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E las claus son de prejar: Ab cel obron li cortes. Here was a little break. Gilles, very dark, took a step; up shot Richard's warning hand Dedinz la clauson qu'i es Son las mazos dels borges . . . On went the exulting voice after the new rhymes, gayer and yet more gay. Li Chastel d'Amors has twelve linked verses, and King Richard, wound up in their music, sang them all.
It was at a great Court of Love which Richard caused to be held in the orchards outside Poictiers, with pavilions and a Chastel d'Amors, that Bertran came in and was forgiven for the sake of his great singing. On a white silk tribune before the castle sat Jehane, in a red gown, upon her golden head a circlet of dull silver, with the leaves and thorns which made up the coronet of a countess.
There remain also political poems written against John and Henry III. which may be fairly called sirventes, Latin disputes, such as those Inter Aquam et Vinum, Inter Cor et Oculum, De Phillide et Flora, are constructed upon the principles of the tenso or partimen. The use of equivocal and "derivative" rimes as they are called in the Leys d'Amors is seen in the following Anglo-Norman stanzas.
A troubadour learned the principles of his art from other poets who were well acquainted with the conventions that had been formulated in course of time, conventions which were collected and systematised in such treatises as the Leys d'Amors during the period of the decadence. The stanza varied in length from two to forty-two lines, though these limits are, of course, exceptional.
Provençal influence was more permanent in Catalonia than in any other part of Spain; in 1393, the Consistorium of the Gay saber was founded in imitation of the similar association at Toulouse. Most of the troubadour poetical forms and the doctrines of the Toulouse Leys d'Amors were retained, until Italian influence began to oust Provençal towards the close of the fifteenth century.
The society produced a grammatical work, the Leys d'Amors, under the name of its president, Guillem Molinier, in 1356, no doubt for the reference and instruction of intending competitors. The competition produced a few admirable poems, but anxiety to preserve the old troubadour style resulted generally in dry and stilted compositions.
The idea of troubadour love was intellectual rather than emotional; love was an art, restricted, like poetry, by formal rules; the terms "love" and "poetry" were identified, and the fourteenth century treatise which summarises the principles of grammar and metre bore the title Leys d'Amors, the Laws of Love.
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