which commemorates the death of Diego de Ribera during the siege of Álora in 1434. A passage in the Laberinto de Fortuna implies that Ribera’s death was the theme of many popular songs in the time of Juan de Mena,[68] and possibly the extant romance may be taken to represent them. There is another fine ballad on the historic victory of the Infante Fernando (the first regent during Juan II.’s minority) at Antequera in 1410:—
De Antequera partió el moro tres horas antes del dia.[69]
This also calls for translation, for all that we possess is Gibson’s version of Timoneda’s recast, a copy of verses disfigured by superfine interpolations:—
His words were mingled with the tears
That down his cheeks did roll:
‘Alas! Narcissa of my life,
Narcissa of my soul.’
Nymphs called Narcissa are never met with in popular primitive poetry; but Gibson (from whose version of Timoneda I have just quoted) has happily translated some genuine specimens of the romances fronterizos. Thus he has given us a version of the justly celebrated
¡Abenámar, Abenámar, moro de la morería!—[70]
in which Juan II. questions the Moor, and declares himself, according to an Arabic poetical convention, the suitor of Granada:—