from the rhythm of the words is a perfectly legitimate method of
inquiry.

A further question arises: how far do the tunes correspond with the
structure of the stanza as given by Dante? In some cases both tune and
stanza correspond in symmetrical form; but in others we find stanzas [29]
which may be divided according to rule conjoined with tunes which
present no melodic repetition of any kind; similarly, tunes which may be
divided into pedes and coda are written upon stanzas which have no
relation to that form. On the whole, it seems that the number of tunes
known to us are too few, in comparison with the large body of lyric
poetry existing, to permit any generalisation upon the question. The
singer accompanied himself upon a stringed instrument (_viula_) or was
accompanied by other performers; various forms of wind instruments were
also in use. Apparently the accompaniment was in unison with the singer;
part writing or contrapuntal music was unknown at the troubadour period.

As has been said, the stanza (_cobla_) might vary in length. No poetical
literature has made more use of rime than Provençal lyric poetry. There
were three typical methods of rime disposition: firstly, the rimes might
all find their answer within the stanza, which was thus a self-contained
whole; secondly, the rimes might find their answer within the stanza and
be again repeated in the same order in all following stanzas; and
thirdly, the rimes might find no answer within the stanza, but be
repeated in following stanzas. In this case the rimes were known as
_dissolutas_, and the stanza as a _cobla estrampa_. This last
arrangement tended to make the poem a more organic whole than was
possible in the first two cases; in these, stanzas might be omitted
without necessarily impairing the general effect, but, when _coblas
estrampas_ were employed, the ear of the auditor, attentive for the [30]