ADVERTISEMENT. THE history of Spain records two instances of the severe and self-devoting heroism, which forms the subject of the following dramatic poem. The first of these occurred at the siege of Tarifa, which was defended in 1294 for Sancho, King of Castile, during the rebellion of his brother, Don Juan, by Guzman, surnamed the Good.* The second is related of Alonzo Lopez de Texeda, who, until his garrison had been utterly disabled by pestilence, maintained the city of Zamora for the children of Don Pedro the Cruel, against the forces of Henrique of Trastamara.† Impressive as were the circumstances which distinguished both these memorable sieges, it appeared to the au * See Quintana's 'Vidas de Españoles celebres,' p. 53. thor of the following pages that a deeper interest, as well as a stronger colour of nationality might be imparted to the scenes in which she has feebly attempted "to describe high passions and high actions; " by connecting a religious feeling with the patriotism and high-minded loyality which had thus been proved "faithful unto death," and by surrounding her ideal dramatis persona with recollections derived from the heroic legends of Spanish chivalry. She has, for this reason, employed the agency of imaginary characters, and fixed upon "Valencia del Cid" as the scene to give them "A local habitation and a name." THE SIEGE OF VALENCIA. SCENE I. Room in a Palace of Valencia. XIMENA singing to a Lute. BALLAD. "THOU hast not been with a festal throng, At the pouring of the wine; Men bear not from the Hall of Song, A mien so dark as thine! -There's blood upon thy shield, There's dust upon thy plume, -Thou hast brought, from some disastrous field, That brow of wrath and gloom!" "And is there blood upon my shield? -Maiden! it well may be ! |