Like the _descort_ and many other metrical creations of the troubadours, the _retroensa_ was known to the poets of northern France. The name at least occurs in the literature of the langue _d’oïl_; but it must be confessed that, for instance, the religious song in praise of the Virgin, expressly called by the poet a _retrovange novelle_, has neither in substance nor form anything in common with Guiraut Riquier’s poem. Even the refrain has disappeared. There may perhaps have been some musical reason to account for the adoption of the name. But on that point we are, alas! completely in the dark. It is unnecessary to enter into the numerous and for the greater part arbitrary distinctions in which the subtle minds of grammarians and metrical scholars were wont to delight. Most of the divisions thus created, such as the _escondigz_ (justification), the _comjatz_ (literally leave-taking, i.e. the song in which the allegiance to a cruel lady is renounced), or the _torneys_ (tournament song), and many others never seem to have attained distinct formal development, and the remaining specimens are very few in number. CHAPTER XII. THE TENSO. My division hitherto has been made chiefly with regard to form. Such poetic creations as the _pastoreta_ or the _balada_ are, it is true, to some extent recognisable by the subject they treat. At the same time their most important characteristic remains the formal development to which this subject has given rise. This is different with the _tenso_, the song of dispute or contention. The fact of its frequently being written or supposed to be written by several persons implies the form of the dialogue. But as regards the structure of the line and the stanza, there is no generic mark to distinguish the _tenso_ from the _canzo_, the _sirventes_, or any other class of artistic poetry. But in spite of this the _tenso_ is of infinitely greater importance for the knowledge of Provençal life and literature than the artificial trifles we have just been dealing with. Its very existence is significant. Nothing could prove the enormous popularity of verse and rhyme in Provence more conclusively than the fact that the discussion of the most varied topics of life and manners instinctively assumed the form of poetry. Only in this way could the writers secure readers, the reciting joglars an audience. Moreover, the mind may picture to itself a circle of noble ladies and gallant cavaliers listening to the poets arduously discussing subtle points of love and courtesy. For there is no reason to doubt that many of these songs of contention owe their origin to actual _viva voce_ debate.