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servants, and
Calisto and Melibea, Pleberio and Alisa, in the group of nobles. Only Celestina and Lucrecia do not have a corresponding character, but this is because they perform opposite roles in the plot: Celestina is the element that catalyzes the tragedy, and represents a life lived with wild abandon, while Lucrecia, Melibea's personal servant, represents the other extreme, total oppression. In this sense, the character of the rascal Centurio added in the second version is an addition with little function, although he has something to do with the disorder that calls the attention of Calisto and causes his death.
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In 1526 a version was published in Toledo that included an extra act called the Acto de Traso, named after one of the characters who appears in that act. It became Act XIX of the work, bring the total number of acts to 22. According to the 1965 edition of the play edited by M. Criado de Val and G. D.
332:
After a month of
Calisto sneaking around and seeing Melibea at night in her garden, Areúsa and Elicia enact their plan of revenge. Calisto returns to the garden for another night with Melibea; while hastily leaving because of a ruckus he heard in the street, he falls from the ladder used to scale the
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When the weary
Calisto returns home at dawn to sleep, his two servants go round to Celestina's house to get their share of the gold. She tries to cheat them and in rage they kill her in front of Elicia. After jumping out of the window in an attempt to escape the Night Guard, Sempronio and Pármeno are
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When
Calisto agrees, Sempronio plots with Celestina to make as much money out of his master as they can. Another servant of Calisto's, Pármeno, mistrusts Celestina because he used to work for her when he was a child. Pármeno warns his master not to use her. However Celestina convinces Pármeno to join
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A young nobleman who falls madly in love with
Melibea. He is shown to be quite egotistical and full of passion as the entire first act is about his love for her. Even going as far as to 'create a new religion' worshipping her (Act 1 pg 92-93). He is also quite insecure as, after he gets rejected, he
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On her second visit, Celestina persuades the now willing
Melibea to a rendezvous with Calisto. Upon hearing of the meeting set by Celestina, Calisto rewards the procuress with a valuable gold chain. The lovers arrange to meet in Melibea's garden the following night, while Sempronio and Pármeno keep
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While chasing his falcon through the fields, a rich young bachelor named
Calisto enters a garden where he meets Melibea, the daughter of the house, and is immediately taken with her. Unable to see her again privately, he broods until his servant Sempronio suggests using the old procuress Celestina.
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through relationships between complementary or opposing characters. In the play in general there are two opposite groups of characters, the servants and the nobles, and within each group are characters divided into pairs: Pármeno and
Sempronio, Tristán and Sosia, Elicia and Areúsa, in the group of
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highlighted the importance of being
Christian in a society that has warned against members of other religions, such as Jews and Muslims, and even came to outright rejection. Society was suspicious of converts, such as Christians who had been Jews before or had Jewish ancestry, and those who had to
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A prostitute who lives with and works for
Celestina. Cousin to Areúsa. Both she and her cousin deeply respect their mistress as they use words such as "Señora" to describe her. It is for this reason that after Sempronio and Pármeno kill Celestina she plots Calisto's death as revenge (and succeeds
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Prostitute who periodically works with Celestina but lives independently. Cousin to Elicia. Both she and her cousin deeply respect their mistress as they use words such as "Señora" to describe her. It is for this reason that after Sempronio and Pármeno kill Celestina she plots Calisto's death as
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caught and are beheaded later that day in the town square. Elicia, who knows what happened to Celestina, Sempronio, and Pármeno, tells Areúsa of the deaths. Areúsa and Elicia come up with a plan to punish Calisto and Melibea for being the cause of Celestina, Sempronio, and Pármeno's downfall.
352:, whose marriage took place in 1469 and lasted until 1504, the year of Isabella's death, which occupies the last phase of the Pre-Renaissance for Spain. Three major events in the history of Spain took place during the union of the kingdoms of Castile and Aragon in 1492. These events were the
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As a seller of feminine knick-knacks and quack medicines, Celestina is permitted entrance into the home of Alisa and Melibea by pretending to sell thread. Upon being left alone with Melibea, Celestina tells her of a man in pain who could be cured by the touch of her girdle. When she mentions
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Servant to Calisto. Sempronio is the one who suggests to Calisto to ask Celestina for help with wooing Melibea; he is also the one who suggests to Celestina that by working together they could swindle money and other items of luxury from Calisto. Sempronio is in love with one of Celestina's
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in La Celestina and related literature (meaning imitations, continuations, etc.), where he explained the motive of the gossipers and servants to be "greed and robbery", respectively, in the face of the motives of the nobles, which are raging lust and the defense of social and family
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prostitutes, Elicia. Through him, we can also see the sexism of how this work represents its day and age. After all, after he and Pármeno kill Celestina he cannot begin to even fathom being betrayed by the women, for the women are now their property.
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studied, favoring the emergence of Renaissance humanism in Spain. Thus, 1492 began the transition between the Middle Ages and the Renaissance. It is precisely in the 1490s when the first editions of Comedy of Calisto and Melibea began to appear.
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Servant to Calisto. Son of a prostitute who was friends with Celestina many years ago. As a child, Pármeno worked for Celestina in her brothel doing odd-jobs around the house and the town. Pármeno is in love with the prostitute Areúsa.
296:, sex — not marriage — is their aim. When he dies in an accident, she commits suicide. The name Celestina has become synonymous with "procuress" in Spanish, especially an older woman used to further an illicit affair, and is a literary
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verses such as "el bachjller fernando de royas acabo la comedia de calysto y melybea y fve nascjdo en la puebla de montalvan", which means "the graduate Fernando de Rojas finished the Comedy of Calisto and Melibea and was born in
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Calisto's name, Melibea becomes angry and tells her to go. But the crafty Celestina persuades her that Calisto has a horrible toothache that requires her aid, and manages to get the girdle off her and to fix another meeting.
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Lida de Malkiel, another critic, speaks of objectivity, whereby different characters are judged in different manners. Thus, the contradictory behavior of characters would be a result of Rojas humanizing his characters.
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of the other characters that she can convince even those who do not agree with her plans to accede to them. She uses people's greed, sexual appetite (which she helps create, then provides means to satisfy), and
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that has existed in her house since her childhood. In the play she appears to be the victim of a strong passion induced by Celestina's spell. She is really bound by her social conscience. She worries about her
669:, not her concept of what is moral. Her love is more real and less "literary" than that of Calisto: her love motivates her actions, and Celestina's "spell" allows her to retain her honor.
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Trotter, "Its literary value does not have the intensity necessary to grant it a permanent place in the structure of the book, although various ancient editions of the play include it."
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is easily convinced to go to the witch Celestina for assistance. In the 16-act version, Calisto dies as he falls while climbing down a ladder after a sexual encounter with Melibea.
393:
hide their conditions. Finally, those of other religions were expelled from the kingdom and the Inquisition would enforce orthodoxy among those who professed the Catholic faith.
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in Spanish literature. Although usually regarded as a novel, it is written as a continuous series of dialogues and can be taken as a play, having been staged as such and filmed.
648:, and now she dedicates her time to arranging discreet meetings between illicit lovers, and at the same time uses her house as a brothel for the prostitutes Elicia and Areusa.
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high garden wall and dies. After confessing to her father the recent events of her love affair and Calisto's death, Melibea jumps from the tower of the house and dies too.
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makes a powerful impression with his characters, who appear before the reader full of life and psychological depth; they are human beings with an exceptional indirect
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2. If the 1499 version was published after the Toledo version, it should contain as stated, additional material, whereas some of the verses are actually omitted.
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3. The phrase "fernando de royas acabo la comedia" means that a previous version existed and that Fernando de Rojas completed it by adding additional material.
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441:
499:(Tragic Comedy of Calisto and Melibea) (Valencia: ) appeared in 1514. This version contained those 5 additional acts, with the total of 21.
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and bawd Celestina to start an affair with Melibea, an unmarried girl kept in seclusion by her parents. Though the two use the rhetoric of
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Celestina is the most suggestive character in the work, to the point that she gives it its title. She is a colorful and vivid character,
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Although most scholars admit that an earlier version by an unknown author already existed, the first known edition is credited to be the
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has come to deny the possibility of analyzing them as characters, based on the belief that Rojas limited dialogue in which
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in 1499. The first page is missing and consequently there is no indication of title or author. It is preserved in the
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Melibea is a strong-willed girl, in whom repression appears as forced and unnatural; she feels like a slave to the
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Some scholars wish to explain this discrepancy about the 1499 date, considering the version published in 1500 in
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respond to a given situation, so that the sociological depth can thus be argued only on extratextual elements.
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1. Acrostic verses are not in themselves proof enough that the 16th century edition is the "Prínceps Edition".
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440:("newly reviewed and amended with the addition of the synopses of each act at its beginning"), alluding to a
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to be the first edition; however, there is no positive proof of this, and there are some contradictions:
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826:, Madrid: Consejo Superior de Investigaciones Científicas, 1965 (translation of text on page viii).
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One common feature of all of the characters (in the world of nobles as well as servants) is their
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published the first grammar of the Spanish language, together with Nebrija's own teachings at the
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A similar edition appeared with minor changes "Comedia de Calisto y Melibea", Sevilla, 1501
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nuevamente revista y enmendada con la adición de los argumentos de cada un auto en principio
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She is the owner of a brothel and in charge of her two young employees, Elicia and Areúsa.
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492:) appeared in 1502. This version contained 5 additional acts, bringing the total to 21.
432:. On the first page of the 1500 edition of Toledo, which is for the first time entitled
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Snow, Joseph; Jane Schneider; Cecilia Lee (1976). "Un Cuarto de Siglo de Interes en
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Lacarra, María Eugenia. "La parodia de la ficción sentimental en la" Celestina"."
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602:, by spreading and facilitating sexual pleasure. She stands apart for her use of
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560:. The theme of greed is explained by Francisco José Herrera in an article about
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606:. Her character is inspired by the meddling characters of the comedies of
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her and Sempronio in taking advantage of Calisto. His reward is Areúsa.
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Shipley, George A. (1985). "Authority and Experience in La Celestina".
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is a work entirely in dialogue published in 1499. It is attributed to
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Tragicomedia de Calixto y Melibea, Libro también llamado La Celestina
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Fernando de Rojas liked to create characters in pairs, to help build
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The Toledo 1500 edition contains 16 acts, and also some stanzas with
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to control them. She also represents a subversive element in the
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Webber, Edwin (1957). «The Celestina as an "arte de amores"».
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The book is considered to be one of the greatest works of all
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In Memoriam: Stephen Gilman (1917–1986), by Constance Rose
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The story tells of a bachelor, Calisto, who uses the old
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254:, who practiced law and, later in life, served as an
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There are two versions of the play. One is called a
300:of this character, the masculine counterpart being
56:. Unsourced material may be challenged and removed.
858:12, no. 2 (34) (2021): 125-133. (English summary)
488:(Tragic Comedy of Calisto and Melibea) (Seville:
923:
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380:The unification of all the territories of the
277:is usually regarded as marking the end of the
262:, an important commercial center near Toledo.
714:revenge (and succeeds several months later).
474:." (This is the reason it is believed that
405:and has 16 acts; the other is considered a
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116:Learn how and when to remove this message
805:Diccionario de la Real Academia Española
924:
865:Cambridge: Cambridge University Press.
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478:was the original author of the play.)
229:The Tragicomedy of Calisto and Melibea
772:, 1949-75: Documento Bibliografico".
54:adding citations to reliable sources
25:
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850:Călin, Alin Titi. "Proverbele din
822:M. Criado de Val y G. D. Trotter,
518:, which moves away from the usual
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972:Spanish novels adapted into films
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861:Fothergill-Payne, Louise (1988).
497:Tragicomedia de Calisto y Melibea
486:Tragicomedia de Calisto y Melibea
238:Tragicomedia de Calisto y Melibea
854:. De la original la traducere."
344:was written during the reign of
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16:1499 book by Fernando de Rojas
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722:Personal servant to Melibea.
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337:Historical and social context
21:La Celestina (disambiguation)
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434:Comedia de Calisto y Melibea
252:descendant of converted Jews
160:Comedia de Calisto y Melibea
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758:13, no. 1 (1989): 11-29.
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390:Claudio Sánchez Albornoz
705:several months later).
634:Enea Silvio Piccolomini
626:and Italian works like
484:A new edition entitled
370:University of Salamanca
967:Reconquista in fiction
962:Spanish-language books
937:Renaissance literature
856:Philologica Jassyensia
629:The Tale of Two Lovers
533:. The literary critic
472:La Puebla de Montalbán
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863:Seneca and Celestina.
620:The Book of Good Love
574:character development
362:expulsion of the Jews
240:), known in Spain as
610:and in works of the
556:, and their lack of
260:Talavera de la Reina
50:improve this article
19:For other uses, see
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524:medieval literature
422:Fadrique de Basilea
358:conquest of Granada
156:Original title
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932:Spanish literature
810:2016-03-04 at the
738:Melibea's mother.
730:Melibea's father.
642:Giovanni Boccaccio
616:Libro de Buen Amor
386:Kingdom of Navarre
366:Antonio de Nebrija
267:Spanish literature
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977:Tragicomedy plays
907:Project Gutenberg
644:. She was once a
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409:and has 21 acts.
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612:Middle Ages
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926:Categories
782:: 610–60.
742:References
646:prostitute
591:psychology
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507:Characters
140:Title page
106:April 2013
76:newspapers
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302:Pandarus
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608:Plautus
600:society
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90:scholar
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709:Areúsa
700:Elicia
665:, not
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403:Comedy
356:, the
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104:(
94:·
87:·
80:·
73:·
46:.
23:.
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