But this is not the account given by Rojas himself. He says that he found the first act already written; and he begins the second with the impatience of Calisto, in urging Celestina to obtain access to the high-born and high-bred Melibœa. The low and vulgar woman succeeds, by presenting herself at the house of Melibœa’s father with lady-like trifles to sell, and, having once obtained an entrance, easily finds the means of establishing her right to return. Intrigues of the grossest kind amongst the servants and subordinates follow; and the machinations and contrivances of the mover of the whole mischief advance through the midst of them with great rapidity,—all managed by herself, and all contributing to her power and purposes. Nothing, indeed, seems to be beyond the reach of her unprincipled activity and talent. She talks like a saint or a philosopher, as it suits her purpose. She flatters; she threatens; she overawes; her unscrupulous ingenuity is never at fault; her main object is never forgotten or overlooked.
Meantime, the unhappy Melibœa, urged by whatever insinuation and seduction can suggest, is made to confess her love for Calisto. From this moment, her fate is sealed. Calisto visits her secretly in the night, after the fashion of the old Spanish gallants; and then the conspiracy hurries onward to its consummation. At the same time, however, the retribution begins. The persons who had assisted Calisto to bring about his first interview with her quarrel for the reward he had given them; and Celestina, at the moment of her triumph, is murdered by her own base agents and associates, two of whom, attempting to escape, are in their turn summarily put to death by the officers of justice. Great confusion ensues. Calisto is regarded as the indirect cause of Celestina’s death, since she perished in his service; and some of those who had been dependent upon her are roused to such indignation, that they track him to the place of his assignation, seeking for revenge. There they fall into a quarrel with the servants he had posted in the streets for his protection. He hastens to the rescue, is precipitated from a ladder, and is killed on the spot. Melibœa confesses her guilt and shame, and throws herself headlong from a high tower; immediately upon which the whole melancholy and atrocious story ends with the lament of the broken-hearted father over her dead body.
As has been intimated, the Celestina is rather a dramatized romance than a proper drama, or even a well-considered attempt to produce a strictly dramatic effect. Such as it is, however, Europe can show nothing on its theatres, at the same period, of equal literary merit. It is full of life and movement throughout. Its characters, from Celestina down to her insolent and lying valets, and her brutal female associates, are developed with a skill and truth rarely found in the best periods of the Spanish drama. Its style is easy and pure, sometimes brilliant, and always full of the idiomatic resources of the old and true Castilian; such a style, unquestionably, as had not yet been approached in Spanish prose, and was not often reached afterwards. Occasionally, indeed, we are offended by an idle and cold display of learning; but, like the gross manners of the piece, this poor vanity is a fault that belonged to the age.
The great offence of the Celestina, however, is, that large portions of it are foul with a shameless libertinism of thought and language. Why the authority of church and state did not at once interfere to prevent its circulation seems now hardly intelligible. Probably it was, in part, because the Celestina claimed to be written for the purpose of warning the young against the seductions and crimes it so loosely unveils; or, in other words, because it claimed to be a book whose tendency was good. Certainly, strange as the fact may now seem to us, many so received it. It was dedicated to reverend ecclesiastics, and to ladies of rank and modesty in Spain and out of it, and seems to have been read generally, and perhaps by the wise, the gentle, and the good, without a blush. When, therefore, those who had the power were called to exercise it, they shrank from the task; only slight changes were required; and the Celestina was then left to run its course of popular favor unchecked.[425] In the century that followed its first appearance from the press in 1499, a century in which the number of readers was comparatively very small, it is easy to enumerate above thirty editions of the original. Probably there were more. At that time, too, or soon afterwards, it was made known in English, in German, and in Dutch; and, that none of the learned at least might be beyond its reach, it appeared in the universal Latin. Thrice it was translated into Italian, and thrice into French. The cautious and severe author of the “Dialogue on Languages,” the Protestant Valdés, gave it the highest praise.[426] So did Cervantes.[427] The very name of Celestina became a proverb, like the thousand bywords and adages she herself pours out, with such wit and fluency;[428] and it is not too much to add, that, down to the days of the Don Quixote, no Spanish book was so much known and read at home and abroad.
Such success insured for it a long series of imitations; most of them yet more offensive to morals and public decency than the Celestina itself, and all of them, as might be anticipated, of inferior literary merit to their model. One, called “The Second Comedia of Celestina,” in which she is raised from the dead, was published in 1530, by Feliciano de Silva, the author of the old romance of “Florisel de Niquea,” and went through four editions. Another, by Domingo de Castega, was sometimes added to the successive reprints of the original work after 1534. A third, by Gaspar Gomez de Toledo, appeared in 1537; a fourth, ten years later, by an unknown author, called “The Tragedy of Policiana,” in twenty-nine acts; a fifth, in 1554, by Joan Rodrigues Florian, in forty-three scenes, called “The Comedia of Florinea”; and a sixth, “The Selvagia,” in five acts, also in 1554, by Alonso de Villegas. In 1513, Pedro de Urrea, of the same family with the translator of Ariosto, rendered the first act of the original Celestina into good Castilian verse, dedicating it to his mother; and in 1540, Juan Sedeño, the translator of Tasso, performed a similar service for the whole of it. Tales and romances followed, somewhat later, in large numbers; some, like “The Ingenious Helen,” and “The Cunning Flora,” not without merit; while others, like “The Eufrosina,” praised more than it deserves by Quevedo, were little regarded from the first.[429]
At last, it came upon the stage, for which its original character had so nearly fitted it. Cepeda, in 1582, formed out of it one half of his “Comedia Selvage,” which is only the four first acts of the Celestina, thrown into easy verse;[430] and Alfonso Vaz de Velasco, as early as 1602, published a drama in prose, called “The Jealous Man,” founded entirely on the Celestina, whose character, under the name of Lena, is given with nearly all its original spirit and effect.[431] How far either the play of Velasco or that of Cepeda succeeded, we are not told; but the coarseness and indecency of both are so great, that they can hardly have been long tolerated by the public, if they were by the Church. The essential type of Celestina, however, the character as originally conceived by Cota and Rojas, was continued on the stage in such plays as the “Celestina” of Mendoza, “The Second Celestina” of Agustin de Salazar, and “The School of Celestina” by Salas Barbadillo, all produced soon after the year 1600, as well as in others that have been produced since. Even in our own days, a drama containing so much of her story as a modern audience will listen to has been received with favor; while, at the same time, the original tragicomedy itself has been thought worthy of being reprinted at Madrid, with various readings to settle its text, and of being rendered anew by fresh and vigorous translations into the French and the German.[432]
The influence, therefore, of the Celestina seems not yet at an end, little as it deserves regard, except for its lifelike exhibition of the most unworthy forms of human character, and its singularly pure, rich, and idiomatic Castilian style.
CHAPTER XIV.
Drama continued. — Juan de la Enzina. — His Life and Works. — His Representaciones, and their Character. — First Secular Dramas acted in Spain. — Some Religious in their Tone, and some not. — Gil Vicente, a Portuguese. — His Spanish Dramas. — Auto of Cassandra. — Comedia of the Widower. — His Influence on the Spanish Drama.