This article aims at presenting a textual structure which motivated the fabula of musical and non-theatrical pieces, and which is not explicitly formulated in poetical essays. Considering and analyzing various theatrical genres (egloge, pastorali, Venetian opera, cantata), it contains a comparison of various appearances of the element innamoramento per pietà. Basically, it leads to the question of other poetical elements linked to the segment pietà, and thus calls for a continuation of the examination of Italian operatic traditions.
