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By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. To browse Academia. Log in with Facebook Log in with Google. Remember me on this computer. Cause and effect framework the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. Laura Vivanco. A short summary of this paper.
PDF Pack. People also downloaded these PDFs. People also downloaded these free PDFs. Sobre los "dichos lascivos y rientes" en Celestina by Eukene Lacarra Lanz. Español en Red 8. Download Download PDF. Translate PDF. Andrews Two birds in particular, the partridge and Calisto's falcon, have attracted the attention of Celestina critics. Severin, who have placed these birds in the context of animal imagery in the Celestina as a whole. It is my contention that there is still a need for a detailed study of the individual and collective signifi- cance of a particular group of birds: predators and their prey.
I will therefore examine the interactions in Celestina between the nebli, gerifalte, rnilano, gallo, perdiz, gallina and pollo. The birds both predators and prey which glide through its pages are more than mere surface decoration; they illustrate one of the main themes of the work, the destructive nature of physical passion and the indiscriminate manner in which it affects all social classes. Bird imagery is further developed in the prose prologue in which Rojas restates Heraclitus's dictum, "Todas las cosas ser criadas a manera de contienda o batalla" 14and develops the theme with particular reference to the avian world: Pues si discurrimos por las aves y por sus menudas enemistades, bien afirmarkmos ser todas las cosas criadas a manera de contienda.
Las m6s viven de rapina, como halcones y Aguilas y gavilanes. Thus, even before the work proper has commenced, bird imagery is used to suggest danger and conflict. Although Rojas's "alas" do not in fact destroy him, the participation of many of the characters of Celestina in the avian "hunt of love" does cause their downfall both literal and metaphorical. We should therefore consider the wings acquired by the characters, either by association with real birds or through is bird a predator or prey, as a potential danger to their owners.
In addition to indicating danger, feathers may also reveal the truth. The literal feathering of Celestina by the law, which has had her "emplumada" 86 on a number of occasions, reveals her true nature. This punishment made a highly visible statement about the alcahueta's unlawful activities and was intended to make the public aware of her status.
Sebastiin de Covarrubias Horozco de- scribes the procedure as follows: A las alcahuetas acostumbran desnudarlas del medio cuerpo arriba y, untadas con miel, las siembran de plumas menudas, que parecen monstruos, medio aves medio mugeres Covarrubias Horozco Like the feathers applied by the justice system to the procuress, Rojas's "pluma" alerts the public, exposing "10s engaiios de las alcahuetas y malos y lisonjeros sirvientes" It is because the feathers reveal a verifiable truth about Celestina that Pirmeno, warning Calisto against her, mentions the punishments she has re- ceived: "el amor pari6 tu pena; [ Blay and Severin, commenting on this passage state that "The feath- ers of the bird of prey become the attire of the tarred and feathered procuress" While I would agree that Rojas is playing with the imagery of feathering and plucking, I do not believe it is the nebli's feathers that are used to punish Celestina.
As I hope to show below, Calisto's feathers would, if anything, be a reward for Celestina, not a punishment. When Sempronio mentions Celestina's feathering he is more playful than Pirmeno, suggesting that to be plucked, 'L vengas sin pluma," would be almost as dangerous as to be "emplumada": SEMI?. Piensa en su padre, que es noble y esforzado, su madre celosa y brava, t15 la misma sospecha. Melibea es h i c a a ellos: faltlndoles ella, fbltales todo el bien.
En pensallo tiemblo; no vayas por lana y vengas sin pluma. O n the metaphorical level, Celestina if caught would be plucked de- stroyed like the victim of a bird of prey. O n the literal level, as an alcahueta, if she were discovered plying her trade she would be feathered. Celestina is also depicted as a predatory plucker of other birds' feathers, who is determined is bird a predator or prey "pluck" Calisto: as she says to Sempronio, were it not for the temporary im- pediment caused by Pbrmeno, "tu amo quedase sin pluma y nosotros sin queja" Gaining feathers what is an example of discrete random variable therefore be dangerous, as it is for Celestina when she is feathered, or advantageous, as when she seeks to gain benefits from Calisto.
This playing with the image of feathers continues the theme of life as conflict, which Rojas provided in his prose prologue. It also alerts us to the fact that the role of the defeathered and the defeatherer or plucker of other birds may be played by the same character. As Alan Deyermond has noted, "Calisto, Melibea, Celestina, and others are alternately or simulta- neously hunter and quarry in the hunt of lust or avarice or power" "Hilado": 6.
As I will attempt to demonstrate, the avian imagery associated with these characters is not constant; it changes to reflect their position relative what are the benefits of social connections the other characters, as predator or prey.
Celestina can be identified with the milano or kite, which is both preda- tor and prey. Here the chicken is about to commit a grave crime the crucifix- ion and desert the mother hen Christ. As might be supposed from Rojas's epithet "grosero", the social status of the milano matches that of Celestina. Juan Manuel observed that: "estos milanos [ However, they were still dangerous predators. Chickens in particular had t o be guarded against kites and a special basket was used, a pollera, "un gCnero de cesto sin suelo, recogido de boca, adonde ponen 10s pollitos quando son pequeiios, porque no se 10s lleve el milano" Covarrubias Horozco Rojas's image, then, would no doubt have been vividly brought to life in the mind of the contemporary reader or listener by the recollection of this practice, or the ex- perience of losing chickens to kites.
Celestina's vulnerability is emphasised still further when she describes herself as a "una gallha atada" shortly before being murdered. Although Celestina and Melibea are generally depicted as predator and prey, they are at other times portrayed as members of the same species, hens. The associations of the hen are positive when they refer to the Christ-hen, but negative when used t o describe wandering women.
Melibea first appears as a hen how to find mean and median in statistics Celestina states: "no es Csta, si a Dios ha placido, la primera a quien yo he hecho perder el cacarear" The verb "cacarear" signifies "Dar voces repetidas el gal10 o la gallina" Diccionario de la lengua espan"o1a A cockerel appears in the same speech, being cursed by the ladies who have given them- selves over to love: "Si de noche caminan, nunca querrian que amaneciese; maldicen 10s gallos porque anuncian el dia" These is bird a predator or prey, who have taken control of their own sexuality, naturally wish is bird a predator or prey rebel against the cock- erel that places a limit on their sexual excesses by crowing to indicate the com- ing of day.
The cockerel, as in the case of St Peter, was also "the symbol of the call to repentance" Rowland Birds 22a call which these women would re- ject. This is in the context of the disadvantages of old age and the saying is innocuous enough. According to the Refranero EspaEol, "Se dice de 10s enfermos y de las cosas necesarias, aunque tengan inconvenientes" Nonetheless, another refrhn, mentioned by Covarrubias Horozco, explains the cause of the pepita: ''cqDe dbnde la vino a la gallina la pepita?
Women are compared to hens in two other refranes: aLa muger y la gallina, hasta casa la vezinan; dizen que si se alexa de su propia casa la gallina, que no sabe bolver a ella. Este proverbio da a entender quanto importa que las mugeres no sean andariegas, por 10 que les puede suceder fuera de sus casas. Even if Rojas did not intend any allusion to these particular refranes, it was not unusual to compare women to hens in order to highlight the dangers of them wandering in both a literal and moral sense.
As we have seen, Celestina mentions that ladies who lose their morals "de noche caminan" and she herself is renowned for being a trotaconventos, so there is certainly a nexus of ideas in existence linking women, hens, and wandering, which finds echoes in Celestina. Women of various social types are portrayed as being involved in the breeding of hens.
Elicia, on putting off her mourning, declares that she will make herself beautiful once more and carry out domestic chores, one of which is hen-keeping: "Quiero aderezar lejia para estos cabellos, que is bird a predator or prey ya la rubia color y, not a fan definition hecho, contar; mis gallinas" Arehsa imagines a conversation a woman might have with a friend, which includes the question "jCu6ntas gallinas crias?
As we have already seen, Celestina describes herself as a hen before she dies, Melibea is linked with them when on the is bird a predator or prey of sexual initiation, and loose-living women could be referred to as hens. Unsurprisingly, the two rameras are also associated with them. Elicia, as we have seen, keeps them, Arehsa has spoken about them and Celestina men- tions them on learning of the latter's early bed-time: AREU. Tia, seiiora, jquk buena venida es Csta tan tarde?
Ya me desnudaba para acostar. Like the hen, the cockerel had both is bird a predator or prey and negative connotations. He was, "In medieval times [ Quite different symbolism, however, is involved when PIrmeno is linked to the cockerel. The connection was first suggested when Celestina promised Sempronio she would corrupt Pbrmeno and bring him into sympathy with them: "Yo te le traerk manso y benigno a picar el pan en el puiio" James Mabbe, in his translation ofexpressed the phrase as: "I will make the slave so tame and so gentle, that I will bring him like a bird to pick bread from my fist" 61, my italics.
The location of this reference to the tame bird which will eat from Celestina's hand may have added significance in the light of the refrin "El moqo y el gal10 what does symbiont mean aiio" which according to Covarrubias Horozco signified that "en siendo uno criado viejo es aragin, y dize que ya ha servido harto y se haze insufrible, especialmente si el sefior le ha entregado la llave de sus secretos'' The irony is that Pbrmeno, what is the meaning of correlation in research loyal advice includes the warning "a quien dices el secreto, das tu libertad" 84is described by Calisto as a "mal criado" 86 and is compared unfavourably to Sempronio: "Cuanto remedio Sempronio acarrea con sus pies, tanto apartas t 6 con tu lengua, con tus vanas palabras; fingikndote fiel, eres un terr6n de lisonja, bote de malicias" These accusations of faithlessness and flattery would be more truthfully directed at Sempronio, but it is he, not Pbrmeno, that Calisto describes as "llave de mi vida" 60 and "leal" is bird a predator or prey It is not until Pkmeno, at Areha's house, has given his promise to "ser muy amigo de Sempronio y venir en todo 10 que quisiere contra su amo en un negocio, que traemos entre manos" that Celestina's ambition with regard to Pbrmeno is fulfilled and she metaphorically transforms him into a "gallillo, barbiponiente [ In so doing, he perverts the positive cockerel trait of generosity.
He invites Areha, Sempronio, Celestina and Elicia to a meal, but as he makes clear, he does so at his master's expense since he does not intend paying for the food: En casa llena presto se adereza cena. De 10 que hay en la despensa basta para no caer en falta. Pan blanco, vino de Monviedro, un pernil de tocino, y mbs seis pares de pollos, que trajeron estotro dia 10s renteros de nuestro amo. Que si las pidiere, harCle creer que 10s ha comido 2 If Pkmeno cannot be said to embody any of the positive qualities of the cockerel, he takes on fully the cockerel's more negative associations with lust and aggression.
Is bird a predator or prey involvement in Celestina's murder is perhaps also anticipated here, since she has stood in loco parentis to him. Of course the parallel is not complete, since she is not a father and the dispute is ostensibly over a gold chain. Celestina, however, believes that there may be a sexual motive behind Pbrmeno and Sempronio's aggression: N o cierto de la necesidad que tenkis de 10 que pedis, ni aun por la mucha codicia que 10 tenkis, sino pensando que OS he de tener toda vuestra vida atados y cativos con Elicia y Areha, sin quereros - buscar otras, movkisme estas amenazas de dinero, ponkisme estos temores de la particibn.
Pues callad, que quien kstas OS sup0 acarrear, OS dari otras diez, agora que hay mbs conocimiento y mbs raz6n y mbs merecido de vuestra parte. Y si sk cumplir 10 que prometo en este caso, digalo Pirmeno