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Both he and the poet (or the poetic tradition) take such signs seriously.ġ5-20. The Cid shrugs and shakes his head to ward off the omens. The crow apparently alternates good and bad predictions. In his next speech, the first word, "¡Albriçias!" 'Good news!' (14) is of Arabic origin and appears to be a similar ceremonious formula-not an ironic remark, as some modern readers have thought.ġ0-13. The brief prayer, in which thanks seem inappropriate, is formulaic, perhaps an adaptation of an Arabic custom of thanking God on receipt of any news, however bad. The first speech, like many in the poem, punctuates the text and summarizes the situation.

The hangers, furs, and hawks are marks of the great lord.Ĩ-9. The Cid turns to see the desolation of his property. Weeping from the eyes: silently, without crying out.Ģ-5. Rather, the poem presents or displays the hero's character, and relives each scene the original audience, who were listeners rather than readers, would have experienced it (ideally) as if in the Cid's presence.ġ. His image will be amplified as the poem progresses, but not in the form of commentary, as has been done in the foregoing sentence. In these few lines we see a man of deep human feeling, of measured speech, devout, admired and beloved by the people of Burgos, who accepts adversity with no hint of resentment against the king. The departure scene that begins the manuscript is a moving passage and at the same time gives an incisive portrait of the Cid, who as an epic hero represents the values and traits most highly regarded by his society. Perhaps other written versions, influenced by French or Latin texts, contributed to the poem's development, but much of the special character and interest of the work derives from its oral nature. This manuscript, a copy, dates from the following century. After the Cid's death, his memory must have entered oral tradition, assumed poetic form, and evolved over the next century, to be written down in its present form by around 1207. To give some sense of the chronology, the first historical exile occurred in 1081 the hero's conquest of Valencia, retold later in the poem, was completed in 1094. In historical fact, while the Cid was indeed a great warrior hero, exiled not once but twice by king Alfonso VI, the plotting courtiers and the accusation are poetic inventions. They are the "enemigos malos" of the poem, and their false accusation led to his exile. Leonese nobles close to the king convinced him that the Cid had kept much of the money for himself. According to the poem, the Cid was sent by the king to collect tribute money from the Moorish king of Seville. 1045-1099) was a native of Castile, a sometimes rebellious part of the kingdom of León. The "moros" dominated Spain after their invasion from North Africa beginning in 711, but by the eleventh century the Christian kingdom of León, toward the northwest of the Peninsula, had become the greatest power, and was exacting yearly tribute from the Moorish kingdoms to the south and east, fragmented but prosperous compared to the north.

The Moorish or Arabic-speaking presence in Spain was tremendously influential in the country's history, and is fundamental to the poem. The first lines may have alluded to the motive for the Cid's exile (see below), and probably recounted the news of the king's proclamation, the hero's speech to his vassals inviting them to accompany him on his journey – necessarily a military campaign – and a favorable response by Alvar Fáñez, his "diestro braço" or right-hand man. An idea of its content can be inferred from several historical texts called chronicles, drawn from a lost version or versions of the poem. The first folio (the first two pages) of the only surviving manuscript of the poem is lost. The poem begins as the Cid, exiled by the king, leaves his village of Vivar, near Burgos in Castile, on his way into Moorish territory. Let us try to follow the story on its own terms, as it offers a direct experience of a world radically different from ours. But in making these comments, we inevitably fall into the habitual abstractions. Rather, it portrays a man of his time, admirable in what he does and says, a master of war, of unsurpassed bravery but even more remarkable for his intelligence and his astute judgment. The epic Cantar de mio Cid, however, shows very little inclination to abstraction. As a result, there has been a tendency to simplify his character. He has accordingly been seen as the embodiment of the ideals, naturally rather abstract, most valued by each succeeding generation. Rodrigo or Ruy Díaz de Vivar, known as the Cid, from an Arabic word meaning 'lord,' or 'master,' is Spain's national hero.