Home Classical, Ancient Near Eastern & Egyptian Studies Der stolze Kastilianer: Die Romanze des 18. Jahrhunderts als Transformationsmedium altspanischer soberbia
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Der stolze Kastilianer: Die Romanze des 18. Jahrhunderts als Transformationsmedium altspanischer soberbia

  • Burkhard Meyer-Sickendiek
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Abstract

The ‘Spanish romance’ is form used in a Castilian epic poem, which was written in the 14th century and is known in European poetry since the 16th century. This so-called ‘heroic romance’ is characterized by honor and pride. This mixture of pride, honor and fame is focused on the great hero of the romance: the Castilian Grande Rodrigo Díaz (1030/45-1099). He fought partly on Spanish, partly on Moorish side, got from the Moors the nickname Cid (meaning Lord) and is the hero in the earliest Spanish poetry, the Cantar de mío Cid. His heroic story returns in Johann Gottfried Herder’s The Cid (1803-1804), for which Herder invented the rhymeless, four-footed troches, which in metrics are called ‘Spanish trochee’. A wonderful example of the “transformations of antiquity” is the development of this genre: The numerous romances of the German Romantics generally lack this pride, until it returns in Heinrich Heines writings, although in a completely new, German-Jewish perspective

Abstract

The ‘Spanish romance’ is form used in a Castilian epic poem, which was written in the 14th century and is known in European poetry since the 16th century. This so-called ‘heroic romance’ is characterized by honor and pride. This mixture of pride, honor and fame is focused on the great hero of the romance: the Castilian Grande Rodrigo Díaz (1030/45-1099). He fought partly on Spanish, partly on Moorish side, got from the Moors the nickname Cid (meaning Lord) and is the hero in the earliest Spanish poetry, the Cantar de mío Cid. His heroic story returns in Johann Gottfried Herder’s The Cid (1803-1804), for which Herder invented the rhymeless, four-footed troches, which in metrics are called ‘Spanish trochee’. A wonderful example of the “transformations of antiquity” is the development of this genre: The numerous romances of the German Romantics generally lack this pride, until it returns in Heinrich Heines writings, although in a completely new, German-Jewish perspective

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