Beside the ballads of warlike and amorous adventures, there are sea-songs,
songs of captivity, and songs of the galley slave. The Spanish Moor is
seized by some African pirate and carried away to toil in the mill of his
master on some foreign shore, or he is chained to the rowing-bench of the
Berber galley, thence to be taken and sold when the voyage is over to some
master who leaves him to weep in solitary toil in the farm or garden.
Sometimes he wins the love of his mistress, who releases him and flies in
his company.

All these ballads have vivid descriptions of scenery. The towers of Baeza,
the walls of Granada, the green _vegas_ that spread outside every
city, the valley of the Guadalquivir, and the rushing waters of the Tagus,
the high cliffs of Cadiz, the Pillars of Hercules, and the blue waves of
the Mediterranean make a life-like background to every incident. In the
cities the ladies throng the balconies of curling iron-work or crowd the
plaza where the joust or bull-fight is to be witnessed, or steal at
nightfall to the edge of the _vega_ to meet a lover, and sometimes to
die in his arms at the hands of bandits.

There is a dramatic power in these ballads which is one of their most
remarkable features. They are sometimes mere sketches, but oftener the
story is told with consummate art, with strict economy of word and phrase,
and the _dénouement_ comes with a point and power which show that the
Moorish minstrel was an artist of no mean skill and address.

The authors of the Moorish romances, songs, and ballads are unknown. They
have probably assumed their present literary form after being part of the
_répertoire_ of successive minstrels, and some of the incidents appear
in more than one version. The most ancient of them are often the shortest,