Rodrigo Díaz, the legendary warrior-knight of eleventh-century Castile known as El Cid, is still honored in Spain as a national hero for liberating the fatherland from the occupying Moors. Yet, as this book reveals, there are many contradictions between eleventh-century reality and the mythology that developed later. By placing El Cid in a fresh, historical context, Fletcher shows us an adventurous soldier of fortune who was of a type, one of a number of "cids," or "bosses," who flourished in eleventh-century Spain. But the El Cid of legend--the national hero -- was unique in stature even in his lifetime. Before his death El Cid was already celebrated in a poem; posthumously he was immortalized in the great epic Poema de Mío Cid. When he died in Valencia in 1099, he was ruler of an independent principality he had carved for himself in Eastern Spain. Rather than the zealous Christian leader many believe him to have been, Rodrigo emerges in Fletcher's study as a mercenary equally at home in the feudal kingdoms of northern Spain and the exotic Moorish lands of the south, selling his martial skills to Christian and Muslim alike. Indeed, his very title derives from the Arabic word sayyid, meaning 'lord' or 'master.' And as there was little if any sense of Spanish nationhood in the eleventh century, he can hardly be credited for uniting a medieval Spanish nation. This ground-breaking inquiry into the life and times of El Cid disentangles fact from myth to create a striking portrait of an extraordinary man, clearly showing how and why legend transformed him into something he was not during his lifetime.--From publisher description.

This is the story of Don Rodrigo Diaz de Vivar, chief marshal of the royal army, who was exiled from his native Castile by the weak King Alfonso in 1089. Banished from his two little daughters and his lovely wife, he rode out of Castile at midnight, between the teeth of a wild and snarling mountain range, and journeyed into the South, where Moorish invaders had ruled for centuries.

Makes available, for the first time in English translation, four of the principal narrative sources for the history of the Spanish kingdom of León-Castile during the eleventh and twelfth centuries. Three chronicles focus primarily upon the activities of the kings of León-Castile as leaders of the Reconquest of Spain from the forces of Islam, and especially upon Fernando I (1037-65), his son Alfonso VI (1065-1109) and the latter's grandson Alfonso VII (1126-57). The fourth chronicle is a biography of the hero Rodrigo Díaz, better remembered as El Cid, and is the main source of information about his extraordinary career as a mercenary soldier who fought for Christian and Muslim alike. Covers the fascinating interaction of the Muslim and Christian worlds, each at the height of their power. Each text is prefaced by its own introduction and accompanied by explanatory notes.

The Epic of the Cid records the deeds of Rodrigo Diaz de Vivar, the Cid of history and legend. A powerful warrior in the Christian reconquest of medieval Spain, a formidable strategist, and a charismatic leader, the Cid deeply impressed his contemporaries, both Christian and Muslim. Already, in his lifetime, songs, stories, and chronicles were devoted to his exploits. In offering both a highly readable, colloquial prose translation of El Cantar de Mio Cid and selections from a wide variety of those contemporary accounts, this volume brings the historical figure back to life for modern readers. Harney's substantial Introduction and annotation provide the historical, military, and literary background necessary for an informed reading of the texts; also included are maps, a compendium of proper names, a bibliography, and an index.

Richard Wilbur's translations of the great French dramas have been a boon to acting troupes, students of French literature and history, and theater lovers. He continues this wonderful work with two plays from Pierre Corneille: Le Cid is Corneille's most famous play, a tragedy set in Seville that illuminates the dangers of being bound by honor and the limits of romantic love; The Liar is a farce, set in France and dealing with love, misperceptions, and downright falsifications, which ends, of course, happily ever after. These two plays, together in one volume, work in perfect tandem to showcase the breadth of Corneille's abilities. Taking us back to the time he portrays as well as the time of his greatest success as a playwright, they remind us that the delights to be found on the French stage are truly ageless.