Abstract
A close examination of Monteverdi's problematic settings of two texts, "Zefiro torna, e di soavi accenti" (1632) and "Su, su, su pastorelli vezzosi" (1638, 1651), raises significant issues concerning his poetic sensitivities and also the status of his literary and musical sources. This further calls into question the modern reception of his agenda for the so called seconda pratica, for all its role as an integral part of the stories conventionally told of the composer.
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