Monteverdi's decision to publish it independently from the opera: first in 1614 as a five-voice madrigal, then in 1623 as a monody, and finally in 1641 as a sacred hymn, "Lamento della Madonna". The five-voice adaptation was included in the composer's Sixth Book of Madrigals; there is evidence that this arrangement was made at the suggestion of an unnamed Venetian gentleman who thought that the melody would benefit from counterpoint. In 1868, François-Auguste Gevaert published the lament in Paris, and in 1910 the Italian composer Ottorino Respighi issued an edited, orchestral transcription, 088. In her analysis of the lament, the musicologist Suzanne Cusick asserts that a large extent Monteverdi's fame and historical status rested for centuries on the universal appreciation of his achievement in the celebrated lament [which] was among the most emulated, and therefore influential, works of the early 17th century". In Cusick's view Monteverdi "creat[ed] the lament as a recognizable genre of vocal chamber music and as a standard scene in opera ... that would become crucial, almost genre-defining, to the full-scale public operas of 17th-century Venice" and she concludes by noting that the women of Mantua would have recognised the transformations enacted in the lament as representative of their own life stories. Monteverdi, she believes, sought to represent in music the eventual triumph of female piety over promiscuity: "Arianna's gradual loss of her passionate self in the lament constitutes a public musical chastening of this incautious woman who dared to choose her own mate". In her study The Recitative Soliloquy, Margaret Murata records that laments of this kind became a staple feature of operas until about 1650, "thereafter more rarely until the total triumph of the aria around 1670". Mark Ringer, in his analysis of Monteverdi's musical drama, suggests that the lament defines Monteverdi's innovative creativity in a manner similar to that in which, two-and-a-half centuries later, the "Prelude" and the "Liebestod" in Tristan und Isolde announced Wagner's discovery of new expressive frontiers. In its operatic context the lament takes the form of an extended recitative of more than 70 vocal lines, delivered in five sections divided by choral comments. Some of the wording is prefigured in the immediately preceding scene in which the First Envoy describes Arianna's plight to a sympathetic chorus of fishermen. The lament depicts Arianna's various emotional reactions to her abandonment: sorrow, anger, fear, self-pity, desolation and a sense of futility. Cusick draws