Analysis of La Celestina: Love, Death, and Social Commentary
La Celestina
The Matchmaker is a provocative work in the fifteenth-century literary landscape because it presents a stark contrast to the prevailing reign of the Reyes Católicos. It delves into the core of society and exposes the hidden lifestyles behind established morality. Within this context, “The Matchmaker” focuses on a recognizable space and time, employing contemporary language. The play feels surprisingly real, even when the dramatic action and rhetorical expressions demand an ethical and cultured voice.
The Controversial Environment of La Celestina: The Issues
“The Matchmaker” is characterized by a constant process of expansion. The first edition, published in 1499, was a great success. This edition was titled “Comedy of Calisto and Melibea” and consisted of 16 acts. After several editions circulated in different regions, a new edition with significant changes emerged in 1502. The title became “Calisto and Melibea: Tragicomedy,” and the play expanded to 21 acts. This expansion added an explicit didactic intention to the work, incorporating minor additions and brief external suppressions. According to Rojas himself, the five new acts were added at the request of readers who desired a prolongation of the lovers’ delight.
The Literary Genre
Critical interpretations of “La Celestina” are divided. Some consider it a drama because it unfolds solely through the characters’ dialogue, without a narrator. Others categorize it as a dialogic novel that realistically parodies the sentimental novel, particularly the theme of forbidden love. “La Celestina” embodies the humorous style of comedy prevalent in Italy at the time, intended for reading rather than stage performance.
The Author
It is widely accepted that Fernando de Rojas did not write the first act. Much of what is attributed to him remains conjecture.
Intentionality
The author states that he wrote the play with a didactic intent to expose immorality. This was the fifteenth century, a time when worldly and immoral adventures often intertwined with moral messages, as seen in the “Book of Good Love.” However, we must not forget that “La Celestina” is primarily a work of art, and therefore, we must engage with its artistic values.
Internal Analysis of La Celestina
The Vision of the World
Two themes consistently intersect in “La Celestina”: love and death. These themes were central to medieval literature, dominated by a God-centered worldview. The idea of fate is pervasive throughout the play, creating a sense of tragedy. While love and pleasure are not denied, they are ultimately portrayed as fleeting, with death being the only certainty.
Conception of Love
- Parody of Courtly Love: Some scholars view the play as a parody of courtly love. For instance, Calisto transgresses the rules of courtly love by immediately declaring his love for Melibea upon their first encounter, bypassing the expected period of courtship.
- Love and Madness: During the time the play was written, love was often perceived as a form of madness, a concept reflected in Calisto’s obsessive passion.
- Love and Sexuality: Physical love is central to “La Celestina.” The matchmaker not only emphasizes pleasure but also the enjoyment of sex. This sexuality is openly shared, as seen in Lucrecia’s presence during Melibea and Calisto’s encounters and Celestina’s desire to observe Parmeno and Areusa.
Characters
Each character possesses a unique background and personality, defined not only by their words but also by their interactions with others. Celestina, in particular, has become one of the most famous characters in Spanish literature. However, her later fame risks reducing her to a mere symbol or literary trope. In reality, she is a complex, dynamic, and multifaceted character. Initially, her motivations appear straightforward: greed, avarice, cunning, selfishness, and cynicism. However, we soon realize that these traits stem from a need for survival, as she lacks the protection of birth, occupation, or social standing.
- Celestina: She embodies knowledge and is the only character who has a past. Fernando de Rojas imbues her with comic traits, making her a contradictory figure who simultaneously amuses the audience and drives the tragedy.
- Calisto: Initially a comic character, he parodies courtly love and the madness of love. However, after his first night with Melibea, his feelings transform into genuine passion.
- Melibea: A less nuanced character than Calisto, she appears less frequently. Honor and virginity are paramount to her. However, she is willing to compromise from the start and never regrets her actions.
Structure of La Celestina
Acts and Scenes
Apart from the first act, which was written by a different author, the play seems awkwardly divided into acts of varying lengths with no clear structural or narrative justification. Some scholars attribute this division to a printer or proofreader. However, this hypothesis seems unlikely, as Rojas was responsible for the final text. We now know that in the late fifteenth century, scholarly commentators advocated dividing classical comedies into smaller units. Rojas likely adopted this approach but struggled with its implementation. Therefore, the true structural unit of “La Celestina” is the scene, traditionally defined as the space between the exit and entry of a character or a change in setting.
Language and Style
A defining characteristic of “La Celestina” is its fusion of popular and cultured language. Both high and low characters employ these two linguistic registers, seamlessly switching between them depending on their interlocutor. Rojas also incorporates humor, particularly in the first act, through witty remarks and ironic observations. Much of the comic effect is achieved through various forms of irony.