Epic Poetry and Minstrelsy in Medieval Spain: El Cantar de Mio Cid
Epic Poetry in Medieval Spain
Epics are literary works that narrate heroic deeds. They teach and exhibit the virtues that a people or group held as role models during the Middle Ages. In the 11th and 12th centuries, minstrels recited them orally due to widespread illiteracy. Epics often exceeded 4,000 verses. The songs were grouped in variable runs. Their features include:
- Irregular Verses: Typically between 14 and 16 syllables, divided into two hemistiches.
- Assonance and Rhyme: Employing assonant rhyme.
- Realism and Historicity: Predominantly focused on realism and historical events.
- Abundance of Verbs: Reflecting the action-packed nature of the narratives.
- Narrative Pace: Aiming to speed up the narrative.
- Brief Descriptions: Utilizing concise descriptions.
- Epic Nicknames: Employing epic epithets for characters.
El Cantar de Mio Cid
El Cantar de Mio Cid is an anonymous epic poem recounting the heroic deeds inspired by the later years of the Castilian knight Rodrigo Diaz de Vivar, also known as El Cid. The poem, composed between the 12th and 13th centuries, consists of 3,735 verses, predominantly with 14 to 16 metric syllables. The verses are divided into two hemistiches separated by a caesura.
Plot and Structure
The central theme of El Cantar de Mio Cid is the hero’s concern for his lost social standing. His recovery will lead to an even greater social stature. The internal structure follows a curve of loss, restoration, loss, and restoration of the hero’s social image.
External Structure
Modern editors have divided the text into three cantos:
First Canto: Canto of Exile
El Cid is banished from Castile. He must abandon his wife and daughters and begins a military campaign with his faithful followers in Christian lands.
Second Canto: Canto of the Wedding
El Cid marches to Valencia, held by the Moors, and captures it. He sends his friend to the court of Castile with gifts for the king, asking to be reunited with his family. The king accepts, forgives El Cid, and lifts the punishment. The king then asks El Cid to agree to the marriage of his daughters, Doña Elvira and Doña Sol, to the Infantes of Carrión, and he agrees.
Third Canto: Canto of the Affront of Corpes
The Infantes of Carrión soon show their cowardice, first before a lion and then in the fight against the Moors. They feel humiliated and seek revenge. The Infantes begin a journey with their wives and, upon reaching the Oak Grove of Corpes, they beat them and leave them for dead. El Cid is dishonored and demands justice from the king. The poem ends with marriage plans between El Cid’s daughters and the princes of Navarre and Aragon.
Mester de Juglaría
Mester de Juglaría refers to the set of epic and lyric poetry of a popular nature disseminated during the Middle Ages by *juglares* (minstrels), who sang or recited them. The word *juglar* signifies joker or jester. *Mester*, meaning profession, refers to the minstrel’s trade. The minstrels were characters of humble origin, often comedians or circus performers, engaged in various forms of entertainment, including juggling. Their verse was irregular, typically between 10 and 16 syllables, with a predominance of 14-syllable, or Alexandrine, verses. They used assonance rhyme, providing more freedom to improvise.
Mester de Clerecía
Mester de Clerecía was composed by clerics, learned men, and priests who possessed knowledge beyond the *trivium*. They studied the *quadrivium*, a higher level of education. Key characteristics include:
- Religious and Historical Topics: Focused on religious and historical themes.
- Educational and Entertaining: Created to entertain and teach the people.
- Regular Verse: Written in regular verse, typically Alexandrine or 14 syllables, divided into two hemistiches separated by a caesura.
- Consonant Rhyme: Employing consonant rhyme, considered a more difficult form.
- Absence of Heroic Deeds: Not dealing with heroic affairs.