In the Middle Ages, the rotrouenge (Old French) or retroencha (Old Occitan) was a recognised type of lyric poetry, although no existing source defines the genre clearly. There are four conserved troubadour poems, all with refrains and three by Guiraut Riquier with music, that are labelled retronchas in the chansonniers. Six rotrouenges survive, but only one with music, and four of them are attributed to one trouvère, Gontier de Soignies.
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| - Rotrouenge (fr)
- Rotrouenge (it)
- Rotrouenge (en)
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| - La rotrouenge, aussi appelée rotruenge en français, retroncha ou retroensa en occitan, est un genre de poésie lyrique du Moyen Âge. (fr)
- In the Middle Ages, the rotrouenge (Old French) or retroencha (Old Occitan) was a recognised type of lyric poetry, although no existing source defines the genre clearly. There are four conserved troubadour poems, all with refrains and three by Guiraut Riquier with music, that are labelled retronchas in the chansonniers. Six rotrouenges survive, but only one with music, and four of them are attributed to one trouvère, Gontier de Soignies. (en)
- Il termine medievale rotrouenge (o, secondo altre varianti ortografiche, rotruenge, rotrouange, retrowenge, in provenzale retroensa o retroencha) è riferito a un tipo di poesia lirica medievale (piuttosto rara) di trovatori e trovieri, imparentata alle chansons de toile. Per quanto concerne la lirica provenzale dei trovatori, le retroenchas sopravvissute sono sei, attribuite a quattro trovatori diversi, delle quali tre sono certamente di Guiraut Riquier e una di Joan Esteve di Béziers, anche se sembra piuttosto verosimile che gli esempi fossero più numerosi. (it)
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| - La rotrouenge, aussi appelée rotruenge en français, retroncha ou retroensa en occitan, est un genre de poésie lyrique du Moyen Âge. (fr)
- In the Middle Ages, the rotrouenge (Old French) or retroencha (Old Occitan) was a recognised type of lyric poetry, although no existing source defines the genre clearly. There are four conserved troubadour poems, all with refrains and three by Guiraut Riquier with music, that are labelled retronchas in the chansonniers. Six rotrouenges survive, but only one with music, and four of them are attributed to one trouvère, Gontier de Soignies. Medieval Occitan treatises state that the retroencha always has a refrain, but modern scholars have found no other distinguishing characteristic. Pioneering work in singling out and identifying the rotroencha was made by Alfred Jeanroy. In the twentieth century, the German scholars Friedrich Gennrich and Hans Spanke developed two distinct theories about the textual and melodic form of the rotrouenge, implicitly suggesting in the process that some of the few specimens of lyric labelled as such in the manuscripts are in fact mis-labelled and do not represent the rotrouenge. The French scholar Jean Frappier noted that "we are not absolutely sure that we have any authentic specimens of the rotrouenge", indicating that by the time the term came into use in the late twelfth century it was no more than an archaism ("an attractive old term" in the words of Hendrik van der Werf) and that the original genre may have lost its distinct identity. The following are the only four retroenchas that survive:
* "Si.m vai be ques eu non envei" by Joan Esteve
* "Si chans me pogues valensa" by Guiraut Riquier
* "Pos astres no m'es donatz" by Guiraut Riquier
* "No cugei mais d'esta razo chantar" by Guiraut Riquier (en)
- Il termine medievale rotrouenge (o, secondo altre varianti ortografiche, rotruenge, rotrouange, retrowenge, in provenzale retroensa o retroencha) è riferito a un tipo di poesia lirica medievale (piuttosto rara) di trovatori e trovieri, imparentata alle chansons de toile. Per quanto concerne la lirica provenzale dei trovatori, le retroenchas sopravvissute sono sei, attribuite a quattro trovatori diversi, delle quali tre sono certamente di Guiraut Riquier e una di Joan Esteve di Béziers, anche se sembra piuttosto verosimile che gli esempi fossero più numerosi. Similmente alle canzoni da ballo del XII e XIII secolo, aveva un ritornello e veniva usata per ballare. Nel contenuto era essenzialmente una canzone d'amore, ma di quando in quando poteva assumere un carattere politico. Secondo Gaston Paris, appartengono alla rotrouenge "quasi tutti i brani lirici destinati al canto non appartenenti alla scuola provenzalizzante" (presque toutes les pièces lyriques destinées au chant qui n'appartiennent pas à l'école provençalisante) (it)
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