“for the first time after the fall of Crete and after almost one and a half century of poetic silence, a lyrical voice, although still not loud, is heard. The Λυρικά have definetely surpassed the level of insignificant verses or poetic attempts. Christopoulos (and Vilaras later on) are the true, on a national and not on a local level, predecessors of Solomos. And of the entire Modern Greek poetry: following Ερωτόκριτος, that is the epilogue to the first period, Λυρικά inaugurate the new, Modern period. 1811 is a landmark year in the history of Modern Greek poetry.

[…] From the first reading we discern that his “love" and "Bacchic” songs (a distrinction made by the poet himself) are entirely in the same vein with modern European clacissism. The same world of classical mythological alleghories and personifications is revealed to us, eros, always the son of Aphrodite, the Graces, the Dawn, Tithonos etc. “Bacchica” on the other hand (for these he was called “new Anacreon” by his contemporaries) imitate later poets writing in the style of Anacreon as those abounding at the time. Written in small flexible verses and in a demotic language, used in litterature, the songs of Christopoulos combine grace and finess, as well as something restrained and tactful, they do not exceed order and metre. He celebrates love and wine, he presents himself always hurt from love; but this love is never the great passion, it is rather a flirt, a tease or just a compliment. The climat is always temperate; there is no hot breath to melt at once all these cold mythological alleghories. […]

The poems of Christopoulos, most of them light and jovial – no matter how we find them today – brought about at the time a new freshness, a different message. And his time was fully aware of that and honoured the poet and his Λυρικά was published in several editions”. p(p.  133-134)