In this instance we have to do with a genuine old _romance_ derived—more or less indirectly—from a lost epic on the Infantes of Lara written between 1268 and 1344, or perhaps from a lost recast of this lost epic. And Lockhart might have chosen other ballads of even more energetic inspiration which spring from the same source. Among these are— A Calatrava la Vieja la combaten castellanos[27]— in which Rodrigo de Lara vows vengeance for the insult offered to his wife by Gonzalo González, the youngest of the Infantes of Lara; and that genuine masterpiece of barbaric but poignant pathos in which Gonzalo Gustios kisses the severed heads of his seven murdered sons:— Pártese el more Alicante víspera de sant Cebrián.[28] And to these Sr. Menéndez y Pelayo would add a third ballad beginning with the line:— Ya se salen de Castilla castellanos con gran saña.[29] But, if a foreigner may be allowed an opinion, this falls far short of the others in force and fire. The next ballad given by Lockhart, entitled _The Wedding of the Lady Theresa_, is a translation of En los reinos de León el Quinto Alfonso reinaba[30]— first printed by Lorenzo de Sepúlveda, who may perhaps have written it. Whatever doubt there may be as to the authorship, there is none as to the date of this composition: it is no earlier than the sixteenth century. There would seem to be some basis of fact for the story that some Christian princess married some prominent Arab chief; but there is a confusion between Almanzor and the Toledan governor Abdallah on the one hand, and a confusion between Alfonso V. of León and his father Bermudo II. on the other hand, not to speak of chronological difficulties and the like. But we need not try to unravel the tangle, for there is no authentic old _romance_ on the Infanta Teresa, though a poem on the subject— Casamiento se hacia que á Dios ha desagradado[31]— has crept into the collection edited by Wolf and Hofmann, This is not unimpressive as a piece of poetic narrative; yet as it is written—not in assonances, but—in perfect rhyme, it is not a _romance_ at all, according to the definition with which we began. In his choice of _romances_ on the Cid Lockhart has not been altogether happy. He begins well with a translation of the admirable Cabalga Diego Laínez al buen rey besar la mano.[32] This is probably no older than the sixteenth century, yet, apart from its poetic beauty, it has a special interest as deriving from a lost _Cantar de Rodrigo_ which differed from the extant _Crónica rimada_. But the remaining poems in Lockhart’s group are mostly poor and recent imitations. _Ximena demands vengeance_ is translated from Grande rumor se levanta de gritos, armas, y voces.[33] But this _romance_ appears for the first time in Escobar’s collection published as late as 1612. Then, again. _The Cid and the Five Moorish Kings_ is translated from