The ‘Leys d’Amors’ uses the word rim or rima in a perfectly different sense from the modern rhyme. Its definition is this: ‘Rims es certz nombres de syllabas, ajustat a lui autre bordo per pario d’aquela meteysha accordansa e paritat de syllabas, o de diversas am bela cazensa.’ Rim exists therefore not only if the accordansa is the same, which constitutes approximately what is now called rhyme, but also though the ends of the two verses concerned sound quite differently, provided that a certain harmony or cazensa is effected simply by their lengths or accents. This must be borne in mind while we consider the division of rims into four classes as given by the ‘Leys d’Amors,’ viz., rims estramps, accordans, ordinals, and dictionals. The division is not very logical; for some of the rims enumerated have nothing to do with the essence of rhyme. Rim estramp in its exact meaning is nothing but the absence of rhyme or even assonance between two verses. In the poetry of the troubadours there is scarcely a line which has not its corresponding rhyme, either in its own or in another stanza, so that rims estramps are of no importance for the present purpose. Everything that is now called rhyme and was used by the troubadours is contained under the second head, rims accordans. This accordansa may be sonan, consonan, or leonisme; and the rims sonans and consonans must be again subdivided into bords (French, bâtard) and lejals. Rim sonan bord is what is now called assonance, and is very frequently found in Spanish poetry. The ‘Leys d’Amors’ gives examples of it con accen agut, Encarcerat tenetz mon cor am_or_s, E delivrar nol pot autra mas v_o_s; and con accen greu, La mors quieu port a mi dons es tan g_randa_, Quieu lo thezaur del realme de F_ranza_, etc. In the poems of the troubadours this assonance was not permissible. Accordingly, the ‘Leys d’Amors’ does not approve of it, though admitting that it was daily used in the mandelas, or popular chansons. ‘For these,’ says the author, with all a scholar’s contempt for popular poetry, ‘I do not care, because I do not see nor can I find a known author for them.’ Rim sonan lejal, which exists only with accen agut, is what is now called masculine rhyme; that is to say, the last syllable in the rhyming lines must contain the same vowel with identical consonants (if any) after, but different ones before, it. The examples of this are of course innumerable. The second kind of rims accordans is called consonan. This also is subdivided into bord and lejal. The rim consonan bord is always con accen greu, so that only the second and unaccentuated syllable agrees with the corresponding one in the other verse, _e.g._: Sino de liei que del sieu foc m’abran_d_a Quar ela sab la maniera quos tu_d_a.