Of the metrical structure of the love-song I shall say little in this place. The varieties and niceties of its rhymes and stanzas the reader will find fully discussed in the technical chapters. It may be mentioned here that some difference seems to have existed between two kinds of the love-song, the _vers_ and the _canzo_; but what the exact nature of the difference was it is impossible to say. The troubadours themselves had not a very clear notion of it. The _Leys d’amors_ is even more than usually rambling and vague in its definition, and all the characteristics it mentions of the _vers_ belong in equal measure to the _canzo_. Aimeric de Pegulhan, one of the later troubadours, candidly confesses that to him the distinction between the terms has lost its significance. ‘Frequently,’ he says, ‘I am asked at court why I do not write a _vers_. Therefore I leave it to those who care, to decide whether this song be a _vers_ or a _canzo_; and to those who inquire I answer that I do not find any difference between _vers_ and _canzo_ beyond the name.’ It further appears from his song, that, according to rule or prejudice, the _canzo_ generally had feminine rhymes and short lively musical accompaniments, while the more primitive _vers_ affected monosyllabic endings and long-drawn melodies. But he justly infers that this rule is not observed by the troubadours to any prevailing extent, and this fact deprives the theoretical subtleties of ancient and modern grammarians of their substantial basis.