martin's 
 courage and allows him to sit at the table with the other soldiers. 
 The two Moors meet with the tv/o women prisoners whom they love and 
 who rebuke them for their cowardice and say that they are in love 
 with Martin Pelaez and Antolinez who are brave and took them 
 
14 
 
 prisoners . 
 
 Valencia is taken. The Cid gives the prisoners their 
 liberty and keeps the women from harm. He sends back the gold to 
 the Jews whom he out-witted on his departure from Castile. J imena 
 and her daughters are to come to Valencia. The Cid sends a messen- 
 ger to King Alfonso with presents as a sign of his victory. He 
 also gives the Moorish women who have been set free, gold for their 
 marriage; the Moorish men thank the Cid. 
 
 ACT II — The Cid is the ruler of Valencia. He grants 
 audiences to the Moors, and settles disputes which are brought be- 
 fore the tribunal. The arrival of Jimena is announced. She is 
 received with great festivity; the Moors show their enthusiasm. 
 
 The festivities are interrupted by a band of Moors marching against 
 the city. The Cid puts his family in a safe place in a tower where 
 they can watch the enemy and goes to battle. Martin Pelaez again 
 is very brave in battle and captures a Moor. No one is hurt among 
 the Cid’s men and he thanks them for the victory. 
 
 Martin Pelaez receives a letter from one of the Moorish 
 women, Lizarra, who is in love with him. He cannot read it, but 
 asks Ali, Lizarra' s husband (who comes by with a basket of fruit 
 for the Cid) to read it to him. Ali fears to tell Martin what the 
 letter says, but, fearing still more Martin's threat to kill him, 
 he at last obeys. Lizarra tells Martin that the other Moors are 
 away and that she is alone. Ali is very much chagrined that his 
 wife would do such a thing in his absence, but Martin reassures 
 him by telling him that he askea him to read the letter in order 
 to test him. He asks Ali not to show the note to Antolinez and says 
 
15 
 
 that he esteems Lizarra's honor and. that Ali has nothing to fear. 
 
 He only wishes to have the women baptized, and he threatens to kill 
 Ali if the latter punishes his wife. 
 
 ACT III — Several years have passed. The Cid is old 
 and can no longer do anything but recall his former achievements. 
 
 He relates the marriages of his daughters with the Infantes of 
 Carrion and their shameful treachery, and he rejoices in having 
 honorable sons-in-law now. A trumpet is heard. The Cid thinks 
 it is the Moors attacking the city. It is an envoy from Persia 
 bringing gifts for the Cid. The Cid is pleased and treats the 
 envoy with courtesy. 
 
 The Moorish king Bucar, son of Funes, attacks Valencia 
 to avenge his father's death. 
 
 St. Peter appears to the Cid and tells him he is soon to 
 die. The Cid asks Bishop Hieronimo to prepare him for death. Then 
 he leaves directions with Martin Pelaez and his men concerning what 
 they are to do with him after his death. He will still fight his 
 enemy. They are to bind him with his armor to his horse Babieca 
 and let the animal follow the Bishop. After the battle they are 
 to take the Cid to Castile and to San Pedro de Cardena. 
 
 The Cid dies and his men carry out his orders. The trend 
 of the battle is reported to us by some Moors from the wall. King 
 Bucar and his allies are put to flight and Valencia is free. 
 
 The scene changes to San Pedro de Cardena. The Cid is 
 
 placed in state here, sitting on a bench. Among the spectators are 
 two Jews, Samuel and Abraham. While the Christians form a proces- 
 sion, Abraham draws aside the curtain which covers the Cid and, 
 
16 
 
 addressing the dead, man in a bold manner, pulls his beard, there- 
 upon the Jew falls dead, and the dead Cid draws his sword from its 
 sheath. Every one is astounded at the marvel and Samuel becomes 
 converted and is baptized. 
 
 The writer has chosen a different set of romances for 
 his subject matter and has invented some love- intrigues to serve as 
 a connecting thread through his story. The capture of the Moorish 
 women, Lizarra and her companion, ana their subsequent marriages 
 to Ali ana Zulema and the episode of Lizarra' s letter to Martin 
 Pelaez were introduced by the author . In the last scene of the 
 play, the author has varied his source by introducing two Jews 
 instead of one, and having one of them actually killed for his 
 desecration of the Cid's dead body. The Romancero tells that the 
 body remained in state for seven years ana every year a f iesta 
 was held in its honor . According to the Romancero it was on the 
 occasion of one of these f iestas that the episode of the Jews 
 occurred and not soon after the Cid's death as the author of this 
 play places it. 
 
 23 
 
 Some historical accounts tell how Jimena maintained 
 Valencia for two years after her husband's death and then, after 
 setting fire to the citv, retreated northward taking with her the 
 Cid's embalmed body mounted for the last time on his horse Babieca. 
 "But the reality," says Menendez Pidal, "is more touching, since 
 it represents the Emperor Alfonso as going with his army into a 
 hostile country to repatriate the ashes of the hero who haa lived 
 constantly in exile ."* 54 
 
17 
 
 Upon arriving at Burgos, the remains were buried in the 
 convent of San Pedro de Cardena, where they remained until 1683, 
 when they were transferred to the townhall of Burgos. Recently, 
 upon the seventh centennial of the founding of the beautiful 
 cathedral of Burgos, July 22, 1921, the remains were transferred 
 to the Cathedral itself, with great pomp and ceremony, the king 
 
 OK 
 
 and queen and many nobles being present. 
 
 C. LAS ALMENAS DE TORO, POR LOPE DE VEGA 26 
 
 27 
 
 In 1618, Lope de Vega published his Almenas de Toro . 
 
 ACT I — Don Sancho has come to the city of Toro which 
 is ruled by his sister Elvira. When he wishes to gain possession 
 of it, he is reminded by his followers of his oath to his dying 
 father, ana they aavise him not to attack the city. He sends the 
 Cid to talk with Elvira. On the way to the city, the Cid meets Don 
 Diego Ordonez, who is returning to Zamora, whence he came as a 
 messenger to Elvira. The two men being unacquainted, threaten 
 each other and Don Diego says that there is only one person whom 
 he fears and that is the Cia. They then make themselves known to 
 each other and, after a friendly greeting, each goes his way. From 
 the top of the wall, Elvira talks to the Cid, who tells her that 
 her brother wishes to put her in a cloister and bids her to open 
 the gate of the city and fear no treachery. She orders him to 
 tell her brother that Toro is the cloister where she will remain 
 and she cannot open the door of the cloister to outsiders. The 
 

 
 
18 
 
 king himself comes up to the wall and. seeing Elvira, whom he does 
 not recognize, falls in love with her beauty. He offers to marry 
 her if she be a nobleman's daughter. When told that she is his 
 sister, he curses her and orders his men to fire upon her; but the 
 Cid prevents their doing so. Bellido Dolfos advises Sancho to send 
 a message to Elvira requesting that she bring four soldiers with 
 her and meet him outside the wall for a conference. Elvira refuses 
 to fall into the trap. The king goes up to the wall to talk with 
 her, but she refuses to deal with him. He orders his men to attack 
 the city. They put ladders up to the wall, but, as soon as they 
 climb up, Elvira's men beat them back. In the first act, we meet 
 also Don Vela, a retired nobleman living near Toro with his only 
 daughter. He is the Cid's uncle. His laborers are returning from 
 the fields when a wounded man, dressed like a nobleman, enters. 
 
 He says he has been treacherously attacked by two knights. He 
 faints and is carried to Vela's house by the servants. 
 
 ACT II — Bellido thinks of a new plan to take the city 
 if Sancho will give him Elvira to wife as a reward. The king 
 lets him have a thousand men. He goes up to the city wall at night 
 and pretends he is Don Diego just come from Zamora with a message 
 from Urraca. Elvira has the gates opened and Sancho and his men 
 enter and take the city. Elvira flees. She goes to the house of 
 Don Vela, where she tells them she is the daughter of a poor man 
 and was stolen by a nobleman and dressed in fine garments and that 
 she has fled from him. Vela's daughter, Sancha, gives her some 
 peasant's clothes and she stays to work for them. Sancha is in love 
 
19 
 
 with Enrique, who, working for Vela as a laborer, falls in love 
 with Elvira. 
 
 When Elvira cannot be founa in the city, Eellido becomes 
 angry with Sancho, accusing him of breaking his promise to give him 
 Elvira as his wife. He deserts the king and goes to Zamora to sup- 
 port Urraca. Sancho has his men search for Elvira. 
 
 ACT III — Sancho goes to attack Zamora ana take it from 
 his other sister Urraca. He stops at the house of Vela. Elvira 
 recognizes her brother and hides. The Cid, who is with the king, 
 greets his uncle with affection, and the king and his men go on to 
 Zamora. 
 
 Enrique tells Elvira that he is the son of a duke and 
 closely related to the king of France, and she admits that she also 
 is noble. Vela falls in love with Elvira and wishes to marry her, 
 but first he wishes to marry off his daughter. He sends Enrique 
 to Zamora with a message to Rodrigo de Lara, who has asked for 
 Sancha' s hand. When Enrique returns, he brings news of King 
 Sancho' s murder by Bellido, who, pretending to betray Zamora into 
 the king's hands, treacherously murdered him, although the king had 
 been warned of Bellido 's treachery. Don Diego, after Bellido has 
 been taken into Zamora, deserts Zamora and goes over to Sancho 's 
 side. After Sancho 's death, he challenges the city and fights with 
 the sons of Arias Gonzalo . Elvira is sad over her brother's death. 
 She and Enrique flee and ride to Toro. Don Vela and Sancha pursue 
 them . 
 
 The following day, Alfonso is declared king of Toro 
 since Elvira is believed to be dead. She and Enrique make them- 
 

20 
 
 selves known to Nuno Velazquez, her most faithful vassal. She 
 marries Enrique, makes herself known to her people, and. is again 
 mistress of the city of Toro. Don Vela and Sancha pledge her 
 their loyalty. 
 
 This play, though based on the Cid legend, is mainly 
 Lope's own invention. He has based his play on the mere mention 
 in romance 56, of Sancho ' s taking Toro from his sister Elvira, 
 and on romance 104, which describes Alfonso's falling in love with 
 the beautiful maiden who is walking on the walls of Toro and who, 
 he discovers, is his own sister. Lope even changes this romance 
 by making it Sancho and not Alfonso who falls in love with his 
 sister. Around this rather unusual circumstance Lope has built 
 up his whole play. He invented all the secondary characters: 
 
 Don Vela, his daughter Sancha, Don Enrique, and the laborers. He 
 also invented the intrigue of Bellido Dolfos to capture the city, 
 Sancho' s promise to give Elvira to him and the flight of Elvira 
 and the flight of Belliao to Zamora. 
 
 The only other Romancero mater ial, besides the two already 
 mentioned, is Belliao 's treacherous murder of Sancho. Very 
 cleverly, Lope has worked the thread of his own invention in with 
 the thread of the Romancero. He makes Bellido commit this murder 
 in revenge for Sancho' s failure to give him Elvira as his wife. 
 
 Lope has followed the Romancero less closely than either 
 of the dramatists who had hitherto written on the Cid. The Cid 
 
 himself plays a rather unimportant role in the play. The chief in- 
 terest centers around Sancho ana Elvira. 
 
21 
 
 D. LAS MOCEDADES DEL CID . PRIMERA PARTE, 
 
 POR GUILLEN DE CASTRO 26 
 
 Probably the best known of all the dramas on the Cid, 
 the Cid-drama par excellence, is Guillen de Castro’s Las Mocedades 
 ael Cid . published in 1618. 
 
 ACT I — King Fernando has just made Rodrigo, son of 
 Diego Lainez, a knight. Jimena, daughter of the Conde Lozano and 
 Urraca, the infanta, are both in love with Rodrigo. 
 
 The young Don Sancho, heir to the throne is in need of 
 a preceptor. The king decides, since the rest of his nobles all 
 have some position in the kingdom, that he will make Don Diego 
 preceptor to the prince. The Conae Lozano speaks slightingly of 
 the old man, saying he is too old, and after seme heatea argument 
 which the king tries in vain to silence, the Conde ends by giving 
 Don Diego a blow in the face. The poor old man declares he is no 
 longer worthy of the position since his honor is gone with the 
 insulting blow. They both leave. The king sends for them both 
 to settle the matter. 
 
 The old man goes to his house and calls one by one, his 
 three sons to try them. The two younger wail like women when he 
 grips their hands to test them, but the eldest, Rodrigo, proves 
 himself a man, ana his father charges him with the vengeance of 
 their family honor. Rodrigo is ready to do it. But then comes 
 the cruel struggle between his love for Jimena, when he learns 
 that he must try to kill her father, and his duty to his own father. 
 
. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
22 
 
 Rodrigo meets the Count in front of the palace. The 
 Count refuses to make any reparation for his insult. At the sight 
 of Jimena who is standing at a window, Rodrigo falters, but when 
 his old father enters, he at once regains his determination. He 
 challenges the Count, who scoffs at him. They fight ana the Count 
 is killed. Rodrigo is being attacked by the servants of the Count 
 when Urraca intervenes in his favor. 
 
 ACT II — Jimena ana Don Diego both present themselves 
 at the feet of the king. Jimena demanding that her father’s 
 murderer be punished and Don Diego offering himself as the true 
 cause of the death. The king orders Diego to be arrested. Sancho, 
 the young prince, intervenes and opposes his father in the arrest, 
 but when he sees that resistance is useless, he accepts the sug- 
 gestion of Urraca and becomes Lainez's jailer. 
 
 Rodrigo goes to Jimena' s house to offer her his head. 
 
 He finds her servant Elvira there. While they are talking, Jimena 
 comes in. Rodrigo hides and hears her confess that he is her 
 adored enemy. He comes out and offers her his sword with which to 
 kill him. She sends him away telling him that despite her love, 
 she will avenge her father's death. 
 
 Don Diego tells Rodrigo to go and fight against the 
 Moor 8 and thus consecrate his valor to his king. 
 
 The infanta, who is at the roval country house, has an 
 interview with Rodrigo on his way to battle. He is very gallant 
 and she wishes him Godspeed. 
 
 The battle of Rodrigo with the Moors is related by a 
 shepherd. Rodrigo is slaying the Moors. He pursues them and takes 
 
33 
 
 a king prisoner . 
 
 Don Sancho, the prince, is in deadly fear of death by the 
 hand of a friend or relative, since such is the fate foretold him. 
 
 He hates his brothers and Urraca. 
 
 The king learns from the captive Moorish king how brave 
 Rodrigo is and how the Moors all call him M el raio Cid." The Cid 
 comes in and the infanta is more than ever in love with him. Jimena 
 comes again to plead for justice, but the king cannot arrest the 
 bravest soldier he has. He sends the Cid on another expedition 
 to silence Jimena' s objections. 
 
 ACT III — Urraca, weeping, confesses to Arias that she 
 love3 the Cid, but it is easily seen that he and Jimena love each 
 other all the more even though she still prosecutes him. The king 
 sees Urraca weeping and promises that she shall have a part of the 
 kingdom after his death. 
 
 Jimena complains to the king that the Cid has been 
 injuring her pigeons. The king is worn out with her constant com- 
 plaints. At this point a page announces that the Cid has been 
 killed in ambush. Jimena turns pale. Then the king tells her that 
 he only wants to test her. She quickly replies that one can grow 
 pale from joy. She vows to give her hand to any nobleman who will 
 bring her Rodrigo's head, to any commoner who brings it to her, the 
 half of her possessions. 
 
 The Cid on the way to Santiago meets a leper with whom he 
 generously shares his meal. The leper turns out to be Saint Lazarus 
 and he promises the Cid an immortal glory. 
 
24 
 
 Martin Gonzalez, ambassador from Aragon proposes to end 
 the war by single combat. Unable to find a champion, the king 
 
 refuses and tells Martin that all his men will march against 
 
 Aragon. Then Rodrigo enters and offers to go himself. Martin 
 boasts that he will have not only the victory, but the hand of 
 
 Jimena. He sends Jimena a letter assuring her of his love and his 
 
 certain victory. Jimena regrets what she has done. 
 
 The king, feeling that his end is near, calls a council 
 and decides to divide his kingdom among his children, since Sancho 
 shows himself so hateful to his brothers and sister. Sancho vows 
 that he will unite Castile by the sword if his father so destroys 
 its unity. (This scene is to prepare for the second part of Las 
 Mocedades or Las Hazanaa del Cid and it delays the action and 
 spoils the unity of this play.) 
 
 Jimena comes in holiday dress to the palace, still pre- 
 tending that she will prosecute the Cid. 
 
 A page announces that a knight is coming with the Cid's 
 head. Jimena acknowledges her love for him and begins to weep when 
 in walks the Cid himself. He is bringing the Cid’s head and demands 
 the hand of Jimena as reward. If she wants to, she can cut the head 
 from the shoulders. Jimena accepts the situation. Urraca tears 
 from her heart the image of the Cid. The king announces that the 
 lovers shall be wed that evening. 
 
 In the first place, Castro has chosen the most dramatic 
 
 incident of the Romancero as the basis of his play. And then to 
 the barely suggested incidents, he has aaded much of the product 
 
V 
 
 •! 
 
 %, . ' 
 
25 
 
 of his own imagination. The first scene, that of the knighting of 
 Rodrigo, he has used as the opening scene instead of having it come 
 after the marriage of Jimena and the Cid, as it did in the 
 Romancero . The scene between the Count Lozano and Diego Lainez is 
 Castro's own creation, the event being only indirectly suggested by 
 the words of Diego in the Romancero which begins: 
 
 Cuidando Diego Lainez 
 Por las raenguas de su casa . 
 
 All the scenes between Rodrigo and Jimena are are 
 extraneous to the material in the Romancero. Likewise, the scene 
 between Rodrigo and the infanta at the king's country house has no 
 counterpart in the Romancero. Neither Sancho nor Urraca appears in 
 the romances dealing with this portion of the Cid's life, so that 
 the scenes wherein they are introduced are Castro's own invention. 
 
 In the original, Jimena complains to the king only once. 
 Castro makes her complain three times to the king in person. The 
 incident of the battle between Martin Gonzalez and Rodrigo is 
 greatly enlarged ana the idea of Jimena' s offering herself as the 
 prize to the one who brings her Rodrigo's head is entirely Castro's 
 own. 
 
 Fernando's distribution of his kingaom among his children 
 breaks the unity of this play, and while presumably it was done to 
 prepare us for his second play. Las Hazanas del Cid , we feel that 
 he has rather rudely interrupted the action of this, the better 
 play of the two. 
 
 The last scene, where Rodrigo returns with Gonzalo's head 
 on his lance, is also of Castro's invention. 
 
26 
 
 In the Romancero we find Jiraena, quite the opposite of 
 what Castro represents, going to the king and of her own accord 
 asking to marry Rodrigo. This is in harmony with the law which 
 permitted her to demand the Cid's head or his hand. 
 
 E. LAS HAZANAS DEL CID 0 LAS MOCEDADES DEL CID, 
 
 SEGUNDA PARTE POR GUILLEN DE CASTRO 30 
 
 29 / 
 
 In this play, published about 1618, Guillen de Castro 
 has given us a sequel to his Mocedades del Cid , Pr imera par te , but 
 the sequel is not so interesting as the first play. 
 
 ACT I — After the death of King Fernando, his kingdom 
 has been distributed among his children. Don Sancho was given 
 Castile, Extremadura and Navarra. As he swore to do in the Pr imera 
 Parte of the Mocedades del Cid , he is attacking Leon, the kingdom 
 of his brother Alonso. He is taken prisoner once by Alonso's men, 
 but the Cid and Diego de Ordonez, one of his nobles, secure his 
 release. He captures Leon and tries to kill Alonso, but the latter 
 escapes to Toledo and finds refuge there with King Alimaymon. 
 
 The Cid remonstrates with King Sancho and refuses to 
 fight against the sons and daughters of his late king, but Sancho 
 sets out against Zamora, the little kingdom of Dona Urraca, who 
 has as her adviser and second father. Arias Gonzalo. He offers her 
 his five sons to guard her city. Word is brought that Sancho has 
 captured Leon. 
 
27 
 
 Meanwhile, in Toledo the beautiful Moor Zaida come3 to 
 visit Alimavmon. She and King Alonso fall in love with each other. 
 
 While Sancho is attacking Zamora, the spirit of his 
 father, Fernando, appears to him and warns him to stop his violence. 
 Terrified at this, Sancho orders his soldiers to cease their attack. 
 
 Bellido de Olfos, a citizen of Zamora, realizing that he 
 is too cowardly to fight, wishes, nevertheless, to do something, so 
 he tells Urraca that he will save Zamora and that Arias Gonzalo is 
 a traitor. Bellido is driven away by the sons of Arias and goes to 
 Sancho, to whom he promises to hand over Zamora. Sancho is 
 delighted. The Cid again attempts to stop Sancho. After some hot 
 words have passed between Bellido and the Cid, Sancho banishes the 
 Cid. The Cid once gone, Sancho repents and sends word for him to 
 come back. 
 
 ACT II — King Sancho and Bellido go off by themselves 
 to the great worry of the nobles, who start out to find the king. 
 Bellido, when he gets the king alone, stabs him with a lance and 
 flees to Zamora. Sancho dies and his men think that Urraca was the 
 cause of Bellido' s murdering the king. Urraca has Bellido thrown 
 into prison though Arias Gonzalo wishes to kill him. Don Diego de 
 Ordonez accuses the Zamorans of killing Sancho and challenges any 
 one in the city to fight him. Doha Urraca finally prevails on 
 Arias Gonzalo not to go out and fight and thus leave her friendless 
 and without an advisor. Much against his inclination. Arias promises 
 to stay and let his sons go. 
 
 In Toledo, Zaida saves King Alonso's life when the Moors 
 wish to kill him, because they think he may have overheard an impor- 
 

26 
 
 tant conversation. 
 
 ACT III — At Zamora, Arias Gonzalo sends his sons out, 
 one by one, to fight Diego de Ordonez. Three of them are killed. 
 
 The third one, however, unhorses Don Diego, and thus frees Zamora. 
 Bellido is punished by being torn to pieces by four wild horses. 
 
 Zaida, having decided to become a Christian, is brought 
 by Don Alonso to Zamora, where she is baptized. The Cid angers 
 Alonso by compelling him to swear, before he becomes king of 
 Sancho's possessions, that he had nothing to do with the latter's 
 death. Alonso banishes the Cid, but later recalls him. Zaida is 
 crowned queen. 
 
 The play is episodic in character and follows the 
 Rcmancero much more closely than did the first part. However, 
 there are several incidents introduced by the author. The ghost of 
 Fernando does not appear in the Romancero . Castro has inserted the 
 character of the Moor Zaida and her love for and consequent marriage 
 with Alonso. When Alonso is about to be killed by the Moors Castro 
 has Alonso rescued by Zaida and not by the Moorish king as the 
 Romancero has it. 
 
 The first banishment of the Cid by Sancho is due, in 
 Castro' 8 production, to the Cid's interference with Bellido when 
 the latter falsely promises to help Sancho take Zamora, whereas in 
 the Romancero, this banishment is due to Sancho's anger at the Cid's 
 message bringing Urraca' s refusal to give up Zamora. In the 
 Rcmancero, Sancho is warned onl ir by the people on the wall of 
 Zamora, but Castro also makes the Cid, too, try to dissuade him from 
 
29 
 
 going with Bellido. 
 
 In the Romancero there is no record of Bellido 1 s being 
 punished for his crime, though Castro's play has him tied to four 
 wild horses . 
 
 In the play, Alonso recalls the Cid when he has banished 
 him for insisting that Alonso take the oath before he can be 
 crowned king, whereas the Romancero has the Cid banished and not 
 recalled. 
 
 Comparing Castro's play with the play of Juan de la Cueva 
 based on the same episodes, we find that Castro has introduced the 
 character of Alonso and the incidents concerning him, such as the 
 love affair with Zaida and the oath he is forced to take and the 
 crowning of Zaida. 
 
 F. EL COBARDE MAS VaLIENTE, POR TIRSO DE MOLINA 31 
 
 Tirso de Molina (if he be the author) uses the Romancero 
 of the Cid as the foundation for his drama. 
 
 ACT I — Payo Pelaez is very much ashamed of his son 
 
 / 
 
 Martin because he is so cowardly. He arms his son and sends him 
 with his servant Botija to the Cid, that he may learn to fight. 
 Martin does not wish to go, but he bids his beloved Sancha farewell 
 and obeys his father's wishes. 
 
 In the court of Alfonso, the Cid tries to defend himself 
 against some slanderers, but Alfonso, angry because the Cid brought 
 so many followers with him, banishes him. The Cid goes back to his 
 
30 
 
 camp, where he welcomes Martin Pelaez and tells him how to conduct 
 himself in battle. 
 
 In the camp of the Moors, Alvar Fanez is a captive. The 
 king, Abenamar, gives him his freedom and asks him to tell Sol, the 
 Cid's daughter, that he loves her. Alvar refuses and tears up the 
 letter which the Moor asked him to deliver. Despite this act, 
 Abenamar sets Alvar free but threatens to take vengeance. 
 
 ACT II — The struggle between the Moors and the Cid has 
 begun. Sancha, drawn by her love for Martin, comes to the Cid's 
 camp dressea as a boy. Alvar Fanez takes her as his page. Martin 
 flees from the battle and later seats himself at Alvar Fanez' s 
 table to eat. When the Cid sees him, he tells him that no one has 
 the right to bread till he has fought and won the right to eat. 
 Martin goes back into the battle and is fighting with the Moorish 
 king himself, but at Alvar's request he gives the Moor his freedom 
 since the latter had set Alvar free. The Cid is very much pleased 
 over Martin' 8 new courage. Martin recognizes his beloved Sancha 
 and wishes to take her from Alvar*, who not knowing that she is a 
 girl and the beloved of Martin, refuses to give up his servant. 
 When, however, he overhears Martin and Sancha talking and finds his 
 servant to be a girl, he is stronger than ever in his refusal. 
 Martin challenges him to a duel. Sancha tries to intervene but the 
 Cid comes up and they have to stop their contest. The Cid is going 
 
 to attack Valencia and cannot have his followers fighting with each 
 
 / 
 
 other. Nevertheless, Alvar and Martin threaten to kill each 
 
 other later . 
 
31 
 
 ACT III — When Valencia is halfway taken, the Cid's 
 forces suddenly withdraw and he has to urge them on to the attack 
 again. Sancha has been taken prisoner by the Moorish king, who dis- 
 covers her sex and wishes to make her his wife. She flees and he 
 pursues her. Martin Pelaez comes to her rescue just in time. He 
 is to put a fire on the wall to give a sign to the Cid and his men. 
 They all attack Valencia. Alvar Fanez , struggling with two Moors, 
 breaks his sword and is about to be killed when Martin comes up and 
 saves him and the two become friends again. Valencia is taken and 
 they are all happy. 
 
 In this play the Cid is the central figure, although 
 
 Martin Pelaez is a close second. Tirso has joined the episodes of 
 
 / ) 
 
 Martin Pelaez' s cowardice and subsequent bravery by introducing 
 Sancha, his sweetheart and using their love affair as the connect- 
 ing link. 
 
 Tirso introduces Martin's father, Payo Pelaez, a character 
 not found in the Romancero . Tirso makes Alfonso banish the Cid 
 because he is angry that the latter came to meet him with so many 
 followers, whereas in the Romancero, Alfonso is angry because of 
 the triple oath he is forced to take in Santa Gadea . 
 
 The Moorish characters, also, are not in the romancero 
 and all the incidents connected with them were invented by Tirso. 
 
 The first play treating of Martin Pelaez was the anonymous 
 
 Las hazanas del Cid £ su muerte . The action of that play centered 
 
 / 
 
 around the Cid, while in Tirso 1 s play, we have Martin almost as 
 
32 
 
 / 
 
 important as the Cid. Tirso's play introduces Sancha, Martin’s 
 sweetheart and the play is concerned throughout with their love 
 affair. The anonymous play does not introduce such a character 
 nor such an affair, but it aoes introduce the two Moorish women 
 and their husbands. Tirso does not introduce Antolinez, whereas 
 the anonymous play does not make Albar Fanez nearly so important 
 a character as does Tirso. 
 
 Tirso does not treat any of the matter relating to the 
 Cid and his death which is found in the third act of the anonymous 
 play. 
 
 The date of the publishing of this drama is not certain. 
 32 
 
 According to Barrera, it was probably also called La Conquista 
 de Valencia por el Cid . 
 
 "Sirvio de original para la impresio^ de esta comedia 
 
 / f j 
 
 * * * la copia hecha por D. Agustin Duran de una edicion suelta 
 
 del siglo XVII, que poseia don Justo de Sancha, en donde se 
 
 atribuye a Fray Gabriel de Tellez CTirso de Molina) . 
 
 During the seventeenth century there were four dramas 
 
 / / 
 
 published on the subject of Martin Pelaez . One of these is the 
 anonymous play " Las hazanas de l Cid su muer te con la tomada de 
 Valencia . Then came Tirso's El cobarde mas valiente . After 
 that was El amor hace valiente s by Juan de Matos Fragoso. .El noble 
 siempre es valiente by Zarate y Castronovo followed. 
 
 Huerta mentions this last play in his Catalogo . He also 
 mentions two others: El cobarde mas val iente by Molina and La 
 
 conquista de Valenci a por el Cid . bv Molina. 
 
 Cotarelo y Mori adds: 
 

33 
 
 / 1 / 
 
 "De toaos estos el que mayor belleza dio al asunto fue 
 
 Tirso de Molina, si es que esta obra es suya, cosa que por hoy no 
 atrevemos a afirmar ni a negar." 
 
 / 35 
 
 Gr. EL HERMANO DE SU HERMAN A^ POR BERNARDO DE QUIROS 
 
 Bernardo de Quiro's treated as a burlesque the subject 
 matter of the siege of Zamora in his play published in 1656.^° 
 
 ACT I — The scene opens at Toledo where King Alfonso 
 stays as a prisoner and has an affair with the Moorish queen, 
 Zoraida. The Moor Zelimo is also in love with the beautiful 
 queen, and, being jealous of Alfonso, he wishes to inform Zoraida' s 
 husband of the affair. Zoraida suspects that her husband will kill 
 her for her infidelity and so she arranges a meeting with Alfonso 
 in the morning during the hour of mass in order to talk things over. 
 Zelimo informs the king, who decides to kill them both. When the 
 two lovers come, Zelimo advises Alfonso to conceal himself, but he 
 wishes Zoraida to be killed. However, after Alfonso talks to the 
 king, the latter is pacified and harms neither of them. 
 
 King Sancho is at Zamora and has sent the Cid to his 
 sister Urraca. The latter has decided not to surrenaer the city. 
 Sancho wishes to take it by force. The Cid advises him not to, 
 since Urraca is his (the Cid's) concubine. Sancho is highly 
 honored at this, but banishes the Cid when the latter says he will 
 defend Zamora. Sancho' s parley with Urraca and Arias Gonzalo does 
 not bring about the results wished for. 
 
34 
 
 In Toledo, Zelimo warns the king against Alfonso, who may 
 rob him of the city. He advises the king to invite Alfonso on Good 
 Friday to dinner and to serve a huge quantity of food and wine and 
 during the meal to make him swear never to go out of the palace. 
 
 The king doe 3 as he is advised. 
 
 ACT II ~ The servant Lope brings Sancho a letter from 
 the Cid, who is living as an exile in Paris. There is to be a 
 duel between a certain Moor and Diego, but the latter cannot fight 
 since the doctor has forbidden it. Urraca wishes to fight with the 
 Moor, meanwhile her brother will pray for her. But the Moor would 
 rather eat than fight. Urraca does not agree to this and decides 
 to kill the Moor. Then Arias Gonzalo comes with a guitar, by means 
 of which the fight is averted. 
 
 Bellido de Olfos comes into Sancho 1 s camp and wishes to 
 speak to the king alone. He is afraid some one may listen, so he 
 asks Sancho to go out into the fields with him. When they are 
 alone, they whisper into each other's ears. Bellido tells the king 
 he is going to kill him; the king is to choose the manner of death. 
 The king urges Bellido not to kill him at once, if he has to kill 
 him, and thanks him for calling his attention to it, for otherwise 
 he would have died like a donkey. Then the two dance together and 
 finally Bellido kills the king. Diego comes and finds Sancho, who 
 is quite dead but can nevertheless still talk. The king finally 
 tells Diego that Bellido has killed him and sends for the Cid. 
 
 When the latter appears, the king wishes to make his will. The Cid 
 is to go to Toledo and inform Alfonso of what has happened. Arias 
 
35 
 
 Gonzalo sings out suddenly on the city wall and warns Sancho against 
 Bellido, but it is too late. 
 
 ACT III — Urraca mourns for her brother's death. The 
 murdered king dressed in a surplice with a crown on his head tells 
 that he will be buried to-day. He has come back from the other 
 world in order to celebrate his sister's wedding. Diego comes 
 riding up on a ship to challenge Zamora. Now appears Alfonso with 
 Zoraida and the Moorish king. The latter frees the brother and 
 sister (Alfonso and Urraca) from the obstacle to their marriage: 
 viz. their blood relationship. Sancho tells in great detail how 
 he was married twice. During this long speech, Urraca and the 
 Moorish king become engaged. He wishes to become a Christian and 
 she a Moor. Alfonso also wants Urraca for his wife. She gives her 
 consent to him also. In conclusion, the Cid explains that all these 
 flirtations were only jokes. 
 
 Quiro^ treats the same subject matter as does Castro in 
 the second part of his Mocedades del Cid , and as do Cueva and 
 certain ballads of the Romancero: viz. the Siege of Zamora. This 
 play is probably a burlesque of Castro's play (the best known form 
 of the three mentioned above), though we cannot assert this with 
 any degree of certainty. 
 
 He makes Zoraida (Castro’s creation), with whom Alfonso 
 is in love at Toledo, the wife of the Moorish king instead of merely 
 a friend, and he does not make it simply a love affair between the 
 two, but has Zoraida actually unfaithful to her husband. 
 
36 
 
 Another startling change in the Quiros play is the Cid's announcing 
 to Sancho that Urraca is his concubine. And we find Sancho banish- 
 ing the Cid because the latter was going to defend Zamora. 
 
 Throughout the whole of it, the play is made ridiculous 
 by such touches: Alfonso and Zoraida planning to meet while the 
 
 Moors have gone to mass, the banished Cid going to Paris, Diego 
 unable to fight the duel with the Moor because the doctor forbids 
 it, Urraca herself wishing to fight the Moor and becoming angry 
 because he prefers to eat, and the fight at last being prevented 
 by Arias and his guitar. 
 
 The murder of Sancho is made absurd by Bellido's leading 
 him out into the fields where no one can hear and then whispering 
 into his ear that he (Eeliido) is going to murder him, whereupon, 
 Sancho thanks Bellido for the warning and the two dance together. 
 Still more absurd, after Sancho is dead he can still talk and sends 
 for his brother Alfonso to come and be king. Sancho' s spirit 
 still stays on to be present at Urraca' s wedding. Alfonso brings 
 with him not only the Moor Zoraida but also her husband the king 
 and the latter pronounces it all right for Urraca to marry her 
 brother Alfonso. Diego comes riding up to Zamora in a ship and 
 at the end we have Sancho ' s long account of his two marriages 
 while the various flirtations with Urraca are going on. It is in 
 regard to these absurd details that this play differs from Castro's, 
 otherwise the general outline is the same except for arrangement 
 of scenes. Quiros puts the scene of Alfonso at Toledo at the 
 beginning of the play and does not use Castro's scene of Sancho' s 
 fighting against Alfonso. 
 
37 
 
 Barrera says that this burlesque is "una de las mas 
 s&zonadas de este genero que tiene nuestrc teatro." 1 -' 
 
 H. EL AMOR HACE VALIENTES,POR JUAN DE MATOS FRAG0S0 38 
 
 Another play on the Martin Pelaez theme is that of Juan 
 39 
 
 de Matos Fragoso, 1658. 
 
 / 
 
 ACT I — Elvira has two lovers, the cowardly Martin 
 Pelaez and the brave Alvar Fahez. Alvar considers himself the 
 favored one, but Elvira loves Martin. She will marry the one who 
 is most courageous in the fight for Valencia. The dispute between 
 the two knights ends with the challenging of Pelaez by Alvar Fahez. 
 The Cid cannot permit his men to fight each other for he needs them 
 in the struggle against Valencia. They are to prove their bravery 
 by fighting the Moors and not each other. Each is appointed leader 
 of a squadron. Martin Pelaez becomes frightened, but he takes com- 
 mand of his men. In order that she mav recognize her lover in the 
 battle, Elvira gives him a ribbon to fasten on his breast. Alvar 
 ridicules it and thinks she can recognize him better by his coward- 
 ice. Elvira hopes that Martin will justify her trust, for love 
 alone is not to decide her choice of a husband. Martin encourages 
 her concerning his bravery. But before the battle he discloses his 
 fear to his servant Gergon, who is the gracioso of the play, and 
 complains that Elvira's ribbon is disagreeable to him. Finally he 
 determines not to take part in the battle at all; but to pass him- 
 self off as sick. However, he then fears the doctors, who might 
 kill him, and so rather goes into battle. 
 
38 
 
 The fight has already begun. The king of the Moors 
 challenges his soldiers, who are already beginning to flee, to 
 show again their valor, and calls especially upon his son. Cel in, 
 who also loves Elvira, to serve as an example to the rest of the 
 Moors. They are, nevertheless, put to flight by the Castilians. 
 
 To his horror, the Cid sees Martin fleeing. Martin and his servant 
 try to hide themselves. The Cia does not let them know that he 
 sees them and postpones the reprimand till later. When the two 
 cowards meet Cel in and some Moors, they are still more terrified, 
 but they are discovered by Cel in who throws their cowardice in 
 their faces. Martin Pelaez seeks to cover his cowardice by a lie, 
 pretending that he fell from his horse and explains that for shame 
 he hid himself when he heard footsteps. Celin will not believe his 
 story and wishes to take vengeance on him since he, too, is in love 
 with Elvira. Martin explains that he would rather be Celin' s 
 prisoner than fight with him. Celin demands Elvira's ribbon and 
 tears it from Martin's breast despite the latter's resistance. 
 Martin is thereby sufficiently branded. Alvar Fanez, who has 
 proven himself surpassingly brave in battle, comes with some colors 
 he has captured and which he wishes to lay down a while. When he 
 has gone, Martin appropriates these trophies, and returns to 
 Elvira at the same time as Alvar. Alvar offers her the captured 
 Moors while Martin shows the captured colors to bear witness to 
 his bravery. Elvira notices the loss of her ribbon. Alvar 
 expresses the suspicion that the colors brought by Martin were 
 captured by himself. At last the Cid comes and, after telling 
 that Martin had fled, says he wishes to speak to him alone. The 
 
39 
 
 well knov/n table scene is now presented. The Cid assigns them all 
 to their places. Without being told to do so Martin sits beside 
 Pedro Bermudez. Thereupon the Cid reproaches him and summons him 
 to the place by his side. Then the Cid rebukes him for his 
 cowardice and sends him away. A warrior without honor does not 
 belong at the table with tried knights. 
 
 ACT II — Martin Pelaez goes to Elvira's house and she 
 asks him about the ribbon. He tells her his servant gave it to a 
 Moor. Elvira believes him, but considers it queer that a lover 
 could esteem so little a gift received from his beloved. She 
 becomes offended and leaves him. The Cid comes and in order to 
 challenge Martin to make good his cowardice, tells of the glorious 
 deeds that he and Martin's father had performed in their youth. 
 
 In the meantime, Cel in comes to negotiate with the Cid in regard 
 to peace. Everybody, even Martin when he sees Elvira's ribbon on 
 the Moor's breast, wishes to continue the battle. The Cid wishes 
 to take Valencia in a siege. Celin seeks Elvira and finds her. 
 
 She demands her ribbon; the Moor tells her that he took it away 
 from a cowardly warrior not worthy of her love. Elvira, believing 
 otherwise, charges him with stealing it from a servant, as Martin 
 had told her so himself. Celin explains to her fully Martin's 
 cowardice, and refuses to restore the ribbon to her. She proposes 
 to forget Martin, since she cannot marry a coward. She accuses 
 her lover of lying. In order to punish him, she sends for Alvar 
 Fanbz, since he is the braver one, gives him a ribbon, and promises 
 him her love. Alvar is very happy and Martin is overcome with 
 jealousy. The battle begins anew. 
 
40 
 
 ACT III — The Moors undertake a new sally from the city. 
 The Cid challenging his soldiers to show new courage in the battle, 
 promises Elvira's hand to the bravest. Martin undertakes to win 
 back his reputation and sends for Alvar. The latter appears and 
 they begin a duel in which Alvar is overcome. Martin grants him 
 his life, but when Alvar says he does not thank Martin for his 
 generosity, the latter attacks him again. Finally the Cid inter- 
 venes and rebukes the two combatants for having nothing better to 
 do than fight a duel at the beginning of the battle. Secretly he 
 is pleased over Martin's bravery. The two jealous knights swear to 
 get revenge during the battle. Elvira has seen Martin's bravery 
 against Alvar, and challenges Martin to show this same courage 
 against the Moors. She bemoans to her servant that in spite of 
 her love for him she cannot marry Martin, if he again prove himself 
 a coward, since the Cid would not permit it. She is unwilling even 
 to hear again the name of Alvar Fanez. In the meanwhile, Martin has 
 gone into the battle and strikes terror into the Moors. Cel in is 
 compelled to flee before him. Martin follows him and forces him 
 to fight. The Moor is overcome and begs for his life and immedi- 
 ately gives over to his victor Elvira's ribbon. Alvar F^.nez comes 
 up and say 8 that unless Cel in ascribe this deed to him, he will 
 kill him. Martin will not permit this and challenges Alvar to a 
 duel which is ended by the Cid's arrival. The Cid assures both 
 knights that on account of their courage and intrepidity they have 
 both won Elvira. He must leave the choice to her. She, of course, 
 chooses Martin. In order to reward Alvar, the Cid appoints him 
 
 general. Celin is released and the Cid receives the keys to Valen- 
 cia. 
 
41 
 
 Fragoso very evidently borrowed nothing from the 
 anonymous play on this subject, since he introduces a sweetheart, 
 Elvira, and there is no such character in the anonymous drama. He 
 does not use the Moorish characters of which the first drama made 
 use. In fact he has nothing in common with the anonymous production 
 except the conversion of Martin from cowardice to bravery and even 
 this conversion is due to different means in the two plays. In the 
 anonymous play it is the words of the Cid that fire Martin with 
 courage, whereas in Fragoso' s play, it is love for Elvira that 
 changes Martin. 
 
 Tirso's play, El cobarde mas valiente may have affected 
 
 40 
 
 Fragoso. Hamel says we cannot determine whether it did or not. 
 
 At any rate the treatment is the same in that both Tirso and 
 Fragoso base Martin's redemption from cowardice on his love for a 
 woman (in the one case Elvira, and the other Sancha) , and on his 
 jealousy of Alvar Fahez . However, the details of the two love 
 affairs differ. Tirso has Sancha follow Martin from his home to the 
 camp disguised as a boy and attach herself as page to Alvar Finez, 
 and thus are started the jealousy and quarrel between the latter 
 and Martin. Sancha is later captured by the Moors and rescued by 
 Martin, who is mainly instrumental in the taking of the city of 
 Valencia. InFragoso's play, Elvira, Martin's sweetheart, is 
 already at the camp and Alvar and Martin are her lovers. The ribbon 
 episode plays a very important part throughout Fragoso' s drama and 
 is not found elsewhere. Martin does not play as important a role 
 in the taking of Valencia as he does in Tirso's play. Elvira is 
 
42 
 
 not captured fey the Moore, but chooses Martin as her husband, when 
 the Cid presents them both to her for her choice after they have 
 proven themselves equally courageous in battle; whereas in Tirso's 
 play Alvar gave up his claims to Sancha, since Martin had so nobly 
 rescued him from the Moors. 
 
 Fragoso has used very little of the Romancero material, 
 merely the episode of Martin's conversion, the cause of which he 
 changes from the Cid' s words of challenge to the love for Elvira 
 and jealousy of Alvar, which are not founa in the Romancero. 
 
 The table scene, where Martin wishes to sit with the 
 Cid' s bravest men and is rebuked by the Cid, is also Romancero 
 material, as is the capture of Valencia by the Cid. The rest of 
 the play has no basis in the Romancero. 
 
 I. EL HONRADOR DE SU PADRE, POR JUAN BAUTISTE DIAMANTE 41 
 
 Diamante also has treated the subject matter of the Cid's 
 youth in a drama published in 1658 
 
 ACT I — Jimena's father, the Count Lozano tells Elvira, 
 Jimena's maid, that he is going to arrange his daughter's marriage 
 with Rodrigo, son of Diego Lainez. He goes to the court where the 
 king is to appoint a preceptor for the prince and the count expects 
 to receive this honor. 
 
 Just after Elvira tells J imena that her father approves 
 her love for Rodrigo, the latter comes into the room. J imena 
 rebukes him for his boldness, but he begs her for a picture of 
 herself, which she refuses. 
 
43 
 
 The infanta tells Elvira to have Jimena come and. see her 
 to cheer her in her sadness. 
 
 The king enters with his nobles and expresses satisfaction 
 at his selection of Diego Lalnez as preceptor to the prince. 
 
 Lozano is enraged because he did not receive the honor. The others 
 go out leaving Diego and Count Lozano alone. They start to arrange 
 the marriage of Jimena and Rodrigo, but the Count’s jealousy gets 
 the better of him; they quarrel and the Count slaps the old man 
 and snatches His sword and lets it fall on the floor. Rodrigo and 
 Nufto his servant enter. Nuno gives his master a picture of Jimena 
 that a painter had made of her. Rodrigo notices his father's 
 strange attitude. Diego wishing to test his son asks him if he 
 has any courage. Rodrigo's fierce answer delights the old man, who 
 describes the count's insult and asks Rodrigo to avenge the honor 
 of the family. To encourage his son Diego gives him the sword of 
 the famous Mudarra. Rodrigo looks at the picture of Jimena and 
 struggles for a minute between his love and his duty to his 
 father, but finally decides to preserve the honor of his family. 
 
 ACT II — Don Sancho tries to persuade the count to make 
 some reparation for his insult. The king threatens to punish him 
 if he does not, but the count refuses. Rodrigo warns the count 
 that he is going to avenge the insult to his father. The count 
 scof f 8 at him. 
 
 The king orders the count to be arrested. The infanta 
 makes a plea for him for Jimena' s sake. 
 
 The servant Nuno is brought in with his hands tied. 
 
 The count has been killed and Nufib tries to assume the guilt: 
 
44 
 
 "Vi que si conde tenia harnbre 
 Y le envi^ a cenar con Cristo" 
 
 he says. Eut it is known that Rodrigo killed him. 
 
 Diego and J imena enter and both fall at the feet of the 
 king. J imena asks that her father's murderer be punished. Diego 
 begs that he be spared, since the death was just, and moreover, it 
 was hi3 and not his son's deed. The king does not know how to 
 decide. He has Diego imprisoned and tells Sancho to escort Jimena 
 to her house . 
 
 Rodrigo goes to Jimena' s house and Elvira hides him. 
 
 Jimena returns and confesses to Elvira that she loves her father's 
 murderer, yet she still calls for vengeance. He comes out and begs 
 her to kill him. She says that although she loves him, she will 
 cause the king to kill him and then she will die herself. Don Diego 
 finds his son at the house of his enemy and is very indignant. He 
 tells Rodrigo to flee before the king imprisons him and to go to 
 Burgos and free the people there from the terror of the Moors who 
 rob and pillage the highways. In this way he may perhaps appease 
 the king. 
 
 ACT III — Elvira tells Jimena how well Rodrigo has 
 acquitted himself in behalf of his king. Jimena refuses to pardon 
 him even though the king may do so. The infanta enters and begs 
 Jimena not to demand Rodrigo's life (even if she will not forgive 
 him), since he ha3 proven himself to be a brave defender of his 
 country. Jimena leaves, continuing to mourn. 
 
45 
 
 The king enters. Rodrigo returns and the king forgives 
 and honors him for his brave deeds in overcoming the Moors. J imena 
 comes to beg justice. Although Rodrigo wishes to leave, the king 
 makes him stay. J imena demands that Rodrigo be punished and the 
 king finally declares that although he wishes to pardon Rodrigo, his 
 life must be in Jimena's hands. She must pass sentence upon him. 
 
 The infanta is greatly distressed at her father's verdict. Jimena 
 is overcome and does not know what to do. Rodrigo is put under 
 guard. He realizes that Jimena is listening to him so he tells 
 Nuno, his servant, how willing he is to die since he has no wish to 
 live without Jimena. Don Diego comes in and bemoans his son's 
 approaching death, but Rodrigo declares that he wishes to die since 
 Jimena wishes it. Jimena can bear it no longer. When Diego goes 
 away, she comes out and declares her love to Rodrigo and refuses to 
 allow the guards to lead him away when they come to take him. The 
 king, the infanta and Diego enter and she tells them that she is 
 going to marry Rodrigo. The king and the infanta offer to be the 
 sponsors . 
 
 Diamante has added his own inventions to the story in the 
 Romancero and has made his drama differ from Castro's Mocedades . too 
 In the character Nuno, Rodrigo's servant, he has introduced a 
 gr ac ioso element and a person that is found neither in the Romancero 
 nor in Castro. He uses Elvira, Jimena's maid, whom he probably 
 borrowed from Castro's play, since she does not appear in the 
 Romancero. All the scenes of the first act, up to the testing of 
 Rodrigo by hi3 father after the latter has been insulted, are 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 '■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
46 
 
 Diamante' 8 own, having no parallel either in the Romancero or in 
 Castro's play. Practically the only incident that is common to 
 the two dramas is the scene of Lozano's insult, and even in this 
 the two differ widely in setting. Diamante having the two men 
 alone when the incident occurs, whereas Castro has the king and 
 all his nobles present at the insult. 
 
 Diamante has Diego test Rodrigo by asking him the 
 insulting question, whether he has any courage, whereas the 
 Romancero and Castro have Diego grip the hands of all his sons, 
 one after the other, and find that Rodrigo alone reacts thereto 
 as he would wish. The other sons of Diego are entirely left 
 out in Diamante's play. 
 
 In this play, Don Sancho begs the Count Lozano to make 
 some reparation for his insult; in Castro's play it was only the 
 king who made this request. This incident does not occur in the 
 Romancero. The infanta does not appear in the Romancero nor in 
 Castro as pleading in behalf of Lozano for Jimena's sake, when 
 the king orders him arrested. 
 
 Neither in the Romancero nor in Castro's play does Diego 
 find Rodrigo in Jimena's house, after the death of her father. 
 
 It is Diamante's invention to have Elvira tell her 
 mistress of Rodrigo's brave deeds, and to have the infanta beg 
 Jiraena not to demand Rodrigo's life. 
 
 The ending is the same in both dramas and in the 
 Romancero, but the means to the end differs in all three cases. 
 
 As has been mentioned above, the Romancero has Jimena of her own 
 accord ask to marry Rodrigo. Castro has the fight between Martin 
 
4? 
 
 Gonzalo and the Cid decide as to who should marry Jimena. 
 
 Diamante has the less dramatic but perhaps more true-to-life means 
 of having Jimena overhear Rodrigo (who knows she is listening) 
 rejoicing in his death since Jimena wishes it and since by her 
 sentence he is to die. 
 
 J. EL CID CAMPEADOR Y EL NOBLE SIEMPRE ES VALIENTE, 
 
 / £L ^ 
 
 POR FERNANDO DE ZARATE Y CASTRO NO VO 
 
 Another play concerning the Cid's attack on Valencia 
 
 44 
 
 by Zarate y Castronovo appeared in 1660. 
 
 ACT I — The first scene is in the camp of the Moors. 
 
 Not only men, but also women take part in the fighting, especially 
 King Bucar ' s daughter, who has just come back from a siege and 
 relates in verbose manner her brave deeds. She is constantly 
 thinking of new expeditions, and when she hears that the warriors 
 of King Alfonso are coming to attack Valencia she wishes to pre- 
 pare an attack for them. 
 
 The scene changes to King Alfonso's palace. The Cid has 
 attacked Toledo against the king's wishes. Thereupon the courtier, 
 Bermudo, reminds Alfonso of the oath which the king had to swear 
 in Santa Gadea, hinting that it is evident that the Cid considers 
 himself the master of Spain, especially since the king's summoning 
 him to court had had no effect. Alfonso is determined to banish 
 the Cid. When the latter, with his faithful Alvarfanes and Lain, 
 

 
 
 
 
 
 
 
 
 
 
 
48 
 
 enters, he is ungraciously received. The king re’oukes him for the 
 above mentioned faults. At first the king will not hear the Cid, 
 but finally gives in and listens to the frank, bold defense of his 
 vassal, who attributes his loss of kingly favor to slanderers. In 
 conclusion the Cid turns to the courtiers and reminds them of their 
 cowardice, when they left the king a prisoner in the hands of forty 
 Moors, and Bermudo, who flatters him now, was among the first to 
 flee. The Cid, on the other hana, killed thirty of the captors 
 and put the rest to flight. The king ignores the Cid' s defense 
 and banishes him for a year. The Cid says he will remain willingly 
 four years in banishment. His friends are astonished that he takes 
 the insult of the king so patiently. However, he shows them that 
 he is only a vassal and as proof thereof will seize Valencia for 
 Alfonso. In view of this, the Cid sends Albarf^nes for his (the 
 Cid' s) cousin, Martin Pel^ez, who should be an excellent soldier. 
 Martin is an idealist and at first will not listen to anything 
 about fighting. As an obedient son, however, he allows his father 
 to gird him with arms and goes, though unwillingly, with his ser- 
 vant to the Cid's camp. Before leaving, he meets his beloved, 
 Elvira, ana tells her of the brave aeeds he expects to perform. 
 
 ACT II — Martin Pelaez comes into the camp and is 
 received among the soldiers. The march is already started toward 
 Valencia, which Bucar, king of the Moors, is defending. At the 
 first battle, Martin stays back and tries to hide with his servant, 
 but the Cid has noticed the cowardice of the two ana is very angry. 
 He oraers that the meal be prepared. Two tables are brought; at 
 
43 
 
 one of them Albarfanes and Lain sit; and the Cid takes a place at 
 the other. Martin starts to sit down with the knights, but the 
 Cid prevents him. He must sit at the table with the Cid. 
 
 Albarfanes and Lain amuse themselves over Martin’s cowardice, but 
 the Cid does not mention it. He wishes to wait till he is alone 
 with Martin. Then he makes it clear to him how cowardly it was 
 for him to flee from the enemy . It would be better for him to 
 retire into a cloister, for the Cid cannot have a coward among his 
 nobles. Martin throws himself among the Moors with such zeal that 
 he kills 300 of them. Now he may sit with the other knights and 
 be congratulated by them. The Cid receives two letters, one from 
 Alfonso and one from Jimena. The latter complains that she is 
 detained as a prisoner by the king, who has seized all her goods. 
 Alfonso's letter orders that the Cid shall come to court at Burgos. 
 Martin is sent thither with rich presents for the king. Bermudo 
 advises him not to take the presents, since a disobedient vassal 
 presents them. Although Martin defends his commander, the king 
 decides to take the Cid to Leon as a captive. When the Cid comes 
 to Burgos, Bermudo wishes to carry cut the king's orders. But 
 Alfonso talks with the Cid alone, brings up the old accusation 
 and wishes to know his aim; since he is attacking Valencia he 
 surely wishes to be king. The Cid reminds Alfonso of the services 
 which he did his father Fernando and tells him that if the king 
 wishes, he will even take Constantinople for him, too. He has 
 always defended the rights of Spain even before those of the Pope. 
 The king's picture falls suddenly from the wall, and the Cid catches 
 
50 
 
 it. The Cid says that this is a sign that he in reality guards 
 the king. At last Alfonso gives him permission to seize Valencia. 
 So the Cid departs reconciled. Elvira goes in search of her lover, 
 Martin, and meets on the way the Moorish princess, who takes 
 Elvira to Valencia and tells her that she must now fight against 
 the Cid. 
 
 ACT III — Martin comes as envoy to the Moorish camp 
 to demand the surrender of Valencia. We learn that the Cid has 
 already besieged the city for a year. Bucar will not accede to 
 the demand. Martin meets Elvira in the Moors' camp, but the 
 princess will not consent to let Elvira go with him. Martin is 
 determined to free his beloved or die. The Moorish king wishes 
 to kill him, although he has come as envoy. Fortunately, the 
 princess intervenes on his behalf, since she is touched by his 
 love for Elvira, whom she at last sets free. 
 
 The battle begins anew. Alfonso comes to the Cid's 
 camp and passes himself off as the knight, Enrique of Castile, in 
 order to test the Cid. The Cid inquires of him how things are 
 going at court. Alfonso tells him that things are as usual and 
 that the king listens only to flatterers and is cruel, vindictive, 
 and ambitious. The Cid will not listen to such a speech and 
 informs Alfonso ( Enrique) that he cannot be his friend if he says 
 evil things about the king. He challenges him to a duel. Alfonso 
 is so rejoiced over this that he praises the Cid for his loyalty 
 and promises him Valencia. The Cid does not yet know that his 
 king speaks with him under the name of Enrique and, taking him 
 
51 
 
 for a tempter, draws his sword. The king then makes himself 
 known. Before Bermuao and the other knights, the king gives a 
 eulogy on the Gid, who is raised in rank above all the slanderers. 
 
 The Moors are overcome. Martin and Albarfanes fight 
 over the Moorish princess, but she is set free by the Cid. After 
 this battle the hero withdraws and a messenger from heaven 
 announces to him his approaching death. He gives his friends 
 directions about what they are to do with him after his death. 
 
 He wishes the king all happiness for the future and entrusts 
 Jimena to him. Then the Cid dies. King Bucar advances from 
 the sea against Valencia. The dead Cid is tied on his horse 
 and so rides before all into the battle. The Moors are put to 
 flight. Then the Cid is buried with great ceremony. 
 
 Zarate y Castronovo has invented the Moorish character, 
 King Bucar' s daughter, and all the episodes concerning her. Her 
 account of her brave deeds, her capture of Elvira, her rescue of 
 Elvira and Martin from her father, Bucar, and the fight between 
 Martin and Albarfanez over her, all are Zarate's own invention, 
 not found in the Romancero, nor in any of the three previous plays 
 on this subject. 
 
 The scene of the banishment of the Cid by Alfonso is 
 based on the Romancero, but in the latter the Cid has not attacked 
 Toledo against the king's orders, nor refused to appear in court, 
 when summoned. The Cid's account of his defense of the king 
 against forty Moors is not in the Romancero. 
 
52 
 
 The scene of the CicL's banishment we have already found 
 in Tirso's play, El cobarde mas val iente , though Tirsc's scene 
 is not so dramatic. Bermudo did not appear therein as the liar 
 and flatterer, the King had been influenced against the Cid by 
 flatterers, but his anger at the moment was roused because the Cid 
 had brought so many followers with him, when he came to interview 
 the king. 
 
 Zarate makes the Cid send for Martin Pelaez, because he 
 is supposed to be a brave man. This is not found either in the 
 Romancero or in any of the previous plays. In the Romancero there 
 is no account of how Martin came to be with the Cid, neither is 
 there any account in the anonymous play, nor in that of Matos 
 Fragoso. Tirso has Martin's father send Martin to the Cid in order 
 to cure him of his cowardice. 
 
 The table scene is about the same in the Romancero and 
 in all of the plays, except that in our present play the author 
 represents Albarfanes and L a in as jesting at their table, about 
 Martin’s cowardice, whereas the other plays do not mention this. 
 
 All the plays, except the anonymous one, have Martin 
 accompanied by his servant, although the servant does not appear 
 in the Romancero. 
 
 There is no mention in the Romancero, nor in any of the 
 earlier plays, of the Cid's receiving letters from Jimena or the 
 king. 
 
 Zarate has a character, Elvira, who is a sweetheart for 
 Martin. This is the same name that Matos Fragoso used for her, 
 but she corresponds in actions and circumstances more to Tirso's 
 
53 
 
 Sancha, in that she lived away from the Cid's camp, came to the 
 camp in search of Martin and was captured by the Moors. Tirso's 
 Sancha, however, was captured later on in the story, and Martin 
 fought to free her, whereas in Zarate's play, Elvira was freed by 
 the Moorish princess. 
 
 Martin is sent as envoy to the Moorish king in Zarate's 
 play. This does not occur in any of the other plays nor in the 
 Romancer o . 
 
 Another invention of ZaJate was the testing of the Cid 
 by Alfonso, when the latter came to the Cid' s camp disguished as 
 Enrique. This incident does not occur elsewhere, but Zarate has 
 made of it a very interesting scene. 
 
 K. EL HONRADOR DE SUS HIJAS, POR FRANCISCO POLO 45 
 
 In 1565,^® appeared Francisco Polo's play treating the 
 marriages of the Cid's daughters with the Infantes of Carridn. 
 
 ACT I — King Alfonso has decided to give the Cid's 
 daughters, Elvira and Sol, in marriage to the Infantes of Carridn, 
 Diego and Fernando. Albar Fahez is to communicate this resolution 
 to the Cid. The infantes express in high sounding words their 
 thanks for this honor. In secret, Fernando rejoices that he will 
 be able to take vengeance on the Cid. When he is alone with Diego* 
 he tells his brother that, at the siege of Zamora, he had been pur- 
 sued unarmed and ^ in order to save his life, had been forced to flee. 
 
54 
 
 The Cid had seen this and had taken him to task before all the 
 knights. For this reason,, he had sworn to take vengeance on the 
 Cid, and considered the present opportunity as very favorable, 
 since the king had granted his request for one of the Cid's 
 daughters as his wife. But Diego considers it cowardly for 
 Fernando to take vengeance on a woman. 
 
 Albar Fanez takes to the Cid the king's message. The 
 Cid, the night before, has had an uneasy dream. He calls his wife 
 and his two daughters and tells them how he has seen two beautiful 
 women, bound to trees, alone in the woods. Then Saint Lazarus has 
 appeared to him and announced that he is to be the pride of the 
 Christians and the terror of the Moors and will die covered with 
 glory and will protect the honor of his daughters. Jimena con- 
 siders the dream only the product of a momentary uneasiness, but 
 the Cid believes it to be a true prophecy. His daughters are 
 very much frightened. There follows a superfluous scene between 
 the Cid and Jimena, who say nothing but flattering remarks to each 
 other until Albar Fdnez appears as a messenger from King Alfonso. 
 After a long introduction in which he speaks of the glorious deeds 
 of the Cid, of those of the king, and of his own, they finally 
 learn that he brings a message from the king. Jimena, who has 
 withdrawn, suddenly becomes inquisitive and conceals herself and 
 listens to the conversation. She hears that the king wishes to 
 marry her daughters tc the infantes. Jimena suddenly springs 
 from her hiding place and says that she does not wish her daughters 
 to marry the infantes, since the girls do not have anv fancy for 
 
 The Cid has already given his promise and Alvar Fanez 
 
 the counts. 
 
55 
 
 is to take the Cid' s answer to the king. But when the messenger 
 has gone, the CidL recalls Fernando's cowardice at Zamora and, like 
 his wife, he is concerned over his daughters' future. 
 
 ACT II - — The wedding festival takes place. The king 
 is present and notices that Jimena cannot join in the festivities. 
 He tells the infantes to give expression to their joy. They do so 
 in gallant words, but Fernando is secretly rejoicing over his 
 revenge. The banquet begins. The women sit on the right of the 
 king and the men on the left. They amuse themselves in character- 
 istic fashion at the lovers' expense. Even the Cid and Jimena 
 take part in the talk. After the feast, the Cid presents to each 
 of his two sons- in-law, a sword. Every one goes away except the 
 two infantes. Suddenly behind the scenes is heard a cry that a 
 lion has escaped. The infantes run away to seek protection. The 
 Cid, learning of their cowardice from his servant Toston, gives 
 them a severe speech on their having been cowardly even with their 
 swords. Fernando and Diego decide definitely to take vengeance, 
 but they wish to hide their purpose from the king. The latter 
 rebukes them also for their unknightly conduct. Therefore Diego 
 is also won over to vengeance. 
 
 ACT III — The infantes have already accomplished their 
 infamous deed. Albar Fanez brings the message to the king. The 
 infantes are to be severely punished. Then enter the Cid and 
 Jimena with their weeping daughters. They demand vengeance for 
 the offenses committed against them, since it was the king who 
 
56 
 
 ordered the marriages. Jimena tells of the insult to her 
 daughters, who had been beaten and left alone in the woods where 
 Albar Fanez found them. A combat between the Cid and the infantes 
 is agreed upon. The king and Albar F^nez are to officiate as 
 judges. Elvira and Sol rejoice that they are to be avenged. The 
 infantes receive a letter from the king ordering them to come to 
 court and take part in the combat. Just before the struggle 
 begins the Cid demands that his swords be returned. Two of the 
 king's servants present the infantes with other swords. First, 
 Diego is overcome, then Fernando. When they both declared them- 
 selves overcome, the Cid grants them their lives. The king openly 
 declares the infantes traitors, while the Cid informs Jimena of the 
 happy outcome. 
 
 This is the first drama written on this portion of the 
 Cid's life, namely, the marriages of his daughters. Polo has 
 followed rather closely the story as told in the Romancero. There 
 are, however, some differences. In the Romancero, the Infante 
 Fernando does not bear a grudge against the Cid before the incident 
 of the lion's frightening the two brothers, whereas Polo makes 
 Fernando wish to avenge himself for the Cid’s rebuking him some 
 time before when he fled in battle, which rebuke and flight are 
 both inventions of Polo. This, according to Polo, is the main 
 reason that the infantes wished to marry the daughters, whereas 
 the Romancero represents the infantes as wishing to marry the 
 
 daughters on account of the fame and wealth of the Cid, their 
 father . 
 
• • 
 
57 
 
 The Romancero does not mention the Cid's warning dream 
 nor any of the scene where he relates this dream to his wife and 
 daughters. The Romancero does mention a vision of Saint Lazarus, 
 hut not in connection with the Cid's daughters. This scene of the 
 relating of the dreams is Polo's own idea. Likewise, Jimena's 
 hiding herself in order to hear the message of the king' s messenger 
 and her violent opposition to the marriage of her daughters are 
 found only in Polo's play. In the Romancero, Jimena says she is 
 not in favor of the marriages, but she is willing to abide by the 
 wishes of the king and her husband. 
 
 The Romancero does not give a vivid description of 
 the wedding feast as Polo does. 
 
 Polo represents the Cid as learning through his servant 
 about the infantes' cowardly flight from the lion. This servant 
 does not appear in the Romancero, and the Cid himself tames the 
 lion and learns of the infantes' conduct from Bermudo who was 
 present when the lion entered. 
 
 Polo does not put on the stage the brutal conduct of 
 the infantes toward the daughters, to which the Romancero devotes 
 so much space. He has it merely reported by Alvar Fanez and 
 Jimena. He represents the Cid, Jimena, and their daughters as 
 presenting themselves all before the king to ask for vengeance, 
 whereas the Romancero has the Cid go alone. 
 
 Polo has the Cid himself fight and overcome the infantes, 
 whereas in the Romancero the Cid appoints as his champions two 
 knights, who overcome the infantes. 
 
58 
 
 So far as we know this play is the only literary work 
 by Francisco Polo. Ticknor says of this work: "Another play on 
 
 the subject of the Cid, partly imitated from this one of Diamante, 
 ( Ho nr ado r de su padr e ) and with a similar title — 'Honrador de 
 sus Hijas', — is found in the Cbmedias Escogidas , Tom. XXIII, 
 1662. Its author is Francisco Polo of whom I know only that he 
 wrote this drama, whose merit is very small, and whose subject is 
 the marriage of the daughters of the Cid with the Counts of 
 Carrion, and their subsequent ill treatment by their husbands, 
 etc." 47 
 
 L. MO ESTA EM MATAR EL VEHCER, POR JUAM DE MATOS FR AGO SO 4 - 
 
 In this play, Fragoso gives us his second drama on the 
 
 49 
 
 subject matter of the Cid. The play appeared in 1668 ’ and is 
 based on the r etc de Zamora . 
 
 ACTS I AND II — Don Diego, one of King Sancho’s 
 nobles, loves Beatriz, the daughter of Arias Gonzalo. He has a 
 meeting with her on an island of the Duero and from there takes 
 her to Sancho’s camp. Don Diego’s servant, Passamano, who 
 supplies the gracioso element in the play is in love with 
 Beatriz' s servant, Costan^a. When Sancho sees Beatriz, he falls 
 in love with her. She does not know the king; neither does she 
 tell him who she is or how she got into the camp. Diego is hidden 
 and hears the whole conversation. The Cid enters and tells the 
 king that she is Arias Gonzalo 1 s daughter. Diego comes out at 
 

 
 
59 
 
 once and tells them that she is to be his wife. The king will not 
 hear to it and warns her that if she gives her hand to Diego, his 
 life will be in danger. Beatriz wavers for a long time and then 
 refuses Diego her hand in order not to put his life in danger. 
 
 Diego falls ill over it and believing her fickle, refuses to hear 
 further news of her. They meet and quarrel violently. Diego 
 charges her with infidelity. She explains to him that she had to 
 treat him that way to save his life. The king comes suddenly. 
 
 Diego hides, but the king has seen some one flee. The Cid enters 
 but when he sees Sancho alone with Beatriz, he does not wish to 
 interrupt and conceals himself in the same place that Diego has 
 chosen. Beatriz, in the meantime has tried to keep the king from 
 seeking Diego, but Sancho is determined to know who it was that 
 fled from him. He finds the Cid and pulls him out by the arm, 
 but does not discover Diego. The soene is then interrupted by 
 Bellido Dolfos, who comes to see the king. 
 
 ACT III — Passaraano dresses like a woman. Diego and 
 Beatriz are fleeing from the king. Diego hides himself again; the 
 king resumes his love making until the Cid comes. Beatriz, fearing 
 his arrival since she is alone again with the king, extinguishes 
 the light. The Cid wishes to know what is happening in the 
 darkness. Diego comes to seek Beatriz. She surmises that her 
 lover has come to carry her off. She orders Costanga to pass 
 herself off as her mistress with the king and she will leave with 
 Diego. In the darkness, she mistakes the Cid for Diego and goes 
 with him to his quarters. Diego thinks his servant Passamano is 
 
60 
 
 Beatriz while Passamano takes Diego for the CicL. Diego flees with 
 his servant . The king remains with Costan£a, whom he thinks to be 
 Beatriz. The servant lights the light and the king sees his mis- 
 take. He is led by Bellido to the wall of Zamora. In order to 
 explain to the audience this mix up, Costanpa gives a long declama- 
 tory speech. Diego is now in search of Beatriz and cannot find her. 
 Meanwhile he challenges the Zamorans and kills the sons of Arias, 
 the brothers of his beloved. While they are holding council over 
 the doubtful victory, Beatriz comes dressed as a man, offers her- 
 self as a Zarnoran and prepares to fight with Diego. The lovers 
 cannot fight each other so the author must seek some solution. 
 Beatriz has taken the Cid' s arms. The latter wishes to know who 
 the knight is; without much persuasion, Beatriz reveals herself and 
 declares that she will not marry Diego since he has pronounced her 
 brothers traitors. The good Diego cannot rest until he has 
 explained that he had to free Zamora from the shame of the king's 
 murder. Beatriz is now willing to marry him. Arias and the Cid 
 give their consent. Passamano weds Co stanza and the play ends 
 happily with the double wedding. 
 
 Fragoso has used the story of the siege of Zamora as it 
 appears in the Romancero and in the previous plays by Juan de la 
 Cueva and Castro, but he has used this story merely as the back- 
 ground for the love affair between Don Diego and Beatriz, daughter 
 of Arias Gonzalo • This love affair is not mentioned in any of the 
 previous plays or in the Romancero, but it is a product of Fragoso' s 
 own invention. There is absolutely no mention of Arias' having a 
 
61 
 
 daughter except in this play. 
 
 The only points in common between this play and our two 
 former play 3 on this subject and the Romancero are: the action 
 
 taking place near and in Zamora, the killing of Sanoho by Bellido, 
 the challenging of Zamora by Don Diego, and the killing of the sons 
 of Arias Gonzalo . 
 
 / / 50 
 
 M. LAS MOCEDADES DEL CID,P0R GERONIMO DE CANCER Y VELASCO 
 
 The second burlesque on the Cid was written by Cancer y 
 
 51 
 
 Velasco and appeared in 1673. 
 
 The Count Lozano wishes to marry his daughter Jiraena to 
 Don Sancho, but she is in love with Rodrigo. While she is writing 
 a letter to her lover, her father comes with Don Sancho and reads 
 the letter. For this reason she is to die. He accuses Rodrigo 
 before the king of having inspired his daughter's love. Jimena 
 receives poison from him, but she does net die. Then the count 
 tries to draw his dagger and wounds himself in doing so. Meanwhile 
 Diego Lainez comes. Lozano tells him that he wishes to marry his 
 daughter himself. Thereupon they begin to quarrel and the count 
 gives Diego a box on the ear. Diego asks his son whom he shall 
 consult concerning question of honor. The Cid suggests the father 
 confessor . Diego agrees with him but considers it best to kill the 
 count immediately. Rodrigo challenges the count, kills him and 
 surrenders himself to the king. Then he goes to fight against the 
 
62 
 
 Moors. When he comes to Valencia the city is surrendered to him 
 without any more ado. Jimena comes at mealtime to the court and 
 demands vengeance for her father's death. Then the Cid appears as 
 conqueror of Valencia. After he relates his brave deeds, he asks 
 for Jimena as his wife, and she willingly consents. 
 
 The story is treated in comical fashion. For example, 
 a Moor brings the king rich presents: eighty horses (the king asks 
 why not a hundred), camels, elephants, tigers, even six quinces, 
 all this to obtain the Cid's head. When the king is angered at 
 this, the Moor wishes to become Christian; the king refuses 
 because he is too young. 
 
 When Roarigo is requested by his father to kill the 
 count, he demands two hundred escudos, but Diego will only pay him 
 one hundred. Rodrigo wants the money for Jimena, whom he will have 
 to support after the death of her father. 
 
 When the Cid is at Valencia, he does not know whether 
 this is the city or not and he has to call a Moor and ask him about 
 it. He promises the Moors to bring it to pass that they shall not 
 go to hell but to purgatory . 
 
 Cancer y Velasco has chosen for the subject of his bur- 
 lesque, the youth of Cid, and is evidently parodying Castro's ana 
 Diamante's plays on this subject. 
 
 From beginning to end he has twisted and changed all the 
 facts of the story as found in the Romancero and in the two previous 
 plays on the subject. He has Count Lozano first wishing Jimena to 
 marry Don Sancho, trying to kill her because she loves Rodrigo, and 
 
63 
 
 then wishing to marry her himself. In this play Lozano’s insult 
 to Diego Lafnez is due to the quarrel between the two over Lozano's 
 wishing to marry his own daughter; no mention is made of the 
 appointment of a preceptor for the prince by King Fernando as 
 there was in the two previous accounts. 
 
 After Rodrigo has killed the count, he goes to capture 
 Valencia. In the Romancero, this capture of Valencia does not 
 occur till later on in the Cid's life after he has married Jimena 
 and is banished by Alfonso. It is not mentioned at all in the two 
 previous plays dealing with this part of the Cid's life. Cancer 
 represents Jimena as perfectly willing to marry Rodrigo after he 
 has come back boasting about his capture of Valencia and asks her 
 to marry him. The Romancero and Castro's and Diamante's plays all 
 have different endings from this and from each other, as has 
 already been mentioned in the analysis of Diamante's play. 
 
 The whole atmosphere of Cancer's play is different from 
 that of the previous plays, of course, since they were serious 
 and this is a burlesque. 
 
 In the edition by Luis Fernandez-Guerra y Orbe of Moreto 
 y Cabana's works, the former expresses some doubt as to whether 
 Moreto or Cancer is the author of this play, 5S but there seems to 
 be no serious ground for doubting that Cancer was the author. 
 
 Fern«£ndez-Guerra y Orbe says of this play: 
 
 "Los amores de Rodrigo y Jimena, la bofetada que recibe 
 Diego Lalnez ael Conde Lozano, la sangrienta venganza del Cid y 
 su boda con la hija de aquel magnate, son los sucesos que presenta 
 en burla8 el poeta, r idiculizando grac iosamente los desCvarios que 
 
64 
 
 entonces desCdustraban el teatro . Ni se perdona a si propio, 
 
 dando por ello a conocer (como otros dramaticos de aquel siglo) 
 
 que erraba con conoGcimiehto de causa. Los chistes, de buena ley; 
 
 53 
 
 la satira, muy aprsciable. n 
 
 54 
 
 N. EL CERCO DE ZAMORA, POR JUAN BAUTISTA DIAMANTE 
 
 55 
 
 Diamante published his second drama on the Cid in 1674. 
 
 ACT I — Leonor, the daughter of Arias Gonzalo, a 
 & amor an, is in love with Diego 0rd6nez . She has not seen or heard 
 of him in four months. On the night on which the play opens, her 
 servant Beatriz announces that a knight has come from Xing Sancho . 
 
 It is Diego. He tells of the campaigns of King Sancho against his 
 brother Alfonso and his sister Elvira, which clearly account for 
 Diego's absence. Sancho will attack Zamora if Urraca does not 
 give the city over to him. He, Diego, was sent as ambassador to 
 Zamora. Leonor hopes for a friendly settlement of the dispute. 
 
 In case things go wrong, she will flee with Diego. Arias and his 
 sons have the defense of the city prepared. The infanta Urraca 
 awaits Sancho' s messenger. Diego gives her the king's offer to 
 give her any city she chooses in exchange for Zamora. In her resis- 
 tance he sees only the result of Arias Gonzalo 's influence. Arias 
 recalls his promise given to the late Xing Fernando, to take care 
 of Urraca. The infanta condemns Sancho for marching against his 
 brother and sister and is not afraid of his threats. 
 
65 
 
 Sancho waits meanwhile impatiently for Diego’s return. 
 
 The Cid advises against the siege on account of the protected 
 position of Zamora ana the bravery of Arias and his sons. Diego 
 comes with Urraca's answer. The king is angry and denounces Arias 
 as a traitor. Announcement is made of the arrival of Bellido, who 
 is fleeing from Arias and offers his services to Sancho . The king 
 accepts him joyfully and does not heed the warning of the Cid and 
 Arias . 
 
 ACT II — Bellido has already accomplished his treacher- 
 ous deed. He flees from the Cid, who suspects something wrong and 
 enters the city. The wounded king dies in Diego's arms after having 
 repented for his disobedience to his father. The Cid finds the 
 king already dead and summons the soldiers for revenge. All are 
 silent. Then Diego speaks and offers to challenge Zamora. It is 
 clear to him that he must lose Leonor's hana thereby. A messenger 
 brings the message that Leonor is waiting for him that night. In 
 the city great indignation reigns over the accusation of their 
 share in the king's murder. The murderer is sought. Arias gives 
 the command that the Castilians be permitted to come to Zamora to 
 witness the grief over Sancho 1 s death. So Diego can without any 
 difficulty go to Leonor, who does not yet know of Diego's plan. 
 
 She wishes to see him 30 that an eventual combat may be prevented. 
 Diego tells her that he has proposed to the Castilians to avenge 
 Sancho ' 8 death. Leonor considers it Diego's duty to keep his 
 promise, but at the same time she reproaches him for his ingratitude. 
 The lovers bid each other farewell forever. The entire scene is 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 
 
 . 
 
 . 
 
 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
66 
 
 played in darkness. Arias and his son Pedro return home, Leonor 
 escapes in time but Diego cannot find the door. Arias and his sen 
 have heard a noise; they search with drawn swords for the cause, 
 and have a light brought at once. In the meantime Diego finds the 
 door and escapes without being discovered. Soon he appears before 
 Zamora and challenges the citizens to single combat, in which he 
 is to overcome five men one after another. Arias and his sons 
 accept the challenge. 
 
 ACT III — Three sons of Arias have been killed in the 
 combat. It is now Pedro's turn. He is wounded. Diego also falls 
 from his horse outside the bounds. He blames his horse. The Cid 
 pronounces Diego overcome and Zamora free. He proclaims Alfonso 
 king, when the latter shall have sworn that he had no share in his 
 brother's murder. The Cid himself will also take the oath. Diego 
 has not been able to forget Leonor, and, in order to see her, he 
 goes to see the injured Pedro Arias. He meets Leonor who does not 
 wish to speak to him, but gives Beatriz the order to take him to 
 Pedro. He begs Leonor to listen to him. She asks him to leave but 
 listens, never theless, to the long speech in which he explains that 
 Fate, not he, is to blame for her brother's death. Leonor, who 
 still loves him, secretly admits that he has done his duty. In 
 order to end the conversation, she explains that she will give her 
 hand only to the man whom her father selects. Diego puts his last 
 hope on a conversation with Pedro Arias. 
 
 In the meanwhile. King Alfonso comes from Toledo and is 
 asked by the Cid to take the oath. The king is angry, but will not 
 
67 
 
 oppose him and so takes the oath. He then permits all the knights 
 except the Cid to kiss his hand. At the end Pedro and Diego, who 
 have become the best of friends, enter. For their brave deeds the 
 king wishes to grant them a favor. Pea.ro asks the king to marry 
 his sister to Diego. Arias consents out of obedience to the king 
 and everything ends well. 
 
 Diamante's play includes all of the facts of Cueva’s play 
 on this subject ana a great many more besides. For these additional 
 facts he may have used both Castro’s and Fragoso’s productions on 
 this subject. He omits, however, the first scene of Castro's play 
 concerning Sancho's defeat of his brother Alfonso. The Cid does not 
 play so important a role in this play as in Castro’s. The murder of 
 Sancho is not shown on the stage by Diamante, though it is by 
 Castro. Diamante omits the whole story of Alfonso's love affair 
 with Zoraida which Castro gives, but he follows Castro as to the 
 challenge of Zamora and the oath of Alfonso . 
 
 From Fragoso's N£ esta en matar el veneer . Diamante has 
 taken the love affair of Arias Gonzalo's daughter and Diego. 
 
 Diamante changes the name of Fragoso's heroine, Beatriz, to Leonor, 
 but calls her servant Beatriz. He does not have her go to Sancho's 
 camp, but has her remain in Zamora throughout the play. Diego is 
 sent to Zamora as ambassador from Sancho to Urraca. In the Romancero 
 and the previous plays it is the Cid who is sent to Urraca, but in 
 order to bring Leonor and Diego together. Diamante has Diego sent. 
 
 Fragoso entangles his plot by having King Sancho fall in 
 love with Arias' daughter as well as by the challenge of Zamora by 
 
68 
 
 Diego, while Diamante uses only the fact of Diego’s challenge. 
 
 In order to use a dark scene to offset Fragcso's scene 
 (where Eeatriz extinguishes the light when the Cid comes during 
 her interview with Sancho and the general mix-up ensues) , Diamante 
 put 8 in the scene where Diego and Leonor bid each other farewell, 
 when he tells her it is his duty to challenge Zamora. The whole 
 scene is in darkness and Arias and his son Pedro return home, and 
 Diego has difficulty in making his escape without being discovered. 
 
 In both plays, the girl refuses to marry Diego because 
 he has killed her brothers, though Fragoso brings in the fact that 
 she is mainly vexed because he called her brothers traitors. The 
 ending of both plays is rather weak, but Diamante’s is, I believe, 
 even more so than Fragoso’ s. Fragoso has Beatriz arm herself to 
 fight against Diego and then, after Diego has explained that it was 
 only to clear Zamora that he fought her brothers, she consents to 
 marry him. Diamante represents Diego as making friends with Pedro 
 (Arias' son, who is killed in the Romancero and all the other plays, 
 but in this play is only wounded) . Pedro and Diego are granted any 
 favor they may wish to ask of the king and they ask for the marriage 
 of Leonor and Diego. It is highly improbable that Pedro would 
 become so friendly with a man who had killed his two brothers, 
 that he would want his sister to marry this man. 
 
 Diamante does not mention the Cid's banishment by Alfonso, 
 in order not to mar the happy ending of his play. 
 
 The comic element of the play is supplied by Diego's 
 servant, Lain. 
 
69 
 
 56 
 
 0. LA JURA EN SANTA GADEA, POR JUAN EUGENIO HARTZENBUSCH 
 57 
 
 In 1845, appeared Har tzenbusch' s play on the Cid. 
 
 ACT I — Alberta (widow of the late King Sancho) and 
 the Cid are in a little chapel near Burgos. Alberta offers the 
 Cid her friendship, since he has done so much to avenge her hus- 
 band's death. The Cid tells her that Alfonso, before he may become 
 king of Sancho' s possessions, must take an oath there at Burgos 
 that he had nothing to do with his brother's death. The queen 
 tells the Cid that he should marry and offers to select a lady 
 for him, but he refuses, telling how for seven years he has loved 
 a girl whose name he does not know and whom he rescued from a 
 brigand on her way to the chapel near Burgos. They both have 
 left a little heart as a pledge of their faith and the one who 
 
 breaks the faith is to remove his or her heart. 
 
 Alvar Fanez, the Cid's cousin, brings the news that 
 Alfonso has marched towards Galicia, the realm of his brother 
 Garcia, who is reported to have lost his mind. Alvar says that 
 Alfonso has suggested that the Cid should marry Alberta. The Cid 
 does not know what to say when he sees that Alberta, who is intend- 
 ing to retire into a convent, would be glad of the marriage. 
 
 After the queen and Alvar have gone, the Cid sees two 
 
 ladies approach the temple. One of them goes to the little heart 
 
 that Rodrigo had put there. He recognizes his beloved; they embrace, 
 and he learn3 that she is Alfonso's cousin, Jimena. She tells him 
 that the king has come and refuses to take the oath and begs him not 
 
70 
 
 to incur the king's disfavor. He leaves ana she retires into 
 the chapel. The king learns from her companion, Nun*., of 
 the love affair. 
 
 Gonzalo, the king's adviser, tells him to march to the 
 city and demand entrance. He reminds the king of the latter's 
 promise to give him his cousin Jimena in marriage. 
 
 When the Cid tells the king that he shall not enter the 
 city until he has taken the oath, Alfonso says he will take it 
 and announces also that Jimena will marry Gonzalo. 
 
 ACT II — Albar Fdnez promises Jimena to aid her all 
 he can not to marry Gonzalo. 
 
 Alfonso promises Jimena that she may marry the Cid on 
 condition that she make him a faithful subject. Jimena tells the 
 Cid and they are overjoyed, but when the king tells the Cid that 
 he expects to be released from the oath, the Cid refuses. Jimena 
 is heart-broken. Alberta proposes to the Cid that they not 
 require Alfonso to take the oath and so destroy Jimena' s happiness, 
 but Rodrigo refuses. 
 
 Gonzalo reports that he has killed Vellido and that the 
 latter had made a confession to him concerning Sancho ' s murder. 
 
 In a very dramatic scene Gonzalo asks who insists that Alfonso 
 take the oath. The Cid says that it is he. Then Gonzalo says 
 that the Cid has no right to insist on the king's oath, since 
 Vellido confessed that he killed Sancho tc serve the Cid. The 
 Cid challenges Gonzalo to a duel. 
 
 ACT III — The Cid has gone out during the night and has 
 not returned. The time for the duel approaches. Gonzalo is 
 
71 
 
 accusing the Cid of conspiracy against the king. He pulls back 
 the curtain from before the throne and there they see the Cid 
 sleeping, guarding the king's throne, which he has overturned in 
 his sleep. 
 
 The queen intervenes with Alfonso in behalf of Jimena, 
 but he says that Jimena must take the vows to become a nun. He 
 promises to respect the last act of the queen's reign and asks her 
 to respect this* which will be the first of his. 
 
 Jimena offers to marry Gonzalo if he will not fight with 
 the Cid, but he refuses. The queen tells Jimena how she , too, loves 
 the Cid but must hide her love under a veil of friendship. 
 
 Jimena tells Rodrigo that she is to become a nun, since 
 she cannot belong to him. He tells her of his dream: how he met 
 
 a poor leper, whom he took upon his horse. Then the leper's garments 
 became shining and white and he seemed to foretell victory for 
 the Cid in the coming struggle. 
 
 Alfonso and the queen do not go to the duel, but they 
 learn what is happening by watching Jimena, who is watching from a 
 balcony. She sees that Gonzalo has triumphed over his adversary. 
 
 Overcome, she leaves to go to the convent. Alvar Fanez, wounded, 
 enters and they find that it was he who, wearing the Cid's arms, 
 
 had been overcome by Gonzalo. The Cid, furious, haa rushed up and 
 was now fighting. It is announced that the Cid has overcome seven 
 Leone se knights, Gonzalo among them. The Cid enters and tells that 
 Gonzalo has confessed that Vellido told him that it was for Urraca, 
 Alfonso's sister, that he killed Sancho. Alfonso announces that 
 he will take the oath. The Cid forces him to swear three times 
 
73 
 
 that he had nothing to do with his brother’s death. The king is 
 so incensed that he banishes the Cid. The latter plans to go with 
 some followers and conquer for himself a country where he can be 
 free. The queen brings Jimena, whom she has stopped just in time 
 from taking the vows, and as the last act of her reign, which the 
 king had promised her to respect, she orders the marriage of Jimena 
 and the Cid, but the Cid refuses. He wishes to fight for Alfonso 
 and win from him willingly the hand of Jimena. The queen gives 
 them her blessing and leaves for a convent. 
 
 The mere incident of the oath in Santa Gadea, which was 
 merely touched upon in the plays on the siege of Zamora by Castro 
 and Diamante, Hartzenbusch uses mainly for the basis of his whole 
 play. The oath and subsequent banishment of the Cid and the vision 
 of the leper are the only points in the whole play that we have 
 met before in the Romancero and in the previous plays. 
 
 Jimena is brought in under entirely different circum- 
 stances from what we have had before, and at a much later period 
 of the Cid’s life. In fact, what we have is an entirely different 
 character with the same name. No mention is made of Count Lozano, 
 her father, nor does Rodrigo's father appear. 
 
 Hartzenbusch ' s treatment of the vision of the leper is the 
 third one we have met, all of them different from each other and 
 from the one in the Romancero in regard to their chronological 
 position. The one in the Romancero occurred after the Cid's 
 marriage to Jimena, when he was on his way to Santiago to fight 
 Martin Gonzalez. The leper scene in Castro's play occurred before 
 
?3 
 
 his marriage with Jiraena, when the Cid was on his way to fight 
 the Moors. In his Honr ador de sus hijas , Polo has the Cid have 
 a vision of St. Lazarus, the night before the king sent to ask for 
 the Cid's daughters in marriage for the Counts of Carrion. 
 Hartzenbusch places this vision in a dream that the Cid had while 
 sleeping in the cathedral and guarding the king's throne, just 
 before his duel with Gonzalo. The prophecy of the four versions 
 of this vision was the same, namely victory and success for the 
 Cid in his undertakings. 
 
 Nowhere before have we had the mention of Sancho's wife, 
 Alberta, as she appears in this play. In fact, Hartzenbusch has 
 merely taken a suggestion or two from the Romancero and on these 
 he has built ur a play of his own creation. 
 
 His characters are better drawn than any we have had so 
 far. Alberta, Sancho's widow, is especially well portrayed. The 
 play as a whole is, with the possible exception of Castro's, is 
 the most interesting one on our subject that we have met. 
 
 P. LAS HIJAS DEL CID, POR EDUARDO MARQUINA 
 
 The latest drama dealing with the subject matter of the 
 
 59 
 
 Cid is Marquina's which appeared in 1908. 
 
 ACT I -- The Cid is living in exile in Valencia where he 
 has established a stronghold for himself. He has two daughters 
 Elvira and Sol. Dona Sol is very fond of her cousin Tellez Munoz. 
 The temperaments of the two girls are disclosed in the first scene 
 

 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
74 
 
 where J imena is telling stories to her daughters. Doha Sol's 
 favorite is the one of the girl who was found dead when her father 
 had conquered enough kingdom to make her a queen and came to put 
 the ermine mantle on her shoulders. Elvira's favorite is the story 
 of the girl who with her brother's bloody sword avenged her father. 
 The Infantes of Carrion, god-children of Alfonso of Castile, have 
 come to ask for the hands of the Cia's daughters. This is very 
 gratifying to the Cid's ambition to unite his daughters with 
 royalty . 
 
 In the weekly audience that the Cid gives his people, an 
 Almoravide, angered, curses the Cid's daughters. The Cid appoints 
 Jeronimo bishop and orders mass to be held in the mosque. We 
 learn in this same scene that the Emir Ben Gehaf, supposedly dead, 
 is stirring up rebellion against the Cid. 
 
 Tellez Munoz knows that the Infantes of Carri6n are 
 cowardly . He demurs to the Cid against them. The Cid, angered, 
 makes Tellez captain of Elvira and Sol, and orders him to defend 
 with his life the arms of the men he has insulted. 
 
 ACT II — The people are all waiting for the first mass 
 which will make Valencia Catholic. Two nobles are discussing the 
 fact that the infantes have been seen conspiring with Gehaf and 
 his favorite beauty, Sobeya. 
 
 Dona Sol dispenses bread and clothing and jewels to the 
 poor. They throng about her and kiss the hem of her robe. After 
 the people have left, Tellez Munoz talks with Dona Sol, whom he 
 loves and who loves him. He tells her that although he wishes to 
 
75 
 
 die in battle, yet he must live guarding the Infantes of Carrion. 
 
 ACT III — After the marriages of Elvira and Sol with the 
 infantes, Fernando even allows the Moor, Sob eya, entrance to the 
 Cid's palace, and together they plan for the infantes to go to 
 her dwelling that night. 
 
 Sobeya and Gehaf meanwhile plan to kill the infantes when 
 they come that night. The infantes fall easily into the trap. They 
 disarm themselves and are totally at the mercy of the Moor Gehaf, 
 who is about to strangle them, -when Tellez Munoz enters and kills 
 Gehaf. He then forces Diego to dip his sword in the blood so 
 that Diego may say he killed the Moor and gives Fernando a standard 
 that he may say he took from the Moors; then no one will know their 
 treachery and cowardice. 
 
 ACT IV -- The infantes have decided to take their wives 
 and leave Valencia. Elvira and Sol are escorted into the forest 
 and a shelter is prepared for them. There left alone, while their 
 husbands have gone to take leave of their followers. Dona Elvira 
 bravely mothers Dona Sol. They pity each other in their misery, 
 married to such creatures. Elvira threatens vengeance for her hus- 
 band's infidelity. An old shepherd comes up and offers to stay and 
 guard them, but they refuse. He leaves a flute in a hollow tree so 
 that they can call him if necessary. After he has gone they realize 
 that the shepherd was their father the Cid. 
 
 Diego and Fernando return. They become drunk and insult 
 and mistreat the infantas, whom they have married merely on account 
 of the wealth and prestige of the Cici. They leave the infantas 
 
76 
 
 beaten ana bloody. Tellez Munoz comes ana, at Sol's request, blows 
 the flute and the Cid and his men come up. Elvira, rather than 
 have any one see her until she has avenged her insult, flees. 
 
 ACT V — Dona Sol, having recovered, is recall ing, with 
 her mother, the various incidents of her life in connection with 
 Elvira, who has never returned. 
 
 The king orders that the infantes be punished by fighting 
 in single combat with champions chosen by the Cid. Tellez Munoz 
 reports that he has killed Diego, but Gil Bustos, who was to have 
 fought Fernando says that a strange knight had already been granted 
 the right to fight for the Cid's honor before he got there. This 
 unknown knight, though wounded first, killed Fernando. 
 
 The Kings of Navarre and Arago'n come to ask for the hands 
 of Sol ana Elvira. The Cid is happy that one of his daughters at 
 least is to marry a king. Sol, 'who is still in love with her cousin, 
 Tellez Munoz, refuses at first, but, seeing her father's grief, she 
 cannot bear it. Having had so sad a life, she consiaers that she 
 is made for suffering and may as well give her father this happiness 
 The Cid falls at her feet to pay her homage as a queen. 
 
 The unknown knight, wounded, returns. It is Elvira. She 
 has avenged the Cid's honor ana her own. Her father tells her she 
 is to wear a crown, but she, after seating herself on the throne 
 that has just been set up, dies with the arms of her mother and 
 siater about her. 
 
 Instead of using the Romancero as an inspiration for his 
 play, as our previous authors have done, Marquina has found his in- 
 

 
 
 
 
 
 
 
 
 
 ' 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
77 
 
 spiration in the Posma del Cia . The Poema was unknown auring the 
 centuries when most of the Spanish dramas on this subject were 
 •written, and consequently they were based on the Romancero . 
 Hartzenbusch doubtless knew of the Sanchez edition of the Poema , 
 which had appeared more than half a century before he wrote his 
 Jura en Santa Gadea, but, as our analysis showed, his own play 
 was based rather on the Romancero, and not on the Poema . 
 
 Francisco Polo's play on the subject of the Cid's 
 daughters was taken from the Romancero and it will be an interesting 
 study to compare his play with Marquina's. Marquina does not 
 represent the Cid as unwilling to give his daughters to the 
 infantes, as does Polo. In Marquina's play the infantes have 
 been at Valencia with the Cid's men for a long time when the 
 message is brought that they wish to marry his daughters. The 
 Cid doe 3 not hesitate but is greatly pleased at the thought of 
 his daughters' marrying princes. Polo does not emphasize this 
 ambition of the Cid to unite hi 3 blood with that of royalty. 
 
 Marquina does not bring in the scene of the Cid's dream, 
 which Polo uses. 
 
 Tellez Muiioz, in Marquina's play, is the one who knows 
 of the cowardice of the infantes and the Cid becomes very angry 
 at Tellez, when he dares to speak of it, and orders him to become 
 their body-guard, whereas Polo represents the Cid himself as 
 recalling the cowardice of the infantes. 
 
 Polo does not have any of the scene where the Cid holds 
 a weekly audience for his people, nor does he mention the 
 Almorav ide and his curse on the Cid's daughters. Polo does not 
 
78 
 
 mention the conspiracies among the Mohammedans against the Cid, nor 
 the Christianizing of the city of Valencia, of which Marquina 
 makes such interesting scenes. 
 
 Marquina alone gives the lovely scene of Sol's distributirg 
 food and clothing to the poor and her touching scene with her 
 cousin Tellez Munoz, whom she loves. Polo does not even introduce 
 such a character as Tellez. And so we might continue all the way 
 through the two plays, and we should find that all the details 
 differ, and that the plays are alike only in their general outline, 
 to wit: the marriages of Elvira and Sol with Fernando and Diego, 
 
 the insulting treatment of Elvira and Sol by the infantes 
 (Marquina puts this on the stage while Polo merely has it reported), 
 the subsequent revenge of the Cia (by his own hand in Polo's play, 
 and by the hanas of Elvira and Tellez Munoz in Marquina' s) . 
 
 In Polo's play, what interest there is centers in the 
 action, and there is no character development, whereas Marquina' s 
 play is rich in character portrayal. We feel that the Cia, Jimena 
 and their daughters, the infantes, and Tellez Munoz are real, 
 living people. Polo's characters were mere puppets. 
 
 Marquina' s play is a real tragedy. One feels a profouna 
 sympathy for the two daughters, whose characters are especially 
 well portrayed throughout the play. 
 
 To me Marquina' s play is, by far, the mo3t pleasing and 
 the best written of all of the Cid dramas. The poetry is excellent 
 as well as the dramatization. Fitzmaur ice-Kelly thinks that the 
 play is poetry rather than drama: 
 
79 
 
 "Don Eduardo Marquina (n. 1879) tuvo en cuenta el 
 Poema del Cid para componer Las hij as ael Cid (1908) , cuya legenda 
 ha contado en forma aramatica; esa obra, como Dona Mar la la 
 
 j 0Q 
 
 brava * * * son mas bien poesia que teatro." 
 
 It seems to me, however, that Marquina' s dramatization 
 
 is as effective as his poetry. I find that my opinion is supported 
 
 by Gonz alez -Blanco , who says that Marquina is not a poet who wished 
 
 to obtain glory and popularity by putting on the stage his lyrics 
 
 and poetry. Marquina is a born dramatist and reveals this in the 
 
 61 
 
 technique of all his dramas. There is no divorce between the 
 dramatist and the poet in Marquina. The two go hand in hand in 
 him. The Hi.j as del Cid contains wonderful poetry, for example in 
 the first scene between Dona Jimena, Doha Sol and Tellez Munoz 
 and yet the final scenes of the acts of this play are most 
 
 go 
 
 draraat ic . 
 
 Gonzalez Blanco also says: 
 
 "La primer a obra que produjo Marquina para el teatro 
 fue Las hij as del Cid , maravillosa recons truce io'n de la vida 
 espahola del siglo XIII y apelaci^n a los supremos y heroicos 
 resortes de la raza. La obra fue de exito mediano ante el pub- 
 lico, porque no estaba aun avezado este retardatario publico 
 espanol a gustar la poesia heroica y ruda de las edades primi- 
 tivas. Mas el publico selecto supo gustar el encanto de esta obra, 
 que aventaja a todas las obras anteriores del teatro poetico, en 
 ser mas sincera, menos falso, menos convene ional . j Que diferencia 
 de este teatro, en el que la raza habla dir ectamente, sin deforrna- 
 
 ciones, al teatro de Zorrilla, cuyo influjo transpiraba aun, tan 
 poetico, tan adornado, tan decorat ivo, pero tan fioticio'. " ° " 
 
80 
 
 III . CONCLUSION 
 
 From the foregoing analyses, we find that some of the 
 most eminent Spanish dramatists have chosen their subject matter 
 from the Cid. The majority, as we have seen, have based their 
 plays on the Romancer o, since the Poema was unknown during the 
 centuries when most of these dramas were written. Marquina, 
 however, based his play on the Poem a . The two burlesque plays 
 were based on dramas which dealt with the cdrco de Zamora and the 
 mocedades del Cid. These burlesques show how widely known and how 
 popular were the dramas on these phases, especially, of the Cid's 
 activities, since the original must be well known in order that 
 the burlesque have any point. 
 
 The Cid legend has many incidents each of which might 
 serve as a basis for dramatic treatment: the youth of the Cid,, 
 
 the siege of Zamora and the tragic death of the sons of Arias 
 Gonzalo, the oath in the chapel at Santa Gadea, the taking of 
 Valencia, and the regeneration of Martin Pelaez, the marriage 
 of the Cid's daughters with the Infantes of Carrion, and the death 
 and burial of the Cid. The most popular of the above incidents 
 is the siege of Zamora and the death of Sancho . Five plays have 
 used it as a central theme and in a sixth play it is brought in 
 incidentally (Lope de Vega: Las almenas de Toro ) . 
 
 The Martin Pelaez theme is also very popular, there being- 
 four plays on this topic. The most widely known incident, although 
 treated in only three of our dramaSj is that of the youth of the 
 
81 
 
 C id when he avenges his father's honor. This is doubtless due in 
 part to the great success of Corneille's play on the same theme, 
 which was confessedly imitated from Castro's play. 
 
 The best of the Cid dramas is beyond doubt, Marquina' s 
 Las hi.ias del Cid . His poetry is exquisite, his characters are 
 well portrayed, and his dramatization is excellent, nor does he 
 have recourse to any artificial stage devices to forward his plot. 
 The Cid-drama up to the present date has reached its climax in his 
 play . 
 
V 
 
82 
 
 IV. APPENDICES 
 
 1 — ROMANCES USED BY THE AUTHORS AS SOURCES FOR THEIR DRAMAS 
 
 A . 
 
 Comedia de la muerte 
 
 del Rey Don Sancho 
 
 — ■ 
 
 
 50, 52, 53, 
 
 55, 56, 
 
 60 , 
 
 64, 65, 66, 67, 
 
 71, 72, 74, 
 
 
 75, 75, 77, 
 
 78, 80, 
 
 81, 
 
 82, 83, 84, 92, 
 
 93, 94, 95. 
 
 E. 
 
 Las hazanas 
 
 del Cid, 
 
 y 
 
 su muerte — 
 
 
 
 120, 121, 128, 129, 
 
 130 
 
 , 131, 132, 133, 
 
 134, 140, 
 
 
 141, 146, 150, 186, 
 
 187 
 
 , 168, 190, 192, 
 
 1S5, 197, 
 
 
 198, 199, 201. 
 
 
 
 
 C. 
 
 Las almenas 
 
 de Toro 
 
 — 
 
 
 
 
 56, 64, 65, 
 
 66, 67, 
 
 105 
 
 • 
 
 
 D. 
 
 Las mocedades del Cid, 
 
 primer a parte, por Castro — 
 
 
 1* 3, 3, 4, 
 
 5, 6, 7, 
 
 11 
 
 , 12, 13, 16, 17 
 
 , 18, 22, 23 
 
 
 24, 29, 33, 
 
 34, 42, 
 
 43, 
 
 44, 45. 
 
 
 E. 
 
 Las hazanas 
 
 ael Cid 
 
 — 
 
 
 
 
 47, 48, 50, 
 
 51, 57, 
 
 64, 
 
 66, 67, 71, 78, 
 
 80, 81, 82, 
 
 
 83, 64, 85, 
 
 87, 88, 
 
 92, 
 
 93, 98, 97, 98, 
 
 100, 102. 
 
 F. El cobarae mas valiente — 
 
 128, 12S, 130, 131, 132, 183. 
 
 G . El hermano de su hermana — 
 None . 
 
 H. El amor hace valient es — 
 
 128, 129, 130, 131, 132, 133. 
 
83 
 
 I . El honrador de su padre — 
 
 3, 4, 5, 6, 7, 11, 12, 13, 16, 17, 18, 33. 
 
 J. El Cid Campeador — 
 
 97, 98, 100, 101, 102, 107, 108, 109, 110, 111, 112, 
 120, 128, 129, 130, 131, 132, 133. 
 
 K. El honrador de sus hijas — 
 
 23, 142, 143, 144, 145, 153, 154, 155, 156, 158, 159, 
 160, 166, 171, 172, 173, 174, 175, 179, 181, 185. 
 
 L. No estar en raatar el veneer — 
 
 72, 73, 74, 75, 76, 77. 
 
 M. Las mocedades del Cia, por Ger6nimo de Cancer y Velasco 
 None . 
 
 N. El oerco de Zamora — 
 
 52, 
 
 53, 
 
 55, 
 
 56, 
 
 64, 
 
 65, 
 
 66, 67, 
 
 , 71, 73, 74, 75, 76, 77, 
 
 76, 
 
 79, 
 
 80, 
 
 84, 
 
 92, 
 
 S3, 
 
 96 . 
 
 
 La 
 
 jura 
 
 en 
 
 Santa Gadea - 
 
 
 
 25 , 
 
 97, 
 
 98, 
 
 99, 
 
 ICO 
 
 , 101 
 
 , 102, 
 
 103. 
 
 P. Las hijas del Cid — 
 
 None . 
 
84 
 
 2 -- ADDITIONAL PLAYS BASED ON THE CID 
 
 We have grouped under this caption the titles of all 
 plays that are considered to have been based upon the legend of 
 the Cid, but which have been unobtainable either in text-form 
 or in analyses made by other scholars who have had them in their 
 possession. In view of the fact that it has been impossible to 
 establish the date of all of them, it has seemed preferable not 
 to attempt to list them chronologically, but to set them down 
 alphabetically according to the name of the author. 
 
 Alba: Las hl.i as del Cid . 
 
 Asquerino: Dona Urraca . 
 
 Borao, Jeronimo: Las hij as del Cid . 
 
 Breton de los Herreros, Manuel: Belliao Dolfos . 
 
 Concha, Jose: El mas herovca espanol . 
 
 Fernandez y Gonzalez: Cid , Roar igo de V ivar , drama en 
 
 tres actos £ en verso or iginal . 
 
 Galvez Amandi, Rafael: Para her ides las del honor o 
 
 El aesagravio del Cid . 
 
 Garcia Gutierrez, Antonio: Dona Urraca de Cast ilia . 
 
 Hurtado de Velarde, Alfonso: Comedia del Cid , dona Sol 
 
 T dona Elvira . 
 
 Iza Zamacola, Antonio de: Honor amo r . 
 
 Linan de Riaza: Ccmedia de las hazanas ael Cid su 
 
 muerte con la tomada de Valencia. 
 
85 
 
 Rossi, Alberto E.: Mo ced.ad.es del Cid . 
 
 Serna, A. F. de la: Don Rodrigo , drama or iginal en versos . 
 

 
 
NOTES 
 
 1. Menendez Pidal: L ' Epopee cast ill ane, pp . 81-93. 
 
 2- Hamel: Per Cid im St>anischen Drama , p. 1. 
 
 3. Fitzmaur ice-Kelly : Chapters on Spanish Literatu re, pp . 1-2. 
 
 4. id. Ib., p. 6. 
 
 5. Ormsby: Poem of the Cid , p. 26. 
 
 6. Fitzmaur ice-Kelly : op. cit . . p. 9. 
 
 7. Ormsby: pp. cit . p. 49. 
 
 8. Fitzmaur ice-Kelly : op . cit . . pp . 6 - 9. 
 
 9. Id. Ib., pp. 11-12. 
 
 10. Ormsby: pp. cit . . p. 41. 
 
 11. Menendez Pidal: op., cit., p. 95. 
 
 12. Ormsby: pp. cit.., p. 45. 
 
 13. Menendez Pidal: Can tar de Mio Cid . Vol. 1, pp. 124-136. 
 
 14. 
 
 Id. 
 
 Ib., Vol. 
 
 1, 
 
 P* 
 
 130. 
 
 15. 
 
 Id. 
 
 Ib., Vol. 
 
 1, 
 
 P- 
 
 132. 
 
 16. Santiliana: Qbras . p. 7. 
 
 17. Menendez Pidal: El Romancer o espahol , p. 72. 
 
 18. Ormsby: pp. c it . . pp. 39-40. 
 
 19. Cueva: Tragedias y. corned ia s . Madrid. 1917. 
 
 20. Barrera: Catalogo del teatro ant iguo espanol , p. 119. 
 
 21. This drama is published entire in Hamel's Per Cid im 
 
 spanischen Drama . There is some doubt as to whether Lope 
 de Vega or Linan is its author. It is generally termed 
 anonymous . 
 
 22. Barrera: pp. cit . . pp . 679 and 216. 
 
87 
 
 23. F it zm&ur ic e-Kelly : pp. c it . . p. 9. 
 
 24. Henendez Pi&al: L 1 epopee castillane , p. 93. 
 
 "Certes, cette legende du Cid triomphant meme apres sa 
 raorte est grandiose; mais la realite est plus touchante, 
 puis-qu’elle nous represente l'Empereur se rendant avec 
 son arm^e dans une terre ennemie pour rapatrier les 
 cendres du heros qui avait vecu sans cesse exile". n 
 
 25. La illustrac ion espanola amer icana , 15 mayo 1921, p. 207. 
 
 26. Lope de Vega: Obras . Vol. VIII, p. xxii. 
 
 27. Id. Ib . , Vol. VIII, p. 77. 
 
 28. Castro: Premiere partie des mocedades del Cid . 
 
 29. According to Stiefel (Zr. Ph. XIV, pp.217 ff.) this drama 
 
 was first printed in 1612-13. The oldest edition that has 
 been preserved is of the date 1618, Valencia, which must 
 have been a pirated edition, since it was specifically 
 disavowed by the author, who considered as the first 
 real edition his own edition of 1621, Valencia. (See 
 Merimee: Mocedades del Cid , Toulouse, 1890, pp. xliv-xlvi) 
 
 30. Castro: Las mocedades del Cid , Clasioos Castella nos , Vol. 15. 
 
 31. Tirso de Molina: Comedias II . Nueva biblioteca de autores 
 
 espanoles . Vol. IX, p. 416. 
 
 32. Barrera: op. pit., p. 390. 
 
 33. N . B. A. E. Vol. IX, p. xiii. 
 
 34. Li. Lb., pp . xiii-xiv. 
 
 35. The following synopsis is taken from Hamel: op. pit., p. 98, 
 
 since no copy of the play was available. 
 
1 
 
 iii 
 
88 
 
 36. Barrera: pp. cit . . p. 315. 
 
 37. Id. Ib., p. 315. 
 
 38. This synopsis was taken from Hamel: op. cit . , p. 76, since 
 
 no copy of the play was available. 
 
 39. Barrera: op. cit .. p. 241. 
 
 40. Hamel: op. cit ., p. 81. 
 
 41. Tesoro del Teatro Espanol , Vol. V, p. 1. 
 
 42. Barrera: op. cJLt., pp. 125 and 6S1. 
 
 43. The synopsis of this play is taken from Hamel: op. pit., 
 
 p. 81, since no copy of the play was available. 
 
 44. Barrera: pp. pit., p. 507. 
 
 45. The following synopsis is taken from Hamel: pp. cit ♦ , p. 90, 
 
 since no copy of the play was available. 
 
 46. Barrera: pp. cit . . p. 695. 
 
 47. Ticknor: History of Spanish Literature , Vol. II, p. 245 n. 
 
 48. The following synopsis was taken from Hamel: pp. cit . . 
 
 p. 49, since no copy of the play was available. 
 
 49. Barrera: op. cit . , p. 697. 
 
 50. The following synopsis is taken from Hamel: op. cit . . 
 
 p. 95, since no copy of the play was available. 
 
 51. Barrera: pp. cit . . p. 701. 
 
 52. This seemed such an astounding statement even for a burlesque 
 
 that I wrote to Dr. Homero Seris of New York City, who 
 kindly consulted a copy of an early edition of the play 
 which is in the library of The Hispanic Society of 
 America, and whose title page is as follows: 
 
90 
 
 Cond . Dezircs quiero, 
 que corrijais a Rodrigo, 
 porque se casa conmigo 
 mi hija, y en ei sombrero 
 ha puesto dos estandartes. 
 
 Lain . 
 
 Y quien la boda [ ha3 ajustado? 
 
 Cond. 
 
 Los deuuos ds entrambas partes. 
 
 Lain . 
 
 No sera gran barbarismo. 
 
 Cond. 
 
 Pues porque aprobais mi intento? 
 
 Lain . 
 
 Porque hare is vn casamiento 
 
 con 
 
 el fuego de si mismo. 
 
 Cond . 
 
 Pues, Lainez, a Rcarigo 
 
 le dire is por mano agena, 
 que no enamor e a Ximena, 
 porque la caso conmigo; 
 castigadie os aconsejo. 
 
 Lain . 
 
 Castigueie su pecado. 
 
 Cond . 
 
 Ya estais muy desvergongado . 
 
 Lain. 
 
 Que quereis? estoy muy viejo. 
 
 Cond. 
 
 Y en fin que es lo que dezis? 
 
 Lain . 
 
 Que por vos no he de hazer nada- 
 
 Cond. 
 
 Pues toma esta bofetada. 
 
 This shows 
 
 beyond question that Lozano actually intended 
 
 to marry his own daughter. 
 
91 
 
 53. Bibiioteca de autores espanoles , Vol . 39, p. xliii. 
 
 54. The following synopsis was taken from Hamel: op. ci t . , 
 
 p. 56, since no copy of the play was available. 
 
 55. Barrera: op. cit . . p. 124. 
 
 56. Har tzenbusch: Qbras escogidas . 
 
 5 7 . Id . Fb . , p . xv . 
 
 58. Marquina: Las hi.ias del Cid , Madrid. 1912. 
 
 59. Gonzalez-Bianco: Los dramaturgos ccntsmporaneos , p. 328 n. 
 
 60. Fitzmaur ic e-Kelly : Histor ia de la 1 iteratura espanola ,p . 342. 
 
 61. Gonz^lez-Blanco: op. cit . , p. 315. 
 
 62. Id. Ib., p. 316. 
 
 63. Id. Ib., p. 32?. 
 
32 
 
 BIBLIOGRAPHY 
 
 Barrera y LeiracLo, Cayetano Alberto de la. Catalogo 
 
 bibl iograf ico v_ biograf ico del teatro antiguo espahol , 
 ciesde sus or Irenes hasta mediados del slglo XVIII . 
 Madrid, Rivadeneyra. 1860. 
 
 Castro, Guillen de . Premiere par tie de s Mooedades del Cid . 
 
 Publiee d'apres 1' edition princeps, avec une £tude 
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 Castro, Guille'n de . Las mooedades del Cid . Edicion y notas 
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 Madrid. Ediciones de "La Lectura." 1313. 
 
 Cueva, Juan de la. Corned ias v tragedias publicadas por la 
 
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 1317. 
 
 Diamante, J. B. Tes oro ael teatro espanol aesde su origen 
 (ano de 1356) has ta nuestros dias . Arreglado y 
 dividido en cuatro partes por Don Eugenio de Ochoa. 
 Tomo quinto . Teatro escogido desde el siglo XVII 
 hasta nuestros dias. Segunda parte. Paris. Garnier 
 hermanos. 1899. 
 
 Fitzmaur ice-Kelly , James. Chapters on Spanish Liter atu re . 
 London. Archibald Constable and Company. 1908. 
 

 
 
 
S3 
 
 Fitzmaur ice-Kelly , Jaime. His tor ia de la literatura espaliol a, 
 
 T'eroera edicibn . corregida • Madrid, Libreria general 
 
 / 
 
 de Victoriano SuArez . 1931. 
 
 Gonzalez-Bianco, Andrei. Los dramaturgos espanoles contem- 
 
 poraneo s . l a Serie Valencia, Editorial Cervantes. 1817. 
 Hamel, Adalbert. Per Cid im Span i schen Drama des XVI und XVII 
 Jahrhundsr ts . Beihefte zur Zeitschrift fur roman ische 
 Philolcgie. 25.. Heft. Halle a.S., Max Niemeyer. 1910. 
 Hartzenbusch, J. E. Q bras escogidas . Edicio'n que contiene las 
 correcciones hechas ultimamente por el autor. Paris. 
 Gamier Hermanos, Libreros-Editore s . 1697. 
 
 Ilu8trac ion espanola amer icana . 15 mayo, 1921. 
 
 Marquina, Eduardo . Las hij as del Cid . Leyenda trdgica en 
 cinco actos. Madrid. Renacimiento . 1912. 
 
 Mendndez Pidal, R. Cantar de mio Cid . Texto, grama'tica y 
 vocabulario. 3 tomos. Madrid, Bailly-Bailliere e 
 hijos. 1908-1911. 
 
 Menendez Pidal, Ramon. L 1 epopee cast illane a tr avers la 
 
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