La Celestina

by Fran Zabaleta (Adapter), Fernando de Rojas

Dos enamorados que pierden la cabeza.
Una vieja llanta que los manipula.
Unos padres que no se enteran.
Un trágico final.
¿Sigues pensando que los clásicos son cosa del pasado?

Genres: Classics, Spanish Literature, Fiction, Plays, Spain, Romance, School

184 pages, Paperback

First published January 1, 1499

About the author

Escritor, editor y guionista de documentales. Autor de novela histórica y libros de divulgación.

Reviews

[Javier · Rating 2 out of 5]

Una víctima de las lecturas obligadas del instituto. Incluso entonces, cuando me concentraba en él, llegaba a la conclusión de que no estaba mal, así que me imagino que no sería un mal libro.
Cuantos clásicos se perdieron bajo la situación de una lectura rápida y anotada para hacer los trabajos pertinentes sobre él.

[Christian Doig · Rating 5 out of 5]

La Celestina es un texto apasionante, una obra de teatro novelesca, o una novela teatral, tan importante para la literatura en nuestro idioma como el Robinson Crusoe de Defoe lo es para la inglesa, por ejemplo. Fernando de Rojas teje una trama envolvente en su apreciación vívida de una realidad con todos sus niveles de complejidad, desde lo obsceno hasta lo sublime, desde lo vulgar hasta lo poético, desde lo falso de la hipocresía hasta la verdad de la muerte. Sus amantes protagonistas, ambos honestos en sus intenciones por encima de sus propios defectos, son víctimas de la codicia y mezquindad de los hombres, y la vieja alcahueta que los une todo un símbolo de lo maleable y perecible que puede ser el amor en este mundo. Ciertamente, es un verdugo cruel e inexorable en el horizonte del libro.

Esta edición crítica (por M. Criado de Val y G. D. Trotter) es la mejor que imaginarse pueda. Incluye el texto más completo de La Celestina, en toda la gloriosa belleza de su puro castellano medieval/renacentista; un asimismo exhaustivo aparato filológico de notas que considera las principales ediciones; los argumentos de cada uno de sus actos; y sus respectivas viñetas (de la edición de Sevilla, en 1502), que son un deleite añadido, en especial las que ilustran el violento fin de los personajes.

[Steve]

Two pages from an early edition.


In 1499 appeared the first 16 "acts" of the Tragicomedia de Calisto y Melibea, now better known as La Celestina, a work that Juan Goytisolo called "Spanish literature's most audacious and subversive work" in his excellent article celebrating the 500th anniversary of the text's publication.(*)

First published anonymously, then again with the author's name in acrostics, it was eventually revealed that the author was the still quite young Fernando de Rojas (c. 1465/76 - 1541), a son of Jews who had been forcibly converted to Christianity. In 1502 appeared a version with 21 "acts" and further additions. In fact, many of the subsequent new editions during the author's lifetime had additions of some sort or other. There is no wonder, then, that as of 2002, there has been no critical edition of this text in Spanish, since it is apparently difficult to decide in all cases which additions are Rojas' and which have been added by the publishers.

I came upon this title in Steven Moore's very informative survey The Novel: An Alternative History: Beginnings to 1600. It appears, however, that in Spain everyone reads this along with Lazarillo de Tormes and Don Quixote. Though the text presents itself in acts and many consider it to be a (failed) play for the stage, others, including Moore, view the work as the first novel in dialogue. Goytisolo refuses to pigeonhole the text, and I'll go along with that choice. Whether or not the 5 acts added to the original in 1502 were written by Rojas or were the fabrication of another, these acts are not of the same quality and badly 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 most, but not all of the additions to the original text.

However, I also read the second "original" text in a heavily annotated edition apparently intended 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.(**) So, three different versions of the text, quite aside from the language...

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.(***) Moreover, most of the characters representing the lower classes are rogues of the first water: self interest, money and a smooth line of bullshit rule the day. 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 undertakes to bend Melibea to Calisto's will by magical means, after a significant "gift," of course. What a character! No wonder the original title fell into desuetude and was replaced by her name. I'd be willing to conjecture that this is an early example of a character occurring to an author and then taking over completely.

As for the tragedy, is it a spoiler to reveal that all the main characters die? "Innocent" or not. Dead. I think it's likely that Rojas' bitterness was not directed merely at the oligarchy and its ideology.

I cannot close this review without praising the unique style in which Celestina is written, which gave me even more pleasure than the characters did. First, the pure dialogue (at least in the first version) is tightly woven with proverb after proverb, most taken from the treasure chest of the Spanish people, but no few are lifted from classic authors like Plutarch. Sometimes the proverbs are very apt, but many times they are non sequiturs, recalling to me the modern novels whose characters speak solely in free association clichés. Every act, whether considered or completed, is commented on at length by the characters using vast arrays of proverb. And when Rojas winds up and throws his fast ball, what arrives at the plate are the kinds of effervescent, coruscating lists to be found in some of the better modern authors' works. Some are lists for the sake of seeing rare and incongruous words side by side, such as this tiny excerpt from a two page romp:

The oils she used for the face you would hardly believe: storax, jasmine, lemon, melon seed, benjamin, pistachio, pine nut, grape seed, jubejube nut, fennel, lupine, vetch, carilla, and chickweed.

But others are lists in poetic flight, such as this excerpt from the last act of the original version:

When I was young I thought the world was ruled by order. I know better now! It is a labyrinth of errors, a frightful desert, a den of wild beasts, a game in which men run in circles, a lake of mud, a thorny thicket, a dense forest, a stony field, a meadow full of serpents, a river of tears, a sea of miseries, effort without profit, a flowering but barren orchard, a running spring of cares, a sweet poison, a vain hope, a false joy, and a true pain.

(Both in Simpson's words. I think Bush's version of this passage is relatively weak.)

I very much enjoyed this work, one which engendered a host of followers (la literatura celestinesca) and with which Cervantes was well acquainted when he wrote his masterpiece nearly a century later. In fact, Cervantes called Rojas' work "divine" in the introduction to the first part of his tale of the Knight of La Mancha. Come to think of it, Sancho Panza, a servant commenting freely on the absurdities of his employer Don Quixote, is definitely a celestinesque touch...

(*) A somewhat modified version of Goytisolo's essay serves as the Introduction to the recent Penguin edition of Peter Bush's new translation of Celestina.

(**) La Celestina, Editorial Castalia, Madrid, 2002.

(***) According to Goytisolo, Rojas' father was burned at the stake by the Inquisition, and he and the other conversos were constantly disadvantaged and persecuted by the true believers. Goytisolo sees La Celestina as an expression of Rojas' bitterness towards the oligarchy and its ideology. Quite possibly.

Rating

http://leopard.booklikes.com/post/962...

[Malakh · Rating 5 out of 5]

La Tragicomedia de Calisto y Melibea, escrita en 1499 y popularizada posteriormente como La Celestina, es una obra difícilmente catalogable, que ha sido definida como novela dramática, novela dialogada o comedia humanística. Su autoría es también una cuestión polémica, aunque tradicionalmente se ha atribuido a Fernando de Rojas - señalado por las octavas acrósticas del texto preliminar - a excepción del primer auto, que correspondería a una comedia inacabada de paternidad desconocida.

La obra es indudablemente una de las más importantes de la literatura universal, escrita en un Siglo de Oro en ciernes y en una España que comenzaba a transformar su condición en la de imperio. En ella encontramos un realismo de desmedida crudeza, que se refleja en una fidelidad a los hombres, acciones, tiempos y lugares de la vida real desconocida hasta entonces. En este contexto se sitúan personajes de gran densidad, escenas jocosas, estampas pintorescas y brillantes diálogos que aportan una incomparable riqueza a la Tragicomedia. De inusitada originalidad es, a su vez, la idea que nos transmite el relato y que Francisco Rico desgrana en el estudio preliminar: «el amor es fuente de dolor y destrucción».

Pese a que existen numerosas adaptaciones, merece la pena su lectura en el castellano original, asistida por las anotaciones pertinentes que sirven para aclarar algunas expresiones y citas cuyos significados se nos escapan. Más allá de la intención moralizante de la obra, La Celestina constituye un relato extremadamente entretenido, con abundantes episodios que mueven a la risa por la diversidad de caracteres de los personajes y el afilado sarcasmo del autor. No obstante, ello no hace desmerecer lo trágico de los acontecimientos, que alcanza su punto álgido en el terrible planto de Pleberio: «¿Por qué me dejaste triste y solo in hac lachrymarum valle?».

[Ellinor · Rating 4 out of 5]

Surprisingly funny (in the beginning), very tragic at the end, but always very wise.
A novel written in dialogue and built up in acts and scenes, similar to a drama, La Celestina is one of the first European novels. It is not widely known today which is a pity actually. I don't quite understand the low rating (probably from people who had to read in school) because it is very readable and entertaining.
The book ends very dramatically (almost everyone dies) and has one final conclusion: never fall in love!

[Joselito Honestly and Brilliantly · Rating 4 out of 5]

For about a month they have been having sex clandestinely at night, inside Malibea's room, right under the noses of her unsuspecting parents. To get to her room Calisto has to climb up a steep ladder carried to the site every night by his servants. During this last night, after three exhausting but blissful encores, Calisto heard a commotion outside. Rushing to check what it was, suspecting his servants may be in trouble, he slipped off the ladder and fell to his death, his head split into three (as many as their encores that night) like a crushed watermelon. The last words he shouted, as he was about to fall, were:

"Holy Mary, I'm done for! Confession!"

The two became lovers through the help of Celestina--probably one of the vilest characters in literature. She's a sixty-year-old former prostitute, now a madam who counts among her clients several clergymen. Being a madam at that time wasn't as lucrative a profession as it is now, so to make ends meet she sidelines as a hymen-repairer, a love guru, a faith healer and an itinerant vendor of various merchandise. She also dies violently, stabbed repeatedly until she was almost like the corned beef you often have for breakfast, by Calisto's own men. Her last words echoed that of Calisto:

"Ay, he's killed me! Ay! Confession! Confession!"

This looks strange now but not at that time when the way to salvation was clear cut: you die with your sins unconfessed, you go to hell. This novel was first published in 1499--more than 500 years ago--in Christian Spain during the time of the Spanish Inquisition. This was about 100 years before Don Quixote and was said to have inspired Cervantes' inventiveness. The author, Fernando de Rojas, wrote this when he was barely out of his teens, while studying law at the University of Salamanca. His family was Jewish. They suffered a lot during the Spanish Inquisition where the "Holy Office" was relentlessly pursuing and burning "heretics" who either lose their lives, or honor, or properties, or all of these. When Fernando de Rojas was already a lawyer, he defended his father-in-law against these inquisitors after the old man, drunk, argued with a priest and declared that he does not believe there is life after death.

It was in this world made false, hypocritical, cruel, hopeless and deadly by religion that Fernando de Rojas conceived of this novel. A world where the only consolation one can find is the fleeting pleasure (especially carnal pleasure) he/she may luckily encounter between birth and death. Calisto and Malibea inside her room that last night:

Calisto: My lady and my bliss, if you want me, sing more softly still. It sounds sweeter in my presence than the delight it brings when you're wearied by my absence.

Malibea: How shall I sing, my love? What shall I sing? Of my desire for you, firing my song and tuning my melody? As soon as you showed up, my song went, and the tune with it. And you, my lord, are such a model of politeness and good manners, how is it you can bid my tongue to sing but not your hands to keep still? Why don't you give up these ways? Tell them to be quiet and stop their unseemly converse with me. You know, my angel, I love to gaze at you peacefully, but not this insistent pawing. I like your respectful play but find your hands are rude and annoying, especially when they get too rough. Let my clothes be, and if you must find out whether my over-garment is silk or cotton, why do you need to touch my shift that's undoubtedly linen? Let's play and pleasure in a thousand ways I can show you. Don't be so violent and mistreat me as you like to do. Why do you feel the need to rip my clothes?

Calisto: My love, if you want to taste the bird, first you must get rid of its feathers.

Malibea (panting, playing coy): My lord, shall I tell (my servant)Lucrecia to bring us some food?

Calisto: I only want to eat your body and hold your beauty in my arms. Money buys food and drink at any time of day and anyone can do that. What's priceless is what's in this garden that nothing on earth can equal. Do you think I'm going to give up a single moment of my pleasuring?...My lady, I hope day never dawns. My senses feel ecstasy at this exquisite contact with your delicate limbs.

Malibea (while they were going at it): My lord, I'm the one most loving this. I'm the winner thanks to the incredible gift you bring on each of your visits.

Then the distraught Malibea while Calisto's dead body was being taken away:

Malibea (to her servant): Can you hear what those boys are saying? Can you hear their sad laments? They're praying as they carry my life away with them and carry my happiness that's gone stone dead! This is no time to live. Why didn't I take more pleasure when I pleasured? Why did I value so little the bliss I gripped between these two hands? Ungrateful mortals, we only see our good fortune when it's gone!

Then the harrowing lamentation of Malibea's father (said to be the most moving part of the novel), after his only child has died, condemning the World and Love itself:


(no way. too long to type. read the book yourself!)

[Labijose · Rating 3 out of 5]

No está entre mis clásicos favoritos. Aún así, es posible que algún día lo vuelva a leer.

[Fabiola Fulco Salazar · Rating 5 out of 5]

No sé como alguien puede no disfrutar esta obra. Es lo mejor que he leído este año y una de las mejores cosas que he leído en mi vida. Aunque existe una barrera entre Rojas y el lector moderno por las cuestiones del lenguaje, creo que este no es excusa para negarle lo que se merece.

La Celestina es una joya. Repleta de personajes tan depravados y miserables que causan un impacto real, personajes cuyas apariencias se transparentan y revelan una oscuridad inherente en el ser humano. Y creo que esa vulgar honestidad sienta bien de vez en cuando porque la realidad es turbulenta y ridícula la mayor parte del tiempo.

Melibea y Calisto son dos protagonistas dignos de mención. El aura de pasión e ingenuidad que emanan es desbordante. Bastante simbólica, porque resulta tan extenuante que "los hace caer", en el sentido más literal de la expresión.

Pienso que La Celestina manera cierta malicia e indiferencia por el otro, un potente cerco que encierra al individuo en sí mismo y lo despoja de cualquier dignidad. Y en este aspecto, hay un mayor sentido de la responsabilidad; aclaro: no del deber, sino del reconocimiento de cómo nuestras acciones generan consecuencias.

A todos nos llega el momento de pasar factura.

Podría extenderme párrafos y párrafos, pero creo que lo esencial está dicho. Esta es una novela para todo aquel que decida leerla; y cada quien la hace suya de la manera que prefiera.

[Patrizia · Rating 4 out of 5]

A metà tra l’opera teatrale e il romanzo, La Celestina è il ritratto di una società al tramonto. Feroce critica dell’amor cortese, tra colpi di fulmine, ritrosie, serve complici delle padrone, emerge la figura di Celestina, donna scaltra, corrotta e corruttrice, che ha imparato a muoversi in una società maschile. Falsa non meno dei sentimenti professati da chi la circonda: giovani donne sdegnose che poi cedono improvvisamente, uomini che passano dalla disperazione più nera alla felicità più travolgente. Tutte emozioni talmente esagerate da apparire ridicole. Nessuna via di mezzo. Denaro e amore sono i due fulcri della storia. Il finale è abbastanza scontato, inevitabile evoluzione della vicenda.
Godibile nell’insieme, con i personaggi che risultano ben caratterizzati dai dialoghi, è un’opera che riflette una visione pessimista della vita e del mondo, visti come un caos privo di luce.

[Rocío Prieto · Rating 3 out of 5]

Definitivamente un clásico de la literatura medieval española y repleto de símbolos recurrentes. Una historia de amor muy particular en donde cobra gran importancia el papel de la Celestina, al ayudar a Calisto en su amor por Melibea.

Es difícil precisar "La Celestina" , obra atribuida a Fernando de Rojas. Es demasiado larga para ser una tragedia, pero está escrita completamente en diálogo, por lo que no es del todo exacto llamarla novela. Aun así, la narración fluye más como una obra en prosa que como una obra teatral. No es lo suficientemente divertida para ser una comedia, pero carece de la tensión y el arco de una tragedia.

A menudo, puedo dejar de lado cualquier intento de clasificar una obra y simplemente escribir una reseña basada en sus cualidades intrínsecas. Desafortunadamente, la extraña tierra de nadie que ocupa este libro es el principal obstáculo para mí. La narración es demasiado larga y divagante, como si fuera una obra de teatro en cinco actos innecesariamente extendida, o tal vez una historia corta extendida a una novela. Peor aún, los personajes más interesantes mueren alrededor de dos tercios del camino, dejando un final anticlimático y predecible arrastrado por monólogos muy largos.

Aprecio el lugar de "La Celestina" en la literatura española como una obra experimental que allanó el camino para la novela, pero creo que el experimento fue un éxito por el impacto duradero de lo que siguió, más que por el texto en sí.

[theresa]

and y'all say YA characters are over dramatic

read for my spanish literature course

[Emi.acg · Rating 2 out of 5]

Se me hizo un tanto pesadito, principalmente por el lenguaje y que pese a ser una obra de teatro (aunque en teoría no) solo tenía diálogos, nada de contexto o las acciones de los personajes. Al principio me costó un poco reconocer cuando desaparecían de escena algunos o entraban otros.
En la narración, utilizaba un lenguaje que no iba al grano XD demasiadas figuras, muy rebuscado y giraban mucho en torno a un mismo tema osea lo decían y luego repetían de otra forma pero era lo mismo. Se me hizo tedioso, sin tanta palabrería no es un mal tema, una pareja, una mujer que toma el papel de juntarlos sea como sea, otros personajes que también tienen su papel, ambición, muertes, etc me gustó jajaja el problema fue todo lo que "adornaba" esa trama.

[Martina · Rating 1 out of 5]

Cuando me empezaban a gustar los personajes... BAM se matan todos. Pues no.

[Marla · Rating 2 out of 5]

Bueno, mejor que otros libros obligatorios, pero no es que me haya entusiasmado.

[Zadignose]

"You antic ass! You've made me laugh, which I did not intend to do again this year."

Celestina is every bit the great classic that its reputation among Spaniards suggests. It's bold, funny, cynical, and at the same time affecting, provoking a strange mix of derision and sympathy. Along the way it scorns most of society's values, as well as its hypocrisies, general human frailty, and most of all it cries out against the inhuman cruelty of God, Love, Fortune, the World itself, or whatever it is that condemns us poor mortals to futile, purposeless suffering. It does so as tragicomedy should, through bitter and insightful humor.

[Isabel · Rating 2 out of 5]

Nunca me han gustado este tipo de libros, y menos cuando te hacen leerlos en el instituto. Pero pensé: "No puede ser tan malo". Pues me equivocaba.
La historia en sí no es que esté mal, pero es un libro que se hace muy pesado tanto por su vocabulario como por los monólogos que se montan los personajes (que luego resulta que no te enteras de nada). Será un clásico español y todo lo que se quiera, pero a mi se me ha hecho muy pesado terminar de leermelo.

[Alessandro · Rating 1 out of 5]

WORST EXPERIENCE OF MY FUCKING LIFE

[Alberto Delgado · Rating 4 out of 5]

Este libro lo había leído en mi época de estudiante como lectura obligatoria en el instituto y la verdad es que no recordaba nada del libro por lo que decidí leerlo de nuevo. Es un libro que se entiende que haya sobrevivido al paso de los siglos convirtiéndose en un clásico por la forma en que Fernando de Rojas escribió esta historia a medias entre novela y obra de teatro. La historia de los dos enamorados a mi es al final lo que menos me ha interesado aunque está sin ningún problema a la altura de otros clásicos del mismo estilo como puede ser Romeo y Julieta. En cambio todos los personajes secundarios de la historia con la Celestina al frente junto a los criados si que me ha enganchado a la lectura. Eso si tengo que decir que esta edición me ha ayudado mucho a la lectura por la gran cantidad de anotaciones que lleva para que entiendas muchas de las palabras y dichos del castellano de hace cinco siglos que ya no utilizamos y que no se entenderían sin esta ayuda.

[Milan · Rating 4 out of 5]

Zaljubljeni gospodar i sluga dugog jezika angažuju poganu staricu Selestinu da posreduje kod vrle lepotice i pridobije njenu.. pažnju. Hibrid drame i epike, zadržava svoju komičnu sirovost, i kada se bavi romansom (nazovi), i kada završava tragedijom. Proizvodi specifičan konflikt i pitanje u čitaocu: da li je ovo priča o nehajnim spadalima koja ništa ne shvataju ozbiljno ili o nekoliko tragičnih sudbina i prilika koje odlično razumeju da život u Španiji s kraja 15. veka ne nudi nikakve garancije te iz njega cede svaku kap? Njihovi postupci su naglašeni i burni: srdžba se iskazuje nožem, zahvalnost - zlatom, ljubav - telom, a žal - nadahnutim proklinjanjem bogova.

Preporučljivo ljubiteljima Šekspira i Servantesa.

[Blueberry · Rating 1 out of 5]

Ay dioh mioh

[☆Lau☆ · Rating 3 out of 5]

No estuvo tan mal como esperaba, la verdad. Los personajes son interesantes y la muerte estúpida de Calisto es muy satisfactoria.

[Alberony Martínez · Rating 4 out of 5]

Cada vez que me dispongo a tomar un texto clásico, y más en esta ocasión, siempre me asaltan los recuerdos, cuando era un estudiante, que en la clase de literatura, La Celestina era siempre un texto recurrente. Una de las obras más relevante de la literatura española del siglo XV. Una obra que a través del tiempo ha sido objeto de grandes investigaciones entorno a su trasmisión.

Un Fernando de Rojas, influenciado por el humanismo que ya se venía aposentando en toda la Europa cultura, en La Celestina no es la excepción. Una obra que comienza con una carta del autor a un amigo, donde figuran 11 octavas acrósticas, el prologo, 21 actos, 3 octavas mas y las coplas de Alonso de Proaza, con instrucciones de cómo leer los versos acrósticos, toda una obra de ingeniería que ha trascendido en la literatura. “La cuestión de la autoría ha suscitado polémicas y varias posturas críticas y nace de las declaraciones prologales que se hacen en la misma obra, que de hecho apuntan a una pluralidad de autores: mejor dicho,”

La Celestina es la historia de amor de Calisto y Melibea. Calisto, ante el rechazo inicial de la joven, acude a Celestina, una alcahueta experta en arreglar amores. La vieja alcahueta consigue que Melibea se rinda ante Calisto y que su amor se consuma. Cobra un alto precio por su trabajo y, cegada por la codicia, no quiere compartirlo con sus criados, quienes la asesinan. Por otra parte, Calisto muere accidentalmente al caer de una escala bajando de la habitación de Melibea; esta, herida gravemente de amor, se suicida.

Una excelente obra que muestra la ambigüedad que sucintan en los seres humanos, uno detrás del amor que a la distancia se hace inalcanzable, donde esta imposibilidad solo se hacia posible por la intercesión que explotan al máximo los personajes que la puebla, haciendo del dinero su objetivo ultimo, y la vez triste. Personajes que solo buscan sus propios beneficios, sin importa córtale las manos a quien los alimenta.

[Yago Gancedo · Rating 1 out of 5]

I’m gonna write this review in English so everyone knows how much I hated this crap.

If you don’t want to read about me trashing this book with every inch of my body stop reading.

This is supposed to be a “tragicomedy” Tragic-Comedy, the entire book is supposed to be funny except the tragic ending, but this shit made me hate every single character so much that the only funny part was when they all suffered tragic deaths.

The characters in this book are so fucking stupid that my favorite character was literally a 60 yo pedophile ex prostitute that makes deals with the devil and the funniest part was a crazy bitch giving a monologue before throwing herself off a tower and die for “love”.

Of course this love was a 2 day fucking sex-marathon with a simp, their love story makes no fucking sense and those two idiots are literally as stupid as a decapitated blobfish.

I can’t believe people in the 1400’s were so damn stupid and spoke so fucking much without actually saying anything.

Yeah, fuck school books.

[Lu · Rating 2 out of 5]

salvame deluxe siglo XV

[Laura Pelayo Padilla ♡ · Rating 4 out of 5]

4.5.
Se va directo al cajón de los mejores libros de la carrera.

[DeLys · Rating 5 out of 5]

One of the "must reads" of Spanish literature, this book represents both the end of the Middle Ages and the beginning of the Renaissance in Spain. The character of Celestina is the basis of one of the three literary types from Spanish literature, along with Don Quijote and Don Juan. I've taught it multiple times and am always amazed by how much the issues raised in this book resonate with my students.

[Elcin · Rating 3 out of 5]

İlk kez 1499 yılında 16 perde halinde yayımlanan eser, 1501 yılında 21 perde olarak son halini almış. İspanyol edebiyatının rönesansa geçişteki mihenk taşlarından biri kabul ediliyor.

Açgözlülük ve şehvet, insan onuruna yön veren iki ana unsur bu eserde. Orta Çağ'a damgasını vuran büyücülük de nasibini almış tabii. Eserdeki tüm günahkarların yollarını çizen olaylar yalın bir dil ile anlatılmış.

Sakin, dinlendiren bir ara okuma oldu benim için.

[Laura · Rating 4 out of 5]

Free download in Spanish available at Project Gutenberg

[José · Rating 4 out of 5]

Saltos de gozo infinitos
da el lobo viendo ganado;
con las tetas, los cabritos;
Melibea con su amado.

[Lua]

what zero pussy does to a mf