Song of El Cid

Total Page:16

File Type:pdf, Size:1020Kb

Song of El Cid Eleventh Century Spain was fragmented into kingdoms and other domains on both the Christian and Muslim sides. These realms were continually at war among themselves. El Cid was a soldier- adventurer of this time whose legend endured through the centuries and became a symbol of the Christian Reconquest. This is his story as told by himself in the guise of a medieval troubadour – but with some present-day anachronisms creeping in. Song of El Cid I’m Rodrigo Díaz de Vivar; Prince Sancho was the one I served, my fame has spread to lands afar. my qualities were well observed, that’s why you’re sitting here with me so when he became the king in turn to listen to my soliloquy. I had but little left to learn about the matters of warfare, To Moors I’m known as El Sayyid and to him allegiance I did swear. (though I am no Almorávide). El Cid, the lord or leader who As his royal standard bearer, I is invincible in warfare too. was one on whom he could rely to wage the battles against his kin, To Christians I’m El Campeador, which it was paramount to win. now what that means you can be sure. I’m champion of the field of battle, For in the will of Ferdinand, reducing all my foes to chattel! he had divided all his land; to García - Galicia, to Elvira – Toro, Confuse me not with Charlton Heston, to Alfonso - León, to Urraca - Zamora. my story’s not just any Western. His culture centers round the gun, So Sancho was left with Castile alone but I have owned not even one. instead of his father’s extensive throne. But these siblings four he had, and they A sword and shield are all I need were ever ready to betray when mounted on a worthy steed the bonds of friends and family trust like my white stallion Babieca for power of land and wealth and lust. immortalized by legend maker, with sword Tizona poised to strike So in battles fierce I did campaign intimidating friend and foe alike. Across the north and west of Spain. In far flung battles I prevailed, I vanquished all we came across but in court politics – there I failed. and sent them packing for their loss. García of Galicia, Alfonso of León, My first allegiance, in Castile each in turn was overcome, promised a career ideal, ’til Sancho sat upon the throne at court of Ferdinand the Great of Castile, Galicia and León. in Burgos, they did educate me at the pleasure of the king If there he’d been content to thrive in all the fields of soldiering. as long as he could stay alive, he could have had a peaceful life without impediments of strife. But still he lusted for more land, But enemies I had at court, so we gathered up our loyal band. and my career they strove to thwart, Toro we took from his sister Elvira, jealous of my high prestige. And set our sights upon Zamora Alfonso listened to their pleas. where sister Urraca resisted our siege, They swayed him with their accusation, a challenge there to her prestige. and he expelled me from his nation. Her henchmen, true to her command So to Burgos I could not return. had promised to defend her land, Besides, its pleasures were all gone. and so they did assassinate Infested by the pilgrim horde King Sancho at the city gate. who care but little for their Lord, like swarms of locusts they descend, Though this was plain for all to see, enough to drive you round the bend. suspicions of complicity They eat and drink from morn till night, surrounded brother Alfonso, who no sense of what is wrong or right. as all the clan around him knew And though this seems a paradox, had every motive to conspire. they leave nothing in the donation box. He thought him heir to the empire entire. But it certainly was not my way He returned from exile in Toledo to live on unemployment pay. to claim the throne as Alfonso Sexto. So my resumé I did prepare to circulate both near and far. Though Castilians did not doubt his claim It came to Yusuf al-Mu’tamin, and recognized his royal name, whose adversary I had been they wanted no King of León when fighting for Fernando’s son to occupy their royal throne. against the powers of Aragón. Lamenting for their murdered king, Emir of Zaragoza, he they chanced upon the next best thing, had yielded down on bended knee, insisting that Alfonso should became my captive, but I showed deny connection with the blood. compassion in that episode, released him from captivity. But who would now accept his oath? Now it’s his turn to honor me. The nobles there were wholly loth for fear of incurring the king’s wrath. So I became his trusty friend But I, in defiance of the aftermath, and fought with him right to the end, did step into the breach for him to protect him from his neighbors’ dominance, and took his vow upon a whim. and maintain his taifa’s prominence. Now Alfonso felt demeaned by this. I feared that he would me dismiss, ‘Gainst Christian or Mohammedan it mattered but he bided his time, and played along not to us, pretending he had felt no wrong, though many pure religionists might choose to gave me his niece’s hand to wed, make a fuss. Jimena sweet to share my bed. To us the Lord was all the same, regardless of Alas! the joys were not to be, your creed, for unconsummated there were we, so I could earn an honest crust by fulfilling and to a convent she did flee. someone’s need. ‘Gainst Aragón, Lérida, Barcelona we fought, Christian or Muslim, it mattered not and ever, ever changing were the boundaries we where I chose to make my Camelot, wrought. for tribute and the spoils of war For five full years I served him, full and fair and enhanced my prestige and power, true, and helped me make a tremendous packet - and we won every battle, and much wealth we from running this protection racket. did accrue. Until I saw before my eyes But then Alfonso sought my name and lusted after one great prize - to go and fight for him again. the city of Valencia, The Almorávides were the foe, for beauty and wealth it had no peer. a different breed of men you know, By now a legend in the land, who veiled themselves below their eyes I knew I had the upper hand. so you would see them in disguise. I laid a siege for many a month. Intolerant of others’ creeds Resistance from the townsfolk shrank, but cognizant of all their needs, til tired and hungry they gave in. their popularity was based ‘Twas all it took for me to win. - and this could well be a foretaste - on lower taxes for the folk. Now Prince of the fairest place in Spain, (The Tea Party may well take note.) I had to defend it again and again. The Almorávides I laid low So for Alfonso it came to pass at Cuarte, Bairén, and Murviedro that they conquered him at Sagrajas. So he had need again of me For five full years I governed there, and offered me a handsome fee, to my enemies’ complete despair, which I felt I could not refuse - ‘til my end came quite peaceably to maximize my revenues. in 1099 on the 10th of July. But soon I again incurred displeasure. They took my body to Castile He imprisoned my family for good measure. and buried me with pomp and zeal, where it still rests this very day, So then I went out on my own, a soldier of fortune on display with my own army to set the tone, no petty king to disenchant So that’s the story of my life as I ruled the roost in the Levant. in a veritable world of strife. A tower of strength and barbarity, My legend lived, my fame exploded, no time now for the folly of charity. the myths increased, the truths eroded So feared was I throughout the land For Spain had need of symbols good that no-one there could stay my hand. to forge the idea of nationhood, To many a landscape I laid waste - and so the legends multiplied. to line my pocket with due haste But take them all within your stride. For with El Cid – and Santiago too - who knows what’s false and what is true? By Chris Slater, 2014, Asheville, North Carolina .
Recommended publications
  • El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses
    9780230601253ts04.qxd 03/11/2010 08:03 AM Page 75 Chapter 2 The Passion of El Cid and the Circumfixion of Cinematic History: Stereotypology/ Phantomimesis/ Cryptomorphoses I started with the final scene. This lifeless knight who is strapped into the saddle of his horse ...it’s an inspirational scene. The film flowed from this source. —Anthony Mann, “Conversation with Anthony Man,” Framework 15/16/27 (Summer 1981), 191 In order, therefore, to find an analogy, we must take flight into the misty realm of religion. —Karl Marx, Capital, 165 It is precisely visions of the frenzy of destruction, in which all earthly things col- lapse into a heap of ruins, which reveal the limit set upon allegorical contempla- tion, rather than its ideal quality. The bleak confusion of Golgotha, which can be recognized as the schema underlying the engravings and descriptions of the [Baroque] period, is not just a symbol of the desolation of human existence. In it transitoriness is not signified or allegorically represented, so much as, in its own significance, displayed as allegory. As the allegory of resurrection. —Walter Benjamin, The Origin of German Tragic Drama, 232 The allegorical form appears purely mechanical, an abstraction whose original meaning is even more devoid of substance than its “phantom proxy” the allegor- ical representative; it is an immaterial shape that represents a sheer phantom devoid of shape and substance. —Paul de Man, Blindness and Insight, 191–92 Destiny Rides Again The medieval film epic El Cid is widely regarded as a liberal film about the Cold War, in favor of détente, and in support of civil rights and racial 9780230601253ts04.qxd 03/11/2010 08:03 AM Page 76 76 Medieval and Early Modern Film and Media equality in the United States.2 This reading of the film depends on binary oppositions between good and bad Arabs, and good and bad kings, with El Cid as a bourgeois male subject who puts common good above duty.
    [Show full text]
  • LAS DAMAS DE EL CID: EL ALZAMIENTO DE LA VOZ FEMENINA Jorge González Del Pozo the University of Michigan-Dearborn
    Libro Siglo XXI Num. 6 23/9/10 09:59 Página 189 LAS DAMAS DE EL CID: EL ALZAMIENTO DE LA VOZ FEMENINA Jorge González del Pozo The University of Michigan-Dearborn … toda historia es siempre una relación, toda historia es partidista y selecciona … (Ortiz en Fleisler 316-17). Una historia es un relato que puede ser verdadero o falso, con una base de reali- dad histórica, o meramente imaginario, y este puede ser un relato histórico o bien una fábula. (Le Goff 21-2). La utilización de un personaje real del pasado como punto de partida a la hora de crear una novela de las llamadas “históricas”, es algo muy frecuente en la actualidad. Esta corriente de creación, que se antoja tan atractiva para los lecto- res, como beneficiosa para los editores, desarrolla la más común de sus aplica- ciones que consiste en retomar un personaje, unos hechos o un contexto determi- nado. Mediante un giro hacia la actualidad, un guiño al lector con temas que le afectan y una revisión de la historia, consigue que esta forma de producción lite- raria adquiera un auge y una dimensión que ni el personaje, ni el período, ni el con- texto histórico habían alcanzado con anterioridad. Este estudio analiza los personajes femeninos que rodean a El Cid en las obras Doña Jimena Díaz de Vivar. Gran señora de todos los deberes (1960) de María Te- resa León, Anillos para una dama (1973) de Antonio Gala y Urraca (1982) de Lourdes Ortiz, para mostrar cómo la agencia de la voz femenina cercana a la figura de Rodrigo Díaz de Vivar crece y se hace más determinante a medida que las condiciones socio-políticas cambian en el s.
    [Show full text]
  • La Tizona En Palacio
    MILIIARIA, Revista de Cultura Militar ISSN: 0214-5765 2000. 14.157-167 La Tizona en Palacio Juan Antonio MARRERO CABRERA «Larga, pesada y fatal», casi como esta manía de los sucesivos gobiernos de llevarse de Madrid el Museo del Ejército, era la espada del gran emperador Carlomagno. La célebre Joyosa que con tanta belleza describe la primera can- ción de gesta francesa, El Cantar de Roldón: «Esta espada muda de reflejos treinta veces al día. Mucho podríamos hablar de la lanza con la que Nuestro Señor fue herido en la cruz. Carlos, por la gracia de Dios, posee su punta y la hizo engastar en la dorada empuñadura; y por este honor y por esta bondad la espada recibió el nombre de Joyosa. Los barones franceses no lo deben olvidar; por ella tienen el grito de guerra «Monjoya», y por ello ninguna gente puedeoponérsele»’. Dura, implacable, imposible de quebrantar como la voluntad oficial de qui- tarle a los madrileños uno de sus más importantes y venerados depósitos históri- cos, despojándoles de su Museo del Ejército, era la espada de Roldán. La famo- sa Durandarte que en vano trató de destruir el orgullo de la caballería andante, cuando se vio morir junto a los Doce Pares de Francia a manos de los españoles en la derrota de Roncesvalles, que tan sentidamente narra el cantar de gesta: «Roldán golpeó en una grisácea piedra y la hinde más de lo que se deciros. Cruje la espada, pero no se quiebra ni se rompe, sino que rebota hacia el cielo. Cuando el conde ve que no podrá romperla, muy dulcemente se lamenta...» «¡Ah, buena Durandarte malograda fuiste!..
    [Show full text]
  • A Comparison of Relations Between Abrahamic Religions in Medieval Spain and Its Reflection in Odat Y’S Israel-Palestine Relations
    DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 6-2018 Consulting the past: a comparison of relations between Abrahamic religions in medieval Spain and its reflection in odat y’s Israel-Palestine relations Morgan Reyes DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Reyes, Morgan, "Consulting the past: a comparison of relations between Abrahamic religions in medieval Spain and its reflection in odat y’s Israel-Palestine relations" (2018). College of Liberal Arts & Social Sciences Theses and Dissertations. 251. https://via.library.depaul.edu/etd/251 This Thesis is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. Consulting the Past: A Comparison of Relations Between Abrahamic Religions in Medieval Spain and its Reflection in Today’s Israel-Palestine Relations A Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts June, 2018 By Morgan Reyes Department of Modern Languages College of Liberal Arts and Social Sciences DePaul University Chicago, Illinois Consulting the Past Spring 2018 Reyes, 1 Table of Contents Timeline of Events in Medieval Iberia
    [Show full text]
  • FCC Part 15C Test Report
    Shenzhen BCTC Testing Co., Ltd. Report No.: BCTC-LH181203325E FCC Part 15C Test Report FCC ID:2ASEY-KM002 Product Name: DREVO BladeMaster PRO mechanical keyboard Trademark: DREVO DREVO BladeMaster DREVO Calibur, DREVO Excalibur, DREVO Typer, DREVO Tyrfing, DREVO Gramr, DREVO Joyeuse, Model Number: DREVO Durendal, DREVO Aegis, DREVO Nix, DREVO Seer, DREVO Enigma, Drevo Unicorn, DREVO Tizona, DREVO Naga, DREVO Fortress Prepared For: Zhengzhou Fanshi Network Technology Co., Ltd. 606 Building G, No.10 Heguang St., Zhengdong New District, Address: Zhengzhou, Henan, China Manufacturer: Zhengzhou Fanshi Network Technology Co., Ltd. 606 Building G, No.10 Heguang St., Zhengdong New District, Address: Zhengzhou, Henan, China Prepared By: Shenzhen BCTC Testing Co., Ltd. BCTC Building & 1-2F, East of B Building, Pengzhou Industrial, Address: Fuyuan 1st Road, Qiaotou Community, Fuyong Street, Bao’an District, Shenzhen, China Sample tested Date: Dec. 14, 2018 – Jan. 28, 2019 Issue Date: Jan. 28, 2019 Report No.: BCTC-LH181203325E FCC Part15.247 Test Standards ANSI C63.10-2013 Prepared by(Engineer): Leke Xie Reviewer(Supervisor): Eric Yang Approved(Manager): Zero Zhou FCC Report Tel: 400-788-9558 0755-33019988 Web:Http://www.bctc-lab.com.cn Page1 of 41 Shenzhen BCTC Testing Co., Ltd. Report No.: BCTC-LH181203325E This device described above has been tested by BCTC, and the test results show that the equipment under test (EUT) is in compliance with the FCC requirements. The test report is effective only with both signature and specialized stamp.This result(s) shown in this report refer only to the sample(s) tested. Without written approval of Shenzhen BCTC Testing Co., Ltd, this report can’t be reproduced except in full.The tested sample(s) and the sample information are provided by the client.
    [Show full text]
  • Una Interpretación Del Significado De Campeador: El Señor Del Campo De Batalla
    09#Interpretacion(Porrinas) 14/1/04 17:13 Página 257 Norba. Revista de Historia, ISSN 0213-375X, Vol. 16, 1996-2003, 257-276 UNA INTERPRETACIÓN DEL SIGNIFICADO DE CAMPEADOR: EL SEÑOR DEL CAMPO DE BATALLA David PORRINAS GONZÁLEZ Universidad de Extremadura Resumen En un tiempo como la Plena Edad Media (siglos XI al XIII) en el que la batalla campal fue una operación militar poco frecuente, eludida por su alto grado de peligrosidad y riesgo, hubo un personaje que se caracte- rizó por su excepcional participación es este tipo de operaciones, consiguiendo además siempre la victoria en ellas. Basándose en esa realidad, los distintos autores que se hicieron eco de esa cualidad fueron creando un mito vigente en aquel tiempo, el mito del Campeador, el mito del Señor del Campo de Batalla. Palabras clave: Guerra medieval, batallas, Rodrigo Díaz, Cid Campeador. Abstract In the Middle Ages (from 11th to 13th century), when field battles were a military option few frequent, which were eluded by its high degree of dangerousness and risk, there was a man who was characterised by his exceptional participation in this type of events, managing also the victory in all of them. In base of this reality, the different authors who made mention to this quality created a myth that was in force in that times, the myth of Campeador, the myth of Lord of Battlefield. Keywords: Medieval war, battles, Rodrigo Díaz, Cid Campeador. Agora sabed aquy los que esta estoria oydes quel Çid non se açertó en esta batalla, ca non era avn venido de tierra de moros donde guareciera grant tiempo, ca sy y fuese non fuera así vençido el rrey don Alfonso, ca fallamos en las estorias que del Çid fablan que nunca fue vençido en lid que entrase; tal graçia le ovo Dios dado1.
    [Show full text]
  • GLADIUS (CUBIERTA).Cdr
    Gladius XXII, 2002, pp. 147-200 TWO SWORDS FROM THE FOUNDATION OF GIBRALTAR POR DAVID NICOLLE ABSTRACT - RESUMEN The two swords plus their associated acabbard and belt or baldric fragments which were found in Matin’s Cave, Gibraltar, date from the 12th century AD. Such dating is supporting the design to the objects themselves, their cultural-historical context, and their varied decoration. This evidence is also used to propose that the ensem- ble was all of Andalusian of North African origin, and as such represents an almost unique survival of 12th centu- ry western Islamic military equipment. Las dos espadas, junto con sus correspondientes vainas y restos de cinto o tahalí, halladas en Martin’s Cave (Gibraltar), deben fecharse en el siglo XII d.C. Esta datación se basa en la tipología de los objetos, en su contexto histórico-cultural, y en su variada decoración. Estos datos se emplean también para proponer que el conjunto es de origen Andalusí o Norteafricano, y que por tanto representan un caso casi único de preservación de equipo militar islámico occidental del s. XII. KEY WORDS - PALABRAS CLAVE Andalusian. Baldric. Belt-buckle. Bird motif. Bronze. Eagle motif. Enamel. Feathered decoration. Galloon. Jihad. Jinete. Maghrib. Mozarab. Mudejar. Murabitin. Muwahhidun. Pommel. Quillons. Ropework decoration. Scale decoration. Silver. Star of David. Tang. Tin. Al-Andalus. Siglo XII. Tahalí. Broche de cinturón. Motivo de ave. Bronce. Motivo de águila. Esmalte. Jihad. Jinete. Maghrib. Mozárabe. Murabitum. Muwahhidun. Pomo. Arriaz. Decoración sogueada. Decoración de esca- mas. Plata. Estrella de David. Espiga. Estaño. The sword is a messenger more truthful than letters.
    [Show full text]
  • Una Firma Del Cid Campeador En Un Documento Del Siglo XI
    Una firma del Cid Campeador en un documento del siglo XI Extraordinaria polvareda levantó en el pasado mes dc febrero, del Presente ario, la noticia del hallazgo cle una firma del Cid Campeador en un códice de la Biblioteca Nacional de Madrid. De ella se hizo eco toda l a prensa nacional que ,freció amplios reportajes, y en algunos periódi- cos apareció la fGtocopia. También las emisoras de radio y televisión le dedicaron su comentario. La importancia que todos los medios de difusión tributaron al feliz hallazgo, demuestra el vivo interés que despierta siempre cualquier deta- l le nuevo alusivo al Cid Campeador, lo que demuestra el gran deseo que anida en todos los españoles de asegurar más y más la existencia y pre- ponderancia del gran Héroe nacional a quien plumas extras, y alguna Propia, llegaron a poner en duda, cuando no negar, considerándole como ser legendario, algo así como los dioses de la mitología. Es que no cesan de resonar en los oídos de todos los españoles aque- llas frases lúgubres que un historiador español se atrevió a estampar en el pasado siglo: <No tenemos del famoso Cid ni una sola noticia que sea s egura o fundada o merezca lugar en las memorias de nuestra nación...; de Rodrigo Díaz el Campeador (pues hubo otros castellanos con el mismo n ombre y apellido) nada absolutamente sabemos con probabilidad, ni aún su mismo ser o existencia» (1). Este excepticis= de Masdeu lo lamenta Otro historiador de su misma época: «Sentimos —escribía— que tales pa- l abras hayan sido estampadas por un español, y más por un español erudito y amante, por otra parte, de las glorias españolas, a veces hasta l a exageración» (2).
    [Show full text]
  • The Anxious Hero Updated
    THE ANXIOUS HERO: DISSECTING MASCULINITIES IN THIRTEENTH–CENTURY MEDIEVAL IBERIAN LITERATURE A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Spanish By Anthony Javon Perry, M.S. Washington, DC November 7, 2018 Copyright 2018 by Anthony Perry All Rights Reserved ii THE ANXIOUS HERO: DISSECTING MASCULINITIES IN THIRTEENTH–CENTURY MEDIEVAL IBERIAN LITERATURE Anthony Javon Perry, M.S. Thesis Advisor: Emily C. Francomano, Ph.D. ABSTRACT My dissertation examines the varying and converging constructions of gender and genre in four thirteenth–century medieval Iberian texts: Poema de mio Cid, Libro de Alexandre, Libro de Apolonio and Alfonso X’s Estoria de Espanna. By contextualizing the texts historically and using the perspectives of feminist theory, gender theory and cultural studies, I examine the constructions of masculinities within these texts and the role that these constructions play in the text’s genre. I contend that these texts bear witness to the anxious relationship between masculinity and power in the thirteenth century and aim to shape the reader’s/listener’s image of kingship/leadership and, in turn, hegemonic masculinity. They serve as a mirror for and of male leaders, a speculum principis for their thirteenth–century audience. In each text, the male protagonist is a hero and, therefore, exemplary of what I term hegemonic masculinity. The self–fashioning of the hero’s masculinity, as manifest in the Fall/Redemption narrative structure, reveals itself to be anxious. I ground my argument in the medieval exegesis surrounding the Fall/Redemption trope and its ubiquity.
    [Show full text]
  • Joseph Brausam
    TCNJ JOURNAL OF STUDENT SCHOLARSHIP VOLUME XII APRIL, 2010 Miklós Rózsa’s El Cid (1961) Author: Joseph Brausam Faculty Sponsor: Wayne Heisler Department of Music ABSTRACT One of the last great Hollywood epics, El Cid hit American theaters in 1961. The film, a romanticized version of the medieval epic poem, El Cantar de Mio Cid, tells the story of Spain’s national hero. Writing the music for the film was concert and film composer Miklòs Ròzsa, famous for the scores of Ben-Hur and Quo Vadis. Drawing upon his rich knowledge of and experience with Hungarian folk music, Rózsa incorporated several medieval Spanish melodies into the score, seamlessly blending them with his original material through his unique compositional voice and skills. Although Rózsa created a masterful score for the film, he and it fell victim to the changing styles of Hollywood. With a number of composers working in film during Hollywood’s golden age who had trained with some of the greatest composers of the time before relocating from Europe to the United States, it is easy to see why many of their film scores are of high quality—musically interesting and complex—and perfectly complement their films. Erich Wolfgang Korngold (who studied with Alexander von Zemlinsky for a short time), Max Steiner (who studied piano with Johannes Brahms and composition with Gustav Mahler), and Bernard Herrmann (who studied with Percy Grainger) amongst others brought classical training to the film studios, which had been populated by Broadway composers and arrangers. Another composer working during Hollywood’s golden age was Miklós Rózsa (1907- 1995).
    [Show full text]
  • El Cid Recupera Su Espada, La Tizona 20MINUTOS.ES / EFE
    http://www.20minutos.es/noticia/238479/0/cid/espada/tizona/ El Cid recupera su espada, la Tizona 20MINUTOS.ES / EFE. 24.05.2007 - 08:17h La Tizona, espada del Cid, en el museo del Ejército (Juan Antonio Martínez / EFE). • La ha comprado la Junta de Castilla y León a su actual dueño, el marqués de Falces. • Su precio: 1,6 millones de euros. • Será depositada junto a los restos del Cid, en la catedral de Burgos. La Junta de Castilla y León ha adquirido por 1,6 millones de euros la Tizona , la espada del Cid Campeador (1043-1099), que de forma provisional ha sido depositada en el Museo de Burgos, aunque su destino final será previsiblemente la catedral de la ciudad, donde se encuentran los restos mortales del Campeador. La espada, hasta ahora propiedad de José Ramón Suárez de Otero, marqués de Falces, se encontraba en el Museo del Ejército de Madrid hasta su reciente cierre. Su dueño la ofreció primero al ministerio de Cultura, según explicó a Efe la consejera de Cultura y Turismo de Castilla y León, Silvia Clemente. Sin embargo, el ministerio la rechazó, por lo que el marqués de Falces comunicó a la Junta su intención de venderla. La Tizona será la pieza protagonista de la exposición que comenzará el próximo septiembre en la catedral de Burgos sobre Rodrigo Díaz de Vivar, con motivo de la conmemoración del octavo centenario del Cantar de Mío Cid . Una de las dos espadas del Cid Según cuenta la leyenda, el Cid Campeador recibió la Tizona de manos de sus yernos, los infantes de Carrión, justo antes de que se desposaran con sus hijas, doña Elvira y doña Sol.
    [Show full text]
  • Bugbear Distinct from Other Goblinoids, Bugbear Name Their Offspring After Any Number of Things
    INTRODUCTION For some Dungeon Masters, one of the trickiest parts of running a campaign is coming up with consistent character names, especially on the fly. Every dungeon master has been in that situation at one point or another; the players have a longer conversation with Village Guard #3 than you anticipated, get invested in them, and want to know their name. This book takes that issue and extends it to some of the less common Dungeons and Dragons races which have been released through officially published material. Why Use This Book? Name generators found online are an invaluable tool for dungeon masters, but finding the right one can be very hit and miss. This book strives to have names which are consistently themed, flavorful, and able to be pronounced at a glance. Using This Book This book has two main table types to roll on: Percentile and Double-Sixty. Percentile tables contain 100 names all ready to go. Simply roll a percentile die or a pair of d10s and go to that point in the table to get your name. Double-Sixty tables have 120 entries divided into two 6x10 blocks. Each entry is one half of the name with the top block going first and the bottom block going second. Roll a d6 to determine the column and a d10 to find the row for the first half, then repeat for the second half. Finally, combine the two halves to get your name. Thank You! To everyone who bought this book, told their friends, or shared it with someone, your support is encouraging me to make bigger and better projects! Thank you! ~J.L.
    [Show full text]