Such is the division which the ‘Leys d’Amors’ gives of rhymes in general. The system shows a certain scholastic consistency; but the real essence and origin of rhyme are entirely overlooked, or even wrongly defined. Entirely different things are brought under the same head, as, for instance, assonance and masculine rhyme (rim sonan); while, on the other hand, things which decidedly belong together are separated. Thus the simple rhyme is called rim lejal sonan, while the simple feminine rhyme, which is obviously derived from it, is classed together with the rim leonisme, from which it differs essentially. The same is the case with the rims consonan lejal and leonisme parfait con accen greu. In subsequent chapters the work gives a complete list of the different artificial rhymes. They are too numerous to be discussed here; besides which, many of them are nothing but subtleties of the author, and are hardly ever used by the better troubadours. It is only necessary to consider those which are of real importance in studying the relics of Provençal poetry. The order also in which the different kinds are enumerated need not be followed: it is sometimes arbitrary, and sometimes utterly confused. After expounding what rhyme is, the ‘Leys d’Amors’ very properly proceeds to ask where rhyme is to be found. Every possible combination in this respect is brought under a new head, viz., rims ordinals. This expression is exceedingly ill chosen; for the words rims ordinals suggest some new kind of rhyme essentially different from rims consonans or sonans, while in reality they indicate only the different positions which these same rhymes can have in verse or stanza. The author avoids giving a definition of rims ordinals, but begins at once to explain how ‘aytals ordes se fai.’ Rhyme, it is explained, may connect the different parts of one and the same line with each other, or with the end of this line. The middle rhyme is called, in correspondence with the bordos empeutatz, rim empeutat or multiplicatiu. An example of the former mode occurs in one of Peire Cardinal’s sirventeses: Car los—garzos—vezon en patz sezer. In the following line both kinds are combined, the rhyme being the same in the middle parts of the verse and at the end of it: Mon port—conort—e mon cofort. In some cases, as for instance between the cæsura of the decasyllabic verse and its end, the middle rhyme was strictly prohibited. But this middle rhyme is found very often between the same sections of different verses, as for instance in the above-mentioned sirventes of Peire Cardinal: que fan—l’efan—d’aquela gent engleza qu’avan—no van—guerrejar ab Frances; mal an—talan—de la terr’ engolmeza tiran—iran—conquistar Gastines.