22. Begin then, and, with simple language, do not spend sententious thoughts and witty sayings on family trifles, which is all that the familiar talk of two or three people is representing. But when the character who is introduced persuades, counsels or dissuades, then there should be gravity and wit; for then doubtless is truth observed, since a man speaks in a different style from what is common when he gives counsel, or persuades, or argues against anything. Aristides, the rhetorician, gave us warrant for this; for he wishes the language of comedy to be pure, clear, and flexible, and he adds also that it should be taken from the usage of the people, this being different from that of polite society; for in the latter case the diction will be elegant, sonorous, and adorned. Do not drag in quotations, nor let your language offend because of exquisite words; for, if one is to imitate those who speak, it should not be by the language of Panchaia, of the Metaurus, of hippogriffs, demi-gods and centaurs. 23. If the king should speak, imitate as much as possible the gravity of a king; if the sage speak, observe a sententious modesty; describe lovers with those passions which greatly move whoever listens to them; manage soliloquies in such a manner that the recitant is quite transformed, and in changing himself, changes the listener. Let him ask questions and reply to himself, and if he shall make plaints, let him observe the respect due to women. Let not ladies disregard their character, and if they change costumes, let it be in such wise that it may be excused; for male disguise usually is very pleasing. Let him be on his guard against impossible things, for it is of the chiefest importance that only the likeness of truth should be represented. The lackey should not discourse of lofty affairs, nor express the conceits which we have seen in certain foreign plays; and in no wise let the character contradict himself in what he has said; I mean to say, forget,--as in Sophocles one blames Oedipus for not remembering that he has killed Laius with his own hand. Let the scenes end with epigram, with wit, and with elegant verse, in such wise that, at his exit, he who spouts leave not the audience disgusted. In the first act set forth the case. In the second weave together the events, in such wise that until the middle of the third act one may hardly guess the outcome. Always trick expectancy; and hence it may come to pass that something quite far from what is promised may be left to the understanding. Tactfully suit your verse to the subjects being treated. _Décimas_ are good for complainings; the sonnet is good for those who are waiting in expectation; recitals of events ask for _romances_, though they shine brilliantly in _octavas._ _Tercets_ are for grave affairs and _redondillas_ for affairs of love. Let rhetorical figures be brought in, as repetition or anadiplosis, and in the beginning of these same verses the various