Fernando de Rojas' La Celestina: Authorship, Themes, and Literary Style

Authorship and Editions of La Celestina

Text and Authorship: The work, often referred to simply as La Celestina, appeared in two main editions:

• Comedy of Calisto and Melibea (Toledo, 1500). The author of the first act remains anonymous, but the subsequent 15 acts were written by Fernando Rojas (identified via acrostics).
• Tragicomedy of Calisto and Melibea (Zaragoza, 1507). This edition includes the Treaty of Centurio and expands the work.

Genre and Literary Context

The genre is Dramatic, conveyed entirely through dialogue. It was inspired by the Italian humanistic comedy of the 14th and 15th centuries.

Humanistic Traits in La Celestina

• Focus on reality: large and mobile representation of life.
• Simple, everyday plot development.
• Interest primarily in the lower classes (daily life).
• Dialogue (colloquial and cultural).
• Improbable space-time treatment.
• Appearance of heroes whose passion leads them into the hands of servants and pimps.

Original (Non-Humanistic) Features

• Tragic final depth.
• Psychological depth of its characters (especially the pimp, Celestina).
• Brightness and originality of style.

Key Interpretations and Authorial Intent

The work has several interpretations regarding the author's intention and the book's meaning:

• Didactic Christian Thesis: Critics view the 'mad love' of Calisto as a moralizing intention rooted in medieval topics.
• Judeo-Pessimistic Thesis: Given the author was a convert, this thesis highlights the absence of religious elements and a pervasive skepticism and pessimism, suggesting everything is driven by irrational and blind forces.
• Artistic Originality Thesis: Acknowledges the moral background but emphasizes the work's original artistic value.
• Social Criticism Thesis: While possessing a moralizing background, the work introduces a new awareness of personal human concerns and believable characters driven by real passions.

Social Context and Individualism

The narrative reflects a new lifestyle based on personal profit and growing individualism. Wealth is paramount, leading to the ostentation of possessions. The changing society respects those who possess wealth, replacing the old feudal ties of lords and vassals.

The social structure depicted includes the Bourgeoisie (the ruling class, characterized by ostentatious leisure and power) and the Lower Class (servants) who feel resentment. Their eventual death is often interpreted as a punishment.

Character Analysis

The characters are notable for their psychological depth and intensity of life.

The Upper Class (Gentlemen, Bourgeoisie)

• Calisto:
  • Vision 1: A selfish character who only thinks of enjoying Melibea; his 'mad love' leads to a ridiculous death.
  • Vision 2: A reflection of his social class—a rich young man of the era, seeking easy pleasure and ostentation.
• Melibea: Externally guards her honor, but develops a real passion for Calisto, leading to a worthy death (suicide).
• Pleberio: Melibea's father, who shows great tenderness at the end.

The Lower Class (Servants)

• Celestina: The central figure who drives the action. She dominates the other characters through her linguistic and psychological skills. She is driven by greed, sexual desire, and a passion for controlling others' minds. As a sorceress and bawd, she is subversive, and her horrible death reflects the author's conviction regarding her actions.
• The Other Servants: They claim the right to be free, happy, own property, and enjoy pleasures, reflecting the emerging individualistic mindset.

Language and Stylistic Devices

The style employs educated, eloquent prose alongside colloquial language, making it dynamic and realistic. Key stylistic devices include:

• Dialogue: Rich, nuanced, and varied, effectively characterizing the personages.
• Apartes (Asides): Remarks unnoticed by some characters but heard by the audience, often leading to dramatic irony or misunderstandings.
• Proverbs (Refraneo): Samples of popular lore and wisdom.
• Monologue: Reveals the inner conflicts of the characters.