Dunn, «Theme and Myth», 354-5; Joaquín Casalduero, Estudios de literatura española (Madrid: Gredos, 1962), 38.

It is likely that the reference to Spring («El yvierno es exido, que el março quiere entrar», 1619) has a similar function, summing up and symbolizing the joyful reunion of the Cid with Ximena and their daughters; the long winter of their separation is over. This interpretation -suggested by Eleazar Huerta, Poética del Mio Cid (Santiago de Chile: Nuevo Extremo, 1948)- is, however, not certain, since the Spring reference may be connected with what follows (the gathering of an expeditionary force by the Emperor of Morocco), rather than with what precedes.

This contrasts with the Infantes, creatures of the dark, whose falsity is revealed when day comes:

	Con quantos que ellos traen ý iazen essa noch,
	con sus mugieres en braços demuéstranles amor;
	¡mal gelo cunplieron quando salié el sol!

(2702-4)

Menéndez Pidal. Vocabulario, s. v. barba; De Chasca, El arte, 117-8; Smith and Morris, «Physical Phrases», 161-2.

Huerta, Poética, ch. 5; Erich von Richthofen, «La justice dans l'épilogue du Poème du Cid et de la Chanson de Roland» CCMe, 3 (1960), 76-8, and Nuevos estudios épicos medievales (Madrid: Gredos, 1970), 80-83. Cf. the clear use of swords as phallic symbols in a chronicle quoted by Diego Catalán, «El Toledano romanzado y las Estorias del fecho de los godos del siglo XV», in Estudios dedicados a James Homer Herriott (Wisconsin: Univ., 1966), 20.

The bestiary interpretation is advanced by Cesáreo Bandera-Gómez. «El sueño del Cid en el episodio del león», MLN, 80 (1965), 245-51 (expanded in El PMC; poesía, historia, mito [Madrid: Gredos, 1969], 82-114); and, in a much modified form, by Leo Spitzer, «Le lion arbitre moral de l'homme», R, 64 (1938), 525-30. Spitzer gives a more accurate view in Sobre antigua poesía española, 13, and the position is correctly stated by Susan J. McMullan, «The World Picture in Medieval Spanish Literature», Annali dell'Istituto Universitario Orientale di Napoli, Sezione Romanza, 13 (1971), 27-105, at pp. 90-91. For another aspect of this incident's symbolism, see Olson, «Symbolic Hierarchy», 501-4.

Frederick M. Combellack, «Milman Parry and Homeric Artistry», CL, 11 (1959), 193-208; cf. Combellack, «Some Formulary Illogicalities in Homer», Transactions and Proceedings of the American Philological Association, 96 (1965), 41-56. A. C. Spearing, Criticism and Medieval Poetry (London: Arnold, 1964), 23.

Serbocroatian Heroic Songs, ed. Milman Parry and Albert B. Lord, i. Novi Pazar: English translations Cambridge, Mass.: Harvard Univ. Press, and Belgrade: Serbian Academy of Sciences, 1954).

For different approaches to this problem, see G. S. Kirk, Homer and the Epic (Cambridge: Univ. Press, 1965), Ch. 2; and Adam Parry's important statement about the interpretation of his father's research, The Making of Homeric Verse: the collected papers of Milman Parry (Oxford: Clarendon, 1971), p. lxi.

La Chanson de geste. Essai sur l'art épique des jongleurs (Genève: Droz, and Lille: Giard, 1955). For a similar reservation in the field of Germanic epic, see D. G. Mowatt and Hugh Sacker, The Nibelungenlied: an interpretative commentary (Toronto: Univ. Press, 1967), 21.