Several poems by Italian poets in Hungarian translation appeared in the Orpheus between February 1790-August 1792. The source of the poem Lilla, published in the fourth issue of the first volume and translated by Kazinczy Fe renc (1759-1831), was previously unknown. The author of the study first identi fies the original text variant, then presents the dimensions of this identification via microphilology. Since Kazinczy and his circle often alternated different types of female names in their poems and literary translations, it was not obvious from the start that the original text would also contain the name Lilla. Although tra ditionally used in seventeenth and eighteenthcentury Italian poetry, the name Lilla had not been linked substantially to Hungarian lyric poetry or to the Lilla cy cle written by csoKonai Vitéz Mihály (1773-1805). The author considers this impor tant because the translation published in Orpheus is textual proof of Kazinczy's connection to this part of world literature and why he decided to translate a text from this tradition into Hungarian. Based on this premise, the study rethinks Csokonai's relationship with Italian literature and shows how Italian lyric poetry is behind the creation of the Lilla cycle as an important source of inspiration, and it provides further arguments supporting the idea that the female name unifying the cycle should not be interpreted from the perspective of biography, but rather as a choice that has consequences in terms of poetics: by adopting it, Csokonai tried to fit his work into European literary trends.