this work Sahagún bestowed an enormous ethnographic description of the Nahua, written in side-by-side translations of Nahuatl and Spanish and illustrated throughout by color plates drawn by indigenous painters. Its volumes cover a diverse range of topics: Aztec history, material culture, social organization, religious and ceremonial life, rhetorical style and metaphors. The twelfth volume provides an indigenous perspective on the conquest. Sahagún also made a point of trying to document the richness of the Nahuatl language, stating: Nahuatl poetry is principally preserved in two sources: the Cantares Mexicanos and the Romances de los señores de Nueva España, both collections of Aztec songs written down in the 16th and 17th centuries. Some songs may have been preserved through oral tradition from pre-conquest times until the time of their writing, for example the songs attributed to the poet-king of Texcoco, Nezahualcoyotl. identify more than four distinct styles of songs, e.g. the ('sad song'), the ('song of spring'), ('plain song') and ('song of war'), each with distinct stylistic traits. Aztec poetry makes rich use of metaphoric imagery and themes and are lamentation of the brevity of human existence, the celebration of valiant warriors who die in battle, and the appreciation of the beauty of life. Stylistics The Aztecs distinguished between at least two social registers of language: the language of commoners () and the language of the nobility (). The latter was marked by the use of a distinct rhetorical style. Since literacy was confined mainly to these higher social classes, most of the existing prose and poetical documents were written in this style. An important feature of this high rhetorical style of formal oratory was the use of parallelism, whereby the orator structured their speech in couplets consisting of two parallel phrases. For example: 'May we not die' 'May we not perish' Another kind of parallelism used is referred to by modern linguists as difrasismo, in which two phrases are symbolically combined to give a metaphorical reading. Classical Nahuatl was rich in such diphrasal metaphors, many of which are explicated by Sahagún in the Florentine Codex and by Andrés de Olmos in his Arte. Such include: 'The flower, the song' – meaning 'poetry' 'the tail, the wing' – meaning 'the common people' 'the chest, the box' – meaning 'something secret' 'the heart, the blood' – meaning 'cacao' 'the drool, the spittle' – meaning 'lies' Sample text The sample text below is an