U radu se dokazuje kako je komedija „Gli amori del capitano Niccolò Ivulić … (Ljubavi kapetana Nikole Ivulića)“ nepoznatog makarskog auktora iz 18. st., sačuvana u prijepisu iz 1873., a u izdanju „Buzdo“ makarskog Ogranka Matice hrvatske iz 2018. priređena prema beogradskoj kazališnoj adaptaciji Antona Kolendića. Nagomilanim vulgarnostima i psovkama tek je oslonjena na izvorni tekst. Sukladno nametnutoj ideologiji jugoslavenstva hrvatskoj duhovnosti i kulturi atribuirana je svećeniku Klementu Grubišiću (1725. - 1773.), što je prihvaćeno i u Matičinom izdanju. Podsjeća se kako hrvatska kulturna i znanstvena javnost nije prihvatila takvo auktorstvo, već se govori o nepoznatom piscu. Matičino izdanje nije naznačilo čiji se tekst komedije tiskao, niti pohranu prijepisa u Nacionalnoj i sveučilišnoj knjižnici u Zagrebu. U Predgovoru je razvidno nepozivanje na one radove koji su upozorili na dvojbenost Grubišićeva auktorstva komedije (D. Berić, S. Prosperov Novak, V. Deželjin). Manjkavosti su očite i u loše posloženom i faktografski neuvjerljivom Pogovoru, poglavito u prikazu duhovnosti Makarske 18. st. Njime se razotkriva i anacionalni pristup neupitnim kategorijama, kao što su hrvatska književnost i kultura.; The paper proves that the comedy Gli Amori del Capitano Niccolo Ivulić.... (The Loves of Captain Nikola Ivulić) by an unknown author from Makarska from the 18th century, preserved in a transcript from 1873 and published by Buzdo of the Makarska branch of Matica Hrvatska in 2018, was edited according to the Belgrade theatrical adaptation by Anton Kolendić. With the piled vulgarities and curses, it just draws on the original text. In accordance with the intention of Yugoslavism, ideologically imposed on Croatian spirituality and culture, it is attributed to the priest Klement Grubišić (1725-1773), which was accepted also by the Matica’s publication. The paper points out that the Croatian cultural and scientific public has not accepted such authorship, but has spoken of an unknown writer. The Matica’s edition does not state whose comedy text was printed, nor does it state the deposit of transcript in the National and University Library in Zagreb. In its Preface it is clear that there are no references to the works, which points to dubiousness of Grubišić’s authorship of the comedy (D. Berić, S. Prosperov Nobak, V. Deželjin). Deficiencies are also evident in the poorly arranged and factually unconvincing Epilogue, especially in the depiction of the spirituality of Makarska in the 18th century. It reveals a nationally indifferent approach to unquestionable categories such as Croatian literature and culture.