El Cid in literature
exception of the documentary evidence of the time, some signed by Rodrigo Diaz himself, the earliest sources about Cid Andalusian literature from the eleventh century. The earliest works that we have news about him have not survived, while transmitted the bulk of them through indirect versions. In the Arabic sources are usually the Cid swore to the aliases of tagiya ('tyrant, traitor "), la'in (' damn ') or kalb ala'du (' dog enemy '), but we admire his fighting force, as in the testimony of the twelfth century the Andalusian Ibn Bassam, the only hint that Arab historiography refers to the Castilian warrior in positive terms, in any case Ibn Bassam usually refers to Rui Diaz insults, defy throughout his Al-Djazira Mahasin fi ahl al-Jazeera ... (Treasury of the beautiful qualities of the people of the Peninsula) with the expressions "Galician dog" or "to curse God." Here is the famous passage in which recognized his prodigious worth as a warrior: [34]
... was this misfortune [ie, Rodrigo] in his time, skill practice, by the sum of its resolution and the end of their bravery, one of the great wonders of God. 
Ibn Bassam, Jazeera, 1109. [35] is noteworthy also that he was never applied to Arab sources nicknamed sidi (master)-that between the Mozarabic led to "Cid" - he was a treatment restricted to Islamic leaders.
The Elegy of Valencia Alwaqqashí alfaqui was written during the siege of Valencia (early 1094). Between then and 1107 he composed his Manifesto Ibn Alqama eloquent about the unfortunate incident, which follows the fortunes of the estate of the Cid in Valencia. Ibn Al-Faraj, vizier of Al-Qadir, writes a story that is known to us or its title, in the moments before the conquest of Valencia by El Cid. Finally, as noted above, in 1110 Ibn Bassam of Santarém devotes the third part of his Al-Jazeera to explain its view of the Cid.
As Christian sources from the first mention certain about the Cid (in the Poem of Almería, 1147 / 8) references are tinged with an aura of legend, it was said he was never defeated. For news more faithful to their real life there is a chronicle in Latin, History Roderici (second half of XII century), concise and quite reliable, but with significant shortcomings at various stages in the life of the Cid. Along with the testimonies of Arab historians is the main source on the historical Rodrigo Diaz. In addition, history presents a Roderici Rodrigo Diaz always praised by its author, suggesting the neutrality of his account. Thus, commenting on the raid of the Cid lands of La Rioja, the author of the story of Rodrigo is very critical of the star, as seen in the way described and assessed their raid on La Rioja: [36]
[...] Zaragoza Rodrigo left with innumerable and very powerful army, and into the regions of Nájera and Calahorra, which were domains of King Alfonso and were subject to his authority. Fighting took Alberite decision and Logroño. Brutally and mercilessly destroyed these regions, encouraged by a destructive impulse and irreligious. He took a great booty, but it was deplorable. His cruel and ruthless devastation destroyed and ravaged all the land in question. History
Roderici, apud Fletcher (2007), pg. 226. Literature creation
soon invented what is unknown or completing the figure of the Cid, gradually contaminating historical sources with oral legends that came up to praise him and rob his biography of the least acceptable to the Christian mentality and the heroic model they wanted to set up, as their service to King Muslim of Saraqusta. Manuscript 
Carmen Campidoctoris.Sus exploits were even the subject of literary inspiration for cultivated writers and scholars, as evidenced by Carmen Campidoctoris, a Latin hymn written eulogy in just over a hundred verses in the second half sapphic twelfth century sing the Cid became lauded as heroes and the classical Greco-Roman athletes. [37]
In this eulogy, and are not registered Rodrigo services to the king of the Taifa of Zaragoza, in addition, have provided unique fighting with other men in his youth to highlight their heroism, and it appears the reason for the gossips, which cause enmity King Alfonso, with the king of Castile is exonerated from liability in the clash and banishment of the Cid.
In summary, Carmen is a select catalog of the exploits of Rodrigo, for which preferred the battles pitched and disposed of their sources (and perhaps Roderici History najerense Chronicle) algal punishment, ambushes and sieges, forms combat involving a lower prestige. [38]
Playing the first folio of the manuscript of the Cantar de Mio Cid preserved in the National Library of España.De this time dates the first epic poem about the character: the Song of mine Cid, written between 1195 and 1207 by a cult author, scholar in the area of \u200b\u200bBurgos, Soria, the District of Calatayud, Teruel and Guadalajara [39] and knowledge of law. The epic poem is inspired by the events of the last part of his life (exile in Castile, battle with the Count of Barcelona, \u200b\u200bthe conquest of Valencia), conveniently recreated. The version of the Song Cid offers a model of moderation and balance. Thus, where an epic hero prototype would expect an immediate blood revenge, the hero in this work takes time to reflect upon receiving the bad news of the abuse of his daughters ("they say when you ge to the Cid Cid, / a grand thought and comidió ora ', vv. 2827-8) and seeks redress in a formal judicial process, rejects also act rashly in battle when circumstances suggest otherwise. On the other hand, the Cid has good and friendly relations with many Muslims, as his ally and vassal Abengalbón, which reflects the status of Mudejar (the "Moors of peace" in the Song) and coexistence with the Hispano community, of Andalusian origin, common in the valleys of the Jalón and Jiloca through which passes much of the text. [40]
The Legend of Cardeña Estoria or collects a set of news produced by the monks of the Monastery of the same name about the last days of Rodrigo Diaz, the embalmed of his body and the arrival of Jim with him to the monastery of Burgos, where was exposed sitting for ten years to be buried. This story, which includes components hagiographic supernatural and seeks to turn the monastery into a place of worship to the sacred memory of the hero and was incorporated into the Castilian chronicles starting with the different versions of the History of Spain alfonsí. In the Legend of Cardeña first appears the prophecy that God will grant victory to Cid in battle even after his death. [41] Among other things
developed legendary Cid's death around the monastery San Pedro de Cardena is the use of two swords with names: the call Colada and Tizon, who according to legend was owned by a king of Morocco and made in Cordoba. Since the Cantar de Mio Cid (one hundred years since his death) the tradition has spread the names of their swords and their horse, Babieca.
Rodrigo.Hasta Mocedades of the fourteenth century was fabled life as epics, but more and more attention to his youth, imagined with much creative freedom, as seen in the late Mocedades de Rodrigo, which tells how in his youth dares to invade France and overshadow the exploits of the French chansons de geste. The last epic poem he drew a haughty, very much in the period, which contrasts with the moderate and prudent person Cantar de Mio Cid.
From the fifteenth century is going to perpetuate the popular legend of the hero seated especially cidiano cycle of romances. His youth and his love for Jimena were developed in the romances, to introduce the sentimental theme in the whole story of his legend. Similarly, episodes that were added portrayed as a devout Christian gentleman, as the journey to Santiago de Compostela or charitable behavior with a leper, who, not knowing that God is proof (it is an angel become crippled) El Cid offers food and comfort. El Cid is configured, thus, as the perfect lover and example of Christian piety. All these passages form the basis of comedy Golden Age who took the Cid as a protagonist.
In the sixteenth century, and continuing with the poetic tradition of artistic romances develop, we were engaged in several highly successful plays, generally inspired in their own romances. In 1579 Juan de la Cueva wrote the play Death of King Sancho, based on the exploits of the siege of Zamora. This material was also based Lope de Vega to compose The battlements of Toro. But the most important theatrical expression based on the Cid are the two works of Guillén de Castro's Las Mocedades del Cid and The Exploits of the Cid, written in 1618. Corneille was based (at times to literally) in the work of English to compose Le Cid (1636), a classic of French theater.
Romantics eagerly picked up the figure of the Cid following the baroque romances and comedies: examples of nineteenth-century drama are The Oath of Santa Gadea, the Hartzenbusch and The Legend of the Cid, Zorrilla, a kind of extended paraphrase all the ballads of the Cid in about ten thousand verses. Late Romanticism wrote extensively reworking of the legendary biography of the Cid, as the novel El Cid (1851), Antonio de Trueba. [42] In the second half of the nineteenth century the genre derives the serial novelist, and Manuel Fernández and Gonzalez wrote a narrative of this character-based in his adventures and legends called El Cid, as Ortega y Ramón Frías.
In the theatrical modernism Eduardo Marquina takes issue with the release in 1908 of the daughters of the Cid.
appear in the twentieth century modern poetic versions of the Cantar de Mio Cid, such as those conducted Pedro Salinas, in verse, and Camilo Jose Cela.
latest critical editions of the Song, have returned to the rigor of the Song of literary publishing, as well, currently the most authoritative is that of Alberto Montaner Frutos, published in 2000 for the collection "Classic Library" of editorial criticism, revised Galaxia Gutenberg in 2007, Ballantine Books.
One of the great works of Chilean poet Vicente Huidobro is the feat of the Cid (1929), which as he himself is responsible for identifying, is a "novel written by a poet."
mid twentieth century actor Luis Escobar made an adaptation of Las Mocedades del Cid for the theater, titled Love is a runaway horse, in the eighties José Luis Olaizola essay published last hero El Cid, and in the year 2000, history professor and novelist José Luis Corral demystifying wrote a novel about the character called El Cid. In 2007 Agustín Sánchez Aguilar issued the legend of El Cid, adapting to a more current language, but not forgotten the epic of the exploits of Castilian knight.
And what better way to start a book that his words:" Some days I wake up with a crazy hope, "you say - moments when I feel that the chances of a more humane life, are at our fingertips. This is one of those days. "It shows that literature, writing to you, and very few of his stature, is a gift to us, the best of yourself. Their best wine, the great spiritual reserve of a man who resists the century, and that this resistance has aged wisdom, to put it in the center of the table who want to be invited into an invitation is always open. 
terrible moment, yes, we live almost hopeless. Understand me better if I tell you write from Central America., From one of the most violent and poorest in the world, land of heroes without graves, saints and cynics. A place and no forests, no birds, but full of putrid water ... but that is our home. And from this context, where one craves miracles, I am impressed even more of a statement by you deeply true, that sometimes goes unnoticed me: 
bleed ... "
"There is no other way to achieve eternity, delving into the moment, no other way to achieve universality by the very fact: today and here. And then what? We must re-evaluate the little place and the short time in which we live. " 
familiar healer of human anguish, 
The sonnet form, and by the same strain as it is based, the opposition between the odd and even, among the false symmetry and symmetry, are pleased with the spirit of the Baroque: four stanzas (two quartets and two triplets), a virtual school only between the seventh and the eighth line and the "center of articulation between quartets and trios, five pairs built-in rhythm (in the canonical form, arrangement and quartets speculate on Combinatorial variability in the triplets). Thus, rigorous, clear, concise, is particularly suitable for treating certain dynamic "content." The Baroque exciting, however, is not the simple fact that it appropriates the form and assiduously cultivated, but the way the overwrite, the extent to which the hiperelabora. The shortest review intends to follow the movements, the work of baroque writing in action, widely exceed the limits of these notes, but I can not point to at least the role of a constitutive factor of all poetry, all written poem as text-in the treatment of inherited models Baroque: I mean Registration of alliteration, and I think in the Stabreim (not least in the curious way that it considers the mandatory over German literature). 