I \ V_ -I f /

THOM AS M ONTGOM ERY

Horatius, Cúchulainn, Rodrigo de Vivar

Georges Dume.zil ha basa/lo un aspecto de su mitol ogía comparada en

n a r r a t i v a s de la Indi a y la I l oma anti guas y de la I r l anda medi eval que
refieren la ini ci aci ón de un j o v e n guerrero que m a t a a un adversario
triple y vuelve a su patria en un estado de f u r i a incontrolada, donde
sólo m e d i a n t e la i n t er ve n c i ón de una m u j e r poco modest a, puede, r e i n ­
te g ra rse a ¡a sociedad. E n las M o c e d a d e s de R o d rig o , del siglo Xiv se.
e n c u e n t r a otra versión de esle. m i t o prehistórico. A la luz del m i t o se
explica la e n i g m á t i ca ma n e r a de p re s e n t a r a Rodrigo, a! rey Fernando y
a J i m e n a , y m u c h o s detalles del relato español, el cual si rve de vínculo
entre, las v e r s i o n e s r o m a n a c irlandesa, ya que comparte, e l em e n t os de
cada una. Ot ros aspectos de la biografía poetizada del héroe t i enen posi­
bles rel aciones - m u c h o s m e n o s seguras que la ya m e n c i o n a d a - con la
ideología t r i part i t a reconstrui da p or Dumézi l .

G eo rg e s D u tn é a il’s liypot.hesis o f a n a n c ie n t t r i p a r t i t e o r g a n i z a ti o n of so-

cietios a n io n g p eo p lcs s p e a k i n g l,he I n d o - E u r o p e a n la ng ilag es h a s been
based chiefly on n a rr a tiv o s, m y tliic o r epic, in itia lly fo u n d in w rilin g s
o í In d ia , a n d o v e n tu a lly e x te n d e d to in c lu d e m o s t su b f a m ilie s o f th e
lingiiist.ic. g ro u p . T h e first. fim etio n , t.hat. o f priest.s a n d rulers, w as orig-
in ally tlic b e s t d o c n m e iife d , b n t in 1942 a b r e a k t h r o u g h caine vvben th e
legend o f th e H o ra tii a n d C n r i a t i i , from t.lic fic tio n alizrd early h isto ry
of R om o, w as sh o w n lo h av e a p p a r e n t aflinities w ith a m y t h in volving
th e w a r-g o d In d r a , b rin g in g th e secó nd fu n ctio n , t h a t o f w arriors, m o re
fully in to th e sc h e rn e .1 A p a ra lle l w as also sh ow n w ith a segrnen t o f the
Irish s a g a T a í n f í ó Ciíailnge, T h e Ca l i le - R a i d o f C o o l c y , d calin g w ith
f.he first comba!, o f th e g r e a t h e ro C ú c lm la i n n . 2 T h e th r e c n a rr a tiv o s are
q u it e d is s im ila r to th e u n i n i t i a t e d o b serv e r, b u l D iim c z il’s v a st know l-
edge o f b o tli I n d o - E u r o p e a n a n d o t h e r c u ltu ra l co m p lexo s, as well as a
keen eye for e ss en tials, h a s e n a b le d h i m to ide ntify c o m m o n st.nict.nres
in a p e rs u a siv o , even c o m p c llin g series o f p ro p o s a ls . t t ¡s now possible
to find c o n fi rm a tio n o f h i s t.hesis in a r a t h e r u n e x p e c t e d source, th e la te
S p an isli epic Moc edades de R o d r i g o 3 - U nexpected first, becatise Neo-
L a tin c u lt u r e s h a v e n o t g c n e ra lly b r e n fotlñd re lev an t to th e h y p o th e s is ,
a n d s e c o n d , b e c a u s e th e d a t e o f th e p o e m , 1 3 0 0-140 0, is s u rp ris in g ly

I1F.VISTA C A H A R I B N S B D B E S T U D I O S H I S P Á N T C O R V ol. X I, N o . 3 P riirm v cr» 1987

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¡ate. W h y th e s t o r y sh o u ld r e a p p e a r in th e la te S p a n is h M id d le Ages
m u s t rern a iu a r u a t t e r for t e n t a t i v e s p e c u l a ti o n , b u l it b e a rs so m e rela-
tion to th e lo n g su r v iv a l i j j S p a in o f a p rivile ged class h a v in g no o th e r
serious o c c u p a t i o n I b a n w arfare. W h a t e v e r th e re a s o n s i'or its preserva-
tion , t)je S p a n is h s t o r y s t a n d s as a b rid g e b etw een th e R o m á n a n d Irish
yersions. Jt h a s a few e le m e n ts in c o m m o n w jth o ne o r tlie o t h e r w hich
th e y th e m se lv e s do n o t aliare, a n d m o r e i m p o r t a n t , it tr e a t s th e hero
a n d bis fe m in in e foil in a way t h a t th r o w s light on b o t h earlier a c c o u n ts
a n d co nfirm a th e ir p ri m i ti v e c o im n o n source. T o deny llie re la te d n e s s
o f th e S p a n is h versión to th e o th e r s w ould be to reject th eir ow n inter-
re la tio n sliip , o n e o f th e pillara o f th e D u m é z ilia n s t r u c t n r e . T o a cce p t
th e S p a n is h link is to reaflirm th e t r a d i t i o n ’s re m a r k a b l e v ita lity a n d
b r e a d t h o f diffusion.

T h e th r e e tales deal f u n d a m e n t a t l y w ith the in i ti a ti o n t h r o u g h stic-

cessful c o m b a t o f th e y o u n g w a rrio r, followed by his ¡ n te g ra tio n into
society, a p rocess in w hich w o m en play a role. O fte n re p e a te d is the
n u m b e r th re e , sy tn b o lic o f th e th r e e f u n c t io n s or social categ ories, which
m a y be real or th e o r e tic a l, h u m a n o r divine. Beside th e cosítiíc a n d ju -
rid ical ru lers o f th e first f u n c tio n , o r p rie sts a n d k ing -ju dg es, an d the
s ec o n d o r w a rri o r g ro u p , th e th i r d class c otnprises th e p ro d u c t iv e m eni-
b ers o f society, th e c u ltiv a t o r s a n d a r t is a n s , a n d is a ss o c ia te d w ith c o m ­
fo rt, w e a lth , a n d fertility, s u b s u m i n g th erefo re n o rm a ! w ornanly roles
a n d tr a its . A p p a r e n t l y th e o n l y . s t u d y o f S p a n is h te x i s in th e ligh t of
D u m é z i l ’s c o in p a r a ti v e in y t h o lo g y h a s been o ne b y M o n t o r o 1 e m p h as iz-
ing tr ia d ic p a t t e r n s in th e n a r r a t i v e o f several epic tex ts, n o t in c lu d in g
th e Moct d a d e s . M o n t o r o h a s m a d e h ig h ly in te re s tin g discoveries con-
cern in g th e trial a n d e n s u in g o rd e a l -d u e l s o f th e P o e m a de Mí o C i d 6
a n d th e a íf ro n ts c o m m i t t e d by G o n z a lo , th e y o u n g e st o f th e In f a n te s de
L a ra . O t h e r e x a m p l e s he gives a r e h a r d e r to ju d g e , a n d as h e observes
(571)i it is n o t a t all c |e ar t h a t th e S p a n is h tales were cornposed w ith
an y a w a re n e ss o f a n u n d e rl y in g t r i p a r t i t e ideology. S to ries focusing 011
a d o m i n a n t w a rrio r class will a li n o s t in e v ita b ly b rin g th e ir h ero es in to
c o n ta c t w ith ru le rs a n d c o m m o n e rs , or a t t r i b u t e to th ern tr a i t s such as
tyisdon» or b e a u t y w hich can b e t h o u g h t o f as p ro p e r to th e lirst a n d
th i r d f u n c tio n s, respeclively. T h e s t u d y to follow is in te n d e d to com ple-
rnent th e e arlie r fm d in gs, c o n c e n t r a t i n g 011 th e use o f c o in m o n n a r r a ti v e
e le m e n ts in th e th r e e ta le s u n d e r c o n s id e ra tio n , th e R o m á n , Irish a n d
S p a n is h .

T h e Irish s a g a , w ho se w r it te n versions d a te from th e tw elfth cen tu ry ,

is d esp ite its re l a ti v e la ten ess m ore p r im itiv e Ih a n the l i o m a n a c c o u n t.
P u m é z i l s u m m a r i z e s th e h e ro 's in ilia l c o m b a t , a t age seven, as follows:
 543

Cúcliulaimi se rentl sur la frontiére de son pays, provoque et défait les Irois
fréres ítls de Neclita, etiuemis coustauts des Ulates; puis, liots de luí, daiis
un eílrayant et daugereux ¿ta t de fureur mystique né du co m b at,6 il revient
á la capitale, oü des fumines essaient de le calmer par la plus franche des
exhibitions sexuelles; Cúclmlainn méprise l ’objel, mais, tandis q u ’il détourne
les yeux, les Ulates réiississeut á le saisir et le plongenl dans des cu ves d ’eau
froide qui, liltéraleinent, l'éteignent ...7

E le m e n ts s tre ss e d by D um ézil are (lie C r o s s i n g o f a b o rd e r , Lhe (,ripie

characLer o f th c a d ve rsario s, Lhe a l m o s t m yslica) heroic fury, vvhich tr a n -
figures Lhe h e ro p h y sic a lly la o n e versió n, th e a ctio n ol Lhe im ru o d e s t
w o m en - eiglity o f t h e m w h o by ro yal coim n aru l a p p e a r n a k e d before
hiin, aiuj Llie final su beju ing a n d purilicat.ion o f th e liero. A m b iv a le n c e
to w a rd tixe w a rrio r is im p lie d . lie is n ecessary to tlie p r e s e r v a ti o n o f the
g ro u p , b u t his u n c o n tr o ll a b le f u r o r (called f erg ¡n lr ish ) is a t h r e a t to th e
c o m m u n it y a n d m u s t b e neutrali-zed as he beco m e s a m e m b e r oi ít. 11
luis been p o in t e d o u t a d d it io n a l ly t h a t C ú c h u la i n u fights d e s p i te earlie r
w a rn in g s , a n d a lo n e t.hougli a e c o m p a n ie d by a n in a c tiv e ally .“ F u r t h e r ,
his eyes h a v e sp e c ia l pow er; he is a b le to tr a n síix a s t a g l>y his p e n e t r a t -
ing g aze on th e way h o n ie from his fight. He av erts his eyes befo re the
w oinen, how ever, a n d so comes u n d e r th e pow er of his c o u n t r y m e n .
T h e R o m á n s t o r y is f u r th e r rem o v ed from its p r i m i ti v e o rig in s t h a n
is its Irish o r even its S p a n is h c o u n t e r p a r t . T h e R o m a n s c u s t o m a r i ly
c o n v erted vvhat h a d been m y t h in to h u m a n i)send o-histo ry , a n d Livy,
w h o c o m p o s e d t h c b c l t e r of tw o e x t a n t versions, w o rked fro m s e c o n d a r y
sou rces a n d follovved his u sual policy o f idealizing, d r a m a t i z i n g , an d
r a t io n a l iz i n g his m a t e ri a l/ '' lie re c o u n ts how th e A lb a n C u r i a t i i a n d tlie
R o m á n I l o r a t i i , co u sin s a n d each a seL o f ü i p l e t s , ag ree to re p r e s e n t
their res p e ctiv e p eo p les in b a t t l e to d e cid e th e resu lt o f an ¡n eonelusive
war. 'I’he A l b a n s a t íirst h ave Lhe n p p e r h a n d ; th ey ki 11 th e tvvo oidor
R o m a n s b u t are w o u n d e d in the process, so LliaL th e th i r d l l o r a t i u s is
able to s e p a r a t e t h e m by feigning llight, an d kills tlu n n al¡. lie r o t u r a s
to th c city to fiad liis sistor, w ho was beLrothed Lo on e o f his victim s,
o v ercom e w ith grief. C a rri e d aw ay by p a tr io t ic o u tr a g e , he kills her.
T h o u g h co n v ic te d o f th is crim e, he is freed on c o n d itio n he p ass u n d e r
th e s o r u r i u m tiijillum, th e “s i s t e r ’s y o ke,” a s o r t of s y m b o li c J o o r w a y ,
in a r i tu a l w h ich is tlien repeatecl yearly. D um ézil th in k s o f th is pa ss a g e
as a figu rativ o r e t u r n o f a rm ie s to th e city, associa le d w ith a u t u m n , the
end o f th e n n l i l a r y y e a r . 10
In th is v ersió n, t h e h e r o ’s achievemeiiL is m a d e less m a r v e llo u s by t.lic
ruso s e p a r a t i n g t h e ad v ersa rle s, a n d th e heroic fury is re d u c e d to rig bt-
eous a n g e r a t f e m in i n e im p ro p riety . T h e c o u ib a t is n o t charact.erized as
I 544

an in U ia tio n . S till, th e ess en tials a te p re sen t: th e th rees orí b o t h sides,

th e fury, t h e “fen m ie im p u d k j u e ” a c ti n g in a sex u al role, th e p e n a n c e o f
th e hero; also th e p re v io u s w a rn in g s a n d th e fight s o lita ry t h o u g h ac-
c o m p a n i e d . T o a d d to this, in a n o t h e r story , a ia t e r m e m b e r o f th e gens,
B o r a t i u s C o cies, keeps a w h o le E t r u s c a n a r m y a t h a y by th e fierceness
o f his g aze, a fe a t variou sly re p e a t e d in th e Irish tex t. T h e C rossing o f a
te r r it o r i a l b o r d e r is n o t s h a r e d by th e R o m á n a c c o u n t; a Norse tale h a s
th is, aifd l i tt le else, in c o m m o n w ith th e sto ry of C ú c h u la i n n . O n th e
o th e r h a n d , t h e fam ily re la tio n s h ip betw een th e two g r o u p s of R o m á n
c o r n b a t a n ts , fo u n d also in In d ia , has 110 c o u n l e r p a r t in th e Irish tex t.
I» th e Irish s a g a , p ro d i g io u s in d iv id u a l e x p lo its a n d s l a n g h te rs are
n iin g led w ith m y s te rie s a n d p o r t e n ts . L iv y ’s a c c o u n l re d e c ís a m o r e
h ig h ly o rg a n iz e d so ciety. a hero ac ts as p a r t o f a larger schenie, usu-
ally w ith i n r e a s o n a b le h u m a n li m i ta t io n s . T h e S p a n is h versión, 1ike the
o th e r s , is a r e r n a rk a b ly fa i th f u l m i r r o r of its society. M o re p rim itiv e ly
ferocious tlian th e s t o r y o f th e ll o r a l ii , it yet rep re se nta th e s t r ic t u r e s
a n d c o n c e rn s o f th e w a r r i n g c la n s o f th e eleventh c e n tu ry , wiien its hero
lived ( r a t h e r t h a n th e f o u r t e e u t h w h en it reached its e x t a n t forrn). Its
lio ta b ly a d r o i t a d j u s t m e n t o f p l o t to fit c u s to m an d social s t r u c t n r e con-
t r a s t s n ia r k e d ly w ith th e m a n y in c o n g ru itie s, histórica! a b s u r d itie s , a nd
o bscu re rn o tiv a tio n s of t h e a c ti o n , ali s u g g e s tin g a n im p e rfe c t b le n d in g
o f e le m e n ts fro m diverse tim e s a n d sources.
T h e Mocedades , or Y o u th fu l P e e d s , o f R o d r ig o has a t t r a c t e d little
critical a d m i r a t i o n as a work o f a r t . Its i m p o r t a n c e is d u e to its p lace
as on e of only tw o e x tensiv e epic (,exts p reserv ed to m o d e r a tim e s in
S p a in ( o t h e r s a re k no w n t h r o u g h pro s e chronicle versions). It is crud ely
w r it te n a n d s o m e tiin e s in c o h e r e n t. I t s h e ro is a n a r r o g a n t u p s t a r t , íirst
re b e llio u s a n d th e n o v e r b e a r in g to w a rd his king. C h a r a c t e r s a n d scenes
are s carcely ü e v e lo p e d . As in t h e irish s ag a , rn ost e v en ts are r e c o u n te d in
s u m r n a r y fas h io n , a lt h o u g h c o n v e rs a tio n s m a y b e lively a n d d e ta ile d a n d
c a rr y a r in g o f t r a d i t i o n a l a u t h e n t ic i ty . T h e p o e m suífers p a r t ic u l a r ly
by c o m p a r ís o n w ith th e g r e a t P o e m a de M í o Ci d , d ev o ted to th e m a -
t u r e y e a rs o f th e s a m e h is tó ric a! figure. T h e k n o w n versión o f th e finer
p o e m is over 150 y e a rs o ld er, a n d so m e e le m e n ts from it are v agu ely
r e m e m b e r e d in th e Mocedades . W h il e th e Mí o Cid has co n sid e ra b le
basis in h is to ric a l fact, th e Mocedades is a s t r in g of o ften p re p o s te r o u s
fa b r ic a tio n s . O t h e r Üuui t h e ñ a m e s o f th e hero, his king, a n d his wife,
p ra c tic a lly n o t h i n g in it is fa c tu a l. In s h o r t, th e tw o p o e m s a re recog-
tiizably p a r t s o f a c o n m io n t r a d i t i o n , b u t a re e x tr e m e ly diíleren t fro m
on e a n o th e r . As a v a lu a b le d o c u m e i it in th e h is lo ry of th e epic, th e Mo -
ccdadcíj h a s b e e n raisetl fr o m o b s c u r ity by recen t sch olarly s t u d y , 11 b u t
HO tra n slatÍQ n h a s b een m a d e , an<4 th e b e st p n b lis h e d versión, a paleo-
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g ra p h i c copy, is n o t ea-sy t.o read . A r a t h e r d e ta lla d s u i n m a r y is Llierefore

ne ed ed liere, w hich wil) in c lu d e m a t e r i a l n o t nece ssa rily p e r t i n e n t t o a
D u m é z il ia n i n t e r p r e t a t i o n , si rice selection m a y a i n o u n t to falsification,
a n d t h e s o m e t i m e s p uzzlin g e le m e n ts t h a t seem e x t r a n e o u s rnay t u r n
o u t t o h a v e u nfo reseen significance.
T h e p o e m o p e n s w ith a b r i e f cornpression o f sev eral c e u tu r ie s of leg-
e n d a r y e v e n ts , b egirin ing w ith an a c c o u n t o f th e o ri g in s o f C h r is ti a n
S p a iu aftev th e M o o rish coiK|iie.st. Deeds o f several co u n ta an d kings
of Citótile a re s u m m a r i z e d , la rgely i a their re la tio n to th e m o r e power-
ful k in g d o m o f León, before R o d r ig o a p p e a rs on th e scene. [lis fath er,
D iego L aín ez , is a C a s ti li a n lea d e r, a n d liis m o tlier a g r a n d d a u g h t e r of
a Leouese kiisg. D m i n g a r a r e p erio d of peace, a n e ig h b o r in g co u n t,
G ó m e z de G o r m a z , c o n d u c ís a e a tt le - r a id a g a in s t D on D iego, w h o iu
tu r n , w ith liis b ro th e rs, a t t a c k s th e c o u n t ’s s t r o n g h o ld a t d a w n , b u rn -
ing, r o b b i n g , a n d t a k i u g c a p tiv o s an d c a ttle . Seized w i t h th e cap tiv es,
as a sp e c ia l d is h o n o r , a re a g r o n p o f w om en who are o u t w a s h in g clothes.
'l he counL follovvs D on Diego h o m e a n d lodges c e rta in d e m a n d s , in re-
s[)onse to wliích so m e o f th e c a p tiv e s a n d “w a s h e r w o m e n ” ave veUsrncd
a n d a b a t t l e b e tw e e n tw o g ro u p s o f a h u n d r e d k n ig h t s is sch ed ule d to
ta k e p lac e in n in e díiys. l t m a y n o te d p a r e n t h e ti c a ll y t h a t all this action
h a s a r i t u a l q u a li ty a n d seem s to a d h e r e to a sense o f w h a t is a c c e p ta ld e
or u n a c c e p t a b le ( r a t h e r tlia u r i g h t o r w ro n g ) a m o n g l o r d s o f given pow er
a n d ra n k .
R o d r ig o , a v id for his First c o m b a t a t a ge tvvelve, j o i n s th e h u n d re d
in d is re g a rd o f h i s ' f a t h e r ’s wishes, a n d ( u n a c c o u n t a b l y ) receives th e
privilege o f th e “íirsl blow s” a n i n d i v id u a l duel w i t h t h e o p p o sin g
d e s íg n a te , 111 th is case th e c o u n t, which hu inch es th e b a t t l e . K illing the
c o u n t f o r t h w i t h , h e jo in s th e e n s u in g fray to c a p t u r e th e v i c t i m ’s two
sons, w h o a re b r o u g h t to his village o f V ivar. No r e p o r t o f th e g ro u p
b a t t l e is giv en. j
T h e c o u n t ’s th r e e m a r r ia g e a b le d a u g h te r s , h a v in g le a r n e d o f th e dis-
a ste r, d re s s in “d a r k sh iny g a r m e n t s a n d veils all a r o u n d ; th e u th ey
wore i t 12 in m o u r n i n g , now for jo y .” A t V iv ar th e y id e n tif y th e m se lv e s
to D iego L aíuez, beseeching th e r e l u m o f th e ir b r o t h e r s , as th e y h av e
b een lefl helpless. D iego declines re sp on sib ility a n d re t n a n d s t h e m to
his son R o d r ig o , w h o reb uk es h im as a liar (p e r h a p s for u o t a a s u m in g
d u c a c c o u n t a b i l i t y ) a n d r e c o m m e u d s t h e re q u e s t be g r a n t e d . D o n D iego
i n s t r u e t s R o d r i g o to free th e b ro th e rs, who m i m e d i a te l y b eg in to p la n
a d e s tru c tiv o n i g h t ra id 011 V ivar, to tak e p lace in fifteen d ay s. T h e
y o u n g e s t o f t h e th r e e d a u g h te r s , X im e n a , counsels p ru d e u c e ; sh e will
m j u e s t redress o f t h e kiug a n d keep t h e m safe.
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X im e n a , a c c o m p a n ie d by th ree d a m s e ls, arrives weeping belore th e

k in g a t Z a m o r a : sh e lost her inoLher as a child, a n d iiow R o d rig o h as
c a p t u r e d )ier b r o l h e r s a n d killed her fa lh e r. She asks t h a t rigiit be
. (Jone- T h e k in g ( o f L eón, b u t his r e a l m ¡ncludes th e k in g d o m o f C a stile )
is grieved by t h e re q u e s t, fe a rin g a C a s ti li a n in su rre c tio n ; b u t X im e n a
h a s th e s o l u ti o n : Lo s u b d u e C a s ti le a n d all th e t r i b u t a r y k in g d o m s,
“give m e R o d r i g o in m a r r ia g e , t h a t o ne w h o killed iny f a t h e r . ’' T h e
king'íi co u n sello r is overjoyed by th is G o d -s e n t favor, a n d a m essen ger is
s e n t to s u m m o n f a t h e r a n d son to th e royal co u rl. Don Diego su s p e c ls
trea ch ery . Ue ad v ises R o d r ig o to re g a r d th e king as a d ead ly eneiny,
a n d to t a k e refu g e w ith an ú nele w hile Diego resp o n d a to th e su m in o n s.
R o d r i g o d e m u r s : “ W h a t yon u n d t r g o , l warit to u u d e r g o ” ( C ú c h u l a i n n ’s
ca reer p a ra l le l s t h a t o f h i s fa tlier in m a n y w a y s),u a n d advises D on Diego
to ta k e 300 k n ig h l s to th e c o u r t a n d let liiin, R o d rig o , c o im n a n d th e m
u p o » arr iv a l. A t th e g a le s o f Z a m o r a he o rd e rs th e forces to p r o t e c t
D iego a n d kiÜ th e king if he tries to h ave th e f a t h e r seized, ju s ti f y in g
th e c o m m a n d on th e g r o u n d t h a t as C a s ti li a n s th e y are n o t vassals o f th e
kin g, a n d t h a t his slay in g o f th e c o u n t was a l e g i tí m a t e a c t o f war. T h e r e
seeins to be a ta c i t a s s u m p t i o n t h a t t h e k illin g is p u n ís h a b le , however,
im p ly i n g a conílict b etw een e th ic a l systerns.
Jn a n e n ra g e d s t a t e , R o d rig o e n te r s the royal co u rt. Al! fall back
in te r ro r b efo re his gaze. D on D iego kisses th e k i n g ’s harid; R o d rig o
refuses to d o so a n d th e n (a f te r an a p p a r e n t g a p in th e te x t ) kneels
as t h o u g h to p e rf o rm th is o b e is a n c e b u t in s te a d dravvs his sw ord (or
p e r h a p s m erely w ears a very lo ng sw ord; th e te x t is unc lea r). T h e king,
terrified, cries, “G e t t l i a t devil aw ay frorn m e .” R o d rig o sc o rn s th e k i n g ’s
a u t h o r it y , d e c la rin g h im se lf d is h o n o re d by his f a t h e r ’s a c t of allegiance.
A t t h a t i n o m e n t th e k in g c o n u u a n d s : “U ring me t h a t dam se); w e’ll
b e tr o tl l th is h a u g h t y o n e .” D o n D iego is fr ig h te n e d a n d in cred u lo u s.
X im e n a a p p e a r s , lo oks R o d r ig o u p a n d dovvn, a n d says, “M a n y th a n k s ,
for th is is t)ie c o u n t I re q u e s t” (R o d r i g o is n o t a c o u n t) .
'l'lie t r o t h is p le d g e d . R o d rig o , furious, sw ears never to kiss th e k i n g ’s
h a n d o r to be i n t í m a t e witli X i m e n a u ntil lie lias won live b a t t l e s in th e
field. T h e k in g is arnazed: ‘‘T h i s is no m a n ; he h a s the look o f a d e v il.”
T h e co u n se llo r p ro p o s e s l e t ti n g R o d r ig o prove his resolve by leaving hini
u n su pp oj-ted w h e n th e M o o r s n e x t a t t a c k C a stile .
T ile sim ila rítíe a a m o n g th e versíons m a y be e x a m i n e d ii) th e o r d e r o f
th e ir i m p o r t a n c e a n d th e ir reliability. D u m éz il e m p h a s iz e s th e m y s tcri-
ous, u n c o n tr o Ü e d fu iy o f th e he ro a n d th e c a l/n in g eífect o f th e wciiiiaii11
(tlio u g h s h e is a b s e n t fro m I n d o - I r a n i a n a c c o u n ts ), a n d th e preva len ce
o f th e in u n b e r th ree. T h e first tw o o f these are well re p re se n te d in th e
Mocedades. T h e a n g e r ta k e s on an ¡m a g ín a r y q u a lity by a risin g so m e
 547

da ys a ft e r th e e v e n ts t h a t p ro v o k e it, u p o » a rriv al in Z a m o r a , w hich is

over a ln m d r e d m ile s ’ j o u r n e y fro m V ivar. 11 is a m a f v e ll o u s a n g e r as
well, íllling even R o d r i g o ’s fa t h e r w ith fear, b u t averfced as l>y a spell
wlien X in ie n a , b r o u g h t to tlie sccne j u s t in tim e, coolly s u r v e y s the hero
a n d r e p e a t s her s c a u d a l o u s re q u e s t. R o d r ig o ’s te r rib le , p a r a l y z in g gaze
h a s a n a lo g u e s in th e tales o f C ú c h u la i n n a n d l l o r a t i u s C’ocles (as well as
th e Norse O d i n ) . T h e r e is a s t r o n g su g ge stion t h a t he is tr a n s fig u ra d by
his w r a t h , «is h a p p e n s in Ir e la n d a n d Ind ia: “figura a d e p e c c a d o ,” “he
h a s th e appearaiio.e of a d e v il,” ín th e w ords ol th e k i n g . 15
T h e se co n d key e le m e n t, th e a c tio n o f th e “fe m m e i m p u d i q u e , ” is
especially p o w e rfu l in th e S p a n is h versión. D u m é z i r s r a t h e r d a r i n g sur-
m ise in d r a w i n g a p a ra lle i b etw e en l l o r a t i u s ’ sister a n d th e e ig h ty n ak ed
Irish w o m e n c o u ld sc;>rcely find a in ore c o n v in c in g c o n f i r m a tio n . Like
th e sister, X i m e n a c o m m it s a n i m p r o p r i e ty a g a i n s t p re v a ilin g c u s to m .
In R o in e th e girl e rrs by b a r i n g e m o t io n s t h a t a re deerned u n p a tr io t ic ,
a n d by le a v in g d o in es tic seclusion to do so. T h e s e w ere serio u s m a t t e r s
to her c o u n t r y m e n . X i m e n a c o m m i t s iu fra c tio n s o f c o m p a r a b l e g ravity ,
failing to o b se rv e d eep m o u r n i n g in th e d a y s a fte r her f a t h e r ’s d e a t h ,
failing t o p u t a sid e any t h o u g h t o f m a r r ia g e for the p re s c rib e d y ear, an d
ta k i n g a b o ld s e x u a l in itia tiv e w hich, how ever, do es n o t m a k e th e m a r ­
riag e im p o ssib le by d estro y in g h er ho n o r. 11er sexu al f o r w a rd n e s s works
to a b a t e th e h e r o ’s fury, aü in Ir e la n d , a n d , as iu Rocne, lead s to th e
p h a s e of p e n a n c e or p u rilic a tio n . S he cons])ires, like th e Ir ish w o m e n ,
w ith th e ru le r to con tro l the hero , b u t th e c o n tro l is e x t e n d e d to th e
w hole class o f m e n of a n a s , id en tilie d w ith the C a s ti li a n s . Iler m e t h o d
is t h a t o f th e t h i r d f u n c tio n , r e l a te d to fam ily a n d fertility. Like R o d rig o ,
she ac ts alo ne. S he h a s a heroic q u a l i t y herself, a q u a li ty a p p e a l i n g in a
w arlike c u ltu re .
VVhile t h e fu ry a n d Lhe fem in in e role are s t r o n g ly rem in isce flt o f the
ea rlie r versio ns, th e s y m b o li c use o f th e n u m b e r th r e e is less im p o r-
t a n t t h a n in H o m e , Ir e la n d , or In d ia , where th e h e r o ’s first v ic t im is
a d is ti n c tl y - f o r m e d tr ia d - th r e e b ro t h e rs , or a t h r e e - h e a d e d m o iis te r -
a n d h e to o is c h a r a c t e r i z e d as th i r d iu a series, l l o r a t i u s is th e th i rd
tr ip i e t o f t h a t ñ a m e , C ú c h u la i n n is b o r n of a b iz a rre series o f t h r e e p reg -
nancies, a n d l u d r a is replaced iu so m e te x ts by an a s s i s t a n t n a m e d '[Vita
“t h i r d . ” In S p a i n th e th rees seem to yield to m o r e i r n p o r t a n t a s p e e t s
of th e p lo t , su c h as th e role o f th e a ggrieved X im e n a , w h ic h p e m i t s
th e la t e r f o r m a t i o n o f a fam ily b o n d a m o n g th e c o n te n d i n g g ro u p s , a
b o n d p r e e x i s ti u g in R o m e a n d lu d ia . R o d r i g o ’s v ic tim s a re th r e e , b u t
th ey lack th e s y m i n e t r y found elsewhere: th e slain f a t h e r a n d his tw o
sons, c a p t u r e d a n d q u ic k |y released. X im e n a is a th ird d a u g h t e r , b u t in
th e M o ce d ad es , R o d r ig o is i u t ro d u c e d as th o u g h he were a n o n ly son.
B a jla d s fr o m th e s a m e so u rc e as th e p o e m , how ever, p re s e n t R o d rig o
as a t h i r d so n , selected a b o v e lh e o th e r s to defend th e fam ily a g a in s t
th e m a r a u d i n g C o u n t o f G o r m a z , a n d th is d etail is preservad in a well-
k n o w u G o t d e n A ge play 011 th e s u b j e c t . 16 As th e p o e m progresses, th ree
js th e « u m b e r m o s t o fte n m e n t io n e d , b u t w h e th e r because o f a special
im p o r t a n c e o f tr i a d s o r s i m p l y b e c a u s e th r e e is ofteji tlie m o s t eíl'ectíve
n u m b e r ' i n n a r r a t i v e , is a m a t l e r for con jectu re. l a th e first o f th e íive
sw orn b a ltle a , R o d r ig o kills tw o M o o rish chieftaina a n d c a p tu r e s a th ird .
T h e se co n d is a sing le c o m b a t ; in th e th i rd lie kills three M o orish kings
a n d c a p t u r e s tw o m ore. A fte r t h a t , tw o b a lt le s are o m i tt e d fro m th e
p o e m a n d it is u n c le a r w hich ones belo ng to the a n n o u n c e d series. As
ia th e tr is h s a g a , a s p e c ts o f th e iriitial c o m b a l a re r e p e a te d , alw ay s w ith
v a ria tio n s . In s u b s e q u e n t e n c o u n te rs , R o d rig o usually h a s 300 u n d e r his
comiTiand, a n d a t o u e p o i a t ils trip le, 900. Still, th e n u m b e r th ree lias
less im p o r t a n c e , js less s t r a te g i c a ll y p la c e d , t h a n in th e earlier n a rr a -
tives. T h e la t e d a t e o f th e Mocedades is a p r o b a b l e c ause o f th is change,
a n d th e h y p e r t r o p h y of Lhe seco n d f u n c t io n , or exigencies o f th e p lo t,
c o u ld be a d d u c e d as factors, b u t p e r h a p s it is b e st s i m p l y to a c c e p t Lhis
lack as a w eak link in th e g e n erally s t r o n g chain o f analogies.
T h e c o n f r o n ta t io n o f th e secon d fu n c tio n w ith th e o t h e r two, in th e
p e rs o a s o f t h e k ing a n d X im e n a , is m u c h m o re d ir e c t a n d e x p lic il t h a n
in an y o t h e r versión. B o th c h a ra c t e rs a re p re s e n t a n d active a t the
c ritical m o m e n t vvhen R o d r i g o ’s fu ry is d iv e r te d , b olli are o b je c l s of his
m o m e n t a r y rejectio n an d a p p a r e n t scorn, a n d th e y c o lla b o r a t e to s u b d u e
h im . M o t i v a t k m s a re n o t p res en ted as p e rs o n a l, a n d do n o t m a k e sense
in t e r m s o f p e rs o n a l r e la tio n s h ip s or re aclio ns. J i a th e r , th e th re e figures
m ov e in o b e d ie n c e to a predeterm ine*) s t o r y line; th e y are ty p e c h a ra c te rs
in a n a r r a t i v e t h a t c o m m u n ic a t e s c o n c e p ts t h r o u g h a c ti o a w ith little
or no a w a re n e s s o f th e a c to r s as in d iv id u á is. A n u m b e r o f puzzles a n d
a n o m a l ie s a re resolved by rec og niz ing th e sy m b o lic, p a r a d i g m a t i c n a t u r e
o f th e sto ry . F o r in s ta n c e , R o d r ig o d o m í n a le s th e scene b u t does n o t
c o n tr o l it; h is a u t m i o m y is r n a i n la i n e d a n d a t th e s a m e tim e s u b j e c te d
to o t h e r forces. U p o n liearing o f th e b e t r o l h a l he p ro te s ts , using a
fo rm u la ic e x p re s sio n a o r m a ll y elicited by Lhe receipt o f b a d news: “You
have b e t r o t h e d m e, sire, m o r e to m y g rief t h a n to m y desire.” T h o u g h
he re m a in s fu rio u s, his w r a t h is no longer t h r e a t e n i a g to th o se p re s e n t,
a n d , significaritly, he malees no e/fort to liave th e a g re e m e n t ijulJified. A s
a p e rs o n a l re a c tio n , tliis leaves t h e re a d e r baílleü as to w h e th e r o r n ot
h e o b je e t s t o t h e b e t r o t h a l . T a k e n m o re a b s tra c tly , how ever, it b ecom es
c o m p re h e n sib le ; in th e c o n f r o n ta t io n o f th e inv incib le w a rrio r w ith a
w o m a n , o n e o r th e o t h e r h a s to lose, as e ith e r th e m a n yiekls or th e
w o inan is s c o r n e d 11 R e re a c o m p r o m iso is achieved. R o d rig o yields, a n d
 549

pledges h¡ruself to th e tvvo g r e a t o b lig a tio n s o f a lifelinie, to k in g a n d

to wife, t a k i n g th e tw o sto p s necessary í'or e n tr y i n t o th e a d u l t world,
a n d in a b r o a d e r sense, n e cess a ry fot th e w a rrio r to ta k e his p lace in
thti tr if u n c t i o n a l sociely. B u t th e S panisli n a r r a t i v e allow s h i m to yield
on his ow n te rin s, to give tlie d e fe a l the a p p e a r a a c e o f victo ry . H av in g
im p o se d his o w n p e n a n c e as a s l ric lly m i li ta r y s e t o f ex p lo its , lie vvi)l
re tu rn to b o t h r e l a ti o n s h ip s in a v icto rio us colé, o v e r b e a r i n g w ith hi;>
king a n d th e m a s t e r in his m a r r ia g e . So, as a r e p r e s e n ta t iv o o f th e
w arrior class, he re a llirm s th e d o m i n a n l p o silio n o f t h a t clasa.
Still o tlie r e n ig n i a ti c o r see m in g ly capriciou s a s p e c l s o f lh e tale tak e
th eir p r o p e r p lace if it is r e g a r d e d as an ex p re s sio n o f k n o w le d g e an d
b e ü e f in n a r r a t i v e form , t h a t is, as a m y t h . A q u e s tio n arises c o n c e ru in g
Llie s e x u a l u i a t u r í t y o f th e tw o m a i n actors. R o d rig o is tw elve y e a rs oíd,
a n d X im e n a , u n d e r n o r m a l a s s u n ip tí o n s , m u s í be y o u n g e r , c e rt a in l y
no older. T h e b e t r o t h a l p re s e n ts a f u r th e r dífiiculty, in tl ia t t h e verb
used, despumar, im p lies o nly a p ro m is e o f m a r ria g e , a n d y e t a se x u a l
re latio iish ip is en v is io n ed . T h e m o tiv e s beliind X i m e n a ’s p ro p o s a l are
obscure. U er p le a for ju s ti c e is inLerpreted by th e k in g as a req u e st
t h a l R o d r ig o b e p u u is h e d o r t h a t r e t r i b u t i o n be d ir e c te d a g a in s l his
peopie. T h e k in g is w ary o f p ro v o k in g a rev o lt. 11er role th e n becoines
t h a t o f p e a c e m a k e r : “l ’ll show you hovv to resto re c a lm in C a s ti le an d
th e otlier k i n g d o m s . G iv e m e R o d r i g o in m a r r i a g e . ” T o in t e r p r e t th e
rn;trriage as a p u n i s h m e n t o r an acL o f revenge is Lo see ¡L in Lerms of
Lhe se x u al riv a lry referred to e a rlier. X i í n e n a ’s exp ressed m o tiv e , grief,
would n o t be e x p e c te d Lo o c c asio n a p ro p o s a l o f m a t r i m o n y , ex cep t
p e r h a p s in a p o li ti c a l or eco n o m ic sense: h a v in g lost h e r f a t h e r , sh e needs
anoLlier m a n to s u p p o r t her. She can po ssib ly be seen as a s e h e m e r, as a
w o m a n w h o seizes an u n u s n a l o p p o r t u n i t y to o verco m e m a l e resisLance,
or as a h e a le r, a (very aggressive) resto rer o f o rd er. In n o n e o f these
i n l e i p r e t a t i o n s is sh e a b eliev able h tim a n being. R a t h e r , her a c tio n s
are sy n ib o lic o f p o l e n t idea s a b o u l fem ininity. R o d r i g o ’» resp o n so also
se em s to b e an e xp ressio n of diverso a n d p a rt ia l ly c o n t r a d i c t o r y ideas:
íirst an a n g r y p r o t c s t , o f n u c le a r i m p o r t since he was a lr e a d y angry,
b u t in w hich sco rn o f X im e n a (w h o in h is lo ry o u t r a n k e d h im , as the
p o e t m a y h ave k n o w n ) seem s to d o m í n a le ; Ihen th e o a t h im p o s i n g his
own pu n is h m en t. or penalice, p e r h a p s u n d e r s l a n d a b l e as a re jeelio u an d
r e p l a c e m e n t o f t h e p e m ilty set by th e king. llís a p p a r e n t acquiescence
Lo Lhe decisión o f a d e s p i s e d ruler, w h ose a n th o r it y he o th e r w is e llaunts,
is th e n a s n b m is s io n to th e rules of th e society, o f which lh e k in g serves
as s p o k e s m a n .
'l'ho p o e m ’s v io le n t d is to r t io n s o f hislo ry , e ith e r as kn o w n or as im ag-
ined in o t h e r epics, also forcé v eco g n iü o n t h a t triith to lile was no goal.
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K in g F e r n a n d o , p o r t r a y e d as w eak a n d snivcling, was k now n lo his-

to r i a n s as F e r n a n d o El M a g n o , o ne o f S p a i n ’s ino st successful w a rrio r
kin gs. R o d r ig o , called th e C id in th e Mí o Cid, w as in t h a t p o e m a
m o d e j o f p ro p r ie ty , a q u a li ty q u it e alien to tlie h ero o f th e Mocedades.
A m o n g o t h e r d e p a r t u r e s fro m w ell-k no w n histo ry , th e m o s t egreg io us
¡s an in v as ió n , alLogether fa b r ic a t e d , o f F ra n c e by F e r n a n d o . T h i s is
larg ely a t t r i b u t a b l e to a fo u r te e n t h - c e n tu r y su rg e o f x e n o p h o b ia , while
t h e d e g r a d a t i o u o f th e k i n g ’s c h a r a c t e r a n d his sh a m e fu l d o m i n a t i o n by
R o d r ig o ca n b e in te rp rc te d as cru do a ttem p t.s to m a g n ify th e secoiul
fu n c tio u a t t h e e x p e n s e o f the first.
In th e cotirse o f s u r v e y in g th e th r e e m a in t r a i t s li u k in g th e Mocedades
l o o t h e r j n i t i a t i o n tales, a n u m b e r o f sec.ondary t r a i t s h ave b e en m en-
tio n e d . T h e y can now be e n u m e r a t e d s u m m a r i ly , a lo n g w ith so m e ad-
d i t io n a l p o in ts: th e p rev io u s w a rn in g s , th e h e r o ’s íig htin g alon e th o u g h
a c c o m p a n ie d , t h e fam ily re la tio n s h ip (h ere after th e fact) b etw een op-
p o sin g sides, th e povverful furiou s gaze, a n d th e physical tr a n f ig u r a ti o n
o f th e h ero . A n e le m e n t m issin g fro m b o th th e S p a n is h a n d R o m á n leg-
ends, a n d ir re le v a n t in In d ia , a p p e a r s in Irish a n d Norse sag as, n a m e ly
t h e Crossing o f a b o r d e r b efo re th e c o m b a t . l l o r a t i u s a n d R o d r i g o fighl
on th e íield b e tw e e n tw o h o stile b a n d a o r arm ies. All in all, c o n sid e rin g
th e p res e n ce o f e s s en tial e le m e n ts a n d th eir excellent n a r r a t i v e integ ra-
ti on : i u i t i a t o r y c o m b a t , fury, c o n f r o n ta t io n o f th e th ree fu n ctio n s, th e
fem in in e role, a n d th e final p e n alice or pu rifica tio n , it m u s t be said t h a t
S p a in p ro v id es o n e o f th e b e st e x e m p l a r s of th e a n c ie n t t r a d i l i o n . In
c o m m o n w ith I r e la n d it luis th e ex p lic itly iu i ti a to r y n a t u r e o f th e c o m ­

[
b a t , n o t seen in R o m e , w hile w ith th e l a t t e r a n d w ith In d ia it sliaros
th e u n easy sense Lhat th e s la y in g o f th e a d ve rsary , t h o u g h ju s ti li e d on
Jegalistic g r o u n d s , was a crim e. A s iu Livy, it is a g riev in g w o m a n ,
b e re a v e d by t h e s la y in g , c o n t e n i p l a l i n g m a r ria g e , w ho e n d s th e furious
pilase; as in th e Irish tale, it is th e p ow cr o f w o m a n t h a t acxo m p lishes
th e t a m i n g , allied w ith royal in te re sts. So th e Mocedades links th e o th e r
tw o a cc o u n ts. A g a in , w hile C ú c h u la i n n ac ts w h olly o n his own initia-
tive a n d kills fo r m id a b l e e n c im e s u n a id e d , l l o r a t i u s f u n c tio n s as p a r t
o f a hig h ly o rg a n iz e d effort, b e n e íitin g fro m th e c o lla b o ra tiv e c h a ra c t e r
o f th e c o m b a t a n d s u b m i t t i n g a f t e r w a r d to g ro u p j u d g m e n t ; R o d rig o
s t a n d s b e tw e e n t h e m , d o in g m a r v e llo u s deeds w ith in th e fam ily p a t t e r n ,
s u b m i t t i n g to no o n e b u t a c c e p te d by all, as he c o n tin ú e s successful
a t a rm s. D u m é z ü h a s e x p re s sed a d m i r a t i o n o f th e w ay th e l l o r a t i u s
s t o ry w as a d a p t e d to t h e leg alistic Rorriau m e n t a l i t y ,18 o f how p rim itiv e
m y tli w as h u m a n i z e d by ‘T e m p i r i s m e , le gros b on sens, le g o ü t d u ta n -
jí.ibL e t d u vériíiab le qui c a r a c t é r i s e n t tes L a ti n s .” 19 T h e s e w ords a p p ly
eq u ally well to th e S p a n is h a c c o u n t, in w hich th e m y tliic a n d th e m ar-
 551

yellons a re red u c e d to h u m a n d im e n s io n s , a n d th e facts o f clan w arfare

a n d Lhe s t r u g g l e b e lw e e n k in g a n d nob ies a re fa itlifully reílected. A
s e m i - a u t c u o m o u s w a rrin g class is p o r t r a y e d , witli its ow n s t a n d a r d s of
c o n d u c t a n d sc o rn for b o tli ru lers a n d p r o d u c e r s , g iven to a g g ra n d iz e -
m e n t o f t h e in d i v id u a l even in his excesses, c o n c e rn e d a b o v e all w ith
p e rs o n a l a n d fam ily r e p u t a ü o n , called h o n o r. A g a i n s t th is b a c k g r o n n d , „■
th e m d ik e ly t n r n s of th e p lo t s t a n d o u t stro n g ly . T w o diffe ie n t kind.s
o f k n o w le d g e h a v e been b r o u g h t t o g e t h e r a n d rec on cile d fo rin ally (as
n a r r a t i v e j b u t n o t co u cep L u ally : th c facts o f e l e v e n th - c e n t u r y lite a n d a
h a lf - n n d e r s to o d b n t pow erfnl a n d m e m o r a b l e a n c ie n t tale.
T h e fo rego ing c o rr e s p o n d e n c e s are as n early d e íin iliv e as any c an be
in th e c o m p a r a t i v o m y t h o lo g y o f D u m ézil; to d en y t h e p lac e o f th e M o ­
cedades in t h e la r g e r sclieme w ould be, as a lr e a d y s u g g e s te d , to d en y the
v alid ity o f t h a t schem e. O t h e r less e x a c t a n a lo g ie s n ow p re s e n t th eni-
selves, for th e in i ti a ti o n s to ry d o e s n o t ex ist in iso la tio n . T w o o th e r
tales a re a s s o c ia te d w ith it in v ario n s c u ltu re s, o n e o f w hich m a y conve-
nienLly b e t e r m e d “b e tr a y a l a n d r e t r i b u ü o n , " a n d t h e o t h e r “t h e sins of
th e w a r r i o r . ” R o th o c c u r in In d ia , w ith liu lr a as th e cen tra] c h a ra c te r.
H o m e h a s o n ly th e íirst, w hile th e sec o n d reo cc u rs in several places in-
c lu d in g G re e c e (H eracles) a n d S c a n d jí n a v ia ( S t a r k a d r or S t a r c a t h e r u s ) .
It w o u ld in d e e d be re m a rk a b l e if b o l h tliese sto rie s were a t t r i b u t a b l e to
R o d r ig o or a c o g n a te hero, b u t th e possibiliLies noed Lo be co nsid ercd for
the fu 11 poLenLial of th e S p a n is h t r a d i t i o n , a n d t h e lig h t il can Lhrow on
o th e r s , to b e a p p r e c i a te d . As before, s u m m a r i e s o f c o m p l e te stories will
be given, to avoid m a k i n g a r b i t r a r y se lection s a n d p o ss ib le d is to rtio n s .
F irst, th e b e t r a y a l a n d r e l r i b u t i o n in R o m á n a n d S p a n i s h versions.
A c c o rd in g to Livy, th e b a t t l e o f th c H o ratii was fo u g h t d u r i n g (h e rule
o f a le g e n d a ry w a rrio r-k in g , Tulltis Hostilius. 'í'nilus m a k e s an allian ce
a g a in s t c o m m o n eneniics w ith th e A lb a n d i e f a to r M e t t i u s Fuffetius. In
b a tt le , t h o u g h , M e t ti u s b e tr a y s his ally, leaving th c íield w i t h th e in-
te n tio n o f jo iiiiu g forces w ith w h o m e v e r a p p e a r s to be w in n in g . T u ll u s
m a n a g e s a v ic t o ry in s p ite o f th e treachery , a n d p r e t e n d i n g to be un-
a w a re o f M e t t i u s ’ falseness, de ceitfully m a n e u v e r s h im in to a c.ouucil
w here he is acc u se d a n d c o n d e m n e d . 'f u l lu s chooses a fo r m o f e x ecu tio n
w hich is r e g a r d e d as exccssivcly b r u t a l : Metl-ius is d r a w n a n d q u a r t e r e d .
C o m p a r i s o n h ere is w ith th e c o u n t F e rn á n G o n zález , w h o ruled C a s tile
several g e n e r a t i o n s before R o d r ig o lived, an d who, like h im , was a leg­
e n d a r y s y m b o l o f C o s t i l i a n in d e p e n d e n c c from León. A ftc r R o d rig o , he
is th e m o s t i m p o r t a n t c h a r a c t e r o f th c Mocedades] so m c 68 lines are
d e v o te d to h i m . 20 liis p resence in th e histórica) sketch o f ea rly O h ris tia n
S p a in ti ia t o c c u p ie s th e íirst p a r t o f t|ie p o e m is n o t s u r p ris iu g , b u t th e
inclu sió n o f fa b u lo u s a d v e n tu r e s fro m his (ictionalized b io g r a p h y is liare!
| b b ‘¿

to e x p la in unless t h e y a re re g a r d e d as tr a d itio iia j m a t e r i a l t h a t so m e h o w

w asseeri to b elo n g to g e th e r w ith R o d r i g o ’s in i ti a ti o n . F ir s t- fu n c tio n fig­
ures, j u s t ru le rs like F e rn á n G o n z á le z , are in variou s c u ltu re s th i r d sons
o f f a n t a s ti c j n a r r ia g e s w ho overcorne th e ir less w o rth y older b ro th e rs to
a t t a i n th e k in g s h ip . T h e m a r r ia g e o f t h e p a r e u t s in th is case is u n u s u a l
t h o u g h w ith i n th e b o u n d s o f S p a n is h realism : th e fa th e r, a p rince, h a d
b een exiled by his o w n fa th e r b ec a u se h e vvas wild a n d u n c o n tro lla b le .
W h il e iií M o ocish la n d s he m a r r ie d a C h r is ti a n princess w ho liad been
liv jn g th e r e as a p r o s l i l u t e - a m a r r i a g e n o t p e rm is s ib le a t lióme. T h e
h e r o ’s tw o o ld e r b r o t h e r s a re w orthless, b u t he in d n e course b eco m es
C o u u t o f C a atile. He j o u r u e y s to N a v a rre to m e e t w ith th e k m g u n d er
p r e t e n d e d s a f e -c o n d u c t, b u t is trea c h e ro u sly seized a n d im p riso n e d . lie
is freed b y his c a p t o r ’s sister, w h o h elp s h im , still in ivuns, to e sc ap e to
th e hills, w h ere a lecherous a rc h p r ie s t accosts h er b u t is killed w ith his
ow n w e a p o n as she p r e t e n d s to a c c e p t his ad v an ces. T h e y a re m e t by
an a r m y of C a s t i l i a n s c a rry in g a s t o n e im a g e o f F e rn á n G o n zále z, who
refuse to do h i m h o m a g e u ntil th ey h av e lakeri th e s t a t u e lió m e .21 lie
m a r rie s th e p rin c e ss an d r e t u r n s to N a v a rre lo avengo himselt' on th e
tr e a c h e r o u s k in g , w liom he b e h e a d s w ith his own h a n d . T h e p r e t e n d e d
a llia n c e o f e n e m ie s, th e b e tr a y a l, a n d b r u t a l slay in g a re essential ele­
m e n t s o f b o t h t h e R o m á n a n d S p a n is h legends, a n d t h e le t a ti o n of the
ru le r to th e y o u t h f u l hero is a n a lo g o u s .
ín th e se c o n d t y p e o f n a r r a t i v e , “th e sin s o f Lhe w a rrio r,” th e hero
- In d r a , H eracles, a n d o th e r s -- c o m m it s in fra c lio n s a g a in s t th e th ree
f u n c tio n s in th e ir n u m érica! o rd e r, a n d each tim e is p u n is h e d a p p ro p r i-
ately or stric k e n by an a p p r o p r i a t e disease. He e n d s a n n ih i la l e d or a
suicide. T o co n sid er R o d r ig o a n e x a m p l e o f this ty p e , it is necessary
to m a k e se v e ra l a d j u s t m e n t s . T h e th r e e epics o f th e C id i a n cycle, M o ­
cedades, Cerco de Z am o r a , M í o Cid, m u s t be ta k e n t o g e t h e r as a p o etic
b i o g r a p h y o f t h e h e ro - a p o s s ih ility t h a t h a s been su g g es ted before.22
T h e in f r a c t io n s a re n o t in th e c an o n ic a l o rd er; th e m ilita r y o n e comes
n o t in th e Mo ce d a d e s b u t in th e seco n d p o e m . T h e y are n o t alw ays
foilowed im m e d i a te j y by th e c o rr e s p o n d in g p iin is h m e n ts, an d th e hero,
r a t h e r t h a n e n d in g in ru in , seem s like F ern án G o n z á le z to evolve from
a m i l i t a r y to a first-fu n ctio n figure. F inally , th e p u n is h m e n t s aífect his
g oo d ñ a m e - his h o n o r - r a t h e r t h a n his pow er.
T h e sin a g a i n s t t h e first f u n c t io n is p e r h a p s m u ltip lie d to several.
T h e lé s e -m a je s t é a lr e a d y re c o u n te d rnay be re g a r d e d as h a v in g its p uu -
is h m e n t in th e self-im p o sed b a t t le s ; Ljiis w ould p a ra lle l the case o f In d r a .
It m a y be th e j u r i d i c a l h a lf o f a p a ir o f sins, for a serio u s cosm ic infrac-
tio u is c o m m i t t e d wlien R o d rig o v ió la le s s a n c t u a r y to seize a n e uem y
c o u n t froiu b e h in d a chu rch a lt a r . A m o n g o th e r possible in stanc es, the
 553

m o s t likely o c c u rs in un e p is o d e li n k in g th e Z a m o r a p o e m to its seq u e l - '.-ymc

th e M í o C i d , w here R o d r ig o oblig es th e new K in g A lfonso at, his coro-
n a ti o n to sw ear to o r e p e a t e d l y a n d e i n p h a t ic a l ly t h a t he liad n o b a n d
in his b r o t h e r ’s n n ir d e r. T h e C i d ’s s u b s e q u e n t exile by A lfonso c an be
t a k e n as s u i t a b l e p u n i s h m e n t , t h o u g h it is n o t so p re s e n te d . T h e exile
lias s o m e fa b u lo u s q u a litie s, su ch as th e e x t r e m e h a rs h u e s s o f th e king
a n d th e C rossing t h r o n g h o tn i n o u s te r r a i n , in t h e d a r k o f n ig h t, in to an
alien la n d . For t h e in í r a c l io » a g a i n s t t h e sec o n d fu n c tio n th ere is only
o ne p ossibilily. D u rin g th e siege c e n tra l to th e Z a m o r a epic, R o d r i g o ’s
K ing S an cjio allows in to his confidence a p r e t e n d e d d e se r te r fr o m the
e n e m y city, by w h o m he is tu u r d e re d in a n u n g u a r d e d rno inent. R o ­
drigo , also o íf his g u a r d , is n o t re a d y to p u r s u e a n d kill th e t r a i t o r , a n d
curses In m se lf for h a v in g b e e n c a u g h t w i t h o u t his sp u r s . T h e C h ro n i-
cle t h r o u g h w hich this lo st epic is k now n s t a t e s t h a t th is was th e only
failure a t a r m s o f th e h e r o ’s lifetim e, a d d i n g t h a t it w as no q u e s t io n of
c o w ard ic e23 (a s it w as in th e slo rie s of H eracles a n d S t a r c a t h e r u s ) . T h e
sin a g a i n s t th e t h i r d class is a b l a t a n t on e c o m m i t t e d to w a r d t h e end
of th e Mocedades , w hen R o d r i g o h a s de fe a te d a n d c a p l u r e d th e C o u n t
o f Savoy. T h e c o u n t, to g a in his freed o m , olfers his c a p t o r his beloved
d a u g h t e r a n d heir in m a r r ia g e . R o d rig o asks to see her before decid in g
(it is d e d u c e d t h a t he w as m a r r i e d to X i m e n a by th is t i m e ) . 7* She ap-
p e a rs s h o r tly , h a v in g by so m e c h a n c e b een cióse b y th e b a ttleíield . She
is s u r p a s s i n g ly b eau tifu ). R o d r i g o tak es h e r by th e h a n d , a n d pledges to
give her as wife to F e r n a n d o , b u t in s te a d goes to th e king a n d p e rs u a d e s
ilim to d is h o n o r Frunce by t a k i n g her ¡is a c o n cu b in o .
T h e s co u rg es t h a l descerní tipon th e C id for th e la s t sin s ta k e th e fo rm ,
if th is i n t e r p r e t a t i o n is allo w able, o f th e two sons-in-lavv w h o b lig h t b o th
his m i l i t a r y a n d his d o m e s tic h o n o r in th e y ears follow ing his g r e a l suc-
cesses a t w ar. F ir s t Ihey show c o w ardice before a lio», w h o is co ntro lled
by th e lo n g -u m ise d pow er of th e h e r o ’s eyes. L a te r th e y are co w ard ly
in b a t t l e as well: th e s e c o n d - fu n c tio n p u n is h in e n t . F in ally , in a wild,
m y s te ri o u s p lac e t h a t exists o u ts id e th e Mi u C i d ’a o fte n e x a c t geogra-
phy, th e y in e p tly try to b e a t to d e a t h th e ir wives, t h e C i d ’s d a u g h te r s ,
im p la u s ib l y h o p in g th e re b y to r i g h l th eir failure w ith lh e lion, for which
th e y b la m e t h e C id.
T h e th r e e p u n is h m e n t s , exile, c o w ardice in th e fauiily, b r u t a l i t y to-
vvard th e d a u g h t e r s , m a y be c o n sid e re d a t least p ro v isio u ally as s u rv iv als
o f th e a n c ie n t m y t h . T h e d is p la c e m e n t o f a t t e n t i o n fro m th e C id to the
In f a n te s de C a r r i ó n , his so ns-in -la w , is n o t in itself a g r e a t o b sta c le in
view o f th e p e r m n t a t i o n s of th e m y t h in o tlier co u n tries. T h e c o rr e s p o n ­
d e n te s m a y b e diffuse, b u t th ey b rin g into focus a c u r i o u s fact w hich m ay
o p e n aevv d ím e n s i o n s on th e h e r o ’s b io g r a p h y . in a c ti o n s as well as in
 c h a r a c t e r , t h e In f a n te s t u r n o u t to be o p p o s i te s o f th e C id. As th c hero
liad d o n e in iiis y o u t h , o n e o f llie m re q n e s ts th e h o n o r of th e “Iirst blow s”
i n a u g u r a t i n g a b a t t l e . He ílees fro m his a d v e rs a ry a n d th e C i d ’s n ep h e w
ta k e s his p lace, k illin g th e M oo r a n d giv in g his horse to th e I n f a n te to
cover up his failure . In one o f th e m o s t g la r in g in c o n g r u itie s of all S p a n ­
ish epic, th is failed in i ti a ti o n is tr e a t e d as t h o u g h it w ent u n ob serve d by
all th o s e p re s e n t. T h e In f a n te s th e n a r r a n g e to j o u r n e y h o m e to C a rrió n
w ith Uieir wives, a n d on th e w ay foolishly p l o t to k iü a no b le M oorish
s u b j e c t o f th e C id w hose h o s p i ta l it y th e y are en joy ing . T h e p lo t is foiled.
S ince th e y c o u ld n o t h av e b e n eíited fro m Lhe n u n d e r , th e ir in te n tio n is
b e s t im d e r s t o o d as a sy m b o lic p lo t e le m e n t, n o t a perso n al one; a failed
c rim e a g a i n s t th e Iirst fu n c tio n . Kinally, th e even m o re pu rp o s e less crirne
a g a in s t th e ir w ives is also b est e x p la in e d as a t r a d it io n a l p lo t elem ent;
it c o m p l e te s th e t r if u n c t io n a l series o f fai tures. T h e C i d ’s lo ng develop-
m e n t to w a r d g r e a t u e s s , conceived in t e r m s o f th e th r e e fu n ctio n s, b egan
w ith a successful i n i ti a ti o n ; th e I n f a n t e s ’ in itial failu re leads to o the rs,
w hich c o m p l e te th e i r c o n lu m e ly . In th eir c h a ra c te rs is seen a o n e-to -o ne
c o rr e s p o n d e n c e o f d efects m a t c h i n g th e C i d ’s v irtu es. VVhile he is brave,
rn easu red , loyal g e n e ro u s , piou s, j u s t , a g o o d fam ily m a n , a n d a g reat
leader, th e y a re co w ardly , b lu s te ri n g , tr c a c h e ro u s, avaricious, h a u g h ty
(a n a p t o p p o s i t e o f p io u s ), s c h e m in g , d e s tro y e rs o f th e family, rid icu lou s
to th e ir c o m r a d e s . R o d r i g o ’s successes a n d p e r h a p s his síns lead h im to
w h oleness. T h e In f a n te s n ever evolve. 'i'hey m a y be evil, b u t th e ir m o s t
f u n d a m e n t a l d efect, o f which even evil is on ly a reílection, is weakness.
T li u s does a m i li ta r is t ic society e x p re s s its valúes. R o d rig o was by lar
th e m o s t c e le b ra te d h e ro o f m e d ie v a l S p a in , as H eracles was of ancient,
G reece. T h e m o s t m e m o r a b l e o f t h e in h e r it e d u iy th s would very likely
be a t t a c h e d to t h e m , th e n , t u r n i n g t h e m in to b e a re r s of ideology, into
m o d e l s o f g o o d a n d b a d b e h a v io r u n d e r s t o o d Lo re p r e se n t th e roles, th e
vic issitu d es, t h e d a n g e rs to society, in a word. th e m y s tiq u e , o f th e war-
rior class. T h e g r e a t diíterence is t h a t th e se lf-d e s tru c tiv e héroes o f oíd
a r e rep la ced by o n e w h o uchieves a new , m o re civilized e q u ilib r iu m . T h e
C i d ’s v ir tu e s a r e th o se o f all th r e e classes.
T h e s e re ü e c t io n s in v ite a f u r t h e r speculaLion, t h a t th e C i d ’s heroic.
b i o g r a p h y c a n be u n d e r s t o o d as an i n t e r p r e t a r o n o f c u ltu ra l hist.ory.
D u m ézil h a s m a d e it p la in t h a t th e t r i p a r t i t o m o d e o f tlio u g h t does n o t
necessarily m i r r o r social s t r u c t u r e s . Still, it is a cred ib le basis for the
c a ste s y s t e m o f In d i a , a n d its fit w ith o t h e r societies is to o cióse to over-
look. A social o r g a n i z a t i o n t h a t m a d e w arrio rs a privileged class w ith
its o w n e th ic see m s to have been i m p o r t a n t in th e successful conqtiest
o f v a st te r rito rio s o f lüurope a n d A sia by ln d o - E u r o p e a n in vaders. Sy s­
te m s la te r ev olv ed in d iv e r g e u t ways. T h e te r m svailha “au t.o n o m y ” a n d
 555

re ia te d w o rd s are a p p lie d r e p e a t e d l y to w a rrio r g o d s in th e R ig -V ed a,

ex p re s sin g a d i n i r a t i o n b u t also w ith s in iste r o v e r t o n e s . 2i T h e Z oroas-
tr ia n refo rin in P e rs ia , s tr e s s in g th e su p re rn e p re s e n c e o í A h u r a M a z d a ,
w as a t g r e a t p a in s to re p la c e t h e a n c ie n t s e c o n d - f u n c ti o n e th ic w ith th e
ideal o f t h e w a rrio r d e d ic a te d to the g re a t e r c a u s e .26 In G ree ce th e ideal
waá a p p a r e n t l y to m a k e th e w arrio r, fro m his i n i t i a t i o n , a w ell-ro u n d ed
c itizen ;27 in R o m e he b e c a m e p a r t of an e d ic ie n t m i l i t a r y m a c h in e , a tool
o f t h e s t a t e . In S e a m l a n a v i a , d is tin c tio n s are blurrt:d b e tw e e n th e íir.sl.
an d seco nd fu n c tio n s. R e m in is c e n t o f this r e a r r a n g e m e n t is th e S p a n ­
ish sc h e m e in w hich th e m a n o f a r m s is s h o w n as d o m i u a n l , faith fu lly
c o n ti n u in g V isjgo thic tr a d ic ió n . He s t a n d s o u t c o m p l e te l y in th e m o r e
p r i m i ti v e (ih o t)g h la t e r) S p a n is h p o e m , th e M o c e d a d e s , as th e ¡n c a rn a -
tíon o f a n tinrefined w arlike ideal, self-willed a n d in v in c ib le , beside w horn
all o t h e r c h a r a c t e r s fad e in to th e b a c k g r o u n d . E v e n th e rela tive ly civi-
lized Mí o C i d tak es for g r a n t e d th e m i li ta r is t ic s t r u c t u r e o f so ciety an d
th e u n q u e s t io n e d rig h ts o f th e m a n o f a rm s. l i e is e x p e c t e d to live by
strife a n d by spoils, to h a v e v io len t d i m it io s . He is a d m i r e d for a b u s i n g
an d h u m i l i a t i n g n o b le leaders ( t h e C o u n t o f B a rc e lo n a ), or h o o d w in k -
in g th i r d - f u n c t i o n figures ( t h e m o n e y le n d e rs ). AgainsL tho.se u n d e rl y in g
a s s u m p t i o n s o f th e w a r r i o r ’s w orld , th e m i t i g a t i n g th e m e o f loy alty a n d
o b e d ie n c e to th e k in g is p r e s e n te d as s o m e t h i n g o f a novelty.
E v o lu t io n to w a r d a m o r e a d v a n c e d , m o r e so ciaiiz ed ideal is im p lic it in
th e Mí o C i d , w hose hero pro g resse s fro m forcé of a r m s to torce o f words
as he r e h a b i l í t a l e s h im se lf w ith t h e aid o f th e king a n d his t r u s le d lieu-
te n a n t s , r e m o v in g linally all t h r e a t s to his g o o d líam e. If the three
p o e m s , th e Mocedades, th e lost Z a m o r a epic, a n d th e Mí o Cid are ta ken
as a s e r i e s ( a d i n i t t i n g t h a t th e l a t e r d a t e o f th e M o c c d a d t s is a d r a w b a c k
in th is i n t e r p r e t a t i o n ) , e v o l u t i o n a r y d c v e lo p m e n l o f tw o t y p e s is o b s e r v ­
able. T h e a d v a n c e in m o r a l s o p h i s t i c a t i o n is p a ra lle le d by an in crease in
re a lis m or t r u t h to life. In b o tli th e s e senses th e Mo c e d a d e s occ u p ie s an
i n t e r m e d í a l e p o sitio n b e tw e e n th e m y l h s o f C ú c h u l a i n n a n d th e H oratii.
T h e Irish s a g a is a b o u t m e n , n o t go ds, a n d it p o r t r a y s deed s o f a h u m a n
s o r t, a l t h o u g h in degree th ey a re r e m ó te from reality. L iv y ’s acc o u n t
b e t r a y s its m y t h ie orig in s o n ly w h en comparecí w ith o t h e r m y t h s . l(. h as
been r e d u c e d to a lm o s t- b e li e v a b le h u m a n te rm s. R o d r i g o ’s deeds are
p ro d ig io u s , malcing l l o r a t i u s look p alé, b u t he d o e s n o t b e h e a d s tr a n g e r s
by th e score like C ú c h u la in n . T h e M í o Ci d b r o a d e n s g r e a t ly th e h u m a n
a n d so cial d im e n sio n s o f th e ep ic, w ith w ell-tra ced c h a r a c t e r s a n d vari-
eties of e n c o u n te r s a m o n g d iífere nt kin ds o f people. T h e hero grow s m o re
civilized as his v irtu e s are b r o a d e n e d , as he b e co m e s a peaceful ruler,
as his a u t o n o m y , b;us¡cally d e s l ru c ti v e , is s u b o r d i n a t e d to th e c o m m o n
g o o d . F o r L a c a r r a , 28 th e p o e m is a política! d o c u m e n l concernod wi t h
1 556

th e t r i u m p h o f p u b lic over p r í v a t e law. W h a t site t e n a s p rí v a te law

a p p e a r s to be tile co n v e n tio n s o f th e s e c o n d - fu n c lio n eth ic , w hich yielcl
tq a luglier m o r a l o rd e r as society is s ta b iliz e d in a c c o t d a n c e w i t h the
s t a n d a r d s o f th e th o u g h t f u l ru ler. T h i s id eal, so efiectively p res e n te d
t h r o u g h m y t h i c n a r r a ti v e , w as n o t in fa c t to be successfully a t t a i n e d iu
th e follow ing c e n tu r ie s of S p a n is h h isto ry . T h e no ble class c o n tiim ed to
en joy a u t o n o i n y an d a p rivile ged p o s i ti o n after its useful w arlik e func-
tion e n d e d w ith th e c o m p le tio n o f Lhe com juesfs of th e P e n ín s u la and
th e ¡'íew W orld- l l c o n tin u ed to h a r b o r its a n l a g o n i s m s to w a rd a c e n ­
tr a l g o v e rn in g pow er, as well as its sco rn for p ro d u c t iv o (th ir d - f u n c t io n )
ac tiv ity , h in d e r in g S p a i u ’s e m e r g e n t e as a m o d e r a n a ti o n .
l a a g g r a n d í z in g Lhe second f u n c tio n , s o m e tim e s a t th e e x p en se o f Lhe
lirst, th e S p a n is h epic is tr u e to its G e r m a n i c h e rita g e , y et its n a r r a t i v e
p lace s it w ith i n th e C e ltic -lta lic o r b i t. In its e v o iu tio a it lias been seiv
s¡Uve Lo c h a a g e s in society, w h ü e re t a in i n g m a a y i r r a l i o a a l e le m e n ts of
m y t h i c b a c k g ro u m !. S o m e of its aü ijiities w ith o tlier t r a d i t i o n s are de-
b a ta b l e , h u t a solid core of c o r r e s p o n d e n te s m a k e it a powerl'ul a d d ilio n
to th e c o rp u s o f m a t e r i a l s o f th e c o m p a r a t i v e m y th o lo g y o f D u m ézil. lis
c e n tra l posiLion w i t h i n th e W e ste rn b r a n c h of m y t h s will lend it con-
ti n u in g in te re s t, a n d on e m a y liope t h a t its m a n y as yet u n e x p la in e d
e le m e n ts will c o a trib a L e Lo th e eariclied u n d e r s t a n d i n g o f a r e m a rk a b l e
he ritag e.

Tulune Uni v e r s i t y

N O T JSS

1 G e o r g e s p u m é z i j , ¡ l o m e e et Íes C’u r i a c e s ( P a r í s , J 9 4 2 ; r e p r . N e w Y o r k , 197&).

M y o t h e r c h i e f sourc e.s o n D u m é z i l ’s t h i n k i n g h a v e b e e n h i s U t u r el m a l h e u r
du g v e r r i e r ( P a r í s , 1 9 6 9 ), Ir . A lf l U l t e h e i t e l a s T h e - De s t i n y of lhe W a r r i o r
( C h i c a g o , 1 9 7 0 ) ; F r o m M y t h lo F i c l i o n , t r . D e r e k C o l i m a n ( C h i c a g o , 1973)
o f D u m y t h e uu r o m á n : La S a g a de [ í u d i n g u s et aut r es es s ai s ( P a r i s , 1 9 70);
C . Scol-t L i t t l e t o n , T h e Nexo G o n v p a r a i i v t M y t h o l o g y ( B e r k e l e y , 19 66, 2 n d
r e v . e d . 1 9 7 3 ) ; v a r i o u s a u t h o r s , “S y m p o s i u m : T h e A c h i e v e m e n t o f G e o r g e s
D u n i é z i l , ” J o u r n a l oj A s í a n S t u d i e s , 34 ( 1 9 7 4 ) , 127 -G 7, I h a v e a U o c o n s u l l c d
D urn c z iV # /ir c / i a i c / i o m u n Re l i g i ó n , 2 v ota ., t r . P h i l i p K r a p p ( C h i c a g o , 197Ü),
o ñ g . p u b - a s Lo. Re l i gi ón r o m a m e a r c h a í q u t ... ( P a r i s , 1 9 66); hiü Al y t h c et
e popíe, 2 (P a r ís , 1 9 7 i).
2 T w o n i a i n v e rs ió n » , o n e jn T o m P e c l e C r o s s a n d C l a r k i l a r r i s S lo v c r, e d s. A n -
c i c n í f r i s h Tales (N e w Y or k, i 9 J t í ) , J 3 J -- 9 8 , a n d Ctíciie O 'H a Ji illy , e d . T d i n B ó
C ú a i h i g t ( D u b i i n , 197tí).
3 b c s l edición is Uie p a je o g ra p h ic o n e in A lan D. D eyei m o n d , E)>i c T o t t r y
a n d f o t Cl ergy: S i u d i e s on ihc Mo c e d a d e s 4 t Rod r i g o ( L o n d o u , 1 9 6 8 ), 2 2 ‘2 ~77.
^ A d n á n G . M ° H t o r o , “ L a é p i c a m e d i e v a l e s p a ñ o l a y la ‘e s t r u c t u r a Ir íf u n c io n a l*
4 e los i n d o e u r o p e o s , " C u a d e r n o s H i s p a n o a m e r i c a n o s , 2 85 ( 1 9 7 4 ) , 5 5 4 - 7 1 .
 ( ( , |, f71 i “ 7
M o n t e r o ann& u/í c ey a b o o k o n t h e t u p i e (551), n. 12), b u t I h a v e b e e n u i i a b l e v /
to co n íirm t l i ^ í t ap p ea re d .
5 B j l i n g u a l e d . b y í a n M i c h a e l , T h e P o e m of the Ci d , w it li t r a n s . b y R i t a H a m i l -
t o n a n d J a n e t P e r r y ( M a n c h e s t e r , 3 973).
6 E l s e w h e r e D u m c x i l a t t r i b u t e s t h c f u r y to t r i b a l p r i d e a n d s c o r n f o r w o m e n :
F r o m M y t h to F i c t i o n , 1 2 3 . M i r c e a B b a d e c o n s i d e r é i t t o h a v e a s u p e r h u m a n
c ju a li ty . B i r t h a n d Rc b i r t h : T h e Re l i gi ou s M e a n i n g o f I n i t i a t i o n i n H u m a n
Cu l t u r e , t r a n s . W i l l a r d 11. T n i s k (N e w Y o r k , 1 9 5 8 ), 87.
7 I J c ur ei m a l h e u r , 17.
& D a n i e l í''. M e l i a , “ P a r a l l e l V e r s i o n s o f T h e B o y h o o d De e d s o] Cú c h ul ai nn
F o r u m f o r M o d t r n h a n y u u g c S l u d y , 10 ( 1 9 7 4 ) , 2 1 1 - 23 , a t 219.
9 M o s e s H a d a s a n d J o e P. P o o , c d s. Li uy: A i h s t o r y o f ¡ l o m e ( N e w York,
1 9 6 2 ), 1 1 - 1 5 .
IU liova.ee et les C u r i a c c s , 1 1 1 - 1 2 ,
11 D e y e i m o n d , F y i c P o e t r y , S a m u e l G . A r m í s t e a d , “T h e M o c e d a d e s de Rod r i g o
a n d N e o - i n d i v i d u a U s t T h e o r y , ” U i s p a n i c l í e v i e w , 4(5 ( 1 9 7 8 ) 3 1 3 - 2 7 , a n d s t u d i e s
t heve c ited .
12 T h e n o u i i r e f e r r e d U> l>y fe m . s ín g . “i t " h a s b e e n lo.sl. l*\>r t lie “d a i k s h i n y
g a n n e n t V s ee l t . P . A . D uz y, l(i . chcrchcs s u r i ' hi s l oi r c p o h t i q u c ct Ul l t r ai r c de
l ' F s p a g n e p e n d a n i le A l o y e n - A g e L e y d e n , 1 8 4 9 ), 6 3 1 - 3 2 .
13 M e l i a , “ P a r a l i e l V ti rs io ns,” 2 2 1 - 2 2 .
14 H o r a c t et les C u r i a c e s , 88, 1Ü8-9.
15 G ú c h u l a i n n ' a t r a n s f i g u r a t i o n h a s a s t r o n ó m i c a ! o v e r t o n e s ; a m o n g o t h e r t h i n g s h e
b e o u itte s a p u r p l e b a i l ( t h c s u n / ) , a n d h is e y e s h a v e s e v e n p u p i l a e a c h c o n t a i n -
ing s ev e n s p a r k s (th c seven kn o w n p la n e ts ? ).
16 G u i l l e n d e C a s t r o , Las mo c e d a d e s del C i d , u ^ e d in t u r n a s a m o d e l b y C o m e d l e
fur Le C i d , It is curioui» t h a t C o r n e i l l e d r e w u p o n lw o of t h e l e g e n d s h e r e
s t u d i e d t o c o n c o c t h is m o s t c e l e b r a t e d e x a m i n a t i o n s o f c o n Ü i c t s b e l w e c n love
a n d d n l y in Horne e a n d Le Ci d .
17 / / u tu c e ci les C u r i a c e s , 415 47.
18 l l or ac e et (es C u r i u c e » , 121.
11) l l or ac e et les Cu r i a c e s y 135.
20 P a r t o f t h e p r o se b e g h m i n g a n d l in e s 1—54.
21 T h i s h a s a a a h n o s t r c a s o n a b l e e x p l a n a l i o n in a n o i h e r m o r e l e a r n e d v e rs ió n :
t h e C a s t i l i a n s a r e p l o d g c d t o follow t h e s t a l u e a n y w h e r e i t d o e s n o t r e t r e a t ,
a n d a cc e p t th e sovereignty of F e rn á n G o n z ále z in u n e d iately u p o n m e e tin g him .
P o e m a de F e r n á n G o n z á l e z , e d . A l o n s o Z a m o r a V i c e n t e ( M a d r i d , 1 0 4 6 ), s t a n -
zíis 6 5 3 - 8 1 .
22 D e y c r m o n d , E y i c P o e t r y , 15.
23 P r i m e r a C r ó n i c a G e n e r a l de F s p a ñ a , e d . H a m o n M e n c n d e x P k h d ( M a d r i d ,
1 9 5 5 ), 2, 511.
24 D e y e r m o n d , Ej>ic P o e t r y , 13.
25 J f e u r ct v i a l h c u r , 6 1 - 0 3 .
26 J f e u r el m a l h e u r } Ü 4 -9 5 .
27 D o m i n ú i u c Í 3 i¡ q u e l , “ l ü i t i a t i o u g r e c ^ u e e t id é o io g ie i n d o - K u r o p é e n n e , ” A n u a l e s :
E c o n o m í a , S o c i é t é s , C i v i l i s a t i o n s , 3 7 ( 1 9 8 2 ) , 45 4 t i l .
28 M a r í a E u g e n i a L a c a r r a , E l “P o e m a de M í o Cid:'* Re a l i d a d / l ú l t m c a e ideología
( M a d r i d , 1 9 8 0 ) , 9 l> - lü 2 .