Passion and Persuasion: Philocaption in La Celestina

Passion and Persuasion: Philocaption in La Celestina Articles PASSION AND PERSUASION: PHILOCAPTION IN LA CELESTINA Robert Folger University of Munich Why does Melibea, at first harshly rejecting her suitor, ultimately fall head-over-heels in love widi Calisto? It is hard to imagine that any modern reader ofthe textual artifact now commonly tided La Celestina would not be puzzled by diis question (Russell 243). The issue has also attracted considerable critical interest because it touches on central issues in Celestina scholarship: die psychological make-up of central characters like Celestina and Melibea, the "realism" of the work, the role of magic - in short, the modernity of La Celestina. There are diose who celebrate Melibea as a complex personality who dissimulates her true feelings: initially she teases Calisto and plays along with the go-between, Celestina, in order to fulfill her desire.1 In element or denunciation of ridiculous superstitious practices. Melibea is granted an essentially modern (or presumably timeless) psychic depth, interiority and individuality; she is endowed with a form of subjectivity, which, in the light of fifteenth- and sixteenth-century literary traditions (the wood-cut heroines of courdy poetry, libros de caballerías and sentimental fiction) and contemporary notions of die diis perspective, Celestina's magical machinations arejudged a parodie human self http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures La corónica: Journal of Medieval Hispanic Languages, Literatures & Culture

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Publisher
La corónica: Journal of Medieval Hispanic Languages, Literatures & Culture
Copyright
Copyright © MLA Division on Medieval Hispanic Languages, Literatures, and Cultures
ISSN
1947-4261
Publisher site
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Abstract

Articles PASSION AND PERSUASION: PHILOCAPTION IN LA CELESTINA Robert Folger University of Munich Why does Melibea, at first harshly rejecting her suitor, ultimately fall head-over-heels in love widi Calisto? It is hard to imagine that any modern reader ofthe textual artifact now commonly tided La Celestina would not be puzzled by diis question (Russell 243). The issue has also attracted considerable critical interest because it touches on central issues in Celestina scholarship: die psychological make-up of central characters like Celestina and Melibea, the "realism" of the work, the role of magic - in short, the modernity of La Celestina. There are diose who celebrate Melibea as a complex personality who dissimulates her true feelings: initially she teases Calisto and plays along with the go-between, Celestina, in order to fulfill her desire.1 In element or denunciation of ridiculous superstitious practices. Melibea is granted an essentially modern (or presumably timeless) psychic depth, interiority and individuality; she is endowed with a form of subjectivity, which, in the light of fifteenth- and sixteenth-century literary traditions (the wood-cut heroines of courdy poetry, libros de caballerías and sentimental fiction) and contemporary notions of die diis perspective, Celestina's magical machinations arejudged a parodie human self

Journal

La corónica: A Journal of Medieval Hispanic Languages, Literatures, and CulturesLa corónica: Journal of Medieval Hispanic Languages, Literatures & Culture

Published: Apr 4, 2005

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