S407 Survey of Spanish Literature I F. Jehle

Cantar de mio Cid - segunda y tercera clases
  1. Fechas: Rodrigo Díaz de Vivar (El Cid) - ca. 1043-1099
  2. Términos:
  3. Open and closing lines of each cantar [some don't appear in our textbook]:
    1. Cantar del destierro:
      De los sos ojos tan fuertemeintre llorando [como en p. 8]
      . . .
      Ido es el conde, tornós[e] el de Vivar
      juntós[e] con sus mesnadas, compezós[e] de alegrar
      de la ganancia que han fecha maravillosa e grand;
      tan ricos son los s[uy]os que non saben qué se [h]an.
    2. Cantar de las bodas:
      Aquis compieza la gesta de mio Cid el de Vivar
      . . .
      ¡Plega a Santa María e al Padre santo
      ques pague des[te] casamiento mio Cid o el que lo ovo algo.
      Las coplas deste cantar aquis van acabando.
      El Criador vos vala con todos los sos santos.
    3. Cantar de (la afrenta de) Corpes:
      En Valencia sedí mio Cid con todos los sos,
      con él amos sos yernos infantes de Carrión. [como en p. 14]
      . . .
      Estas son las nuevas de mio Cid el Campeador,
      en este logar se acaba esta razón. [línea 3731; como en p. 20]
    4. Note the first and last lines of the second cantar in particular. What do they suggest about the relationship between the three cantares?
  4. Preguntas:
    1. The theory has been advanced that the CMC is the result of two (or more) authors. Do you see any evidence of this? Concretely, are there any differences in style, content, and/or technique between the three cantares?
    2. The first scene of the third cantar deals with a lion. What might the lion represent, or what are some reasons for this episode being included?
    3. For the Arabs --specifically the Almorávides-- the conflict with the Christians is a Holy War, a crusade (crusada). Is the Cid portrayed as engaging in a crusade? Why or why not?
    4. In the series of challenges and replies, the Cid has his subordinates challenge and subsequently fight the infantes. Why doesn't he do it himself?
    5. Compare/contrast the opening scenes of the poem and the concluding lines.
    6. In your opinion, what is/are the main idea(s) in the poem?
    7. What is the most frequently used assonance in the final cantar? Write out two lines (or more) of verse in the style of the CMC using this assonance.
  5. For class sessions, be prepared to:
    1. Ask questions about anything you don't understand.
    2. Summarize in Spanish the plot (argumento) of the work assigned for the day.
    3. Offer observations about aspects of literary style, structure, character development/ portrayal, themes, symbols, interpretation, etc.
  6. More on archaic language [see also p. 3 in the textbook]:

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Contact: Fred F. Jehle

Home: http://users.ipfw.edu/jehle/

Indiana University - Purdue University Ft. Wayne

Last updated: Oct. 23, 2002

Fort Wayne, IN 46805-1499 USA

URL: http://users.ipfw.edu/jehle/courses/s407/CMC2.htm