translated by Burton Raffel, with introduction and notes by María Rosa Menocal
A writing project for History 116 -Western Civilization I, Fall 2011.
The
author of Cantar de Mio Cid is
unknown, and most scholars now believe that it was originally performed in the
tradition of the heroic saga. This epic is considered Spain’s earliest
surviving piece of classic literature, originating sometime during the life of
El Cid in the eleventh century; its earliest known transcription in 1207 was
signed by Per Abbat and is kept in the Biblioteca Nacional de España in Madrid.
All but two folios of the original text survive.
This
newest edition of El Cid from the
Penguin publishing house is edited by eminent linguistic scholar Burton Raffel,
who referenced a modern transcription of the original Abbat text for this work.
Raffel is an accomplished translator in several languages and his efforts
include Beowulf, Nibelungenlied,
Dante’s Commedia and Cervantes’ Don Quijote. His published work includes
pieces from Old and Middle English, Viêtnamese, Latin, Middle German, medieval
French and Italian, and contemporary Russian, along with numerous volumes of his
own poetry, historical works and fiction. He has taught at several universities
including Yale and the University of Louisiana, along with institutes in Israel
and Indonesia.
Raffel’s
purpose in penning a new translation of this Spanish epic when many other
versions are available seems to be his passion for literature, and a desire to
reintroduce older texts to new generations in a format that is both true to the
spirit and form of the original, while remaining sensitive to the vernacular of
the audience. When comparing his translation to Markley’s The Epic of the Cid or Rose and Bacon’s The Lay of the Cid one finds an enjoyable balance between the
former’s matter-of-fact recount of the saga and the latter’s rigid rhyming
verse. This epic is loosely based on the exploits of Rodrigo Díaz de Vivar,
acclaimed Castilian military leader of the eleventh century.
After
initially reading the story I had more questions than answers. Why was the
first section missing? Why were there occasional obliterated lines within the
cantors? Why were the people that the Cid’s armies conquered happy to pay him
tribute? Why did this charismatic character scheme to swindle Jewish merchants
and Church leaders alike, when he was the good guy of the story? Why had he
been banished in the first place, when the text clearly described him as a
loyal and valuable military leader?
A
little backstory on our hero: Díaz was a minor Spanish aristocrat by descent
and marriage, having royal relations through his mother’s line, while his wife
was cousin to the king. The men on his father’s side found work drafting
documents at court, at a time of transition from the rule of Ferdinand I to his
heirs who were pledged to rule the land jointly. El Cid proved himself at a
young age fighting under the banner of the eldest son Sancho II during the
skirmishes among the feuding territories of the Iberian Peninsula. The Spanish
lands of the north were also at odds with the Muslim kingdoms of Andalusia,
while the Almoravids from the Magreb states of North Africa constantly
threatened from the south. Many of the Moorish colonies were taifas, Islamic
fiefdoms in Iberia that paid tribute to the Spaniard rulers in exchange for
protection from the Almoravids; often, these same cities paid the Almoravids
for protection against the Castilians, depending on which party was raiding
more offensively at the time.
Much
like the Frankish Emperor Charlemagne centuries earlier, Ferdinand I, the first
emperor of Spain, divided his lands among his heirs, giving his eldest son Sancho
II Castile, the easternmost territory; Alfonso VI received León; and Garcia II,
the youngest, was given Galicia, the territory to the west, in what is now
mostly Portugal. Soon after Ferdinand’s death, the sons broke truce in a
continuation of their struggle for dominance over the territories. Sancho and
Alfonso joined together to eliminate Garcia, and soon after, Sancho was
assassinated; many speculated that this was orchestrated by King Alfonso and
their sister Urraca. Unchallenged, Alfonso ascended the throne of the three
territories, and by extension became the master of the corresponding tribute
taifas, proclaiming himself emperor of all Spain.
It
is here that our story begins, with Mio Cid weeping openly as he leads a small
band of faithful warriors into exile. For reasons unsaid, his master King
Alfonso VI of Castile and León has given him nine days to vacate the land that
he had fought so well to protect. It is possible that in the original version
the cause for his banishment was made clear in the missing first folio; it
could have been lost for any number of reasons, including the possibility that
it was too incriminating or embarrassing to the descendants of some important
people. Since the original inscription was written by Per Abbat in 1207, little
more than 100 years after Díaz’ death, the story may well have been too fresh
in the minds of some. In fact, it wasn’t until searching for answers elsewhere
that I found where El Cid’s original allegiances had been.
Although
the Cid is anguished by his exile, he never speaks ill of his lord, only
striving to earn his good favor by conquering Christian and Moorish towns
alike, always sending tribute back to the emperor. The saga, presented in three
cantos, documents his conquests of state, his efforts to win the favor of
Alfonso, his exploits with his most faithful companions and his righteous
vengeance at the mistreatment of his daughters by his enemies at court. It
illustrates heroic qualities in the Campeador: he is a widely admired leader
who earns the respect of aristocrats and peasants, his men and foes alike; the
citizens of the taifas rejoice at his liberation of their cities; he is a
loving and faithful family man to his beautiful wife and chaste daughters, and
even his cunning money-making schemes were born of necessity and portrayed with
a positive spin. He is a righteous self-made man. When his enemies at court
plot to relieve him of his most-beloved treasures – his daughters and their
hefty dowries – his honor is vindicated in a jousting match, and his detractors
are chastised.
While
the tale is presented within this framework of action and intrigue, it is more
about the internal struggles and private agonies of a man who questions his
choices and worries about his loved ones than it is about his exploits in
battle. This story is a tribute to the trials of Al Sayyid more than to the
Champion of Sancho who is betrayed by jealous courtiers and exiled by the
scheming fratricidal king, Alfonso VI. Although El Cid is punished beyond the
endurance of any man, he never speaks ill of his King, even when Alfonso
insists that he marry his daughters to men that the Cid finds deficient in
character and social standing. Part of the beauty of the Song of the Cid is
that it is a tale of humility, sacrifice, self-doubt and servitude. It may also
be a careful criticism of the contemporary ruling party. On the surface, El Cid
is a voiceless long-suffering servant, but the subtext tells a different tale.
King Alfonso’s actions prove him to be an obvious poor judge of character; he
has more prestige than honor, more might than brains. Although it is not openly
stated in the text, by his actions, El Cid distinguishes himself as a man more
noble than the King, and this is quietly recognized by more than a few of the
characters in the story.
The
fact that parts of the text appear to be intentionally destroyed is at the very
least intriguing. The National Library’s images of the text show the deliberate
striking of sections, where partial and entire lines are completely blacked out
with ink. However, other sections are shown where the scribe had inserted words
after the fact, along with other minor corrections; this infers that he would
not necessarily completely ink out lines that were miswritten. So why were
these lines blocked out? What did they say, or more importantly, who edited
them? Could it be the same parties who caused whole sections to disappear? This
is only speculation, of course, but it is hard not to wonder about this, when
the carefully neutral nature of the main characters of the story is also taken
into account. In the story, no one is explicitly implicated in a plot to kill
Sancho II, and Díaz only strives to prove himself worthy of his king’s favor.
Since this was likely a popular tale told often across the territories, it
would have been wise for the performer not to imply any blame towards the
current administration; rather, a bard interested in self-preservation would
praise the hero’s humble service to his master, emphasizing the superficial trials
of the hero, while inferring his true nobility through the subtext.
Raffel
presents the epic in the cantare style in which the original Abbat text was
written. He demonstrates confident grace in his use of assonant rhyme, where
the vowels within a single line are repeated much like alliteration, and in his
mastery of the language paired with judicial use of meter and finial rhymes.
However, he doesn’t limit himself like Rose and Bacon, who are restricted by
their dedication to the form. Although their skill at rigid nineteenth-century
style meter and rhyme is remarkable, the connotations and flavor of the work
are surely compromised by this application. With Raffel’s sensitive treatment
of the cantors, the reader can assume that the voice and subtle intent of the
original has not been compromised by unnecessary structures of rhyming meter.
Still,
Raffel does not shy away from using the laisses similaires form in his
translation. Often seen in heroic sagas of the era, this form employs heavy
repetition of signature phrases, a style normally associated with oral
tradition. The reader never loses sight that this is a song. Lines referring to
the hero as My Cid, one who was “born at a lucky hour”, “knighted at just the
right time” and “born at a fortunate hour” among numerous such descriptions,
not only infer that Díaz had good fortune, but tell the reader that they are
hearing a song, sung by a firsthand witness of the events (Raffel 2009: 32, 66,
68). Much like the chorus of a modern song that repeats a catchy hook, these
taglines help show that this story was meant to be performed, and Raffel uses
the form well.
In
order to prepare the reader with some useful background, Menocal expertly
connects important events and relates the make up of the geopolitical climate
leading up to the story in her introduction to The Song of the Cid, and her input is presented separately from
Raffel’s translation. This is preferable to Markley’s version, which fills in
the blanks of the missing preamble by consulting historical accounts. Although
this is helpful in setting the stage for the first cantor, his distillation of
the facts leads directly into his translation, which is written in straight
paragraph form rather than stanzas; it is unclear where Markley’s words end and
the saga begins. Although the balance of his translation gives the reader
extensive information and back-story to flesh out the tale, this bounty of
facts actually serves to suck the beauty right out of the story; it becomes a
historically-based reference to the saga, rather than an expression of the saga
itself.
Raffel
used Colin Smith’s contemporary Spanish transcription of the original text as
his reference, and this is included in the book alongside his translation so
that when it is open, the reader can see the page with Raffel’s words on one
side and the corresponding Spanish text on the other. When Smith’s reference is
compared with the Abbat text, aside from a few alphabetical variances, such as
using y for i, or rr for r, it is a word for word transcription.
This clearly shows an interest on the part of Raffel towards maintaining
accuracy and integrity. In addition, he indicates when parts of the original
folio are missing, and notes where lines of the original text have been
rendered illegible or are obliterated.
Before
reading this book, I confess that I couldn’t distinguish between the Man from
La Mancha and the Cid from Vivar. Reading The
Song of the Cid was a great gateway to understanding more of the
geopolitical happenings of the Iberian Peninsula during La Reconquista. This classic was surprisingly enjoyable to read and
thought provoking; while I didn’t appreciate the subtext while reading it, I
was induced to discover more afterward in order to interpret the story. I would
definitely recommend Raffel’s version of this epic to anyone who is interested
in historically based tales, appreciates the gentle hand of a competent
translator or admires the subtle beauty of alliteration and assonance. Epic
verse can be a window into how an earlier culture viewed itself, how it wanted
others to view it, and how it wanted its stories to be told; Raffel’s
translation of The Song of the Cid
succeeds in facilitating all three.
Works Cited:
Per
Abbat. (1207) Transcriber, Poema de Mio
Cid, web eBook. Fundación Biblioteca Virtual Miguel de Cervantes.
http://www.cervantesvirtual.com/obra-visor /cantar-de-mio-cid-manuscrito-el-manuscrito-de-per-abbat--0/html/
Díaz de Vivar, Rodrigo, general information, web. Who 2 Biographies.
http://www.who2.com/bio/el-cid
Markley,
J. Gerald. (1961) Translator, The Epic of
the Cid, print. http://www.cervantesvirtual.com/obra-visor /cantar-de-mio-cid-manuscrito-el-manuscrito-de-per-abbat--0/html/
Díaz de Vivar, Rodrigo, general information, web. Who 2 Biographies.
http://www.who2.com/bio/el-cid
The Bobbs-Merrill co., inc.
Indianapolis, and New York
Menocal, María Rosa. (2009) Author, introduction to The Song of the Cid, eBook.
---. Biographical information, web.
http://www.yale.edu/span-port/faculty/menocal.html
http://en.wikipedia.org/wiki/María_Rosa_Menocal
Nelson, Lynn Harry. Author, Rodrigo Díaz de Bivar, El Cid, web.http://www.yale.edu/span-port/faculty/menocal.html
http://en.wikipedia.org/wiki/María_Rosa_Menocal
Pidal, Ramón Menéndez. (1954) Author, Cantar de Mio Cid: Texto, Gramática, y Vocabulario, 3rd
edition, eBook. Espasa Calpe, Madrid
Raffel, Burton. (2009) Translator, The Song of the Cid: a dual-language edition with parallel text,
eBook. Penguin Group USA Inc., Penguin
Books Ltd.
---. Biographical information, web.
http://english.louisiana.edu/fac-and-staff/emeritus/raffel.shtml
http://www.penguin.ca/nf/Author/AuthorPage/0,,0_1000026448,00.html
---. Biographical information, web.
http://english.louisiana.edu/fac-and-staff/emeritus/raffel.shtml
http://www.penguin.ca/nf/Author/AuthorPage/0,,0_1000026448,00.html
Rose, R. Selden and Bacon, Leonard. (1919) Translators, The Lay of the Cid, eBook. University of
California Press, Berkeley California,
Semicentennial Publications
Smith, Colin. (1985) Editor, Poema de Mio Cid, 2nd edition, eBook.Cambridge University Press.
Notes
Cantor - the cantors are the three sections of
this epic; the term comes from the Latin cantare,
meaning “singing”.
El Cid -
Al Sayyid is Arabic for The Lord or Master, and is the probable linguistic source
for the title El Cid. This indicates that Díaz was recognized as a formidable
military leader by Christian and Moor alike.
The division of Ferdinand I’s estate - Ferdinand I’s two daughters Elvira and Urraca were not gifted with territories like their brothers, but with cities; these also included taifa tribute districts.
The division of Ferdinand I’s estate - Ferdinand I’s two daughters Elvira and Urraca were not gifted with territories like their brothers, but with cities; these also included taifa tribute districts.
Laisse Similaires - In an alternate title for the epic, The Lay of the Cid, lay derives from laisse, the term for this format used in epic medieval French verse.