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He knew of the elegant conceits of linguistic expression and used them sparingly in his plays, but usually his language was, like the ideas which he expressed, the speech of the public which he sought to please, not slighting the grandiloquent phraseology to which the Spanish language is so well adapted.
We find a good example of these different elements in La Moza de Cántaro in the three sonnets of Act II, Scene III, of which the first is in the sonorous, high-sounding, oratorical style, the second, in the elegant conceits so common in Italian literature of the period, and the third in the language of every-day life. Each is well suited to the occasion and to the rôle of the speaker.
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