The Singer of Tales, 68, 77, 82-86. The poems in Serbocroatian Heroic Songs contain numerous references of this sort, e. g. I, 68-74, 85-87 (beginning and end of The Song of Bagdad).

Eduardo de Hinojosa, «El derecho en el Poema del Cid», Homenaje a Menéndez y Pelayo (Madrid 1899), I, 541-81; P. E. Russell, «Some Problems of Diplomatic in the Cantar de Mio Cid and their Implications», MLR, XLVII (1952), 340-49.

P. E. Russell, «San Pedro de Cárdena...» Russell also indicates possible monastic connexions of four other epics.

A document of 1410 in the Diocesan Archive, Palencia [privilegios reales 30, formerly legajo 1 no. 18) refers to «vna carta del Rey don enrique mi padre e mi señor que dios de sancto parayso escrypto en pargamino de cuero e sellada con su sello de plomo pendiente en filos de seda...»; other documents have similar though much shorter openings. Cf. MR 187, 203, 778. I propose to develop this and subsequent points in a forthcoming monograph on MR

109, the cases of Antonije and Milan Ćtković; but contrast 20: «There seem to be two things that all our singers have in common: illiteracy...» It is to be hoped that this contradiction will be cleared up. Magoun, Speculum, XXVIII (1953), 460, discusses one case of a literate oral-formulaic poet (Cynewulf) and this question of literacy is considered by C. M. Bowra, Heroic Poetry (London 1952), 216, 370-72. The related possibility of poems transitional between oral and written composition, firmly rejected by Lord, receives some support from Adrien Bonjour, «Poésie héroïque du moyen âge et critique littéraire», Romania, LXXVIII (1957), 243-55; from Pierre Le Gentil, «Les Chansons de geste et le problème de la création littéraire au moyen âge: "remaniement" et "mutation brusque"», Mélanges offerts à Marcel Bataillon (Bordeaux 1962 -BH, LXIV bis), 490-97; from Robert D. Stevick, «The Oral-Formulaic Analyses of Old English Verse», Speculum, XXXVII (1962), 382-89, and «Christian Elements and the Genesis of Beowulf», Modern Philology, LXI (1963-64),79-89; and from William Whallon, «Formulaic Poetry in the Old Testament», CLi, XV (1963), 1-14.

The Singer of Tales, 23, 79; Serbocroatian Heroic Songs, I, 9. Since Lord's evidence is damaging to some of Menéndez Pidal's theories, it is only fair to add that his observation of modern Yugoslav oral poets provides striking confirmation of M. P's account of how juglares operated and how a poem 'became traditional' [Poesía juglaresca y orígenes de las literaturas románicas, 6a ed. of Poesía juglaresca y juglares, Madrid 1957, especially Parte cuarta). M. P rather puzzlingly asserts («Sobre las variantes del códice rolandiano V4 de Venecia», Cultura Neolatina, XXI (1961), 10-19) that the Parry-Lord school of investigators has a totally different emphasis at this point from that of the neotradicionalistas.