The modern ear would not discern this kind of rhyme; and the troubadours also never used it. Perhaps the author of the ‘Leys d’Amors’ introduced it merely in order to give completeness to his system. Rim consonan lejal has always accen agut, and is found where the last and accentuated syllable in two verses is exactly the same in spelling, but different in meaning. Examples of this class are numerous in the poetry of the troubadours: the following is from a canzo of Serveri de Gironne: E costumatz tanh que sia tan gen (adj. gentilis) Que governar se puesca tota gen (noun, gentem). The same rhyme is also found in mediæval and modern French poetry, where it is called ‘rime riche.’ The chief characteristic of an accordansa consonan is the identity of vowels and consonants in the last syllable, but in the last syllable only. On the other hand, in the third division of accordansa, the leonisme, the last syllable but one, also must to a certain extent agree in the corresponding verses. Leonismetat is again subdivided into rims leonismes simples, and parfaitz. In the former the consonants before the vowel in the last syllable but one must differ: in the latter they must be identical. Rim leonisme simple con accen greu is what is now called feminine rhyme, as in tot autra dona d’esser bella lai on es cesta damaisella. Con accen agut, it is again one of those cases where, as in the rim consonan bord, the rhyme is extended to an unaccentuated syllable, which in this case appears before the rhyming syllables. The ‘Leys d’Amors’ gives the following example: Tan prozamens feric G_ă_st_ó_s De lansa massas e b_ă_st_ó_s. The following is rim leonisme parfait con accen greu: l’autrui beautat tein es ef_fassa_. li viva colors de sa _fassa_; con accen agut: Al arma dona s_anĕ_t_á_t Qui fug a tota v_anĕ_t_á_t. The former would be called in German ‘weiblicher rührender Reim;’ and of the latter the same may be said as of the leonisme simple con accen agut. In this case the rhyme is extended backwards as far as the last syllable but two; sometimes even the last four or five syllables are included in the accordansa leonisme. The ‘Leys d’Amors’ gives an instance of what it calls rim mays perfait leonisme, in which the last five syllables are intended to rhyme in two different verses: So don le cors p_ren noyridura_ Lo fai tornar _en poyridura_. In case the leonismetat is effected by two separate words, these words of course must always differ in their meaning. It may also be mentioned that rims consonans as well as leonismes are called contrafaitz, if the syllables or letters forming the rhyme are divided by the end of a word; as, for instance: a celz que la vezo ni l’auzon quan las donas sa beutat lauzon.