Ornamenting baroque da capo arias is crucial for the historically informed singer. However, the choice of ornaments should do more than fit the affects portrayed in a given piece: it should emphasize their expression and move the affections of the audience. In Mattheson’s Der vollkommene Capellmeister it is suggested that rhetorical figures can be of good use as ornaments. Out of the abundant number of figures listed by theorists associated with the movement of the German Musica Poetica, only a few have simultaneously an affective meaning and can be applied to a pre-existing melody. This research explores some of the existing ornamented melodies by G. F. Händel and singers from the time of the composer to understand how these ornaments can be linked with figures from rhetoric, and how they assist in the expression of the text. This research associates rhetorical figures and manieren with general affects and demonstrates its practical use in selected operatic repertoire by G. F. Händel. This study aims to enhance the author’s aesthetic choices while performing, and furthermore encourage other singers to use ornamentation effectively in similar repertoire.