Feminine, as in:
Rome qui t'a vu naître et que ton cœur adore!
Rome enfin que je hais parce qu'elle t'honore!
In rhymed verses, such as these I have just cited, two feet of the same kind are obliged to follow one another on account of the rhyme which links them; they then form but one whole and, proceeding abreast without being separated, they injure by their forced mass the rapidity of expression and flight of thought. If a third foot of the same kind occur with the other two feet, rhyming together, it would have to rhyme with them to prevent an insupportable discordance, which is not tolerated; a fourth or a fifth foot would submit to the same law, so that, if the poet wished to fill his piece with masculine verses alone, it would be necessary that he should make them proceed upon a single rhyme, as the Arabs do today and as our early troubadours did, following their example. The French poet can vary his rhyme only by varying the style of his verses and by mingling alternately together the masculine and feminine finals.
As these two kinds of finals are dissimilar without being opposed, they may be brought together without the need of rhyming; their meeting, far from being disagreeable is, on the contrary, only pleasing; two finals of the same kind, whether masculine or feminine, can never clash without causing the same sound—that is, without rhyming; but it is not thus with the finals of different kinds, since the rhyme is impossible in this case. So that, to make what I call eumolpique verses, it suffices to avoid the meeting of finals of the same kind, whose impact necessitates the rhyme, by making one kind succeed another continually, and opposing alternately the masculine and feminine, the mingling of which is irrelevant to eumolpœia. Here is all the mechanism of my verses: they are fluent as to form; as to the essence which is expedient for them—that is another thing: for it is rarely encountered.
