Pos als barós | enoja e lor peza d’aquesta pátz | qu’an faita li dui rei; while the lyrical pauza con accen greu occurs in the third stanza of the same poem: Cum aquésta | ni autra c’om li grei. The epical cæsura in its feminine form is found very seldom in the poetry of the troubadours. Two of the rare instances occur in a canzo of Guillem de Cabestanh; and there the case is the more remarkable, as the epical and lyrical pauzas appear intermixed. The two verses are: Don mi remémbra | douza terra el pais, and En autra térra | irai penre lenhatge. In both cases the epical pauza might be got rid of by a slight alteration, which, however, is not confirmed by the authority of any manuscript. In the first case, ‘membra’ might easily be written instead of ‘remembra,’ by which means the epical cæsura would become lyrical; and in the second case the _a_ of ‘terra’ might be supplied by an apostrophe, by means of which the pauza would altogether disappear. In the last stanza of the same poem, as preserved in several manuscripts, is found the only example in lyrical poetry of the second hemistich being shortened after the feminine pauza, which, as has been seen above, occurs several times in ‘Boethius.’ The line is this: Q’ieu non vólgra | qe fos ma cusina. But the difficulty is not serious; for this and other reasons, metrical and philological, prove that the stanza is a spurious addition of a later ignorant scribe. This instance shows how important a knowledge of metrical rules is for the critical editing of a Provençal author. CHAPTER XXX. RHYME. The immense number of rhyming words in the Provençal language has been already referred to. Of the fifty-four forms of the verb of the first conjugation, only nine have the accent on the root, while forty-five have it on one of the final syllables; hence all the verbs of this conjugation rhyme with each other in these forms. Again, all the derivative syllables of the adjectives and nouns, like at-ada, ut-uda, or atge, ansa, ensa, and many others, have the accent on these syllables, and offer great choice of material to the poet in search of rhymes. Consequently, in all Provençal poetry, the rhyme plays a principal part, and metrical scholars considered it their most important task to introduce the student into the minutest subtleties of its beauty. Dante intended to speak of rhyme ‘secundum se’ in one of the later parts of his book, which he never wrote; in the existing parts he speaks of it only in connection with the stanza. In accordance, however, with the ‘Leys d’Amors,’ it will be necessary to consider the essence of rhyme in itself, before proceeding to its influence on the combination of verses in a stanza, and of stanzas in a poem.