By these various methods, the stanza was strictly divided into different parts. But, on the other hand, the feeling of the troubadours for unity and harmony was too keen not to make it desirable to bridge over somehow the gap made by the volta, and to preserve the connection between the two sides. This was done by means of the rhyme, which, as has been seen, was used for a similar purpose between the different stanzas of a poem. This process is called by Dante concatenatio; and this concatenatio might be effected in two different ways. The first and simpler mode consists in the cauda or versus adopting one or several rhymes of the frons or pedes. This is the course usually followed; and almost all the stanzas above quoted may serve as examples. So in Bertrand de Born’s poem the cauda repeats both the rhymes of the frons. In Guillem IX.’s stanza the versus take up the only rhyme of the frons, adding a new one of their own. This concatenatio, however, was not considered absolutely necessary; and Peire d’Alvernhe, for instance, one of the most finished troubadours, introduces into the versus of his stanza rhymes entirely different from those found in the pedes. Another kind of concatenatio is effected by adding, either before or after the volta, a line which contains the rhyme of the other part of the stanza. How the troubadours contrived not to disturb the flow of their melody by this new and seemingly inharmonious element it is difficult to say. Perhaps it was sung to a sort of recitative or arioso of its own, which served as a prelude to the new melody of the second part. The meaning of this will be clearly shown by the following stanza by Raimbaut de Vaqueiras: Era pot hom conoisser e proar Que de bos faitz ren deus bon gazardo, qu’al pro Marques n’a fait esmend’e do, quel fai son pretz sobrels melhors pojar; si quel crozat de Frans e de Campanha l’an quist a deu per lo melhor de totz, e per cobrar lo sepulcr’e la crotz on fon Ihesus, qu’el vol en sa companha l’onrat marques, et al deus dat poder de bos vassalhs e de terr’e d’aver e de ric cor per melhs far so quel tanha. This stanza consists of a frons and two versus of three lines each. The first four lines are a whole in themselves; and after them the frons ought to be concluded by the volta, as is indicated by the punctuation after ‘pojar.’ But the poet adds a fifth line, in order to introduce a rhyme from the versus, and in this way effects the concatenatio he needs. There was yet another way of connecting the two parts of the stanza which might in a certain sense also be called concatenatio, but which was seemingly unknown to Dante. The following stanza of Cercalmont’s, Senhors e dompnas gerpira s’a lei plagues queu li servis, e quem diria m’en partis, fariam morir des era, qu’en autra non ai mon esper noit ni jorn ni matin ni ser, ni d’als mos cors no consira,