In a poem attributed by different manuscripts to Bernard de Ventadorn and Daude de Pradas, the poet has introduced all the five vowels in this way. This fact seems not to have been known to the author of the ‘Leys d’Amors:’ he would probably otherwise have mentioned a practice so much to his liking. CHAPTER XXXI. THE STANZA. We now come to the third division of the subject—the formation of the stanza. The consideration of metre and rhyme has shown the skill of the troubadours, but also the danger into which their marvellous finish led them, viz., to forget the real poetical value of their work over the beauty of form. This danger was not equally imminent in forming the stanza, seeing that its rules were too securely founded on the national sense of harmony, and too difficult to comply with, to afford an occasion for easy trifling. The stanza, accordingly, we have to consider as the highest development of art reached by the troubadours. It is therefore surprising that the ‘Leys d’Amors’ says nothing of any importance regarding its composition. The author of the work had evidently a very vague idea of the real essence of the stanza. The only guide, therefore, in our investigation must be Dante’s work, ‘De Vulgari Eloquentia,’ in which he draws a full and logical account from his own deep knowledge and experience. But many of his expressions will be obscure until the musical system of the middle ages is better understood. The rules of musical rhythm are indeed inseparably connected with all forms of Provençal poetry. But the way at least may be partially cleared, and the words of the great Italian poet illustrated by examples from the works of the best troubadours.