This paper analyzes two essential features of Croatian Renaissance masquerades - comic and lascivious. It is a monologically structured kind of carnival song, which arrived in our region from the end of the Quartet as well. The lasciviousness in our masquerades mainly contains details of the sexual act or functioning of the genital anatomy, and the comic builds precisely on these male-female relationships. Our most prominent author of lascivious masquerades is Nikola Nalešković, followed by Antun Sasin. Although mastered by lascivious allusions, Moor Vetranovic's masquerades still exude a mild comedy that is accomplished in a peculiar way. Our central and most important masquerade Jeđupka also in a way builds comic and lascivious elements that are evident in the context of her performance. In order to understand how lascivious and comic elements are achieved in masquerades, the paper describes the allegorization technique used by our authors. The paper also presents a comparative analysis masquerades: Mikša Pelegrinovic's Jeđupka, Alemani's Chains, trumpeters and Mavro Vetranović's trumpeters, Nikola Nalješković's Masquerades and Antun Sasin's Vrtari, with emphasis on comic and lascivious elements.