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he is no longer master of himself, but is agitated like one possessed with an irresistible motion.33 To give a relatively obvious example of the kinds of images and qualities of motion I mean (and the kinds that Louis's court demonized), Monteverdi's seventh book of madrigals, inspired by the baroque excesses of Marino's poetry, includes several pieces that explore what Stephen Greenblatt has called "friction to heat." At the time, it was thought that conception could not occur unless the female partner in the sex act were brought to fulfillment—a process of arousal that, according to Greenblatt, Shakespeare's quick, witty exchanges between lovers attempted to simulate.34 (In our more enlightened time, "friction to heat" is more likely to be called foreplay, and it has been reduced from a status of necessity to one of mere courtesy or even altruism.) Monteverdi's "O come sei gentile" is a duo, which allows the communicative immediacy of monody and also the complex images exploited by the polyphonic madrigal.35 Guarini's text compares the state of a lover with that of a caged bird: both lover and songbird are imprisoned by their mistress and both sing for her
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