Married to Jimena against his will (Jimena Diaz, not Jimena Gomez, was his historical wife), he vows never to recognize her as wife until he has won five battles with the Moors in open field. Ferdinand plays a very unkingly role in this poem. While his fierce vassal is absent the King is helpless; and Rodrigo draws near only to assert anew his contempt for the royal authority by blunt refusals of Ferdinand's requests. He is always ready, however, to take up the gauntlet and defend the realm against every enemy, Christian or Moor. But this rude courage is coupled with devout piety, and is not insensible to pity. At the ford of the Duero a wretched leper is encountered: all turn from him with loathing save Rodrigo, who gives to him a brother's care. It is Saint Lazarus, who departing blesses him. At last a formidable coalition is formed against Spain. The Emperor of Germany and the King of France, supported by the Pope and Patriarch, require of Spain, in recognition of her feudal dependence upon the Roman empire, a yearly tribute of fifteen noble virgins, besides silver, horses, falcons, etc. Rodrigo appears when Ferdinand is in despair, and kisses at last the royal hand in sign of vassalship. Though the enemy gather "countless as the herbs of the fields," even Persia and Armenia furnishing contingents, their battle array is vain. The five Kings of Spain cross the Pyrenees. Arrived before Paris, Rodrigo passes through the midst of the French army, strikes with his hand the gates of the city, and challenges the twelve French peers to combat. The allies in alarm implore a truce. At the council, Rodrigo, seated at the feet of his King and acting as Ferdinand's spokesman, curses the Pope when the latter offers the imperial crown of Spain. "We came for that which was to be won," he declares, "not for that already won." Against Rodrigo's advice the truce is accorded to all. Here the poem is interrupted. Besides these two epic poems, we have in the earlier Spanish literature two chronicles in prose which describe the life of the Cid,--'The General Chronicle of Alfonso the Learned' and 'The Chronicle of the Cid,' the latter being drawn from the former. Both rest in part upon historical sources, in part upon legend and tradition. Two centuries and more after the Poem, we meet with the Romances or Ballads of the Cid. For the earliest of these do not in their present form date far back of 1500. These ballads derive from all sources, but chiefly from the Cid legend, which is here treated in a lyric, sentimental, popular, and at times even vulgar tone.