[195] Those on Gayferos begin, “Estabase la Condessa,” “Vamonos, dixo mi tio,” and “Assentado esta Gayferos.” The two long ones on the Marquis of Mantua and the Conde d’ Irlos begin, “De Mantua salió el Marqués,” and “Estabase el Conde d’ Irlos.” [196] Compare the story of the angels in disguise, who made the miraculous cross for Alfonso, A. D. 794, as told in the ballad, “Reynando el Rey Alfonso,” in the Romancero of 1550, with the same story as told in the “Crónica General” (1604, Parte III. f. 29);--and compare the ballad, “Apretada està Valencia,” (Romancero, 1550,) with the “Crónica del Cid,” 1593, c. 183, p. 154. [197] It begins, “Retrayida està la Infanta,” (Romancero, 1550,) and is one of the most tender and beautiful ballads in any language. There are translations of it by Bowring (p. 51) and by Lockhart (Spanish Ballads, London, 1823, 4to, p. 202). It has been at least four times brought into a dramatic form;--viz., by Lope de Vega, in his “Fuerza Lastimosa”; by Guillen de Castro; by Mira de Mescua; and by José J. Milanes, a poet of Havana, whose works were printed there in 1846 (3 vols. 8vo);--the three last giving their dramas simply the name of the ballad,--“Conde Alarcos.” The best of them all is, I think, that of Mira de Mescua, which is found in Vol. V. of the “Comedias Escogidas” (1653, 4to); but that of Milanes contains passages of very passionate poetry. [198] “Mandó el Rey prender Virgilios” (Romancero, 1550). It is among the very old ballads, and is full of the loyalty of its time. Virgil, it is well known, was treated, in the Middle Ages, sometimes as a knight, and sometimes as a wizard. [199] Compare the ballads beginning, “Las Huestes de Don Rodrigo,” and “Despues que el Rey Don Rodrigo,” with the “Crónica del Rey Don Rodrigo y la Destruycion de España” (Alcalá, 1587, fol., Capp. 238, 254). There is a stirring translation of the first by Lockhart, in his “Ancient Spanish Ballads,” (London, 1823, 4to, p. 5,)--a work of genius beyond any of the sort known to me in any language. [200] Ortiz de Zuñiga (Anales de Sevilla, Appendix, p. 831) gives this ballad, and says it had been printed two hundred years. If this be true, it is, no doubt, the oldest _printed_ ballad in the language. But Ortiz is uncritical in such matters, like nearly all of his countrymen. The story of Garci Perez de Vargas is in the “Crónica General,” Parte IV., in the “Crónica de Fernando III.,” c. 48, etc., and in Mariana, Historia, Lib. XIII. c. 7.