"He sought," says Lope de Vega, "to enrich the art, and even the language, with such figures and ornaments, as were never, till his time, imagined or beheld. In my opinion, he fully succeeded in what he aimed at, if this was his aim; the difficulty is in receiving it. According to many, he has raised the novelty into a peculiar class of poetry, and they are not at all mistaken; for, in ancient times, men were made poets by the study of a whole life; in the modern, they become poets in a day; as, with a few transpositions, four precepts, and six Latin words or emphatic phrases, you will see them elevated where they neither know nor understand themselves. Lipsius wrote that new Latin which good judges in these matters say Cicero and Quintilian laughed at in the other world. The whole foundation of the structure is transposition; and what makes it the more harsh is the so far separating the substantive from the adjective, where the parenthesis is impossible: it is a composition full of tropes and figures; a face coloured in the manner of angels with the trumpet of judgment, or of the winds in maps. Sonorous words and figures enamel an oration; but if the enamel covers all the gold, it is no longer a grace to the jewelling, but a notable deformity." And in another part he says, "..., without going in search of so many metaphors on metaphors, wasting in rouge what is needed in features, and enfeebling the spirit with the weight of such an excessive body. This it is that has destroyed a great number of talented men in Spain, with such deplorable effect, that an illustrious poet, who, writing with his native powers and in his proper language, was read with general applause, since he has abandoned himself to purism, has lost it all."