ABSTRACT
This chapter begins with an examination of the Invaghiti’s adherence to the Ciceronian oratorical philosophy and representations of this orientation in the Invaghiti’s narrative and theatrical works, as seen in effective and ineffective argumentation, as well as moral and immoral persuasion. Following this is a demonstration of Monteverdi’s working knowledge of the art, which leads into my analysis of the two, full orations from Orfeo, La Musica’s Prologue and Orpheus’s “Possente spirto,” with selected comparisons to orations set to music by the composer in his later works. Through these comparisons, I argue that the primary reason for Orpheus’s failure to persuade Charon is his attempt to substitute clever sophistries and brilliant style for moral arguments, contrary to the teachings of Cicero and other ancient writers on the subject. Closing this chapter is a consideration of the significance of this failure in relation to the Castiglionian “ideal Courtier,” as well as the rivalry between noble and professional virtuosos.
