The golden rule of mezura (moderation) was imposed upon troubadours by the Fin' Amors code which required that the lyrics of the canso be exquisitely and finely composed, following the precepts of courtly love. Dialogical pieces such as the tenso and the partimen however were more flexible and even free from any tenet whatsoever. Thus a whole corpus of scabrous 'counter texts by troubadours tell the non conformism, the anti doxa character of the dialogic genre, which may be illustrated by the Tenso between Montan and the Dame : amazingly enough the singular radical piece involves a female protagonist. Yet that mixed tenso is not just a whole blend of bawdy and coarse jokes but also a perfect set of classical rules as advocated by the ars probadorica : the poem which is artistically constructed around a string of inter-textual echoes – irony is pervasive in both form and content – was aimed not at villains but at an audience of connoisseurs of higher rank, namely the Cortès, who could de-code the subtext. Therefore P-C 306.2 should only be viewed just as a genuine uncritical distraction with no questioning of the established nobility ; for both texts and 'counter texts' originated from the same aristocratic circles