He belonged to the Strambottists, who detached themselves from certain Petrarchan ideas; notable was the absence of Neoplatonisms, sensuality came to be accentuated as the poets drew closer to vernacular forms (strambotto, rispetto), and sonnet was being abandoned.
[7] Also present is the influence of folk motifs well-spread in the Middle Ages, amplified by the influences of Strambottisms, such as the rhyme of the folk song Mnokrat reci u sebi rič, koja je ohola or in the usage of diminutives (kladencem vodice), such as in the song Moj Bože, Bože moj, molim te za rados and the bugaršćica-type verse, with 15 syllables per line.
In the first thematic unit, poems like Ne mogu živjeti bez tebe are distinguished in which a beloved maiden becomes a part of lyrical subject (ter tebe želeći sam sebe toj želju) or couplet poems such Bože, šta osta tebi n which the beauties of the poet's beloved are platonically described.
This thematic unit introduces the motif of alba, a poetic form describing the dialogue of lovers, with possible presence of a third person (the guardian), separated by the dawn.
There is a Petrarchan platonist ending, celebrating the spiritual love towards Laura, as his inspiration and muse, eroticizes and mutates elegiac tone into dithyrambic, and the central motif is no longer the lyrical subject but the erotic perception of the beloved (Blažena ljepos tva, blažena tva mlados / pokli se meni sva darova za rados.)