The texts of the early sixteenth-century madrigal are markedly uniform in their content. Love is the main theme, treated in as many variations as issue from the vagaries of the amorous condition (longing, despair, concupiscence, hate, disenchantment, etc.). So uniform, in fact, is the subject matter that when a poem departs from convention, it warrants attention as something of a rara avis. This is the case with the sonnet Trist’ Amarilli mia set to music by Philippe Verdelot, a French (or Netherlandish?) composer residing in Italy during the second and third decades, or more, of the century. Its (anonymous) poet delineates the sort of bucolic scene one happens upon more often in the later madrigal, and peoples it with Amaryllis, Tityrus, Atalanta, and a company of shepherds and flocks.