The Legend of Bernardo del Carpio 11: The Pentecost Court and Bernardo’s Banishment

CHAPTER XI

THE PENTECOST COURT AND BERNARDO’S BANISHMENT

Section 1: Chronicles

Lucas and Rodrigo: Give no details, only saying that Bernardo rebelled after the Battle of Toledo, and that he made peace before the battle of Polvorosa.

PCG: Year 8 of Alfonso the Great’s reign [873]. King Alfonso held court at Pentecost, to which came, among others, Orios Godos and Tiobalt. But Bernaldo did not come, until the Queen promised him that she would ask for his father’s liberty. He came, and she asked, but Alfonso refused, and Bernaldo denounced and insulted him in front of the whole court, reminding him of all his faithful service, prompting Alfonso to banish him. His kinsmen Blasco Meléndez, Suero Velásquez, and Nuño de Leon leave with him. They retreat to Saldaña, where they make war against Alfonso for two years.

Ocampo: Year 36 of Alfonso the Chaste’s reign, the fifth of Louis the Pious, AD 815 [really 818]. Continue reading

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Bernardo del Carpio 9: Battles of Bernardo

CHAPTER IX

THE BATTLES OF BERNARDO

Lucas, Rodrigo, and the PCG insert Bernardo del Carpio into various historical battles fought by King Alfonso III, though it is impossible to reconcile their chronologies.

LUCAS

RODRIGO

PCG

Toledo

Toledo

Toledo

Benevento and Zamora

Bernardo’s Rebellion

Bernardo’s Rebellion

Saracens raid Asturias and Leon

Bernardo and Saracens raid Ast. and L.

Polvorosa and Valdemoro

Polvorosa and Valdemoro

Polvorosa and Valdemoro

Zamora

Zamora

Ymundar and Alcatenel

Bernardo’s Rebellion

Bernardo and Saracens raid Ast. and L.

SECTION I

BATTLE OF TOLEDO

Lucas and Rodrigo copy their accounts of this battle from their sources, and only add a sentence about Bernardo at the end. Quite possibly that sentence is not meant to refer to Toledo specifically, but to all Alfonso’s previously related battles.1 The PCG adds no information. The Tercera, while attributing many of the Great’s battles to the Chaste, keeps this one in its proper place, dating it to Alfonso III’s 4th year, AD 840, (869).

Katherine P. Oswald, “The Formation and Transmission of the Legend of Bernardo del Carpio” (PhD diss., University of Wisconsin-Madison, 2015), pp. 100-101.

SECTION II

BATTLES OF POLVOROSA AND VALDEMORA

Subsection 1: Chronicles

Chronica Albeldense: Also called the Epitome Ovediense, written 881. Almundar, son of King Mohamat, leads an army from Cordova to Astorga and Leon. Part of his army is attacked at Polvorosa on the Órbigo by King Alfonso III, who killed almost 13,000 Moors. When the news reached Almundar, he retreated.

Chronicon de Sampiro: (c. 1000). One army leaves Cordova, followed shortly by another from other cities. Alfonso, after praying, kills 12,000 men of this second army, at Polvorosa on the Órbigo. The first army, hearing the news, flees toward Valdemora, but Alfonso kills all save ten of them. No Muslim names are given.

Historia Silense: Copied directly from Sampiro, only making the Muslims flee from Valdemora instead of towards it.

Lucas: Based on Silense. One army divides itself. Alfonso slaughters one division of 12,000 Moors at Polvorosa, killing all but ten, while Bernardo makes the others flee from Valdemora.

Rodrigo: One army divides itself. Bernardo slaughters the Moors at Valdemora, while Alfonso meets 12,000 at Polvorosa, by the banks of the Órbigo, and kills all but ten.

PCG: Bernardo defeats the Moors at Valdemoro in Polvorosa, while Alfonso slaughters 12,000 by the Órbigo.2

2 Oswald, pp.104-106.

Alfonso’s men appear to have garbled their sources. The Tercera moves this battle from the reign of Alfonso the Great to that of the Chaste, his 34th year, AD 813 (815). The Cuarta duplicates it, faithfully copying the Tercera’s account for King Alfonso the Chaste, and then following Rodrigo’s account (Bernardo kills them in Valdemora, while Alfonso kills them in Polvorosa) in the reign of Alfonso the Great.

In Lucas, these battles come about because of the Saracen raid into Asturias and Leon which they do to take advantage of the chaos caused by Bernardo’s rebellion.

In Rodrigo (and hence the Cuarta), Bernardo allies with the Saracens and invites them in, after which Alfonso frees his father. Bernardo then turns on his former allies, leading to these two battles.

In the PCG and the TCG, these battles just happen, as part of the endless back-and-forth between the Christians and the Infidels.

Subsection 2: Ballads

Burguillos Durán 631, Class V; Pidal Eruditos 5. “No cesando el Casto Alfonso”

Alfonso continues fighting against the Moors, and a great host of them enters his kingdom. One goes to Polvoreda, the other to King Alfonso. Alfonso splits his army in two, and sends one under Bernardo to Polvoreda, where they slaughter them all in Val de Moro, on the border with Portugal. King Alfonso slaughters 12,000 of the other band by the river Duero, then returns to Oviedo.

SECTION III

BATTLE OF ZAMORA

Subsection 1: Chronicles

Chronicon de Sampiro: (c.1000). A Muslim army besieges Zamora. Alfonso gathers his army, but they quarrel among themselves. Nonetheless, by God’s mercy, Alfonso kills Alchaman, and the Christians are reunited. No treaty is mentioned.

Historia Silense: Copied directly from Sampiro.

Lucas: A Muslim army besieges Zamora. Alfonso gathers his troops, attacks, and wins, in large part due to Bernardo. Alchaman the prophet dies. Alfonso signs a treaty with the Muslims afterwards.

Rodrigo: A Muslim army besieges Zamora. Alfonso sends word to his vassals, who join him for the battle, including Bernardo. Alchaman the prophet dies. Alfonso signs a treaty with the Muslims afterwards.

PCG: Alchaman’s army besieges Zamora. Alfonso sends to his vassals for aid, but can only bring a few soldiers himself, as the rest were gone home after Benavente. Bernardo comes with a great army, and personally kills Alchaman the prophet. Alfonso signs a treaty with the Muslims afterwards.3

3 Oswald, pp. 108 seq.

Subsection 2: Ballads

Burguillos Durán 629; Class IV; Pidal Eruditos 4 (part 2) “Ya pasados pocos dias” King Almaza of Badajoz lays siege to Zamora. Alfonso rides to raise the siege, is nearly captured, but is saved by Bernardo, who asks for his father’s liberty. Alfonso refuses.

Burguillos’ ballad tells of both the battle of Benavente and the battle of Zamora. Timoneda divided it in two for his Rosa Española.

SECTION IV

BATTLE AGAINST YMUNDAR AND ALCATENETEL

In Lucas, this battle follows that of Zamora. In Silense and Rodrigo, it precedes that of Toledo, Bernardo does not appear, and the Muslim leaders escape the battle.4 As it is not in the PCG, no ballads were ever made about it (to my knowledge. At least Durán includes none, even in his section on non-Bernardine ballads of Alfonso II).

4 Oswald, p. 113.

SECTION V

THE BATTLE OF BENAVENTE

Is found only in the PCG. Lucas and Rodrigo know nothing of it.

Burguillos Durán 628, Class IV; Pidal Eruditos 4 (part 1). “Hueste saca el rey Ores”

King Ores of Mérida besieges Benavente. Alfonso rides to raise the siege, but is surrounded, until Bernardo arrives and rescues him. Bernardo kills King Ores and routes the Moors, but Alfonso will not free his father.

Burguillos’ ballad tells of both the battle of Benavente and the battle of Zamora. Timoneda divided it in two for his Rosa Española.

The Legend of Bernardo del Carpio 10: Adventures of Bernardo

SECTION I

BERNARDO AND DON BUESO

Subsection 1: Chronicles

PCG Chapter 651: Year 7 of Alfonso III’s reign [872]. Don Bueso of France invades Spain. King Alfonso meets him in battle by Ordeion in Castile, near castle Amaya. Some say in their cantares segund cuenta la estoria that Buseo was Bernaldo’s cousin. Bernaldo killed Bueso in the fray. After the battle, Bernaldo kissed Alfonso’s hand and asked for the liberty of his father, and called to mind all the times he had helped him against the Moors. But Alfonso refused, and Bernaldo renounced his service for a year.

Ocampo places the story in the 35th year of Alfonso the Chaste’s reign, the fourth of Louis the Pious, AD 814 [really 817].

Subsection 2: Ballads

Burgillos Durán 630, Class IV; Pidal Eruditos 6. “Estando en paz y sosiego”

Don Bueso of France invades Alfonso the Chaste’s lands. Bernardo leads the Spanish army to fight the French near Osejo in Castile. Bernardo kills Bueso in the battle, and the French flee. Alfonso, in gratitude, promises to free Bernardo’s father, but when he is back in safety, changes his mind. Bernardo, sorrowful, refuses to serve at court any longer.

Those scholars who believe that Bernardo was formed from two or three legends disagree as to which included the story of Don Bueso. Horrent ascribes it to the Carpian story; most others to the Carolingian.

SECTION II

OTHER ADVENTURES

Bernardo and Urgel “En la cortes de León.” Wolf 14, Class II. Pidal Romances Viejos 3. First printed in a broadside c. 1560-1565.

King Alfonso holds court in Leon, and the knights are making merry with various games, when a stranger rides into the hall, and issues a challenge. Let anyone ride with him to the forest, and he will prove that he is a better knight and serves a better king. By his discourteous words, they know him to be Don Urgel el Esforzado [literally: The Striving], one of the Twelve Peers. None dare to challenge him, and their cowardice makes Alfonso fume and the ladies weep. At last Alfonso goes to look for Bernardo, and finds him in the great church, praying to Saint James. King Alfonso explains the situation. Bernardo asks for his father’s liberty, which Alfonso promises. Bernardo dons his armor and jousts against Urgel. Their combat continues for three hours. Bernardo invites the Frank to surrender, but Urgel answers that while he can die in battle, he cannot live with dishonor, and expires from loss of blood. Bernardo thus humiliated France, as he would later do at Roncesvalles.

This romance was doubtless written to be printed as a broadside. Pidal thinks it inspired by Bernardo’s combat with Don Bueso and the legend of El Reto de Zamora [The vows of Zamora].1 This Urgel may be supposed to be Ogier the Dane, though that knight is usually known as Urgel de las Marchas in Spanish, and, of course, Ogier did not die but was taken by Morgan le Fay to Avalon.

1 Pidal. Romancero Tradicional vol. I. p. 194.

Perhaps this ballad was the inspiration for Durán 422, wherein a Moor named Urgel is slain by Bradamante.2

2 Milá y Fontanals, Manuel. De La Poesia Heroico-Popular Castellana. Barcelona, 1959. “Obras de Manuel Milá y Fontanals I. [orig. pub. 1874]. p. 585.

Lucas Rodriguez: Bernardo and Estela Durán 632, Class VIII; Pidal Artificiosos 1. “Con ansia extrema y lloroso” Printed 1584.

The Moors lay siege to Bernardo’s castle of El Carpio, where his beloved Estela is. He arrives, and learns the current situation from his friend Ascanio. He proceeds to save the day.

This is an invention of Rodriguez’ from beginning to end. Estela and Ascanio are completely unknown outside of this ballad.

Bernardo and His Nurse Pidal Artificiosos 27. “¡Altas y soberbias torres” From a Chilean manuscript dated 1605.

Bernardo curses the high and proud towers on the borders of France, with the cypress trees under their walls, where his lady Doña Blanca is imprisoned, she who raised him at her breast to make him a son of Spain. The towers and walls guard her unjustly, for she is without guilt. He swears that he will never forgive them, and they only way they can prevent him from avenging and freeing her is for them to kill him and her both.

Lucas Rodriguez: Bernardo and Lepolemo Durán 644, Class VIII; Pidal Artificiosos 1. “Cuando el padre Faeton” or “La mañana de San Juan”. First printed in a broadside c. 1570.

On Saint John’s Day [June 24] in the morning, three damsels ride, weeping, through the forest, with four squires before them. They meet Bernardo, and tell him their woe: Lepolemo has killed their brother and occupied their castle. Bernardo kills him and restores their castle.

There is no traditional basis for this ballad. It is merely the sort of adventure that happens to Amadis or Lancelot every day.

SECTION III

LA CASA DE CELOS

This insipid play by Miguel de Cervantes is generally regarded as one of his worst works, and I see no reason to challenge that opinion. Full title, Comedia Famosa de la Casa de los Celos y Selvas de Ardenia [“Famous Comedy of the House of Jealousy and the Forest of Arden”]

ACT I: Reinaldos complains to Malgesi that Roldan and Galalon were making fun of his poverty. Roldan and Galalon enter, and Reinaldos confronts them. Galalon slips away, leaving Roldan to deny the accusations. Galalon returns with Charlemagne, but explanations are interrupted by a page announcing the arrival of Angelia. Charlemagne bids Malgesi scry her motivations, and Malgesi summons a demon who presents, in phantasm, Angelica, two savages in grass skirts who guard her, and her duenna. Malgesi admits he does not know who they are, and the phantasms vanish. Then the visitors enter in the flesh, and Angelica tells her sad story, how she, King Galafrone’s daughter and heir, has been exiled, and how her brother Argalía will be waiting by Merlin’s Postilion for challengers, and any he can conquer must help them reclaim their kingdom. The train leaves, and Roldan and Reinaldos immediately begin quarreling over Angelica. Malgesi informs the court that Angelica intends to kidnap the Peers with help of her brother’s magic lance, but the love-besotted court ignore him.

Bernardo del Carpio and his Biscayan squire rest in the Forest of Arden where they are seeking the tomb of the demon-born wizard Merlin. As the squire departs in search of Ferraguto, Bernardo’s friend from whom they have been separated, Bernardo unwittingly falls asleep beside Merlin’s Postilion, which is also his tomb. Argalía enters, monologues, and exits. Angelica and her train arrive, Argalía reenters, and all retire to their pavilion. Merlin’s ghost arises, predicts Bernardo’s future glory, and bids him enter his tomb under the postilion. Bernardo does so. Reinaldos arrives and lays down to sleep. Roldan arrives and falls asleep, too. Reinaldos awakes, listens to Roldan sleeptalk about Angelica, awakens him and challenges him to a duel. As they draw their swords, fire erupts between them. Roldan accuses Reinaldos of relying on Malgesi’s magic, but Reinaldos denies it. Merlin speaks, bidding Bernardo make peace between the cousins. Bernardo tries but fails, and Roldan calls him a marrano [crypto-Jew]. Bernardo now wants to fight them both, but at this juncture Marfisa enters on the hilltop at the back of the stage, sees the fight, and wishes to join. She exits to make her way down the mountain, and Angelica and the Biscayan enter on the ground, Angelica lamenting that Ferraguto has slain her brother. Roldan now wishes to fight Bernardo for being Ferraguto’s friend. Marfisa’s arrival distracts the men and lets Angelica run away. The cousins pursue her, leaving Marfisa to introduce herself to Bernardo.

ACT II: Shepherds exposit their romantic problems and extol country life, until Angelica arrives among them seeking shelter, which they grant.

Elsewhere, Reinaldos comes to a horrible cave, out of which Malgesi comes, disguised as Horror. He shows Reinaldos a pageant of Fear, Suspicion, Curiosity, Despair, and Jealousy. This fails to cure Reinaldos’ love, at which Malgesi professes bafflement, but Merlin’s voice tells him that he needs the grass which grows by the banks of his spring, the one which cures love. Malgesi dismisses the spirits and heads to Merlin’s tomb to get the grass. However, Venus arrives at this juncture, riding in a fiery chariot drawn by two lions. She has heard of Reinaldos’ condition and summons Cupid, who tells her about the nearby spring that cures love. Reinaldos (it is unclear if he can see the deities) leaves, and the shepherds (whom Angelica has now joined) arrive. They can definitely see them, and do them homage. Venus resolves their romantic problems, and all exeunt content.

Bernardo and his squire find Roldan. Bernardo challenges him, but Roldan has gone mad and doesn’t remember him. A vision of Angelica appears, which Roldan pursues, only for her to turn into Ill Fame, who threatens him in a long monologue which cures his madness. Roldan now recognizes Bernardo, but Marfisa’s entrance at this point somehow causes Roldan to relapse. He chases another vision of Angelica, which turns into Good Fame, whose long monologue effects a longer-lasting cure. All depart, heading for Paris.

ACT III: The shepherds prate of country things until Reinaldos stumbles upon them, causing Angelica to flee. However, Reinaldos soon hears her cries for help, as she has been captured by two satyrs. He is too late to save her, and they kill her. Luckily, Malgesi reveals it was all one of his illusions, and Reinaldos is cured. At Paris, Galalon and Charles receive Marfisa and Bernardo, who announce that Marfisa will be challenging all comers at Merlin’s Postilion.

Meanwhile, in Arden, Roldan and Ferraguto enter, quarreling over Ferraguto’s killing of Argalía. Ferraguto leaves, swearing to settle the issue later. Roldan sees a vision of Angelica and throws himself at her feet. But it is Malgesi’s illusion, and Malgesi now cures Roldan’s love, and they depart for Paris. Bernardo and Marfisa arrive at Merlin’s Postilion and set up camp, and Galalon arrives to challenge the woman. However, Malgesi sends the satyrs to carry him off. Marfisa and Bernardo marvel at this turn of events, then Bernardo goes to sleep. The Spirit of Castile arrives to prophecy Bernardo’s glory and to carry him away, leaving Marfisa more baffled than ever. She resolves to get out of this enchanted forest and seek Agramonte’s camp.

Elsewhere, Angelica proposes to Corinte, one of the shepherds, and they make their plans to return to Cathay and reign thereover. Unfortunately, Roldan and Reinaldos find them, and immediately begin fighting over her, which causes Corinte to flee in a panic. Malgesi sends a magic cloud to envelop the three remaining figures, and the scene changes.

Galalon, with his arm in a sling, tells Charles that he has conquered Marfisa. Malgesi arrives with Galalon’s battered shield, and Galalon slinks away before Malgesi can reveal the truth. Roldan, Reinaldos, and Angelica arrive in the cloud. Angelica is furious about being separated from her lover, but Malgesi summons the spirit of Paris, who proclaims the imminent war, which finally convinces the cousins to forget Angelica and get ready for battle. The play ends here.

The Legend of Bernardo del Carpio 8: Bernardo Learns His True Identity

Section I: Chronicles

Lucas: Says nothing.

Rodrigo: Ditto

PCG: In the 28th year of Alfonso’s reign, the 13th of Charlemagne’s, AD 808, [813] two of Bernardo’s kinsmen, Blasco Meléndez and Suero Velásquez, having sworn an oath to Alfonso not to tell Bernardo about Count Sancho, make a plan with two of their kinswomen, Maria Meléndez and Urraca Sánchez. The women play at tablas [prob. backgammon] with Bernardo, let him win, and then inform him how his father languishes in durance vile. Benardo asked Alfonso for his father’s liberty, which was refused, but Bernardo swore he would nonetheless stay faithful to his king.

Ocampo: Omits the game of tables, and makes the women tell Bernardo directly.

Section II: Ballads

Burguillos “En corte del casto Alfonso” Durán 626, Class I; Wolf 9, Class I; Pidal Eruditos 3a-3b. Found in the Cancionero sin año, Cancionero de 1550, Silva I.
3a is the printed version.
3b is from a MS.

Bernardo, living at Alfonso’s court, does not know his father is imprisoned, though everyone else does. Two courtiers, Vasco Melendez and Suero Velazquez, tell two noblewomen, Urraca Sanchez and Maria Melendez, to tell Bernardo the truth. Bernardo storms to the throne room, so angrily that Alfonso thinks he has come to kill him. But Bernardo merely asks humbly for the release of his father. Alfonso swears it will never be done while he [Alfonso] lives. Bernardo swears to serve the king loyally until he earns his father’s pardon. But King Alfonso had always loved Bernardo, who thought he was his son.

Pidal’s 3b omits the last few lines of exposition about Alfonso and Bernardo’s relationship.

Lorenzo de Sepúlveda Durán 6, Class IV; Pidal Eruditos 13. “En Luna está preso el Conde.”

The Count has long been imprisoned in Luna. Bernardo knows nothing of this. Two damsels break King Alfonso’s orders and tell Bernardo the truth. He laments, then goes before the king. Alfonso thinks Bernardo has come to kill him, but he merely asks for his father’s liberty. Alfonso swears it will never be done while he [Alfonso] lives. Bernardo swears to serve the king loyally until he earns his father’s pardon.

Gabriel Lobo Lasso de la Vega (perhaps) Durán 624, Class VIII. Pidal Artificiosos 21. “Contándole estaba un dia.” Printed in the Romancero general de 1600, in broadsides from 1638, 1677.

Elvira Sanchez, Bernardo’s nurse, tells him that he is not really King Alfonso’s bastard son. He is the son of the lawfully married Count Sancho Diaz of Saldaña and the king’s sister Jimena. The Count is imprisoned in the castle of Luna, and the princess in a nunnery. Bernardo is the rightful heir to the throne, though Alfonso wishes to leave it to the French. Bernardo rebukes her for not telling him sooner, and swears to set them free. Elvira says she was afraid of the tyrant Alfonso. Bernardo looks to heaven and weeps, and swears mighty oaths to free his father.

This ballad has no author given in the old copies, but it was printed alongside four other works of Gabriel Lobo. Whoever the author was, he was likely responsible for the unique details of this version.

Section III: Plays

De la Cueva.

Before the battle of Roncesvalles, Suero Velazquez and Velasco Melendez tell Bernardo that Alfonso is planning to give the kingdom to Charlemagne, and then Maria Melendez and Urraca Sanchez, (who are both nuns in this play) tell him of his father’s true identity, without a backgammon game. Bernardo is shocked, but swears to foil Charlemagne’s plans and free his parents. He enters Alfonso’s presence with a great retinue, enough to unnerve Alfonso. Bernardo explains that he intends to stop Charles. Alfonso is at last persuaded to retract his offer to Charles and promised to free Count Sancho. The play ends, however, without us ever learning if he keeps his promise

Lope de Vega’s Mocedades de Bernardo goes completely off the rails of the traditional story. Bernardo, having been raised by Don Rubio, is a holy terror, and exasperates his foster father to the point that he calls him a bastard. Bernardo is taken in by King Alfonso, who reveals that he is his nephew, but no more, and dubs him a knight. At the festivities, Bernardo chases away a Moorish ambassador and insults his cousin Don Ramiro, who claimed a higher seat at the table than him. Bernardo flees the court to El Carpio, currently held by the Moors, and offers them his sword. They, remembering his conduct to their ambassador, welcome him with a smile while plotting to kill him. Bernardo foils their plans and drags them captive back to Alfonso, who reveals that his father is alive, and then asks Bernardo to do him a favor and investigate the haunted castle of Luna, which Bernardo sets off to do.

Lope’s Casamiento opens with Bernardo already aware (before Roncesvalles) of his heritage.

Origins and Influence

Galien li Restore learns his true parentage under similar circumstances to Bernardo; his uncle calls Galien a bastard after losing to him at chess. In the Crónica de 1344, Mudarra, half-brother to the Seven Sons of Lara, learns his true parentage after beating the King of Segura at backgammon.1

Katherine P. Oswald, “The Formation and Transmission of the Legend of Bernardo del Carpio” (PhD diss., University of Wisconsin-Madison, 2015), p. 177.

The Legend of Bernardo del Carpio 7: Bernardo at Roncesvalles

Section 1: Chronicles

Lucas While Bernardo was making ready for war, Charles was besieging Tudela, which he would have captured if not for Galalon’s treason. Charles did, however, take Nájera and Monte Jardín, and then prepared to return to France.

The barbarian King Marsil of Saragossa rallied an army of Saracens and allied with Bernardo and his Navarrese, and fell on the Frankish rear as they passed through Rocidevallis, killing Prefect Rodlandus of Brittany, Count Anselm, Egiardus the Steward, and many more. King Charles later had his revenge on the Saracens, killing a great number of them, [it is not clear if this is the second battle in the Song of Roland or an entirely new expedition]. After his revenge Charles went on pilgrimage to Saint James, made peace with King Alfonso, rebuilt the city of Iria, and obtained from Pope Leo III for Compostela to be elevated to a metropolitan [archbishopric]. He then returned to Germany with Bernaldus and died soon after, at Aix, where he was buried. Bernaldus served in the imperial household even after Charlemagne’s death, under Louis the Pious (814-840) and Lothair I (840-855).

Emperor Charles III (the Fat, not the Simple, r. 881-888) invaded Spain, attacking Christians and Muslims alike [this never happened], but Bernaldus raised an army of Christians and allied with King Muza of Saragossa, and turned back Charles’ army before they had even crossed the Pyrenees. Charles made alliance with Alfonso, who restored the Mozarabic rite in the churches of Spain. Charles went on pilgrimage to Santiago and San Salvador, and obtained from Pope John Metropolitan [archepiscopal] privileges for those two sites. Bernaldus returned to his fatherland, laden with spoils. Lucas explains that there were three Emperors named Charles: Charles the Great, who lived in the days of Pope Leo and Alfonso the Chaste; another Charles who lived in the days of Pope John, and Charles the Hammer, who succeeded him. Continue reading

The Legend of Bernardo del Carpio 6: Prelude to Roncesvalles

The Spanish version of how the Battle of Roncesvalles came about is to be found in chronicles, in a traditional ballad called By the River of Arlanza, in various literary ballads, and in plays.

Section 1: Chronicles

Lucas In those days Charles the Great, King of France and Emperor of Rome, expelled the Saracens from Burgundy, Poitou, and all Gaul, and then crossed the Pyrenees via Roscidevallis to continue the war. He brought under his yoke the Goths and Spaniards who lived in Catalonia, in the Basque mountains, and in Navarre, and ordered Alfonso to become his vassal. Bernaldus was indignant at the suggestion, and formed an alliance with the Saracens.

Later, in the days of Alfonso III, Emperor Charles III [the Fat, not the Simple, r. 881-888] invaded Spain, attacking Christians and Muslims alike [this never happened], but Bernaldus raised an army of Christians and allied with King Muza of Saragossa, and turned back Charles’ army before they had even crossed the Pyrenees. Charles made alliance with Alfonso, went on pilgrimage to Santiago and San Salvador, and obtained from Pope John many privileges for those two sites. Bernaldus returned to his fatherland, laden with spoils.

Rodrigo Alfonso, old and tired of reigning, secretly sends word to Charles, Emperor of Italy, Germany, and Gaul, to offer him the throne. Charles drives the Arabs out of France and then sends some men over the Pyrenees, subduing Catalonia. At this juncture, Alfonso’s men, led by Berinaldus, learn of his offer and force him to rescind it or they will depose him. They say they would rather die as free men than live as vassals of the Franks.

PCG In the 27th year of Alfonso’s reign [809], the 12th of Charlemagne’s [811], AD 806, Alfonso, being old and childless, sent to Charles offering him his throne, if he would help him fight the Moors. Charles expelled the Moors from Provence, Bordeaux, Piteos, and Aquitaine, and then crossed the Pyrenees to Spain, conquering Catalonia. Lucas of Tuy says he also conquered Gascony and Navarre. The men of Spain, however, led by Bernaldo, learned of Alfonso’s offer and forced him to rescind it, or else they would depose him. Bernaldo formed an alliance with the Saracen King Marsil of Saragossa.

Origins and Influence

Lucas seems to deserve the blame for the inane duplication of the Battle of Roncesvalles, for reasons unknown. Rodrigo and Alfonso’s men are obliged to mention his error, but are not deceived by it. Charles the Fat never invaded Spain. Muza of Saragossa, however, was a real figure: Musa ibn Musa ibn Qasi, descended from a Visigothic renegade, born around 790, half-brother to Íñigo Arista, first king of Pamplona, believed to have taken part in the Second Battle of Roncesvalles in 824, became ruler of Tudela and much territory round about. Musa, with the aid of his brother, repeatedly rebelled against the Umayyads from 840 to 850, and at last set up an independent kingdom, which he continued to expand until a crushing defeat by the Christians in 859, after which Muza’s influence waned rapidly until his death in 862.

The poem of Fernan Gonzalez will have it that King Charles sent Alfonso the Chaste a message that he was coming to Spain to receive homage and tribute. King Alfonso replied that he would not pay him anything, and that though the French fought five years, they could not conquer Spain. Charles’ men gave him bad advice, telling him to invade. Charles, with an immeasurable army, headed for Castile.

Ocampo dates the battle to Alfonso’s 30th year [812]: Charles 12 [812], AD 809, but leaves this portion unchanged.

Section 2: Traditional Ballad: By the River of Arlanza

Pidal Romances Viejos de Bernardo 2a-2h. Continue reading

The Legend of Bernardo del Carpio 5: The Birth of Bernardo del Carpio

The legend of the birth of Bernardo del Carpio is to be found in all three chronicles, in Siglo d’Oro plays, and in ballads both ancient and modern.

Section 1: The Three Chronicles

Lucas of Tuy Book IV, Section 14: The king’s sister Xemena is impregnated by Count Sanctius and brings forth Bernaldus. King Alfonso, furious, imprisons the Count in the Castle of Luna, swearing that he will never come out alive. He confines his sister to a nunnery and raises the boy as his own. The lad grows up to be a strong and daring knight.

Rodrigo of Toledo Book IV, Chapter 9: Alfonso II’s sister Semena secretly marries Count Sancius and bears him a son, Berinaldus. The king, learning of this, imprisons the Count in the Castle of Luna and his sister in a nunnery. As he is childless, he raises Berinaldus as his own son, and the boy grows up to be a fine knight.

PCG Chapter 617: In the 21st year of Alfonso’s reign [803], the 5th of Charlemagne’s [804], AD 800, his sister Ximena secretly married Count San Diaz of Saldaña, and bore him a son named Bernaldo. The king, on hearing the news, held a court, and sent Orios Godos and Count Tiobalte to bring the count to him. The count came, suspecting no ill, but Alfonso had him arrested. His men bound the count so tightly he bled, and Alfonso approved thereof. He imprisoned San Diaz in the Castle of Luna, and his sister in a nunnery. The only thing San Diaz asked was that Alfonso would treat Bernaldo well. Alfonso agreed, and raised the boy as his own, and he became a good knight. Some say in their cantares et fablas, however, that Bernaldo was son of Charlemagne’s sister Timbor, who was raped by San Diaz as she returned from a pilgrimage to Saint James. Alfonso adopted their son, since he had no heir of his own [The implication, though this is not stated until later, is that Alfonso was married to Charlemagne’s other sister Berta, as in Pelagius of Oviedo].

Origins and Influence of the Chronicles

No one knows the origins of either version of this story. It would seem that in the version where Timbor was raped by San Diaz, her sister Berta was married to King Alfonso, which would account for his desire to avenge her and the fact that he was willing (and permitted) to raise her son.

Rodrigo may have added the secret marriage not to justify the Count and Princess’ actions, but Alfonso’s; he took part at Lateran IV, when clandestine marriages were condemned. Alfonso’s oath is lacking in Rodrigo and the PCG, but later the PCG explains (in an attempt at rationalizing his conduct) that Alfonso the Great will not free Count Sancho because of the oath his Chaste predecessor had sworn. Later chronicles have no significant variations on the stories, except that the Tercera and Cuarta state outright that the second version is untrue. The Cuarta also claims that Crulor [Timbor] lay with Count Sandias willingly.

Section 2: Traditional Ballad: “En los Reinos de Leon.”

A from the Cancionero de 1550¸ “En los reinos de Leon” is Durán 619, Class I. Wolf 9, Class I. Pidal Romances Viejos de Bernardo 1a. 1500-1550.

B Tomás Perrenot de Chantonnay, in a coded letter of 1562 (he was the Spanish ambassador in France, and wrote this ballad out in secret code to troll the French king’s spies.) Pidal Romances Viejos de Bernardo 1b.

C A few verses sung by characters in Luis Vélez de Guevara’s play, “El conde don Pero Vélez.” 1615. Armistead IV, pp. 276-277.

In Leon (Castile and Leon C), Alfonso the Chaste reigned. His beautiful sister, Doña Jimena, and the Count of Saldaña (who was the most gallant knight in Castile C) fell in love. They came together often, unsuspected A, until the princess brought forth Bernardo del Carpio, upon which she entered a nunnery and the irritated King threw the count in jail A, Bernardo grew up to be a gentle knight, one of the best in Spain B. (C ends with a lyrical description of love that Vélez probably invented).

Section 3: Literary Ballads

Burguillos Pidal Eruditos 1a. “Reinando el rey Don Alfonso.”A mere versification of Ocampo.

Seventeen years into the reign of Alfonso the Chaste [800], Ximena weds Count Sancho Diaz of Saldaña in secrecy, producing Bernardo del Carpio. Alfonso holds court in Leon, and sends Arias Godo and Don Tibalto to summon Sancho to court, “bringing few companions.” When Sancho arrives, the king orders him seized. Sancho asks what he has done. The king tells him. Sancho asks only that the king be kind to Bernardo. Alfonso imprisons the Count in the castle of Luna. Jimena is sent to a nunnery. Alfonso then sends to Asturias for Bernardo, whom he raises as his own son, for he is childless. The lad has every knightly virtue.

Timoneda, copying Burguillos, divides his ballad into three: Durán 621, “Reinando el rey Don Alfonso”; Durán 622, “Sabiendo el Rey cómo el Conde”; and Durán 623, “A cabo de mucho tiempo.” (Pidal Eruditos 1b:I, II, III).

Timoneda trims his original slightly, omits the names of Arias and Tibalto, and says that Alfonso did not summon Bernardo to court and adopt him until “much time” had passed. (Bernardo is still ignorant of his parents’ fate, however. Timoneda simply needed to alter the lines that began and closed his newly-divided ballads).

Sepúlveda Durán 620, Pidal Eruditos 11, “El conde Don Sancho Diaz.” A slightly less slavish adaptation of Ocampo.

Count Don Sancho Diaz of Saldaña secretly marries King Alfonso the Chaste’s sister Doña Jimena, and begets Bernardo del Carpio, which irks the King to no end. He sends men (unnamed) to summon him to court, whereupon he arrests him. Sancho asks what he has done. The king tells him, and informs him that he will never leave the Castle of Luna alive. Sancho asks only that the king be kind to Bernardo.

Section 4: Siglo d’Oro Plays

Juan de la Cueva’s La libertad de España por Bernardo del Carpio, 1579. Acts I and II tell the story of Sancho and Jimena. In Cueva’s version, Alfonso first lures his sister to court, then Count Sancho. Tibalto, sent on both occasions, is a friend of the Count’s, but is too afraid of Alfonso to warn the lovers of their impending fate. It is not Count Sancho, but Jimena, who entreats the king to care for Bernardo. Sancho never mentions his wife or his child during his trial. The king has the count blinded onstage before imprisoning him.

Lope de Vega’s Las Mocedades de Bernardo del Carpio (unknown date). ACT I: Jimena and Sancho are secretly married, and the Princess is nine months pregnant (concealed, of course). The Count of Barcelona, Alfonso’s cousin, writes to Alfonso asking for her hand in marriage. Alfonso discusses the matter with his most trusted men, Count Sancho and Don Rubio. After they agree to the marriage, Don Rubio privately informs the king of Jimena’s condition, and takes the king to hide in the bushes that night as Alfonso climbs up a ladder to the Princess’ balcony to help her deliver her child, and down again with the baby boy in his arms. Alfonso steps out and confronts him, and Count Sancho confesses all. Alfonso pretends to forgive him, on condition that he entrust the child to his care temporarily, while he (Sancho) takes a reply letter to the Count of Barcelona informing him of the situation, and one to the Castellan of Luna, bidding him prepare the castle for Sancho and Jimena’s wedding. Count Sancho entrusts Alfonso with the boy and departs at once. Don Rubio comes out of the bushes and offers to drown the child, but Alfonso bids him raise him as his own, instead. They baptize the boy Bernardo, it being Saint Bernard’s feast day [August 20, though of course St. Bernard lived four centuries after Alfonso]. Count Sancho delivers the letter to Luna, but of course it actually says for him to be blinded and chained in the deepest dungeon, which is done. Bernardo, meanwhile, is raised by Don Rubio and grows up to be a proud, arrogant, impulsive brat, a far cry from his usual depiction as the flower of courtesy.

Alvaro Cubillo, El Conde de Saldaña, 1660. A reworking of Lope’s Mocedades, tightens the play up slightly, and omits such indelicate scenes as the lying-in of the Princess.

Section 5: Modern Literary Adaptations

Alfonso el Casto, 1841, is a play by Juan Eugenio Hartzenbusch, wherein King Alfonso, who is in love with his sister, among other moral failings, redeems himself by secretly arranging (when he is unable to persuade his tribunal to pardon the Count of Saldaña, or to overrule their verdict) for Sancho and Jimena to be married and sent away to a foreign country to live, incognito but happy, for the rest of their lives. He tells the court that Sancho has been imprisoned and Jimena cloistered.

Joaquín Francisco Pacheco’s play, Bernardo, 1848, is based on Cubillo, with arbitrary changes of his own, and makes Bernardo the hero of the entirely unrelated legend that the Christians were obliged to pay a hundred damsels a year in tribute to the Moors until a hero put a stop to it.

Section 6: Modern Ballads – Spanish

In modern tradition, the ballad died out recently in the hinterlands around Madrid. By the time of its decease, the song claimed that when Alfonso the Chaste reigned in Aragon, his beautiful sister Jimena had a child by Don Rodrigo de Vivarra [The Cid]. This child was Juan Prin [Juan Prim y Prats, 1814-1870, a Spanish general and politician who helped depose Queen Isabella II and replace her with Duke Amadeo of Aosta]. The father was sent to prison, the mother to a convent. When Juan was 20, he challenged his uncle to a duel if he would not free his parents. Juan fetches his father from the prison. His father says (in lines taken from Bañando están las prisiones, Durán 625) that when he entered prison he had no beard, but now it is long and grey. Juan says his mother will continue to live a holy life in the nunnery.

Section 7: Modern Ballad – Mañanita Era, Mañana

Is the title usually given to modern ballads about Bernardo’s birth, sung until recently by the Sephardic Jews of Morocco. Pidal Viejos 1c-1n. Armistead IV, Chapter 11, pp 280-293.

On Saint John’s Day, the Moors are holding a tournament in Granada, where knights and ladies look for lovers. The king has a beautiful sister, Ximena, who loves the Count of Saldaña, (because of his prowess in the tourney E) who impregnates her. The king, learning this, locks Ximena in a chamber and the Count of Saldaña in prison. Ximena gives birth in confinement, and weeps over her son. The Queen hears this, and asks Ximena why she weeps. Ximena answers it is because the father of her son is in prison. The Queen swears not to eat until he is free, and goes to the king. The king grants her request, and Ximena and the count are wed. (The queen goes straight to the prison and frees the count herself, without asking the king’s permission F).

Pidal 1k goes off on its own. Ximena gives her son to be nursed by a lioness, since lions respect royal blood. When the boy grows up, he takes arms and a horse and kills his father. He then goes to his mother, who offers him half the kingdom if he will spare her life.

The introductory verses about the tournament are known as the Sanjuanada. Originally from La Pérdida de Antequera, they have migrated to many ballads.

The ending of F is taken from Sancho and Urraca, (one of the ballads of the Cid cycle, having nothing to do with Charlemagne). That of K is from El Infante Parricida.

The Legend of Count Grifos Lombardo

The legend of Count Grifos Lombardo is preserved only in a single Spanish ballad, first printed 1562. It has been thought to have some connection to the legend of the birth of Bernardo del Carpio.

Durán 325, Class V; Wolf 137, Class I. “En aquellas peñas pardas.” First printed in the Cancionero llamado Flor de enamorados, 1562.
Charlemagne orders Count Grifos Lombardo, who lives in Moncaya, arrested, because he raped a girl on the Way of Saint James, who was daughter of a duke, and niece of the Pope. He is cast into prison strong, with seven counts to guard him, on penalty of death if he escapes. He is at last sentenced to marry his victim.

Where Moncaya may be I do not know, but Moncayo is a mountain in Aragon, close to the Way of Saint James, but not on it.

Some other Hispanic ballads also begin with the rape of a pilgrimess to Saint James, after which their plots diverge wildly. Collectively, they are known to scholars as El Conde Preso, or as Conde Grifos Lombardo, but one can actually distinguish four different plots that share this name and this opening:
1. The Kick at the Scaffold [El Puntapie a la Horca]
2. Dom Garfos
3. Bury Me Not in a Church [No Me Entierras en Sagrado]
4. The Judgment of God [Justiça de Deus]
This classification and these titles, like the letters referring to some of the ballads below are from my own system, an attempt to keep the forty-seven versions included in the PHBP straight. They are not used by anyone else.

1. The Kick at the Scaffold. The most common (Eighteen versions in the PHBP, and I know of at least two that they are missing1) and the closest to the legend of Bernardo. Known in Asturias, Leon, Lugo, Cantabria, and even Cuba.

1Menéndez y Pelayo, Antología De Poetas Líricos Castellanos, Volume X, p. 48. 10. Bernaldo del Carpio – I. “Íbase por un camino.” Also one in the Romancero judeo-español en el Archivo Menéndez Pidal.

Count Miguel del Prado is arrested, not for theft or murder, but for raping a noblewoman on the Way of Saint James. She was the king’s daughter, and the Pope’s niece. Since she is so highly-born, his penalty is harsh. He is guarded by a hundred during the day, and a hundred and four by night. He wishes for his cousin Don Bernardo to come.

Bernardo does indeed come, with one sword at his belt and one in his hand. He demands the count’s freedom from the king (sometimes Alfonso). The king assures him his cousin shall be pardoned, and invites him to eat, drink, and play cards. But as they play, a page comes and tells Bernardo that the count is about to be hanged anyway. Bernardo throws the cards in the king’s face. The king bids him respect the crown, but Bernardo refuses. He leaps down the palace stairs in a single bound, mounts his horse without stirrup, and rides to the scaffold. He arrives just in time. He destroys the scaffold with a kick, sends the hangman’s head flying with his sword, and gives a sword to his cousin, saying that no kinsman of his shall die on the scaffold.

In some versions, Bernardo is playing cards at his palace when a page tells him the news. Sometimes the king’s invitation to play comes before the falsely-promised pardon. Sometimes Bernardo meets the king in the street, sometimes in the palace. His mighty leaps either occur when leaving the palace, or when leaving his own house. Sometimes the hangman is spared. The princess’ family varies, as do other minor details.

In a unique version from Leon, 1916 (PHBP 0118:3), the cousins kill a hundred soldiers, and the king is obliged to give the infanta in marriage to the Count and a princesa to Bernardo.

2. Dom Garfos. A much less common version, ends tragically (three versions in PHBP, all from Portugal).

C: 1867, Covilhã, Castelo Branco, Beira-Baixa, Portugal. Braga, Romanceiro Geral, No. 25. (PHBP 0118:18)
R: 1919, Portugal. Thomas, Cantares do Povo, pp. 6-8. (PHBP 0118:11)
AA: 1958, Trás-os-Montes and Alto Douro, Portugal. Leite de Vasconcellos, Romanceiro Português, I:49-50. (PHBP 0118:17).

The count (Dom Golpes, AA) was taken, not for thefts or murder, but for outraging a noblewoman who went to Saint James. She complains to the king, who gives the count a choice between marrying her and dying. He chooses neither, and calls for his nephew Dom Garfos C, Gaiferos R, Dom Golpes (again) AA, who arrives, and to whom he explains the situation C, R, AA. Garfos obtains his pardon from the king, who bids him go home and sleep soundly, for his uncle will be freed at midnight C, before dawn R, AA.

At midnight, however, he awakens from a nightmare that his uncle has been hanged in the palace yard. In C, his wife, the king’s daughter, informs him that it was no dream: she heard the whole thing. He runs to the gallows, where seven counts C, seven noblemen R, came to see the hanging. [As he leaves the palace, he meets seven counts who are coming thither to gloat AA]. He kills six, and the seventh barely escapes. He threatens the king, who is at a balcony window, and swears revenge C, R. [The survivor is sent to the king, whom Golpes meets shortly afterward, and threatens AA]. He returns home and stabs his wife four times, for her father, her mother, his health, and her treason C.

The Sephardic versions, not in the PHBP, are even bloodier. See the Romancero judeo-español en el Archivo Menéndez Pidal [Madrid, 1978]. In this one, the rapist is sentenced to be hanged at midnight. As he is being led out, he calls for his nephew. His nephew’s wife, however, is the king’s daughter, and tells her husband that it is merely the howling of a dog he hears, and so the nephew arrives too late to save the count. He swears vengeance, and kills his wife, cuts off her breasts, shows them to the king, and proceeds to kill the king, the queen, the princess, and all the courtiers he can find. He then embalms his uncle and sits him on the throne.

1-2. At least two versions are known which combine Puntapie and Dom Garfos:
I: 1893, Castelo de Frades, Cereixedo, Cervantes, Luga, Becerreá, Lugo, Spain. (PHBH 0118:8)
V: 1948, Villaselán, Sahagún, Riberas del Cea, León, Spain. Romancero general de León I, pp 140-141. (PHBP 0118:6)

I (PHBP 0118:8) begins like Puntapie, but after Count Aguilar del Pardo calls for his nephew Gaifer, we cut to the latter awakening from a nightmare that his uncle has been hanged. His wife informs him that it was no dream; she heard his laments. He curses his wife, arms, and rides out. He sees his uncle dead, destroys the scaffold with a kick, knocks the hangman’s teeth out, kills the king’s three sons, but still is not satisfied.

V (PHBP 0118:6) has the plot of Dom Garfos, but many of the lines and phrases are from Puntapie. Count Leonardo calls for his nephew Don Golfo. Don Golfo awakens from a nightmare, and his wife Doña Sancha tells him it was no dream. He leaps down fifteen stairs, and kills some counts who were celebrating his uncle’s execution. The king bids him cease, but he threatens to kill the king, too. He cuts his uncle’s body down, washes it, and has it buried honorably in a church.

3. Bury Me Not. The most common Portuguese form of the ballad (18 versions in PHBP) has been combined with another ballad, No me entierran en sagrado. “Bury me not in a church.”

The Count not only rapes the maiden, but gives her to his henchman. He is given a choice between marrying her and death, and chooses death. He asks that he not be buried in a church, nor in holy ground, nor in an open field, but that his body be placed on his horse, that all who see him may know he died for love.

4. The Judgement of God. Dead in oral tradition. Only recordings known are from the 1800s.

Almeida Garrett’s Justiça de Deus in his Romanceiro, Volume II, p. 295, No. XVI. He confessedly cobbled two versions together and likely made changes of his own.

Braga, Romanceiro Geral, p. 65, No. 26. Justiça de Deus. “Préso vae o conde, préso.” From Beira-Alta, would appear to be an attempt to restore Almeida Garrett’s version as he heard it.

In this version (and only this version) we are actually told how the poor pilgrimess escaped. The count and his henchman abandoned her in the woods, but she was rescued by an old soldier who was going on pilgrimage himself. He takes her to the king’s court, where the count is arrested, tried, and given a choice between death and marriage. He chooses death, but the soldier says this is not right. He must make an honorable woman out of his victim. He casts off his pilgrim’s garb and reveals himself to be a holy bishop. He marries the count and the pilgrimess, after which the count dies. [Almeida’s version ends with two lines explicitly stating that the soldier was Saint James, which Braga rejects.]

The Legend of Bernardo del Carpio 4: Later Chronicles

There are a few later retellings of Bernardo del Carpio’s life that are worthy of mention.

The Poema de Fernán González briefly recounts the history of Bernardo at Roncesvalles.

The Segunda Crónica General is also known as the Crónica de 1344. It is a redaction of the Primera, which adds prosifications of many new ballads, but leaves the story of Bernardo essentially unchanged.1

The Tercera Crónica General, also called the Crónica General Vulgata was redacted towards 1390, and adds some skeptical comments about Bernardo. It also moves many of his adventures under Alfonso III to the reign of the II, but with few further changes. It was printed by Florián d’Ocampo in 1541, in a volume which became the standard history utilized by Siglo d’Oro authors, comparable to Holinshed in Elizabethan England. 2

The Cuarta Crónica General was redacted around 1460. An edition can be found in the Colección de documentos inéditos para la historia de España, volumes 105 and 106. Bernardo’s story begins in Volume 105, page 264.

POEMA DE FERNÁN GONZÁLEZ

Alfonso the Chaste built the church of San Salvador. King Charles sent him a message that he was coming to Spain to receive homage and tribute. King Alfonso replied that he would not pay him anything, and that though the French fought five years, they could not conquer Spain. Charles’ men gave him bad advice, telling him to invade. Charles, with an immeasurable army, headed for Castile. Bernardo del Carpio gathered an army and attacked them at Fuenterrabía, where he slew seven kings and great lords. Charles retreated to Marseilles, where he regrouped and tried again to enter Spain through Cize and Aspe. Bernardo crossed the Ebro and came to Saragossa, where he kissed the hands of King Marsil, and agreed that the troops of Castile would be in the vanguard against the Twelve Peers. Bernardo fought in the front lines, and dealt the French an even more crushing defeat than that of Fuenterrabía. The poet now digresses for a long praise of Spain and Castile in particular, and returns to history with the death of King Alfonso, after which he moves into his story proper, of Fernán González. Bernardo is not mentioned again.

SECUNDA CRÓNICA GENERAL

According to Pidal, one MS, (which he infuriatingly does not identify) changes the numbers of Bernardo’s knights during his raid on Salamanca (the first one, with the ambush) to agree with the ballad of By the Rivers of Arlanza. Instead of two hundred lying in ambush and one hundred going with Bernardo, as in the PCG, it is two hundred in each group. Otherwise, I know of no differences.

TERCERA CRÓNICA GENERAL, AS PRINTED BY OCAMPO

Third Part, Chapter 10:

Both versions of Bernardo’s birth are given, and are dated to the seventeenth year of Alfonso the Chaste’s reign, [803], the 7th of Constantine’s Imperium [786], AD 796. The story of Doña Timbor, however, is stated to be untrue.

Year 30 [812]: Charles 12 [812], AD 809 Roncesvalles. To the battle came Roldan, Reynalte de Montalvan, Don Giralte, Count Terria Dardeña, Count Iarluyn, Argelero the Gascon, Archbishop Torpin, Oger de las Marchas, Salamano of Brittany, and many others. Some say that after the battle, Charlemagne took his revenge on King Marsil, with the help of Bernaldo and Alfonso. They also say that Charles took Bernaldo home with him and made him king of Italy, but we do not find this in old books, and so we do not assert that it was so.

At any rate, after Roncesvalles Bernardo learns his true parentage directly from the women, without a game involved.

Year 31 [812]: Charles 13 [813], AD 810. Charlemagne died [really 814]. Rodrigo’s dissection of Turpin is included.

Year 32 [813]: Louis 1 [814], AD 811. Bernardo saves Alfonso from King Ores of Merida.

Year 33 [814]: Louis 2 [815], AD 812. Alfonso saves Zamora from King Alzama of Badajoz.

Year 34 [815]: Louis 3 [816], AD 813. Alfonso and Bernardo defeat the Moors at Polvorega and Val de Moro, respectively. Alfonso also smites them by the Duero River. Pope Leo [III] dies and Stefan III [IV] is elected [816].

Year 35 [816]: Louis 4 [817], AD 814. The Don Bueso incident. Bueso’s kinship to Bernardo is denied. Pope Stephan dies and Paschal is elected [817].

Year 36 [817]: Louis 5 [818], AD 815. Alfonso holds court at Pentecost, and the Queen fails to obtain Count Sancho’s freedom. Bernardo is banished, and his kinsmen go with him. He made war against the king for a long time.

Year 37 [818]: Louis 6 [819], AD 816. Mahomad of Merida and Abderrahmen of Cordova.

Year 38 [819]: Louis 7 [820], AD 817. Bernardo helps the Emir Alihatan [Al-Hakim] crush the Cordovan rebellion.

Year 39 [820]: Louis 8 [821], AD 818. Mahomad.

Year 40 [821]: Louis 9 [822], AD 819. More Muslim civil wars.

Year 41 [822]: Louis 10 [823], AD 820. Alfonso dies. King Alfonso had a wife he never saw, and some say she waas Berta, sister of Charlemagne.

Alfonso III the Great Year 4 [869]: Lothair 14 [853], AD 840. Alfonso repels a horde of Moors from Toledo in a battle along the Duero. Bernardo has helped him in his battles hitherto, lured on by promises of his father’s freedom, but Alfonso’s latest reneging is the last straw, and now he rebels, joined by men from Benavente, Toro, and Zamora [the dramatic scene at court is not repeated].

Year 5 [870]: Lothair 15 [854], AD 841. Bernardo builds El Carpio and raids Salamanca.

Year 6 [871]: Lothair 16 [855], AD 842. Alfonso posthumously frees Count Sancho, then sends Bernardo to France. Bernardo’s adventures in France and Catalonia follow, as in the PCG, but with a note that they are not found in the authentic books of wise men, but only in juglares en sus cantares, so that “we do not know for certain” if they are true. The discussion about the different Charleses and Alfonsos, and the date of Roncesvalles is copied, too.

CUARTA CRÓNICA GENERAL

Bernardo’s birth is dated to Alfonso’s fifteenth year [797], AD 792, Constantine’s seventh [786]. Crulor [Timbor] lay with Count Sandias willingly, though her story is still said to be a fiction.3 The other dates agree with the Tercera. The dead at Roncesvalles include Anselino, Reynalte of Monte Alban, Giralde or Guiralde the Steward, Count Oliver, Terrin, Count Albuey, “and many more.” When Bernardo begins his rebellion, the chronicle announces that it will speak no more of him until the reign of Alfonso III. Bernardo’s foundation of El Carpio in Salamanca, and his subsequent alliance with the Moors to raid Leon and Asturias are related under King Alfonso’s fourth year, and the story henceforth follows Rodrigo. In consequence of these events, however, King Alfonso really did set Count San Diaz free (though he has gone blind in prison), “and lived in love with him and with Bernardo his son.” The Arabs, however, are still in Christendom, and split their forces in two, sending one to Polvorosa and the other to King Alfonso, Bernardo marches to meet this latter and slaughters them in Valdemoro. Meanwhile, Alfonso has given them the slip and gone to Polvorosa, where he kills them. Bernardo and Alfonso next save Zamora, and Bernardo kills Alchaman the false prophet. The Moors make peace with Alfonso, the date of Roncesvalles and the different Charleses are discussed, and Bernardo vanishes from the history.

1 Horent, Jules, Book II, Part I, Paragraph 37.

2 Horent, Jules, Book II, Part I, Paragraph 38.

3 Entwhistle 1928, 449.

The Legend of Bernardo del Carpio 3B: Origins of the Legend

Scholars are agreed that the legend of Bernardo del Carpio, as we have it in the Three Earliest Chronicles, is a combination of three different stories.

I: Bernardo del Carpio proper, a Castilian-Leonese legend about a man who spent his life in a vain attempt to free his father from prison.

II: Bernardo the Carolingian, a Pyrenees legend about a nephew of Charlemagne’s who spent most of his life fighting against his kinsmen (Roncesvalles, Don Bueso) for his fatherland of Spain.

III: Bernardo the Catalonian, who founded Canal de Jaca, fought the Moors, and married into the local nobility.

Fusion of the Legends

OLD THEORY: The legend began with Bernardo the Catalonian. Later developments made the hero nephew of Charlemagne and created the legend of Bernardo son of Timbor, half-Spaniard, half-Frank, who had a very conflicted relationship with his mother’s country and family. Later still, probably after King Sancho united Navarre and Castile, Bernardo became nephew of Alfonso, and the story of Count Sancho was created. The new versions did not replace the old ones, however, but circulated simultaneously, and the PCG tried to reconcile them. This theory was held by such great scholars as Milá y Fontanals, Menéndez y Pelayo, and Menéndez Pidal.

NEW THEORY: The three legends arose independently. First the Catalonian and Carolingian Bernardos were fused, and later the legend of Bernardo del Carpio was combined with them, probably owing to the heroes having the same name. Jules Horrent was the first to propose this theory, which has won widespread acceptance. Scholars continue to dispute whether this final fusion was done by the people, or by one learned scholar, and whether the first fuser of all three Bernardos ascribed his deeds to the reign of one Alfonso, or whether the fuser was also the man who divided his exploits between the Chaste and the Great. The Alfonsine division, whether made by Lucas or by his source, was almost certainly made after the fusion of the Bernardo legends, in an attempt to explain how Bernardo could have both fought at Roncesvalles [778] and been the founder of Canal de Jaca [late 800s].

Direct Sources of the Chronicles

It is clear from Lucas, Rodrigo, and the PCG that they were drawing on pre-existing sources that are now lost, but it is unclear exactly what those were.

Cantar de Bernardo. Most scholars postulate an epic poem much like the Poema del Cid, whether written by minstrels or by the people. It may have given the story essentially as we know it from the PCG, or it may have only told the story of the Carolingian Bernardo as fused with the Catalonian.

Estoria de Bernardo. Some also postulate a prose work, either Latin or Spanish. They think it told the story of the Carpian Bernardo, though perhaps already with some contamination (Roncesvalles, Don Bueso) from the Carolingian and the Catalonian.

The origins of the Legends

Turning now to the origins of the three legends before they were combined, Bernardo the Catalonian’s history is easiest to trace. He is, all agree, Bernardo of Ribagorza, whose deeds were greatly expanded (the uncharitable would say “forged”) around the 1000s, when charters appear claiming he founded monasteries and repopulated cities after his victories over the Moors. Also from this time is the Memoria Alaonis (c. 1080-1090) which falsely claims that Bernardo was descended from Charlemagne. The real Bernardo of Ribagorza is shrouded in mystery, and the documents are contradictory. He was the son of Count Raymond I of Ribagorza, and probably married Teuda (Toda), daughter of Count Galindo Aznárez II of Aragon. According to unreliable legend, he expelled the Moors from Ribagorza and Sobrarbe in 835. Some sources say, however, that Toda Galíndez married Bernardo’s son, Bernardo II. Others say it was not Bernardo I, but his father, or even his great-grandfather, who repopulated Ribagorza.1

In Catalonia today (or at least, up until the 1950’s), local legend has it that Bernat, son of Charlemagne’s daughter Bellisent, was banished from France because of a family feud, and went to Spain to fight Saracens and giants with his magic instantly-killing sword. He won the hand of the Christian princess of Jaca, built the Castle of Sort, and lived happily ever after.1

1 Sholdod, Barton. Charlemagne in Spain. Geneva, Librarie Droz, 1966.

Bernardo the Carolingian may also be based on Bernardo of Ribagorza. Scholars debate whether the legend of the Ribagorzan grew to include such incidents as Roncesvalles and Don Bueso, or whether an independent Pyrenees legend eventually swallowed the legend of Ribagorza whole. Those who believe in an independent legend are uncertain whether it dates all the way back to the battle of Roncesvalles, or whether it grew up under the influence of French pilgrims to Compostela, as a Spanish rebuttal to the legend as told in the Song of Roland and the Pseudo-Turpin, which must have irked the Spaniards and excited their patriotism.

If Bernardo the Carolingian arose independently, he may be partly based on Bernardo of Septimania, son of William of Gellone [the inspiration for William of Orange]. He was given Barcelona by Charlemagne in 803, married one Dhuoda (a name very similar to Theuda or Toda, the Ribagorzan), and had a tendency to get involved in the wars of the Frankish kings and to plunder the countryside. He was, on one occasion, banished from the Frankish court for allegedly having an affair with Empress Judith, and fled to Spain. He was captured and executed by Charles the Bald in 844, for having sided with Pepin the Younger.

Bernardo del Carpio proper is a mystery. No trace of such a character, or anyone like him, is found in the history of Alfonso II or Alfonso III. His story most likely arose out of the same epic-legendary milieu as the Seven Sons of Lara, El Cid, Fernán González, and others, though it is very strange that, out of all the epics of old Spain, Bernardo alone should be devoid of historical foundation.

Scholars also disagree as to the kernel of the Carpian story. Mercedes Vaquero thinks the legend grew out of the dispute between Bernardo and Alfonso over the fief of El Carpio, and that the entire story of Count Sancho was a later addition.2 Most, however, hold that the story of Count Sancho is at the root of the legend.

Ms. Vaquero has suggested that the story was inspired by Pedro Fernández de Castro (c. 1160-1214). Pedro was the son of Fernando Rodríguez el Castellano (1125-1185) and Estafanía the Unfortunate (d. 1180), bastard daughter of Emperor Alfonso VII of Castile and Leon (r. 1126-1157). Fernando murdered his wife out of jealousy, and, according to (inaccurate) legend, fought alongside the Moors against the Christians on various occasions. Pedro fought both for and against Alfonso VIII of Castile (r. 1185-1214) and Alfonso IX of Leon (r. 1171-1230), always opposed peace between the two kingdoms, and fought on the side of the Moors at the Battle of Alarcos. He was, at various times, chief advisor to Caliph Abu Yusuf Yaqub al-Mansur (r. 1184-1199) and majordomo of Leon. He spent some time in exile in Catalonia with his kinsmen the Counts of Urgel, and at last died in Morocco. Furthermore, his father Fernando Rodríguez was (mistakenly) believed to have fought alongside the Moors as well. So Pedro, like Bernardo, was related to royalty, the rebel son of a (supposedly) rebel father, sometimes fighting for his king and sometime against him, fought on the side of the Moors, and after his final banishment spent some time in Catalonia.3

Other historical figures have been proposed as models for Bernardo, or at least as having some influence on his legend.

King Bernard of Italy (797-818), bastard son of King Pepin of Italy, son of Charlemagne. He married Cunigonde of Laon, and begot Pepin, Count of Vermandois. Bernard later got involved in a rebellion against Louis the Pious, who had him blinded, and the procedure killed him. This Bernard has nothing but his name in common and his bastardy in common with he of El Carpio. Some scholars point out that Lucas claims Bernardo del Carpio served in the imperial household under Louis the Pious (r. 814-840) and Lothair I (r. 840-855), but nowhere does Lucas even hint that the Carpian became a king.

King Fortunio of Sobrarbe (r. 802-815). This king, various chronicles tell us, married the daughter of Count Galindo Aznar, allied with Alfonso and Marsil to lead Asturians, Biscayans, Alaveses, Navarres, and the men of Sobrarbe against Charlemagne, and fought in the Battle of Roncesvalles in 809, when Roland and the Peers were slain. He had two daughters: Theuda, who married Bernardo of Ribagorza; and Galinda, who, some say, married Sancho Garces, who became king after Fortunio’s death. However, King Fortunio did not actually exist. The entire Kingdom of Sobrarbe is a fifteenth-century fabrication, made to glorify Aragon, and would not be worth mentioning here if serious scholars had not been deceived and attempted to link Fortunio to the Bernardo legend.

Sulayman b. Yaqzan al-Kalbi l-Arabi. The Moorish governor of Saragossa who invited Charlemagne into Spain in the first place. Late accounts tell us that Charles took him as hostage when he prepared to leave Spain, but that his sons attacked the camp and set him free. He may have been a participant at Roncesvalles, if the Moors were really part of that battle. The identification of him with Bernardo, however, seems to be first made by Pedro Chalemta, but as he presents neither evidence or explanation, one can hardly take him seriously.4

People and Places

Alfonso II is said in some sources to have married Bertinalda, a French princess, though the marriage was never consummated. This story is first found in Bishop Pelagius of Oviedo’s Chronicon (1132), and repeated in the PCG. Pelagius never mentions Bernardo, however. Lucas calls her Berta, Charlemagne’s sister. Perhaps she was invented to explain why Alfonso was willing (and permitted) to raise Timbor’s son as his own.5

Timbor herself is unknown outside of Spain, as is Don Bueso.

Sancho Diaz and Jimena first appear in Lucas. Sancho has been identified with Nepociano, who attempted to claim the throne after Alfonso II’s death and was defeated and blinded by Ramiro I, but this is extremely unlikely.

A tomb said to be Count Sancho’s is in S. Román de Entrepeñas. Unfortunately, that monastery was not founded until the 900’s.6 Also, Saldaña was not a County until that same century. Barrios del Luna, where the Count was imprisoned, is a real castle, now in ruins.

Doña Jimena’s alleged tomb is in the monastery of Saint Vincent and Saint Pelayo, in Oviedo, with “Castisima Scemena,” inscribed on it in ninth or tenth century letters. The only Jimenas known to have lived during this period are the queens of Alfonso III and Fruela II, who are buried elsewhere. Since few believe that Jimena the mother of Bernardo actually existed, most scholars attribute this tomb to the first abbess.7

There are many El Carpios in Spain, but the most likely candidate for our hero’s fief is a fortress in the debatable land between Castile and Leon, which changed hands frequently. Bernardo’s alleged tomb is not there, however, but in Aguilar de Campo. The tradition is at least as old as the 1500’s, when Charles V visited there.

In short, there is no evidence that Bernardo del Carpio or any of his family (Alfonso excepted) ever existed.

1 Katherine P. Oswald, “The Formation and Transmission of the Legend of Bernardo del Carpio” (PhD diss., University of Wisconsin-Madison, 2015), pp. 12-13.

2 Vaquero, Mercedes. “Relaciones feudo-vasalláticas y problemas territoriales en el Cantar de Bernardo del Carpio”, Charlemagne in the North: Proceedings of the Twelfth International Conference of the Société Rencesvals, Edinburgh, 4th to 11th August 1991, eds. Philip E. Bennett, Anne Elizabeth Cobby and Graham A. Runnalls, Edinburgh, Société Rencesvals British Branch; London, Grant and Cutler, 1993, p. 475-484.

3 Oswald, pp. 17-19; and gen . ref. for dates.

4 Pedro Chalmeta, “Rozaballes & Bernardo,” Arabica 55, no. 1 (2008).

5 Jules Horrent, La chanson de Roland dans les littératures française et espagnole au Moyen Âge (Liège: Presses universitaires de Liège, Les Belles Lettres, 1951), , Book II, Part II, Chapter IV, Note 44.

6 Vicente José González García, Bernardo del Carpio y la Batalla de Roncesvalles (Oviedo, Spain: Fundación Gustavo Bueno, 2007) p. 59.

7 González García 2007, p. 50.