excerpt from 1961 work Lo Vers e la Vela "The Verse and the Sail", from the chapter on the vintedos form. The book was written by Magdalena Fabressa, a professor of Domain History at the Higher School of Campottonì [~Wilmington, DE] specialising in verse.
…vintedos (occasionally called the "mariner's octave") is a form of verse invented in post-Tetrarchic Provence, which is now employed worldwide in a dozen poetic traditions and in even more languages. It has close associations with maritime poetry, but has also been turned to devotional works, laments, romantic epics and popular music.
The name vintedos (earliest attestation vintidós, 1449), taken from Doccian [Occitan], means "twenty-two".
A stanza of vintedos comprises two sets of dattilo [dactyl] beats, arranged and rhymed as follows. It may be displayed as couplets ("rope" format), or as below in eight-line stanzas ("ladder" format) to reflect the underlying rhythm.
Because every strict vintedos shares the same metre, a stanza in the form can be sung to any of several traditional tunes.
The dattilo lines had become characteristic of processional chant in the churches of Burgundy and Lombardy by the twelfth century. Splitting the lines at the vintedos points arose on the Provincial coast; the earliest examples (from the Lerins monastery) contain annotated breath marks but as yet no rhyme.
The Antibol songbook, compiled in the 1380s by an unknown scribe of the hermitage-fishery at Antibol, records what appear to be a series of improvised lay rhymes in the vintedos form. They have rhymes only on the (D) lines, and are the first examples of vintedos with irreligious subject matters.
Vintedos spread westward during the Vascon Ascendancy of the fifteenth century. Poets of this period standardised and elevated the form; none more so than Belcara hix Aimeric, who is credited with popularising the full rhyme structure. More showy displays of technical skill like acrostics or strict alliteration were briefly seen as prestigious, but were soon considered affected or stodgy.
In the sixteenth century, publications like the Marsella Lament (reckoning with the Second Great Dying) and the Huzatre Psalter transformed the vintedos. The former gave it literary gravitas, while the latter's inexpensive prints and acommpanying folk tunes brought it into the voices of every village congregation.
More specialised conventions (such as "Vierna's precept", which forbade adjacent rhymes to share vowel sounds) were widely adopted in this period, and soon after analogues of the form appear across the world alongside translations of the Doccian works.