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The third was probably intended to continue this subject, and the fourth was destined to the laws of the ballata and sonetto.

—Canterotti, o zingarella, Qualche allegra mia ballata, Qualche estatica novella D' una dama innamorata ...

Yet, however slightly Poliziano may have prized these productions of his early manhood, he proved that the Canzone, the Rispetto, and the Ballata were as much his own in all their multiformity of lyric loveliness, as were the rich sonorous measures of the octave stanza.

The Ballata consisted of lyric stanzas with a recurrent couplet.

Both in this Ballata and also in the stanzas on the Age of Gold, it might almost seem as though Poliziano had rewritten Lorenzo's exercise with a view to showing the world the difference between true poetry and what is only very like it.