Inheriting an easy fortune from his father, Pere March—the treasurer to the Duke of Gandia—and enjoying the powerful patronage of Charles of Viana, prince of Aragon, March was able to devote himself to poetical composition.

He was an undisguised follower of Petrarch, carrying the imitation to such a point that he addressed his Cants d'amor (love songs) to a lady whom he professed to have seen first in church on Good Friday.

[3] So far as the difference of language allows, he reproduced the rhythmical cadences of his model, but this should be qualified as the medieval tradition of locus communis requested this following.

His poems are marked by obscurity, a sometimes monotonous morbidity, and a conflicting battle between desire and morality, achieved at its apex in the great Cant Spiritual.

He was fully entitled to the supremacy which he enjoyed among his contemporaries, and the success of his innovation no doubt encouraged Boscán to introduce the Italian metres into Castilian.