In the following essay, Pavlović debates the position taken by Joseph Duggan in his book-length study of the Cantar de mio Cid, which holds that the poem is an orally composed work dictated to a scribe around 1200.

In the following essay, Raulston argues that the climax of the Cantar de mio Cid—the court scene that has been regarded by many critics as unsatisfactory—can be better appreciated when one has some understanding of medieval Spanish juridical institutions.

In the following essay, Webber assesses the origin and development of the biblical prayers used in romance epics and explores the prayer spoken by Dona Jimena in Cantar de mio Cid

In the following essay, Webber considers whether the Cantar de mio Cid is part of the oral tradition or whether it was composed as a written text, surveying the main trends in scholarship on this and other related questions of composition and interpretation.

In the following essay, Montgomery examines the controlled, almost modern, manner in which the poet shifts tenses in the Cantar de mio Cid.

In the following essay, Montgomery discusses the authority of the narrative voice in the Cantar de mio Cid, noting that as the poet creates an aura of authentic history through his fictional tale, he himself becomes a leader of men and upholder of values.

In the following excerpt, Miletich critiques Colin Smith's seminal study of the Cantar de mio Cid, pointing out that more attention needs to be paid to the folk traditions that may have influenced the poem.

In the following essay, Gerli explores what he sees as one of the non-epic voices in the Cantar de mio Cid and argues that the poem shares many common techniques, thematic concerns, and issues found in medieval romance.

In the following essay, West-Burdette argues that the poet of the Cantar de mio Cid relies on sensual imagery, concrete references, and dramatic narrative techniques to impart abstract concepts and symbolic meanings to his uneducated medieval audience.

In the following essay, Friedman suggests that applying the concept of intertextuality to the Cantar de mio Cid can shed light on the poem's composition and use of interwoven traditions, offering a different approach to the lingering debate regarding the work's authorship.

In the following essay, Conerly examines the motif of largesse in Cantar de mio Cid, which, he argues, is a principal thematic pattern in the lord-vassal relationship and the related question of honor in the poem.

In the following essay, Bailey suggests that the purpose of the Cantar de mio Cid is didactic, as it constantly reinforces common knowledge, practical and legal procedures, and social attitudes.

In the following essay, Smith discusses the faulty internal logic of the twelve lines that have been suggested as a variant of the opening of the Cantar de mio Cid.

In the following essay, Pattison questions the common practice of dividing the Cantar de mio Cid into three cantares, maintaining that this somewhat arbitrary division diminishes the poem's complexity.

In the following essay, DuBois discusses the narrative shortcomings of the episode involving the moneylenders Rachel and Vidas in the Cantar de mio Cid and considers its implications for the unsatisfactory handling of The Cid's debt in the poem.

In the following excerpt, Duggan asserts that the Cantar de mio Cid was orally composed by a juglar of little formal education, pointing to the poem's emphasis on economic exchange and focus on the marriages of the hero's daughters as indications that the scribe adapted his work to the social interests of his audience.

In the following essay, Burt explores the theme of avarice in the Cantar de mio Cid, describing how The Cid uses his understanding of the power of human greed as a “third sword” to achieve his ends.