the extremely emotional attitudes of the lyrics' subject. The religious reflexivity of the individual verse subjects are characteristics of Renaissance poetics, while the motifs (Marian themes, and themes of passion), composition and language were influenced by mediaeval poetics. Nalješković's religious lyrics were associated with his piety, due to his membership of the Saint Anthony fraternity. Epistles Nalješković was the most prolific writer of epistles of the Croatian Renaissance. He wrote 37 epistles, which addressed friends and family (especially poets: Petar Hektorović, Nikola Dimitrović, Mavor Vetranović, Dinko Ranjina etc.) from Zadar to Dubrovnik. He also wrote to princes, as well as ecclesiastical and secular potentates. Besides exploring Croatian cultural history, Nalješković's epistles (written with doubly rhymed dodeca-syllables or in octo-syllable quatrains) were often tinged with a feeling of pain, thirst for peace and freedom, and Croatian national pride, all in a laudatory tone, with elements of humour and satire. Tombstones Nalješković's tombstones were, in terms of genre and expression, close to epistles, apart from the odd single instance in which there was a motive for them to deal with universal content (the phenomenon of death). Masques Twelve of Nalješković's carnival songs (Pjesni od maskerate; the 9th, 4th and 7th masques were published in 1844 and 1858, and all of them in 1873) constituted complete masques. The first was a sort of prologue announcing the arrival of the company (composed of masked speakers of other songs: lovers, Latins, gypsies, shepherds, slaves). From the usual framework of carnival masque tradition, Nalješković's masques stood out for their risky carnival obscenity and erotic verbosity, reflecting the merry and lascivious Renaissance carnival atmosphere. Comedies Seven of the unaddressed stage work manuscripts, composed of a prologue and one act in verses, have been classed as comedies (they were printed for the first time in an issue of Stari pisci hrvatski). The first four comedies enter into the scope of the "pastoral" genre. Komedija prva (the first comedy) dramatises typically pastoral themes, with some magical elements, reminiscent of Tasso's Aminta but also of Džore Držić's eclogue Radmio and Ljubimir, and the prophetic Tirena by Marin Držić. The allegoric, celebratory setting was dynamised by the alternation of realism and fantasy, lasciviousness and sentimentality, naturalism and humour. Komedija druga (the second comedy), a mythological play, dramatises a motif of classical mythology which is known as the court of Paris. At its core is the theme of the wise judge. Three