Analysis of La Celestina
La Celestina: An Analysis
Style and Language
Two distinct styles are employed in La Celestina. The first is a cultured style, characterized by hyperbaton, Latinate syntax, homoioteleuton, a lexicon rich in cultisms and metaphors, and long paragraphs with complex subordination and Greco-Latin references. The second is a popular style, less affected, with short phrases, nicknames, sayings, idioms, a conversational tone, and frequent exclamations. The text also features geminations, parallelism, and antithesis. The clever use of asides and monologues suggests that the work was intended to be read aloud or performed rather than simply read. The use of imagery and irony is notable, as is the symmetry of the characters.
Characters
A common trait among all characters, both from the nobility and the servant class, is their individualism, selfishness, and lack of altruism.
Themes
La Celestina explores several themes, including:
- Corruption: The play warns against “evil and fawning servants” who manipulate their masters.
- Love: It critiques blasphemous mad love and courtly love, which lead lovers to believe their beloveds are gods.
- The Human Condition: A deeper, dramatic, and philosophical theme portrays human life as a constant struggle between opposites: young vs. old, innocence vs. corruption, scholars vs. ignorants, poor vs. rich, servants vs. masters, women vs. men, good vs. evil, and vice versa.
Transition from Middle Ages to Renaissance
La Celestina reflects the transition from the Middle Ages to the Renaissance:
- Changing Servant-Master Relationships: In the Middle Ages, servants worked for their lords in exchange for sustenance and protection. In La Celestina, Calisto is expected to pay his servants.
- Shifting Role of Nobility: Medieval nobles defended the common people. Calisto, however, does not engage in warfare and lives a life of leisure. Defense is the responsibility of the king and the army, rendering the nobility less essential.
- Rise of Trade: Melibea’s father’s lament demonstrates the growing importance of trade. His wealth is based on material possessions rather than land ownership, a hallmark of the Middle Ages.
- Conflicting Views on Celestina: Celestina is described as an “old horse,” reflecting both the medieval and the emerging Renaissance perspectives. On the one hand, the play’s moralistic purpose aligns with medieval values, as the deaths of the lovers and servants are seen as divine punishment for their sinful lives. The author presents a didactic moral message. On the other hand, the play also exhibits Renaissance characteristics such as sensuality, pleasure-seeking, individualism, and paganism. The moralization and censorship of the characters’ behavior are somewhat forced, representing a concession to the prevailing medieval tradition. However, the spirit of the work leans closer to the ideas and values of the new century.
Plot Summary
The play begins when Calisto encounters Melibea in her garden and declares his love. Melibea rejects him, but Calisto is smitten. Following the advice of his servant Sempronio, Calisto enlists the help of Celestina, an old prostitute and procuress. Celestina uses her trade as a seller of various goods to gain access to houses and act as a go-between in love affairs. She also runs a brothel with two prostitutes, Elicia and Areúsa. Calisto’s other servant, Pármeno, whose mother was Celestina’s apprentice, tries to dissuade Calisto but is ultimately ignored. Pármeno then joins Sempronio and Celestina in exploiting Calisto’s passion. Celestina manipulates Pármeno and uses magic to make Melibea fall in love with Calisto. As a reward, Celestina receives a gold chain, which becomes a source of conflict when she refuses to share it with Calisto’s servants. They murder her, are imprisoned, and Elicia and Areúsa are executed. The prostitutes, having lost their lovers and Celestina, plot to have the bully Centurio assassinate Calisto, but their plan fails. Meanwhile, Calisto and Melibea enjoy their love. Upon hearing a commotion in the street and believing his servants are in danger, Calisto climbs over the wall of Melibea’s house, falls, and dies. Melibea, in despair, commits suicide. The play ends with the lament of Pleberio, Melibea’s father, mourning his daughter’s death.
Genre
The genre of La Celestina is debatable. Its dialogue-driven format with minimal narration or description suggests it could be considered a drama. However, the complexity of the work, with its multiple settings, time shifts, and psychological depth of the characters, also allows for its classification as a narrative work.
Importance and Legacy
La Celestina is significant for its profound and complex themes and its masterful style. The work has been known since the 16th century, with two main versions: an untitled and unsigned version from 1499 and a version from Toledo in 1500. Subsequent editions were published in Seville and Zaragoza in 1502 and 1507.