The three favorites of medieval Spanish romance, says Senor Lafuente, Bernardo del Carpio, Fernan Gonzalez, and the Cid, have this at least in common, that they were all at war with their lawful sovereigns, and fought their battles independently of the crown. Hence their popularity in Spain. The Castilians of the Middle Ages were so devoted to their independence, so proud of their Fueros, such admirers of personal prowess, that they were disposed to welcome with national admiration those heroes who sprang from the people, who defied and were ill-treated by their kings. The theory is both ingenious and just, yet it by no means solves the difficulty. Ruy Diaz of Bivar, who was one of the proudest nobles of Castile, can scarcely be said to have sprung from the people, nor do we clearly perceive why his long service under Moslem kings, even though he was a rebel against his own sovereign, should have endeared him to the Christian Spaniards, however independent or however democratic. Yet we may learn at least from the character of the hero, ideal though it be, that the medieval Castilians were no bigots, and that they were slaves neither to their kings nor to their clergy. The people of Aragon no doubt held their king in a more distinctly constitutional subjection. No Castilian chief-justice was found to call the sovereign to order: no Privilege of Union legalized a popular war in defense of popular liberties. But Roderic took the place of the justiciary in legend, if not in history, when he administered the oath to Alfonso at Burgos; and he invested himself with the privilege of warring against an aggressive king, when he routed Alfonso’s forces, and burned his cities, to requite him for his attack upon Valencia. It is this rebellious boldness which contributed no doubt very largely to endear the Cid to his contemporaries. It is one of the most constant characteristics of his career; one of the features that is portrayed with equal clearness by the chroniclers and the ballad-makers of Spain. For the Cid is essentially a popular hero. His legendary presentment is a kind of poetic protest against arbitrary regal power. The Cid ballads are a pæan of triumphant democracy. The ideal Cid no doubt was evolved in the course of the twelfth century; and by the end of the fifteenth century, when the rule of kings and priests had become harder and heavier in Spain, an enslaved people looked back with an envious national pride to the Castilian hero who personified the freedom of bygone days.