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The figure of the Cid and the poem that has brought new imagination immortalized by history. Very early on we have the romances that leave the trunk Cantar de Gesta mother, then come the drama Las Mocedades del Cid , Guillén de Castro, a contemporary of Cervantes and Lope de Vega, and across the Pyrenees, the classic drama Le Cid by Pierre Corneille, who in turn inspired an opera almost 150 years later, with the same title and the music of Jules Massenet, who also put music to Manon, Cinderella and Werther , etc. literary classics. Around half twentieth century, English drama propose a rereading of the play hero for a lady Rings, Antonio Gala, who focuses on the daughters of the Cid. And even the big stages of mass media has provided versions of the exploits of the English cavalier. Recently El Cid made his debut in cartoons, and comics had done, and the singer in the eighties Emiliano Valdeolivos put music from rustic styles Paco Ibañez or Mercedes Sosa, the Poem . Here hung the soundtrack of the film, Anthony Mann, 1961, starring Charlton Heston (Moses himself of The 10 Commandments, Ben Hur's , the Planet of the Apes ) and the peerless Sophia Loren, at the height of her beauty. The film was advised by Ramón Menéndez Pidal himself as an old man. This explains the loyalty of several scenes, adherence to historical names and events in a decent balance between history and Hollywood style of filmmaking. The wonderful music in more than one occasion brings the grandeur and rhythm that it lacks the camera belongs to the composer of many epic soundtracks as Ivanhoe, and the second film of Heston mentioned above: the Hungarian Miklos Rozsa. It is the aroma of a way of making films that probably will not return. Courtesy of You Tube.

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SOUND ON THE POEM OF THE CID

Marco Aurelio Ramirez Vivas

The poem is about the banishment of the Cid and the restoration of political and family honor. All characters in the play revolve around Rodrigo Díaz, being one, his followers, and others adversaries. Among the supporters of the Cid set his family, Jimena, Dona Elvira and Dona Sol, his lieutenants Minaya Alvarfanez Martin Antolínez, Muno Gustioz, but Vermúez, Félez Muñoz, Jerome, Alvar Alvarez, and Alvar Saviors Galin Garcia, his friends and the Abbot Sancho Abengalvón Moor, and the retinues. Among the opponents of the Cid are the nobles, the Count of Barcelona, \u200b\u200bGarci Ordonez and the Heirs of Carrion, and the Moors: Tamin, Fariz, Galve, Bucar and yucef. King Alfonso is the only character that side first to the Cid, is then placed in their favor. Poem space , organized by the hero's journey comes down to field of exile: Vivar, Burgos, Cardena, Medinaceli, San Esteban Gormaz, Castejon, Alcocer, Levante, Valencia and the Tagus River, and area of \u200b\u200bthe reproach: Valencia, Corp, Toledo and Carrión. The Singing time has a slow pace in exile (9 days), fast in war (four years), and less moved into the marriage, the outrage, the trial and grief (over 2 years) but without losing its dynamic aspect. The plot involves a cycle warrior and a family cycle. The narrative is the dominant means of expression outweighs the action hero as the leitmotiv of the story. El Cid is the axis Builder Poem and the reason for the story, characters, space, time and plot. El Cid is the meaning first and last story because without it the story would be meaningless. If all the structural elements of the Cantar radiate from the Cid and converge in the figure, the speaker you want to emphasize to the audience exemplified the role of the hero. And the speech that contains a model aims to promote and teach it to persuade his audience of the need to internalize and accept it to get benefit from it.

El Cid presents a variety of records that make the hero a character who is revealed under relentless versatility. Rodrigo Diaz de Vivar is a gentleman of superhuman feats, a champion against the Moors, much less a crusader medieval: El Cid integrates a program of family life that warrior of Extremadura noblemen of the late twelfth century (Christian Spain border in Al-Andalus), should "admire and emulate" for them, like the Cid, could improve very poor economic situation through military exploits, get outside, and its leaders, in addition to achieving wealth, could ascend to the nobility.


dominates the political context in the Song, and other contexts (religious, legal, economic, social and family) are a function of it. With regard to the political, the work, whose background is the quarrel between Moors and Christians, reveals, in fact, the rivalry between noblemen of Extremadura and Castilla nobles of the XII century:

... In Song Castilian the hero is coated impotent moral elevation and moderation, the struggle of two peoples and two religions is consummated with the utmost vigor and tolerance, social conflict also be reflecting the democratic aspirations [?] of Castile, the clash of two classes, one quietly conceited power and a strong and steadfast in their conquests, that if a band of malcalzados rises to honor the kings with their relationship ... 1


The noblemen were the knights who defended the border mobile call-Arab Castilian Extremadura, and also integrated the troops who fought in the Al-Andalus. Knights who claimed the royalty payment for his services as war, the same privileges of the nobility. The nobles, in turn, with warlike exploits lineage but fiercely opposed the claims of social advancement of the noblemen. The Song reveal a time when the kings of Castilla strengthen their power over the feudal lords by the emerging class of noblemen. We discover with them a warrior society whose troops, the retinues, the integrated relatives, friends and vassals of a feudal lord or knight, strategies of these retinues were the raid, the siege and battle the enemy. The run was a simple raid or scuffle to deprive the enemy of their property. For the battle, the troops were divided into a back who fought in the rear, and a algara fighting on the front. Also used the tornado or abrupt turn to face the enemy after he pretended to flee. The army was divided into the infantry (pawn), cavalry and artillery, poorly developed at that time. The siege was to besiege a city or fortress by cutting off food supplies and preventing friendly troops help the besieged. The arms of the gentlemen stuck to the spear, sword and shield. (2) Regarding the religious aspect of the poem, as it reveals the Cid prayer before the exile, invocations before each battle, Jimena's prayer, sleep with the archangel and the vote in Santa Maria, it is a function of the recovery of honor hero's policy: no indication that the Cid was a cross with intent to spread Christianity in pagan but a Christian knight who seeks, above all, their social and economic advancement. On the other hand, once won Valencia, the bishop appoints Jerome Cid, a cleric of his retinue, thus indicating that the Church of Castilla was subject to political power. Notwithstanding such dependency, imprisonment Jimena and her daughters in the monastery of Cardeña also reveals that the medieval churches and cloisters were used as safe haven for those who fell out of favor with the king. In the legal context, in the Song, the law is placed in the hands of the king who has the power to convene courts, arbitrate and adjudicate in litigation. The law, issued by real decisions, customs and privileges (3) - regulating the division of spoils, the relations between king and his subjects (nobles, knights and serfs), marriage and family ties. Without the medieval Castilian legal framework can not understand the episodes of exile, the coffers de arena, el perdón real, las bodas, la afrenta, el duelo, etc. En cuanto al contexto económico, el Poema del Cid contempla, por un lado, una economía castellana tributaria y guerrera: los moros pagaban impuestos por la protección que les ofrecía el rey de Castilla y, en caso de no estar bajo ese “protectorado”, se les arrebataba sus riquezas al ser vencidos en la batalla; y por el otro, una economía agrícola, pecuaria y artesanal del Al-Andalus: los moros cultivaban la tierra, pastoreaban sus ganados y poseían inmuebles, oro, sedas, caballos, etc. En cuanto al contexto familiar, el Cantar refleja una sociedad patriarcal en que familia, amigos y siervos estaban sujetos al rey, feudal lord or gentleman, who assumed the role of pater familiae to their vassals

... The Poem us animated family represents a large and robust spirit of solidarity, which brought together children, nephews, cousins \u200b\u200band relatives far, we all agreed in thinking and action, with the help with the advice and with the arm to endure the difficulties of life, and above all, to avenge any offense, they all look like their own. In the background, as pale figure of idealism, it appears the woman he does not speak but to worship the husband or father and agradcerle receiving protection ... (4)

And finally, regarding the social context Poem, social classes are sorted in a pyramid. At the top was the king, followed the rich omnes, earls, lords that made the cut, then came the noblemen, noblemen or knights sword girded by religious rite as the Cid, the bourgeois : merchants and lenders, and finally the serfs. (5) non-permeable social classes together. But in the Song there is a "downward mobility" as the heirs of Carrion marry "the daughters of the nobleman de Vivar" and a "social promotion" when they once were repudiated so outraged by their husbands, are asked in marriage by infants of Navarra and Aragon to the Cid became related lineage forever with the kings of Spain.

Notes:
1) Ramon Menendez Pidal. Around Cid. Barcelona, \u200b\u200bSpain. 1963. P. 47
2) Ibid.pp.56-58
3) The charter was a legal privilege that the king granted to his subjects as a reward for their services warriors. This privilege was usually the actual tax exemption.
4) Ibid. p. 55
5) Ibid. pp.53-54

(From the book literary expression of medieval Spain . Universidad de Los Andes, CodePro, Merida, Venezuela, 2007)