1 R. Saisselin, The Enlightenment against the Baroque: Economics and Aesthetics in the Eighteenth Century (Berkeley, CA, 1992), p. 46, quoted in W. Egginton, The Theater of Truth: The Ideology of (Neo) Baroque Aesthetics (Stanford, CA, 2010), p. 16.

2 G. Tomlinson, Monteverdi and the End of the Renaissance (Berkeley, CA, 1987).

3 N. Pirrotta, ‘Scelte poetiche di Monteverdi’, Nuova rivista musicale italiana, 2 (1968), pp. 10–42, 226–54, translated as ‘Monteverdi’s Poetic Choices’ in N. Pirrotta, Music and Culture in Italy from the Middle Ages to the Baroque (Cambridge, MA, 1984), pp. 271–316.

4 Egginton, The Theater of Truth, pp. 11–25.

5 The question derives from Ann Carson, Eros the Bittersweet (London, 2015).

6 Giles of course indulges in her own list-making, a ritualistic habit that most of us who write about madrigals have inherited from the scholarly tradition: thanks to the multi-generational efforts of Vogel, Einstein, Lesure and Solerti, who compiled the bibliography of the madrigal and related genres, and to its on-line successor, this is as easy to execute as it is pointless, since we rarely talk about the music we enumerate. F. Lesure and C. Sartori, Il nuovo Vogel: Bibliografia della musica italiana vocale profana, 1500–1700, 3 vols. (Pomezia, 1977); RePim: Repertorio della poesia italiana in musica, 1500–1700, https://repim.itatti.harvard.edu/resource/repim:formSearch.

7 The internal quotation is from James Mirollo, The Poet of the Marvellous (New York, 1963), p. 132.

8 Orazio Vecchi, L’Amfiparnaso, edited by Cecil Adkins (Chapel Hill, NC, 1977). On the crucial step separating madrigal from dramatic representation, see Paolo Fabbri’s insightful discussion of the lament from Arianna in ‘L’Orfeo del 1607: Un madrigalista all’opera’, Journal of Seventeenth-Century Music, 18/1 (2012) (stable URL: https://sscm-jscm.org/jscm-issues/volume-18-no-1/lorfeo-del-1607-un-madrigalista-allopera/).