Celestina (Penguin Classics) [Fernando de Rojas, Peter Bush, Juan Goytisolo] on *FREE* shipping on qualifying offers. The racy and irreverent. A timeless story of love, morality, and tragedy, Fernando de Roja's Celestina is a classic of Spanish literature. Second only to Don Quixote in its cultural. Celestina / Fernando de Rojas ; translated from the Spanish by Margaret Sayers Peden ; edited and with an introduction by Roberto González Echevarría Rojas.
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Celestina Summary -
Whether or not the 5 acts added to the original in were written by Rojas or were the fabrication of another, these acts are not of the same quality and celestina fernando de rojas unbalance and de-center the text, in my opinion, though I can understand how the original might seem a bit abrupt to some.
Of the many translations into English of this work, I read the one by Lesley Byrd Simpson, which presents only the text of the original edition, without the interpolated 5 acts, the "Argumentos" and the other additions.
It reads beautifully, as I shall illustrate below. I also looked through the more recent translation by Peter Bush mentioned earlier in order to compare the translations and to read the added 5 acts to decide for myself about their quality, for Bush has incorporated celestina fernando de rojas, but not all of the additions to the original text.
However, I also read the second "original" text in a heavily annotated edition apparently celestina fernando de rojas for students in Spain, in which nearly all the additions made during Rojas' lifetime are included and extensive footnotes explain background and obsolete usage and words.
Let's turn to the common core of the texts.
The initial set up of attempted seduction of the young and lovely Melibea by the intemperate Calisto and the subsequent firm rejection provides a standard frame within which to carry out the main business of the work - the reduction of most of the ideals of aristocratic and Christian Spain to absurdity in the corrosively ironic gaze of the lower classes.
These two elements shape the comedic side of the tragicomedy. As entertaining as that is, it fades to shadow when the main character arrives - the aged, worldly, vain, greedy procuress and witch, consummate liar and manipulator, and former prostitute, Celestina, who celestina fernando de rojas to bend Melibea to Calisto's will by magical means, after a significant "gift," of course.
Despite difficulties with the Inquisition on account of his Jewish descent, Rojas was a successful lawyer and became mayor of Talavera celestina fernando de rojas la Reinawhere he lived for the last three decades of his life.
La Celestina | novel by Rojas |
Contemporary documents refer to Rojas as " converso ", but scholarly opinion differs on whether this means that celestina fernando de rojas himself converted from Judaism to Christianity or whether the term celestina fernando de rojas that he was "de linaje de conversos" — of convert descent.
The work has been variously described as a drama, a dramatic poem, a dialogued novel, a novel-drama, and as 'ageneric' — a genre entirely of its own. The scholar Dorothy Severin has written that it may be considered as either the last Spanish work of the Middle Ages or the first of the Renaissance.
The writer Keith Gregor calls La Celestina "vastly influential" but "his only literary testament". Jacobo Cromberger appeared in This version contained 5 additional acts, bringing the total to This version contained those 5 additional acts, with the total of In 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 According to the edition of the play edited by M.
Criado de Val and G.
Some critics see them as allegories. The literary critic Stephen Gilman  has come to deny the possibility of analyzing them as characters, based on the belief that Rojas limited dialogue in which celestina fernando de rojas respond to a celestina fernando de rojas situation, so that the sociological depth can thus be argued only on extratextual elements.
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. One common feature of all of the characters in the world of nobles as well as servants is their individualismtheir egoismand their lack of altruism.
- Fernando de Rojas - Wikipedia
- La Celestina by Fernando de Rojas
- Navigate Guide