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First came the loa, a kind of prologue; then the entremes, a kind of interlude or farce; and last, the autos sacramentales, or sacred acts themselves, which were more grave in their tone, though often whimsical and extravagant. The seventy-three autos written by Calderon are all allegorical, and by the music and show with which they abound, they closely approach to the opera.
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