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The use of the refrains, "l'aria di pianti" in the first, and "Ciascun segua, O Bacco, te," in the second, is an additional influence in moving us toward this conclusion because we know that it was the employment of the refrain which helped to lead the frottola toward the strophic form of the song.
To Speroni's play Canace Tasso may have been indebted for the free measures with which he diversified his blank verse, as likewise for the line: Pianti, sospiri e dimandar mercede; though it must not be supposed that there is any resemblance in style between the Aminta and Speroni's revolting and frigid declamation of butchery and lust. Nor did the debt pass unnoticed.
In the Padre Affo's later version of the work this song of Orpheus does not appear, but a dryad announces to her sisters the death of Euridice and then follows a chorus: "L'Aria di pianti s'oda risuonare, Che d' ogni luce e priva: E al nostro lagrimare Crescano i fiumi al colmo della riva " The refrain, "l'aria di pianti" is repeated at the end of each stanza.
I felt sick with horror. As if their hoarse and over strained voices failed to make noise enough, they soon began to clap their hands violently. The scene described by Dante was before me: "Quivi sospiri, pianti, ed alti guai Risonavon per l'aere Orribili favelle Parole di dolore, accenti d'ira Voci alti e floche, e suon di man con elle."
"Here sighs, with lamentations and loud moans Resounded through the air pierced by no star, That e'en I wept at entering." According to Parsons: "Mid sighs, laments, and hollow howls of woe, Which, loud resounding through the starless air, Forced tears of pity from mine eyes at first." "Quivi sospiri, pianti ed alti guai Risonavan per l' ner senza stelle, Perch' io al cominciar ne lagrimai."
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