Amors es mout de mal avi; Mil homes a mortz ses glavi; Dieus non fetz tant fort gramavi. "Love is of a detestable lineage; he has killed thousands of men without a sword. God has created no more terrible enchanter." These invectives may have been the outcome of personal disappointment; the theory has also been advanced that the troubadour idea of love had not yet secured universal recognition, and that Marcabrun is one who strove to prevent it from becoming the dominant theme of lyric poetry. His best known poem was the "Starling," which consists of two parts, an unusual form of composition. In the first part the troubadour sends the starling to his love to reproach her for unfaithfulness, and to recommend himself to her favour; the bird returns, and in the second part offers excuses from the [44] lady and brings an invitation from her to a meeting the next day. Marcabrun knows the technical terms _cortesia_ and _mesura_, which he defines: _mesura_, self-control or moderation, "consists in nicety of speech, courtesy in loving. He may boast of courtesy who can maintain moderation." The poem concludes with a dedication to Jaufre Rudel-- Lo vers e·l son vueill envier A'n Jaufre Rudel outra mar. "The words and the tune I wish to send to Jaufre Rudel beyond the sea." This was the troubadour whom Petrarch has made famous-- Jaufre Rudel che usò la vela e'l remo A cercar la sua morte. His romantic story is as follows in the words of the Provençal biography: "Jaufre Rudel of Blaya was a very noble man, the Prince of Blaya; he fell in love with the Countess of Tripoli, though he had never seen her, for the good report that he had of her from the pilgrims who came from Antioch, and he made many poems concerning her with good tunes but poor words.[18] And from desire to see her, he took the cross and went to sea. And in the ship great illness came upon him so that those who were with him thought that he was dead in the ship; but they [45] succeeded in bringing him to Tripoli, to an inn, as one dead. And it was told to the countess, and she came to him, to his bed, and took him in her arms; and he knew that she was the countess, and recovering his senses, he praised God and gave thanks that his life had been sustained until he had seen her; and then he died in the lady's arms. And she gave him honourable burial in the house of the Temple, and then, on that day, she took the veil for the grief that she had for him and for his death." Jaufre's poems contain many references to a "distant love" which he will never see, "for his destiny is to love without being loved." Those critics who accept the truth of the story regard Melisanda, daughter of Raimon I., Count of Tripoli, as the heroine; but the biography must be used with great caution as a historical source, and the mention of the house of the order of Templars in which Jaufre is said to have been buried raises a difficulty; it was erected in 1118, and in the year 1200