La Celestina: A Literary Masterpiece
La Celestina: Significance & Analysis
Significance in Spanish Literature
La Celestina, a 15th-century masterpiece, stands as a highlight of Spanish and universal literature. Menéndez Pelayo considered it second only to Don Quixote among Spain’s fictional works. Celestina herself joins the pantheon of iconic Spanish literary characters alongside Don Quixote, Sancho Panza, and Don Juan.
Historical, Social, and Cultural Context
La Celestina emerged during the transition from the 15th to the 16th centuries, coinciding with the reign of Ferdinand and Isabella. This era marked a brilliant period in Spanish history and culture, a decisive step towards Renaissance forms. It was a time of humanism’s consolidation—an intellectual and political movement that valued Greco-Roman texts and emphasized individual freedom and dignity. Human interest became key. Originating in 14th-century Italy, humanism spread throughout Europe in the 15th century. Petrarch, along with Dante and Boccaccio, were leading figures. In 14th-century Spain, humanism spurred efforts to elevate the vernacular language, even adopting Latinate syntax in religious writings. Fernando de Rojas’s work exemplifies this trend, reflecting a new conception of life centered on humanity (anthropocentrism). La Celestina, a highly successful work of this period, incorporates elements of romance (like Prison Love) and chivalric literature (Amadis of Gaul).
Textual Problems: Editions & Authorship
Editions of the Comedy (16 Acts)
- The earliest texts, known as La Celestina Comedy, contained 16 acts.
- The first known edition (Burgos, 1499), considered the princeps, is in the British Museum. It lacks a title and initial/final leaves.
- The Toledo edition (1500), titled Comedia de Calisto y Melibea, includes a letter from the author to a friend, claiming to have found the first act and subsequently written the remaining fifteen. An acrostic verse identifies the author as Fernando de Rojas, born in Puebla de Montalbán. This edition is in the Geneva Library.
- The Seville edition (1501), preserved in the National Library of Paris, is another early version of the Comedy.
Editions of the Tragicomedy (21 Acts)
- Five editions with 21 acts appeared in 1502 (three in Seville, one in Toledo, and one in Salamanca), all titled Tragicomedy of Calisto and Melibea. One Seville edition was also titled Libro de Calixto y Melibea and Celestina old whore. These editions are now in Michigan, Madrid, and the British Museum.
- A 1507 Zaragoza edition and others followed. A 1526 Toledo edition includes an additional act “the Following” Act XIX), often omitted due to its perceived low literary quality.
The final title became Tragicomedy of Calisto and Melibea, though the strong character of Celestina led to the work being widely known as La Celestina (as it was in Italian translations). The question of authorship—whether solely Fernando de Rojas or multiple authors—remains unresolved.
Structure of the Work
The play’s action can be divided as follows:
- Scene I: Calisto and Melibea’s meeting
- Part One: Celestina and the servants’ intervention; their deaths; the lovers’ first night.
- Part Two: The theme of the whores’ revenge; a month of love; the lovers’ second night (with consequences); Calisto’s death; Melibea’s suicide; Pleberio’s lament.
Characters
Main Characters
- Calisto and Melibea: The lovers.
- Pliberio and Alisa: Melibea’s parents.
Celestina and the Servants
- Celestina: The procuress.
- Sempronio, Pármeno, Elicia, Areúsa: Servants and whores.
Character Analysis
Calisto: A wealthy, self-absorbed man who becomes utterly dependent on Melibea. He is manipulated by Celestina and his servants.
Melibea: Initially a typical figure of courtly love, she emerges as the most vital and determined character. She is aware of her social responsibilities but ultimately prioritizes her passionate love, defying societal norms.
Pliberio and Alisa: Concerned with social conventions, class, and material possessions. Alisa is authoritarian and trusts Celestina, while Pliberio is a tender but ultimately powerless father.
Celestina: The most vivid and powerful character, possessing psychological control over her clients and victims. She is a procuress, sorceress, and a symbol of the triumph of self-interest.
Sempronio and Pármeno: Calisto’s servants, driven by greed and self-interest. Sempronio is cowardly and self-serving, while Pármeno undergoes a moral transformation.
Areúsa and Elicia: Whores who are fiercely independent and self-determining, despite their dependence on Celestina.
Other characters, such as Sosia, Tristán, Centurio, Lucrecia, and Crito, play supporting roles.
Intent and Meaning
Fernando de Rojas portrays human life as a struggle against powerful forces (passion, greed), leading to destruction. The author warns against the dangers of love, deception, and the manipulation of servants. The servants represent a break from traditional feudal relationships, reflecting a crisis of values and the rise of individualism. Some interpret the work as showing a hostile universe, while others emphasize the characters’ agency in their own destinies.
Sources of La Celestina
- Influence of Terence: The play’s structure and themes draw heavily from Terence’s comedies.
- Influence of Elegiac Comedy: A genre from Italy and France, based on Ovid’s elegies and Roman comedy.
- Influence of Humanistic Comedy: Developed in 14th-century Italy, reflecting Roman comedy, elegiac comedy, and medieval religious drama.
- Other Influences: Works like Prison of Love and The Book of Good Love also contributed.
However, the work’s originality transcends its sources.
Time and Space
The play uses both implicit and explicit time. There’s an indeterminate period before the main action, followed by three days of continuous action, and a one-month gap between events. The setting is an archetypal city, combining features of Salamanca, Toledo, and Seville, with the main action taking place in Calisto’s house, Melibea’s family home, and Celestina’s brothel.
Influence and Legacy
La Celestina had a significant impact on 16th-century literature, with numerous editions and translations. It influenced writers like Lope de Vega and the picaresque novel, and its influence can be seen in Don Quixote. Celestina herself became an iconic character, inspiring numerous imitations, though none matched the original’s depth and richness.