The Chronicle reads thus: “E el [Bernardo] _quandol supo_, que su padre era preso, _pesol_ mucho de coraçon, e _bolbiosele la sangre en el cuerpo_, e fuesse _para su posada_, faziendo el mayor duelo del mundo; e _vistióse paños de duelo_, e fuesse para el Rey Don Alfonso; e _el Rey, quando lo vido_, dixol: ‘_Bernaldo, cobdiciades la muerte mia?_’” It is plain enough, in this case, that the Chronicle is the original of the ballad; but it is very difficult, if not impossible, from the nature of the case, to show that any particular ballad was used in the composition of the Chronicle, because, we have undoubtedly none of the ballads in the form in which they existed when the Chronicle was compiled in the middle of the thirteenth century, and therefore a correspondence of phraseology like that just cited is not to be expected. Yet it would not be surprising, if some of these ballads on Bernardo, found in the Sixth Part of the “Flor de Romances,” (Toledo, 1594, 18mo,) which Pedro Flores tells us he collected far and wide from tradition, were known in the time of Alfonso the Wise, and were among the Cantares de Gesta to which he alludes. I would instance particularly the three beginning, “Contandole estaba un dia,” “Antesque barbas tuviesse,” and “Mal mis servicios pagaste.” The language of those ballads is, no doubt, chiefly that of the age of Charles V. and Philip II., but the thoughts and feelings are evidently much older. The next series is that on Fernan Gonzalez, a popular chieftain, whom we have already mentioned, when noticing his metrical chronicle; and one who, in the middle of the tenth century, recovered Castile anew from the Moors, and became its first sovereign Count. The number of ballads relating to him is not large; probably not twenty. The most poetical are those which describe his being twice rescued from prison by his courageous wife, and those which relate his contest with King Sancho, where he displayed all the turbulence and cunning of a robber baron, in the Middle Ages. Nearly all their facts may be found in the Third Part of the “General Chronicle”; and though only a few of the ballads themselves appear to be derived from it as distinctly as some of those on Bernardo del Carpio, still two or three are evidently indebted to that Chronicle for their materials and phraseology, while yet others may possibly, in some ruder shape, have preceded it, and contributed to its composition.[210]