[16] See W. Wentworth Webster, in the Boletin of the Academia de Historia for 1883.
[17] See Manuel Milá y Fontanal, Poesía heróico-popular Castellana (Barcelona, 1874).
[18] The term, first employed by Count William of Poitiers, the earliest troubadour, at first implied any work written in the vernacular Romance languages. Later in Spain it was used as an equivalent for cantar, and finally indicated a lyrico-narrative poem in octosyllabic assonants.
[19] In German it was known from 1583, and in English from 1619. Southey’s translation (London, 1803) is (happily) an abridgment, and has been reprinted in the “Library of Old Authors” (1872). I provide full bibliographical details when dealing with the romance more fully.
[20] Omniana, t. ii, p. 219 (London, 1812).
[21] Don Quixote, Part I, chap. vi.
[22] English translation by Southey, 4 vols. (London, 1807).
[23] In the chapter entitled “Moorish Romances of Spain” the reader will find specimens of the romantic fictions of that people, from which he can judge for himself of their affinity or otherwise with the Spanish romances.
[24] See Dozy, History of the Moors in Spain, Eng. trans., and Recherches sur l’Histoire politique et littéraire de l’Espagne (1881); F. J. Simonet, Introduction to his Glosario de Voces iberias y latinas usadas entre los Muzárabes (1888); Renan, Averroës et Averroïsme (1866). Gayangos’ Mohammedan Dynasties in Spain (London, 1843) is somewhat obsolete, as is Conde’s Dominación de los Arabes.
[25] “The Raid,” an old Spanish poem.