Most modern analysts, such as Nikica Kolumbić[2] and Pavao Pavličić[3] regard it as a lyrical commentary of Petar Zrinski's epic poem Obsida sigecka, stressing its intertextual features.

More specifically, he argues its intent was to rework the existing epic in a lyric way, making it more accessible for people of lower education, but expanding and emphasizing certain aspects of it for programmatic and perhaps, political purposes.

[5] The last part provides shorter poems similar to occasional poetry which are called tombstones (nadgrobnice) and represent voices from a number of killed individuals such as Suleiman the Magnificent and Nikola Šubić Zrinski.

Vitezović, conversely, gives a considerably more balanced view in which he praises their strength and acknowledges their motives to serve their leader and their people in the name of glory, thus equating them with the defenders.

[11] The details regarding the contemporary reception of Odiljenje sigetsko are uncertain due to lack of surviving documentation, but it is known that all printed copies were sold out by 1695, and that public interest continued to exist for a third edition.

This predominantly negative initial assessment was subsequently challenged by newer authors such as Kolumbić and Pavličić on grounds that Vitezović's intentions and ideas were never fully recognized and, as such, no deeper analysis of the work was actually conducted.

He concludes that the work is therefore important as an experiment of poetics, which attempts reaching the literate populace to instil ideas pertaining to literature, or contemporary issues such as the Ottoman threat, which highlights the secondary nature of its character.

[3] Kolumbić stated that Vitezović was more natural and varied in writing verse than many of his predecessors (such as Zrinski, Marulić), and has shown genuine virtuosity in some parts such as constructing hexameter lines, which are difficult to apply in Croatian.

[3] The section done in "echo verse" (Putnik i jeka) was particularly praised, being executed better than by previous authors (such as Zrinski, Gundulić) and achieving maximum unity between the appropriate mood and phonaesthetics.

[8] Noted German Slavist Reinhard Lauer [de] regards Odiljenje sigetsko as an important linguistic step towards a unified Croatian poetic language, and as among the most astonishing poems covering the Siget subject.