Among the most ancient historical romances are several, the subjects of which have been taken from the earliest periods of Spanish history, anterior to the age of the Cid. Like the romances derived from the prose works of chivalry, they have only a single rhyme which interchanges with blank verse, and which is frequently lost in a simple assonance.[54] The romances of the Cid, of which more than a hundred still exist, are either of a more recent date, or have, at least, been in a great measure modernized.[55] In some a series of regularly arranged assonances may be perceived.[56] Others are divided into stanzas, with a burden repeated at the close of each.[57] In the greater part, however, the rhyme almost wholly disappears, and only an accidental assonance occasionally occurs. This form also prevails in most of the romances founded on the history of the Moors. Their number is very great, perhaps greater than that of those derived from events of Spanish history; and this abundance might well excite as much astonishment in the critic as it has given offence to some orthodox Spaniards.[58] But even the Spaniards of old Castilian origin found a certain poetic charm in the oriental manners of the Moors. On the other hand, the European chivalry, in so far as it was adopted by the Moors, became more imposing from its union with oriental luxury, which favoured the display of splendid armour, waving plumes, and emblematical ornaments of every kind. The Moorish principalities or kingdoms were even more agitated by internal troubles, and acts of violence, than the christian states; and in the former, particularly, when different races powerfully opposed each other, the lives of celebrated warriors were more fertile in interesting anecdotes than in the latter. The Christian warriors, it also appears, had sufficient generosity to allow justice to be done, at least to the distinguished leaders of their enemies, who are described in an old romance, as _gentlemen, though infidels_.[59] Besides, all these romances, whether of Moorish or Spanish history, whether more ancient or more modern, present nearly the same unsophisticated character and the same artless style of composition. The subject is generally founded on a single fact. Thus, for example, _Roderick_, or _Don Rodrigo_, the last king of the Goths in Spain, before the Moorish invasion, takes flight after his total overthrow, and bewails his own and his country’s fate; and this is sufficient for a romance.[60] The Cid returns victorious from his exile, alights from his horse before a church, and delivers a short energetic speech; this again forms the whole subject of a romance.[61] In others, with equal simplicity of story:-- the king joins the hands of the Cid and Ximena, invests him with fiefs of castles and territories, the names of which are all recorded, and thus makes preparation for the marriage of the lovers.--The Cid lays aside his armour and puts on his wedding garments, which are minutely