Alfonso agreed to do so, and in a short time the king and his nephew rode forth, Bernardo’s heart full of joy at the thought of meeting the parent whom he had never yet seen. As they rode forward a train came from the opposite direction to meet them, in the midst a tall figure, clad in splendid attire and mounted on horseback. But there was something in his aspect that struck Bernardo’s heart deep with dread. "God help me!" he exclaimed, "is that sightless and corpse-like figure the noble Count of Saldaña, my father?" "You wished to see him," coldly answered the king. "He is before you. Go and greet him." Bernardo did so, and reverently took the cold hand of his father to kiss it. As he did so the body fell forward on the neck of the horse. It was only a corpse. Alfonso had killed the father before delivering him to his son. Only his guards saved the ruthless tyrant at that moment from death. The infuriated knight swore a fearful oath of vengeance upon the king, and rode away, taking the revered corpse with him. Unfortunately, the story of Bernardo ends here. None of the ballads tell what he did for revenge. We may imagine that he joined his power to the Moors and harried the land of Leon during his after life, at length reaching Alfonso’s heart with his vengeful blade. But of this neither ballad nor legend tells, and with the pathetic scene of the dead father’s release our story ends. RUY DIAZ, THE CID CAMPEADOR. Bernardo del Carpio is not the chief Spanish hero of romance. To find the mate of Roland the paladin we must seek the incomparable Cid, the campeador or champion of Spain, the noblest figure in Spanish story or romance. _El Mio Cid_, "My Cid," as he is called, with his matchless horse Bavieca and his trenchant sword Tisona, towers in Spanish tale far above Christian king and Moslem caliph, as the pink of chivalry, the pearl of knighthood, the noblest and worthiest figure in all that stirring age. Cid is an Arabic word, meaning "lord" or "chief." The man to whom it was applied was a real personage, not a figment of fancy, though it is to poetry and romance that he owes his fame, his story having been expanded and embellished in chronicles, epic poems, and ballads until it bears little semblance to actual history. Yet the deeds of the man himself probably lie at the basis of all the splendid fictions of romance.