1
Quotations are from the paleographic edition by R. Menéndez Pidal, 3rd ed. (Madrid: Espasa-Calpe, 1954-6). Punctuation, capitalization and accents follow modern usage, with additional accents where they are needed to avoid confusion of words. The use of i and j, u and v has been regularized. Emendations are italicized.
2
Thomas R. Hart, «The Infantes de Carrión», BHS, 33 (1956), 17-24.
3
The precise meaning of this line has been much discussed, but my point remains valid with either of the suggested meanings.
4
The MS. reading, «como buen vassallo faze a señor», is clearly wrong, and Menéndez Pidal's emendation equally clearly right.
5
Gustavo Correa, «Estructura y forma en el Poema de Mio Cid», HR, 25 (1957), 280-90.
6
Leo Spitzer, «Sobre el carácter histórico del CMC» in Sobre antigua poesía española (Buenos Aires: Univ., 1962), 9-25, at pp. 12-13 (first published in NRFH, 2 [1948], 113-29); Edmund de Chasca, El arte juglaresco en el CMC (Madrid: Gredos, 1967), 75-6; cf. Peter N. Dunn, «Theme and Myth in the PMC», R, 83 (1962), 348-69, at p. 366.
7
This aspect of the poem, which is overlooked in Spitzer's account, «Sobre el carácter histórico», 13, is mentioned briefly by de Chasca, El arte, 62, and Paul R. Olson, «Symbolic Hierarchy in the Lion Episode of the CMC» MLN, 77 (1962), 499-511, at p. 510.
8
P. E. Russell, «San Pedro de Cárdena and the Heroic History of the Cid», MAe, 27 (1958), 57-79, at pp. 71-2.
9
The effect of the Cid's rejection would be strengthened for any medieval audience by the recollection of a familiar passage of Scripture, the opening of St. John's Gospel: «He came unto His own, and His own received Him not»
(i, 11). This does not, of course, mean that the Cid is presented as a Christ-figure; but the echo of Christ's rejection would make that of the hero more poignant.
10
Hart, «Hierarchical Patterns in the CMC», RR, 53 (1962), 161-73, at p. 170.