Hence it appears that in each stanza there are only two different rhymes, the cauda repeating those of the pedes, which is the simplest form of concatenatio. Moreover, each couple of stanzas have the same rhyme, or are coblas doblas; the poet in consequence had to find, three different times, eight masculine and six feminine rhyming words, which, though not a very difficult task in the _langue d’oc_, required a certain amount of skill. In the last group of stanzas this number was increased by the tornada to ten and seven respectively. Nevertheless there are only two cases of the same words with the same meaning occurring in the rhymes, or of motz tornatz en rim as the ‘Leys d’Amors’ calls them. Both these cases, _f_ 3 = _g_ 1 and _e_ 4 = _g_ 3, occur in the tornada, where they were not as strictly forbidden as in other positions. On the other hand there are many examples of ‘rime riche’ in its masculine as well as feminine form. The former or rims consonans lejals are _a_ 1 = _b_ 1 = _b_ 6, _c_ 6 = _d_ 1, _d_ 5 = _d_ 6, _e_ 3 = _e_ 5 = _f_ 5. The latter or rims leonismes parfaitz are _e_ 2 = _f_ 2. But in all these cases it is very doubtful whether these rhymes were intentional, since they exhibit no system or order. A remarkable sense of the effects of sound is shown in the alliterative use of the letter _f_ in _b_ 4 and 5, by means of which the pains of the unhappy lover are onomatopoetically expressed. In the verse of ten syllables the cæsura is always of importance: it therefore remains to take note of it. The cæsura, where it appears feminine, has been divided into the epical and the lyrical, the difference being that in the epical pauza del bordo the accent always remains on the fourth syllable, after which another unaccentuated syllable is added to the first hemistich, while in lyrical poetry the accent itself is removed from the fourth to the third syllable. In the present poem the pauza con accen agut is by far the more common; where it occurs with accen greu it always takes the lyrical form. These cases are _d_ 5 and 6, _e_ 1, and _f_ 1. It may be worth while to notice that once, _d_ 5, the word domna is placed in the lyrical pauza. The troubadours, in addressing their lady-loves, seem to have liked this particular position of the word, by means of which it received a certain emphasis. In many canzos of different troubadours there are instances of this device; in one of Guillem de Cabestanh’s songs it occurs twice, or, according to a Parisian manuscript in which the poem is also preserved, even three times. CHAPTER XXXII. SOME INTERLINEAR VERSIONS. I. _CANZO BY GUILLEM DE CABESTANH._