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While searching for his falcon, Calisto, a young man of noble blood, meets Melibea, a young woman, in her family’s garden. Calisto falls for Melibea immediately and expresses his admiration, but she rejects him and sends him away.
Calisto curses his servant Sempronio for having left the house to search for the lost falcon. In a foul mood, Calisto tells Sempronio, “Go with the Devil!” (7). Sempronio retorts, “I do not see how I can go with the one who stays so close by your side” (8). Sempronio notes that Calisto’s unhappiness seems to have come from nowhere and worries that left alone, Calisto might kill himself. But if Sempronio stays with Calisto, Calisto might kill Sempronio, and Sempronio wants to live to see his lover Elicia again.
Concerned about what might become of him after Calisto’s possible suicide, Sempronio consoles him. Depressed, Calisto demands that Sempronio play the lute and sing “the saddest song you know” (9). Sempronio sings about Rome burning and Calisto claims that his pain is worse than fire. Sempronio calls him mad and a heretic, but Calisto replies that he now worships Melibea as his new religion. Sempronio promises to heal Calisto’s pain, though in an aside, he laughs at Calisto for acting as if he is the first to experience pain from falling in love. Sempronio notes that many men before him have forgotten God in the name of love.
Sempronio criticizes Calisto for focusing all of his attention on one person, and Calisto points out that Sempronio does the same when it comes to Elicia. Sempronio quips, “Do what I say well, and not what I do badly” (11). They debate whether a woman is worth such blasphemy, and Sempronio asserts that women are deceitful and lead men astray. The more Sempronio denounces women, the more Calisto loves Melibea. Sempronio reassures Calisto that he is attractive, intelligent, athletic, and well-loved, but Calisto laments that Melibea has all of those qualities and better. Calisto describes Melibea’s beauty as Sempronio makes sarcastic comments in asides to the audience. Sempronio promises to help Calisto by bringing to him a witch named Celestina. Calisto prays that Sempronio’s mission will be successful.
When Celestina tells Elicia that Sempronio is arriving, Elicia is with Crito, another man, whom she quickly hides. Both Elicia and Sempronio call Celestina “Mother.” Elicia is angry that she has not seen Sempronio in three days. When Sempronio hears Crito moving upstairs, Elicia tells him wryly that it’s her lover, but Celestina quickly covers for her with a lie. Celestina leaves with Sempronio, who later asks for her help with Calisto’s problem. Celestina sees an opportunity to bilk Calisto.
When they knock on Calisto’s door, Pármeno, Calisto’s servant, refers to Celestina as “a painted bawd” (22). Calisto worries that Pármeno’s insults have angered Celestina, but Pármeno explains to Calisto that he was briefly her servant. Pármeno claims that Celestina is a witch and that he has seen her do terrible things, such as fooling men into thinking that the women she sold were virgins. Calisto acknowledges Pármeno’s warnings but insists that he must see Celestina anyway.
Sempronio and Celestina wait at the door—Celestina tells Sempronio to be quiet and let her speak so Calisto can overhear. Loudly, she tells Sempronio that she will help Calisto or die trying. Calisto is encouraged and tells Pármeno that both Celestina and Sempronio are obviously noble and faithful. Still skeptical, Pármeno advises caution, certain that her comments are staged. This worries Sempronio, but Celestina reassures him.
Calisto orders Pármeno to open the door and praises Celestina. Celestina calls Calisto an idiot in an aside to Sempronio; Pármeno laments Calisto’s naiveté. After Pármeno finally opens the door, Celestina makes it clear that she has heard what he said. Pármeno only wants to help his master and reveals that he knows Celestina. She taunts him, telling him that his father, who died after Pármeno fled her service, made her promise to tell him where to find buried treasure. Celestina claims that she has been searching for Pármeno because his father’s last request made her his “true mother” (33). Celestina advises Pármeno that Calisto can never be his true friend because of their differences in status. Instead, Pármeno should accept her and become Sempronio’s friend. Pármeno is torn and confused, and above all, desires to be ethical and honest. Celestina calls him young and ignorant.
Still uncertain, Pármeno reminds himself that he is supposed to “believe his elders” (38) and tells Celestina that he will listen to her and obey. Celestina is satisfied and ends the conversation because she hears Calisto and Sempronio approaching. Calisto praises Celestina and gives her a hundred pieces of gold, grateful she is still alive. In an aside to Sempronio, Pármeno admits that he is afraid. Sempronio threatens Pármeno to stay quiet and Pármeno laments, “O God! There is no pestilence more deadly than an enemy in one’s own house!” (39) Calisto sends Celestina home to take care of her house, asking her to “then come back and bring cheer to mine” (39).
Celestina has gone home and Calisto is waiting for something to happen in return for the gold he gave her. Sempronio reassures him. Calisto agrees to go to his chamber, but later wants Sempronio to prod Celestina. Sempronio worries for Calisto’s safety should he leave him alone in such an emotional state. Calisto calls him a simpleton, exclaiming that weeping eases the pain. Pármeno can stay with him while Sempronio goes to see Celestina.
Pármeno enters, so Calisto sends Sempronio to Celestina. Pármeno suggests that perhaps Calisto’s money would be better spent on gifts for Melibea, “not in giving money to that old bawd I know; and what is even worse, in making yourself her captive” (43) by telling her his secrets. Calisto is offended but presses Pármeno to tell him more. Pármeno does not like that Calisto has been taken in by Celestina, a known scammer. But hearing Pármeno speak badly of Celestina only reinforces Calisto’s belief in her. Pármeno would rather endure being insulted than to stay quiet while Calisto loses everything. Angered, Calisto insists that if Pármeno had felt his pain, he would understand; he misses Sempronio, who would not say such things. Annoyed, Calisto orders Pármeno to bring him a horse so he can ride by Melibea’s house. Calisto mounts the horse and rides off, ordering that if Sempronio returns with Celestina, Pármeno should tell them to wait. Pármeno hopes that Celestina will not come back to swindle his master.
Sempronio complains to a surprised Celestina about how long she has taken to act since Calisto is impatient. Celestina replies that impatience and misplaced anger is natural for a frustrated young lover. Sempronio worries that it won’t be safe for him to return and deal with Calisto’s anger, and that Calisto’s love for Melibea will fade if Celestina takes too long. Celestina can’t solve the Calisto’s problem too quickly if she wants him to believe she has earned her pay. All of her wealth comes from situations like this and she knows what she is doing. Sempronio asks Celestina what she said to Pármeno, and Celestina recounts their conversation.
Celestina describes her extremely close relationship with Pármeno’s mother, Claudina, who taught Celestina everything she knows. They were like sisters, working together and sharing everything. If Claudina’s son had taken after his mother, they would have already “plucked [Calisto] clean” (51). Celestina is confident that with Calisto’s gold, she can convince Melibea to not only give in to Calisto, but to beg for Celestina’s help. Sempronio worries that pursuing Melibea might go very badly, since she is the only child of a “noble and stern” father and a “strict and jealous mother” (53).
Celestina insults Sempronio, offended that someone so much younger and less experienced would question her methods. Sempronio persists—because he is inexperienced, he sees things that the expert Celestina does not.
Elicia asks about Sempronio’s presence, but Celestina shushes her and sends her to fetch a list of ingredients. After Elicia retreats upstairs with Sempronio, Celestina performs a spell on some thread: The more Melibea looks at it, the more she will obey Celestina, eventually falling desperately in love with Calisto and begging for Celestina’s help.
Celestina wonders if Sempronio was right to be concerned about her approaching Melibea’s house. If she is caught meddling, she will most likely be killed. But she decides that it would be worse to face Calisto’s wrath. Celestina arrives at the house of Melibea’s father, Pleberius, and is heartened to see Lucrecia, Pleberius’s servant and Elicia’s cousin, at the door.
Lucrecia welcomes Celestina and asks why she is there—Celestina usually does not “move a step unless profit is assured” (58). Celestina claims that she is only selling thread. Alisa, Celestina’s mother, currently needs some thread so Lucrecia goes off to fetch her.
Lucrecia is surprised that Alisa does not recognize Celestina as someone who has been in trouble for witchcraft and other unsavory dealings. After Alisa invites Celestina in, Celestina praises Alisa and offers her thread. Alisa asks Melibea to entertain Celestina, since Alisa must visit her ill sister.
When they are alone, Melibea asks Celestina why she complains about aging. Celestina tells her about her aches and pains, which poverty and hunger exacerbate. But, Celestina philosophizes, “the poor man sleeps better, for he does not have to guard what he won with hard work and would grieve to lose” (63). A rich man may have many children, but they are all praying for him to die so they can inherit his wealth. Celestina would not want to be young again—living once is enough.
Melibea knows Celestina, but would not have recognized her because Celestina has aged so much. She gives Celestina money, telling her to “go with God” (64) because Celestina seems like she needs to eat. Seemingly moved by her kindness, Celestina tells Melibea that she needs Melibea’s help to cure a man who has a desperate toothache. When Celestina tells Melibea that the man is Calisto, Melibea becomes angry and tells the older woman to leave. Celestina begs her to listen and then explains that Calisto only wants a prayer from Melibea and her girdle, “for it is widely known that it has touched all the relics in Rome and Jerusalem” (69). Melibea is skeptical, but Celestina convinces her that the request is genuine, and that Calisto has been wasting away pining after Melibea. Melibea finally agrees to give Celestina her girdle and tells her to come back the next day in secret for the prayer. Lucrecia worries that Celestina is tricking Melibea, but Celestina sways Lucrecia by offering to make her hair beautiful and give her powders to make her breath smell sweeter, to which Lucrecia admits, “I had greater need of all this than for food!” (74)
Celestina hurries away through the streets, congratulating herself for manipulating Melibea. She meets Sempronio, who asks her what progress she has made. Celestina will tell him and Calisto together, and promises Sempronio will share in the profit. In an aside, Sempronio curses Celestina, certain that she is deceiving him. Still, the longer Calisto suffers, the more money they can bilk out of him. Celestina explains: “The wise man changes his course, the fool perseveres,” (79) and she insists she knows what she is doing.
Pármeno tells Calisto that he sees Celestina and Sempronio approaching. Agitated, Calisto tells his servant to hurry and open the door. Outside, Celestina hears Calisto—his ranting means that their reward will be great.
In the first five acts, de Rojas sets up the idea of love as a sickness. This particularly applies to unrequited love, but will ultimately prove to be dangerous and deadly even when the feeling is mutual. Once infected with love, Calisto insists that he will die if he cannot have the object of his affection. Celestina is both an agent of the disease and a kind of healer—if a seedy one of ill repute. On the one hand, she sells women’s bodies and deliberately infects with love Melibea so that she will give in to Calisto. On the other hand, Celestina “re-virginizes” women, a dubious medical procedure that allows them to proceed with their wedding nights and marriages without suspicion.
These acts establish the distinctions between socio-economic classes, observing both honor among thieves and camaraderie among the lower classes. Calisto’s wealth allows him to languish in his suffering while demanding that his servants care for him. His reliance on his servants leaves him vulnerable to their trickery, and his excessive privilege makes him deserving of their exploitation. The play positions servants who are loyal to their masters, such as Pármeno and Lucrecia, not as moral characters but as hindrances stopping the members of the underclass from getting what they deserve. Pármeno in particular has distanced himself from his roots and his childhood, forsaking Celestina despite the fact that she helped to raise him.
The concept of lovesickness makes the class differences especially apparent. While Calisto has the luxury to indulge his broken heart, Celestina must focus on profit for the sake of survival, even in the face of danger, since poverty and starvation aggravate her much more real physical ailments. The text also highlights the pitfalls of wealth. As Celestina points out, a rich man is a target who cannot even trust his children because they are waiting for him to die so they can inherit his estate. Celestina shows that poverty engenders shrewdness and insight, while wealth makes men foolish and easily deceived.
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