Puis que la douce rousee is a three-voice motet by the medieval French composer Guillaume de Machaut. Most of Machaut's motets utilise isorhythm in some form or other, and Puis que la douce rousee, particularly, utilises isorhythmic technique. The isorhythm in Puis que la douce rousee is noteworthy in that the talea and color of the tenor do not match precisely which necessitates the insertion of a small rhythmic addendum at the end. Further the upper parts, as well as the tenor, are isorhythmic throughout, the only work by Machaut to be completely so. It is catalogued by Schrade as Motet No. 4.

The motet grew out of an early thirteenth century form known as the conductus. It involved the embellishment of a segment of plainchant (which became known as the 'tenor') with a polyphonically independant part or parts (known as the duplum, triplem and quadruplem). In the early part of the fourteenth century, motets were set to secular French texts, although sacred Latin texts dominate for most of the century. Machaut, however, does not follow this trend in that most of his motets are set with French secular texts. This work is typical of Machaut's early motets in that it has a secular French triplem and triplem, but a Latin tenor.

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