Other differences between the two novels are also evident. In the first _Lazarillo_ we see a central protagonist who serves a different master or performs a different type of work in each chapter. But in Luna's sequel we do not have this same structure. In the first five chapters of Luna's book, for example, Lazarillo's adventures flow as they do in traditional novels: he goes to sea, the ship sinks, he is captured by fishermen and put on exhibition as a fish, and finally he is rescued. The following chapters, however, often divide his life into segments as he goes from one position to another. Another difference to be noted is that while the first Lazarillo addresses a certain person ("You": Vuestra merced) who is not the reader but an acquaintance of the archpriest, in the _Second Part_ something quite different occurs. Luna's Lazaro addresses the "dear reader" but hardly with flattering terms: he humorously suggests that we may all be cuckolds. Then he ironically refuses to tell us about--or even let us think about--certain promiscuous details because they may offend our pure and pious ears. The framework of the first novel is apparently a device whose purpose, like the "Arabic historian" and the "translators" of _Don Quixote_, is to create an atmosphere of realism, while Luna's "dear reader" is simply a device for humor. Another important distinction to be made between the two books is the extent of word-play used. Almost one hundred years elapsed between the times the two books were published, and literary styles changed a great deal. While the first _Lazarillo_ used some conceits, as we have previously noted, Luna's book abounds with them to the point where it becomes baroque. About people who are being flooded with water or are drowning, it is usually said that they are overcome by trifling, but watery, circumstances: "a drop in the ocean" (ahogar en tan poca agua). Lazarillo's child is "born with the odor of saintliness about her" (una hija ingerta a canutillo); unfortunately this refers less to her as holy than it does to the fact that her father is really the archpriest. The use of antithesis is also evident throughout Luna's novel. From the beginning in which he dedicated his small work to a great princess, throughout the length of the book, we find Lazaro esteemed by his friends and feared by his enemies, begging from people who give money with open hands while he does not take it with closed ones, and so on. Another trick in language is Luna's plays on sounds: such combinations as sali--salte (left--leaped), comedia--comida (rituals--victuals) are abundant. Luna also uses obscene conceits for a humorous purpose, mixing them with religious allusions both for humor and to vent his own feelings of hostility against the church.