Nor rich attire, avail their forms to save.
They strive in vain who strive against the grave;
It may not be; my wedded brides they are.[148]
The fiction is, no doubt, a grim one; but for several centuries it had great success throughout Europe, and it is presented quite as much according to its true spirit in this old Castilian poem as it is anywhere.
A chronicling poem, found in the same manuscript volume with the last, but very unskilfully copied in a different handwriting, belongs probably to the same period. It is on the half-fabulous, half-historical achievements of Count Fernan Gonzalez, a hero of the earlier period of the Christian conflict with the Moors, who is to the North of Spain what the Cid became somewhat later to Aragon and Valencia. To him is attributed the rescue of much of Castile from Mohammedan control; and his achievements, so far as they are matter of historical rather than poetical record, fall between 934, when the battle of Osma was fought, and his death, which occurred in 970.
The poem in question is almost wholly devoted to his glory.[149] It begins with a notice of the invasion of Spain by the Goths, and comes down to the battle of Moret, in 967, when the manuscript suddenly breaks off, leaving untouched the adventures of its hero during the three remaining years of his life. It is essentially prosaic and monotonous in its style, yet not without something of that freshness and simplicity which are in themselves allied to all early poetry. Its language is rude, and its measure, which strives to be like that in Berceo and the poem of Apollonius, is often in stanzas of three lines instead of four, sometimes of five, and once at least of nine. Like Berceo’s poem on San Domingo de Silos, it opens with an invocation, and, what is singular, this invocation is in the very words used by Berceo: “In the name of the Father, who made all things,” etc. After this, the history, beginning in the days of the Goths, follows the popular traditions of the country, with few exceptions, the most remarkable of which occurs in the notice of the Moorish invasion. There the account is quite anomalous. No intimation is given of the story of the fair Cava, whose fate has furnished materials for so much poetry; but Count Julian is represented as having, without any private injury, volunteered his treason to the king of Morocco, and then carried it into effect by persuading Don Roderic, in full Cortes, to turn all the military weapons of the land into implements of agriculture, so that, when the Moorish invasion occurred, the country was overrun without difficulty.
The death of the Count of Toulouse, on the other hand, is described as it is in the “General Chronicle” of Alfonso the Wise; and so are the vision of Saint Millan, and the Count’s personal fights with a Moorish king and the King of Navarre. In truth, many passages in the poem so much resemble the corresponding passages in the Chronicle, that it seems certain one was used in the composition of the other; and as the poem has more the air of being an amplification of the Chronicle than the Chronicle has of being an abridgment of the poem, it seems probable that the prose account is, in this case, the older, and furnished the materials of the poem, which, from internal evidence, was prepared for public recitation.[150]
The meeting of Fernan Gonzalez with the King of Navarre at the battle of Valparé, which occurs in both, is thus described in the poem:—
And now the King and Count were met · together in the fight,
And each against the other turned · the utmost of his might,