Dubrovnik ponovljen is a baroque epic poem by Jaketa Palmotić Dionorić written under the influence of Ivan Gundulić’s Osman and Torquato Tasso’s epic poetry. Dubrovnik ponovljen was written following the devastating earthquake in the city in 1667, when the author was employed in a diplomatic duty at Constantinople. The task of delivering the taxes and humbly seeking the Sultan’s mercy was given to Palmotić Dionorić and his compatriot Nikolica Bunić. On their way to the Sultan, the envoys went through various events which are described in the epic poem. Many interesting heterostereotypes about the culture, history, politics and behaviour towards women as part of the local religion are described as well. The structure of this master’s thesis follows the composition of the epic poem. Knowledge about the political, cultural and economic history of the Ottoman Empire at the time was used to interpret and historically contextualize the relevant imagotypical motifs within the epic poem. Dubrovnik ponovljen was for the first time printed as late as 1878 in Dubrovnik, when Stijepo Skurla prepared it for publication. In 2014, it was once again brought to the public’s attention along with Slavica Stojan’s detailed study. This study is a comparative analysis of the poem and other relevant historical sources writing about the earthquake of 1667. In recent years, this epic poem has aroused the interest of a growing number of literary historians. The goal of this master’s thesis is therefore to contribute to the research of this important and, until recently, somewhat ignored literary piece by intertwining knowledge and experiences from the fields of literary history and turkology. In the epic poem, an ambivalent relation towards the comprehension and understanding of the Ottoman people and spaces can be seen. This is proof of complex cultural, political and trade relations between Dubrovnik and the two neighbouring political and mercantile forces. When characterizing and describing the Turkish characters, the author was very careful, making them seem clever, wise, and many times even friendly towards the envoys. Still, when under the influences of forces from hell, their behaviour toward the envoys from Dubrovnik changes and they become ruthless, arrogant and greedy. By introducing the eschatological world, in which the Christian and Islamic religion are directly confronted, it becomes clear that this epic poem and the author’s own attitude are neither anti-Turkish nor anti-Ottoman, but first and foremost anti-Islamic.