1
«The Metrical Irregularity of the Cantar de Mio Cid», BHS, XL (1963), 137-43. One aspect of the romancero has already been studied in this way: Ruth House Webber, Formulistic Diction in the Spanish Ballad (Berkeley-Los Angeles 1951).
2
One of Lord's articles incorporates the few pages of a book that Parry had begun to write on this subject, «Homer, Parry and Huso», American Journal of Archaeology, LII (1948), 34-44, See also Parry, «Studies in the Epic Technique of Oral Verse-Making», Harvard Studies in Classical Philology, XLI (1930), 73-147, and XLIII (1932), 1-50. See also Serbo-Croatian Heroic Songs, collected by Milman Parry, edited and translated by Albert Bates Lord, I (Cambridge, Mass. -Belgrade 1954); Lord's introduction describes the collecting of the songs. Examples of the application of similar methods to mediaeval epic are Francis P. Magoun, Jr., «Oral-Formulaic Character of Anglo-Saxon Narrative Poetry», Speculum, XXVIII (1953), 446-67; Jean Rychner, La Chanson de Geste, Essai sur l'art épique des jongleurs (Genève-Lille 1955). William Whallon, «Formulaic Poetry in the Old Testament», CLi, XV (1963), 1-14, extends the field of study, and points to Jeremiah 36 as corroboration of Lord's dictation theory.
3
E. C. Hills, «The Unity of the Poem of the Cid», Hisp (U. S. A.), XII (1929), 113-18.
4
This assumption is queried by P. E. Russell, «San Pedro de Cárdena and the Heroic History of the Cid», Medium Aevum, XXVII (1958), 57-79; see especially 59-60.
5
See Menéndez Pidal's introduction, written in 1913, to his edition in Clásicos Castellanos, Poema de Mio Cid, 3a ed. (Madrid 1929), 83-86 (reprinted in En torno al Poema del Cid [Barcelona-Madrid 1963], 49-51). For the escaño torniño, see also Menéndez Pidal, Cantar de Mio Cid II, 3a ed. (Madrid 1954), 648-49.
6
Ed. R. Menéndez Pidal, La leyenda de los infantes de Lara (Madrid 1896; 2a ed. Madrid 1934), and Reliquias de la poesía épica española (Madrid 1951), 181-239.
7
Ed. R. Menéndez Pidal, RFE, IV (1917), 105-204; ed. Jules Horrent, Roncesvalles (Paris 1951).
8
Sometimes called Crónica rimada del Cid, or Rodrigo y el rey Fernando; ed. R. Menéndez Pidal, Reliquias, 257-89. In what follows I refer only to this extant verse text, not to the earlier epic on the Cid's youth, prosified in the Crónica de los reyes de Castilla and the Crónica de 1344.
9
The fullest and most recent discussion of this problem is by Martín de Riquer, «El fragmento de Roncesvalles y el planto de Gonzalo Gústioz», Studi in onore di Angelo Monteverdi II (Modena 1959), 623-28. Riquer believes that Roncesvalles borrows directly from the Siete Infantes, whereas Horrent, op. cit., 116-18, supports Menéndez Pidal's view that the two poems make independent use of traditional material.
10
See also Serbocroatian Heroic Songs, I, 8.