Cantar de Mío Cid

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Cid, Cantar de Mío


a Spanish epic poem composed about 1140 by an unknown minstrel and preserved in an incomplete copy dating from 1307.

The poem is faithful to historical facts and accurately recreates the figure of Rodrigo Díaz de Bivar (born between 1026 and 1043; died 1099), the nobleman who won glory for his feats in the Reconquista and was nicknamed Campeador (warrior) and Cid (Arabic said,”lord”). The common people viewed the Cid, who is idealized by the author, as a vassal devoted to the king, a fighter for the liberation of the country from the Moors, and, at the same time, as an enemy of the feudal nobility. The poem has traits of epic poetry; it is also marked by irony, vivid language, and descriptive skill. It had an immense influence on the development of Spanish literature, and the figure of the Cid was reflected in works of P. Corneille and J. G. Herder.


Cantar de Mío Cid. Text, grammar, and vocabulary [by] R. Menéndez Pidal, 3rd ed., vols. 1–3. Madrid, 1954–56. (Obras completas de R. Menéndez Pidal, vols. 3–5.) In Russian translation: Pesn’ o Side. Moscow, 1959.


Smirnov, A. A. “Ispanskii narodnyi epos i poema o Side.” In the collection Kul’tura Ispanii.[Moscow] 1940.
Menéndez Pidal, R. Izbr. proizv. Moscow, 1961.
Menéndez Pidal, R. La España del Cid, 5th ed., vols. 1–2. Madrid, 1956.
Menéndez Pidal, R. El Cid Campeador, 5th ed., [Madrid, 1964.]


References in periodicals archive ?
Desde un prisma literario, la figura de Rodrigo Diaz de Vivar en el Poema de Mio Cid existe solo y exclusivamente para recuperar su honra mancillada debido a la expulsion que sufre a manos del rey Alfonso VI.
Poesia y violencia: representaciones de la agresion en el Poema de mio Cid.
Por esta razon Hernando se propone analizar como se manifiesta la agresion en el Poema de mio Cid (c.
Nascent literatures, transitioning from oral to written (think of El poema de mio Cid and the Norse sagas), have a familiar constellation of features, among them a paucity of figurative speech; almost no narrative context in favor of externally viewed movements inside isolated events; and the assumption of a shared value-set with the audience that precludes psychological motivation.
Both are written in Romance rather than traditional Latin orthography, but they differ from each other, and bear striking similarities to an official document arising out of the 1207 Toledo Cortes and to the manuscript of the Poema de mio Cid (1207?
The structure, date, authorship, and sources of the Poema de mio Cid have been the subject of much debate.
Literature and society in the later Middle Ages' comprises the largest group of papers, including Michael Harney on social stratification and class ideology in the Poema de mio Cid and the Chanson de Roland, George Greenia on university book production and courtly patronage, Roberto Gonzalez-Casanovas on courtly rhetoric in the prologues to two Alfonsine works, John Dagenais on Juan Ruiz and the medieval Virgil, and Jerry Rank on urban writing in two distinctive late medieval works, Corbacho and Celestina.
35-43), and therein of the specific case of prosifications of the Poema de mio Cid (pp.
The first of these categories is represented by Chalon's 1976 book and by my own of 1983, together with some later articles;(11) the second comprises such works as Lathrop's treatment of the Infantes de Lara legend in the fifteenth-century Refundicion toledana (1971), Fraker's analysis of the Cantar de Sancho II (1974), Powell's study of the prosification of the Poema de mio Cid in the Cronica de veinte reyes (1983), and Vaquero's account of both the Condesa traidora and Sancho II stories in a variety of texts (1990).
The concluding section of the first Cantar of the Poema de Mio Cid narrates an important incident involving the Cid's defeat and capture of the count of Barcelona, Berenguer Ramon II, the count's short-lived hunger-strike, and his subsequent release.
The similarity with the incident in the Poema de Mio Cid is striking:
It is an over-simplification, though not a gross one, to say that in the first section of the cuarta parte from the accession of Fernando I to the death of the Cid - the chronicles fall broadly into three families: the Cronica de Veinte Reyes, marked by a close adherence to the Poema de mio Cid for the relevant section; the PCG and that subsequently published by Ocampo, which are more inventive; and the CrC and Cr1344, which present highly novelized versions, replete with new characters and with even less regard for accuracy than the PCG.