Constance and Tony use hyperbole in their flirting in front of Mrs Hardcastle to mock sentimental romantic cliches and to emphasize the fact that their flirting is a pretense. In this way, Goldsmith uses hyperbole in conjunction with dramatic irony to create comedy, with the audience knowing Tony and Constance are not in love while Mrs Hardcastle believes they are. In Act 4, just as Tony and Constance are discussing their plans to ensure Constance can run away with Hastings, Mrs Hardcastle enters:
MISS NEVILLE. Agreeable cousin! Who can help admiring that natural humour, that pleasant, broad, red, thoughtless (patting his cheek)—ah! it’s a bold face.
MRS. HARDCASTLE. Pretty innocence!
TONY. I’m sure I always loved cousin Con.’s hazle eyes, and her pretty long fingers, that she twists this way and that over the haspicholls, like a parcel of bobbins.
MRS. HARDCASTLE. Ah! he would charm the bird from the tree.
Here, Tony and Constance’s intentionally exaggerated displays of devotion towards each other highlight how unnatural it is to say these things and that, in fact, their romance is faked. Meanwhile, the sheer ridiculousness of many of the sweet nothings they exchange mocks Mrs Hardcastle, whose belief in their romance appears even more ridiculous as a result.
The way in which Constance and Tony parody the usual exchanges made by lovers creates additional comedy in this scene. Constance, for example, takes the trope of flattering a lover’s appearance but turns it on its head. Where most traditional lovers might speak of the beauty of their loved one's eyes or their complexion, Constance instead describes her “admiration” for Tony’s “broad, red, thoughtless face.” Equally, Tony’s compliments for Constance’s “pretty long fingers that she twists this way and that over the haspicholls like a parcel of bobbins” borders on the nonsensical, with a "haspicholl" appearing to be an invented word. In these instances, Tony and Constance’s use of hyperbole works to satirize the often meaningless and ridiculous romantic cliches present in other plays at the time, specifically in the sentimental romantic comedies which Goldsmith intentionally mocks.
