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Updated: May 26, 2025
Gustave Kahn whose beautiful volume "Les Palais Nomades" I have read with the keenest delight, was the first to recognise that an unfailing use of la rime pleine might become cloying and satiating, and that, by avoiding it sometimes and markedly and maliciously choosing in preference a simple assonance, new and subtle music might be produced.
We can also trace, in remaniements of the Chanson DE ROLAND, comparatively rapid and quite revolutionary variations from the oldest the Oxford manuscript. Rhyme is substituted for assonance; the process entails frequent modernisations, and yet the basis of thirteenth-century texts continues to be the version of the eleventh century.
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