Celestinesca 36 (2012): 209-236 Speaking of Celestina: Soliloquy and Mono- logue in the Tragicomedia de Calisto y Melibea Connie L. Scarborough Texas Tech University The Tragicomedia de Calisto y Melibea begins with one of the most fa- mous dialogues in all Spanish literature: Calisto.– En esto veo, Melibea, la grandeza de Dios. Melibea.– ¿En qué Calisto? (85)1 What structural and stylistic purposes do the work’s numerous solilo- quies and monologues play in a work that is driven by dialogue? And how shall we distinguish between the true soliloquy and the long pro- nouncements made by a singular character that form parts of dialogue but in which one character digresses to such an extent that he/she seems momentarily unaware of his/her interlocutor or essentially lapses into a monologue? Soliloquy is defined as «an utterance or discourse by a per- son who is talking to himself or herself or is disregardful of or oblivious to any hearers present (often used as a device in drama to disclose a char- acter’s innermost thoughts).» Monologue is defined as «a prolonged talk or discourse by a single speaker, especially one dominating or monopo- lizing a conversation» and is also cited as a synonym for soliloquy. For our purposes I will use soliloquy to denote «true» soliloquies, i.e., those in which a character finds himself/herself alone and speaks, revealing de- sires, fears, or other emotional states. I will reserve monologue for those long passages, dominated by a single speaker who gives voice to his/her opinion in a dialogue or seeks to justify his/her position by a long, philo- sophical argument, metaphorical analogies, or reliance on folk wisdom. María Rosa Lida de Malkiel refers to these long orations within dialogue settings as «diálogos oratorios» (108). 1.– All quotations are from Dorothy Severin’s edition of La Celestina. 210 Celestinesca 36, 2012 Connie L. Scarborough The soliloquy allows a character to express emotions, evaluate the be- haviors of other characters, and explore his/her own psyche. With no narrative voice to guide us, these soliloquies are our only access inside the heads of the people who populate the world of Celestina. Andres- Suárez claims that the soliloquies and many of the monologues in the Tragicomedia «No contribuyen a la acción dramática, dado que pueden suprimirse sin afectar al desarrollo argumental; en cambio son funda- mentales para caracterizar a los personajes y resaltar su complejidad» (9). While I obviously agree with the second half of this critic’s assessment, I believe that the soliloquies, and some of the monologues, are strategi- cally placed within the structure of the work to highlight moments when the plot shifts or characters reach a decision that significantly impacts the plot or other characters’ actions. It is significant to note that Fernando de Rojas opens five of the twen- ty-one autos of the Tragicomedia with a soliloquy, not counting the long lament by Pleberio which makes up most of Auto xxi. Two of these act- opening soliloquies are pronounced by Celestina and there is one each by Melibea, Calisto, and Elicia. It should not be surprising that the woman with the greatest gift of gab, Celestina, has the largest number of so- liloquies. We get to know Celestina in various ways —what others say about her, her interactions and conversations with other characters, and her many, often sarcastic asides— but none of these fully reveals her thoughts and emotions the way her own soliloquies do. But, in all the so- liloquies, monologues, and dialogues in which Celestina speaks, a word of warning is necessary: Celestina lies. She lies to others and she may even lie to herself.2 But she is not alone in this practice since many of the other characters’ soliloquies and monologues contain examples of self- delusion and elaborate rationalizations when they examine their motiva- tions, emotions, or own consciences. When Celestina speaks to others it is often to persuade or manipulate. This is especially true in her interactions with Melibea and Pármeno. Her conversations with Melibea are part of the work for which Calisto has generously paid Celestina —i.e., to arrange a sexual liaison with the lady he desires. When speaking to Pármeno, Celestina wants to persuade the servant to cooperate in her endeavors on Calisto’s behalf and to stop speaking ill of her to his master. Their conversations also reveal impor- tant information about the previous relationship between Pármeno and Celestina when he had briefly served in the bawd’s house. The intimate relationship between Celestina and Pármeno’s deceased mother, Clau- dina, is remembered and retold in the dialogues between Pármeno and 2.– As for example, in Auto iv when Celestina tells Melibea that she would not want to re- turn to the days of her youth but, in Auto ix she longs for her «glory days», twenty years ago when her house was full of young, desirable prostitutes. Speaking of Celestina: Soliloquy and Monologue Celestinesca 36, 2012 211 Celestina and are essential to understanding why Pármeno eventually is complicit in the murder of Celestina. Even though Celestina is the character who most often expresses her- self in soliloquies, the first soliloquy in the work does not belong to the alcahueta but to Sempronio. Calisto has returned from his initial rebuff from Melibea and, in a foul humor, shuts himself in his bedroom. Sem- pronio is understandably concerned to see his master so distraught and thinks out loud, debating whether he should try to enter and console Cal- isto or leave him to suffer alone —«¡O desventrura, o súbito mal! ¿Quál fue tan contrario acontescimiento que ansí tan presto robó el alegría deste hombre, y lo que peor es, junto con ella el seso? ¿Dexarle he solo, o entraré allá?» (89). Sempronio is afraid that, if Calisto in his state of dis- tress kills himself, he will be blamed for his master’s demise. But he also fears that, given Calisto’s present state or mind, if he tries to speak with his master, Calisto may do him some harm. He finally resolves to try to help Calisto —«Pues en estos extremos en que stoy perplexo, lo más sano es entrar y sofrirle y consolare…» (90-91). Just as he has arrived at this conclusion, Calisto calls out for him and thus takes the decision out of Sempronio’s hands. Even in this relatively short soliloquy we see many of the stylistic elements that will characterize both the soliloquies and monologues found throughout the Tragicomedia —frequent exclamations, rhetorical questions, and an abundance of refrains and proverbs. The first example of an extensive monologue or «diálogo oratorio» is also found in Auto I when Pármeno justifies his identification of Celestina as a «puta vieja» and explains to Calisto how he knows the go-between. When Pármeno identifies Celestina as a «puta vieja alcoholada» (108), Calisto upbraids his servant, fearing that Celestina will take offense at the remark and put in danger his relationship with the woman who he declares «no tiene menor poderío en mi vida que Dios» (108).3 Pármeno explains, at length, that Celestina is not only known by this term but that she revels in hearing it: «se glorifica en lo oýr, como tú quando dizen: ‘Diestro cavallero es Calisto’» (108). In a humorous enumeration of the repetitions of the phrase «puta vieja» throughout the city, he says that people of every stripe refer to her with this term and even dogs, birds, cattle, and frogs chime in as well. The name sounds out when carpen- ters, armourers, blacksmiths, boilermakers, and chest makers swing their hammers. All workmen and women sing out her name throughout the day and «si una piedra topa con otra, luego suena ‘¡Puta vieja!’» (109). 3.– Other critics such as Lida de Malkiel, Russell, and Berndt have commented on the blasphemous declarations of Calisto throughout the work including identifying himself as a «Melibeo» instead of a «cristiano» (93), his proclamation that Melibea is a Goddess rather than a mere mortal woman (95), and his contention that Melibea is an angel living among mortals (253). Also see David Burton’s article on Calisto’s misuse of prayer when he prays for Celestina’s success with Melibea at the Church of the Magdalena. 212 Celestinesca 36, 2012 Connie L. Scarborough Pármeno then goes on to explain that his mother had sent him as a child to serve in Celestina’s home. From his long monologue, in reply to his master’s questions about Celestina, we learn the location of Celestina’s house —«cerca de las tenerías, en la cuesta del río,» (110),— her six «of- ficios» —«labrandera, perfumera, maestra de hazer afeytes y de hazer virgos, alcahueta y un poquito hechizera» (110)—, her dealings with all levels of society, from students, to monks, to nuns, to the most noble families, the wonders of her dispensary,4 and a long list of the ingredients she uses for love positions, aphrodisiacs, casting spells and other magical arts. The servant concludes with the profound and polysemic statement: «Y todo era burla y mentira» (113).5 The irony of this statement is, of course, that Pármeno has just spoken at great length and with miniscule detail about Celestina, her jobs, her magic arts, and her standing in the society but concludes by saying that everything about her is a farce and a deceit. While we might interpret Pármeno’s extended monologue as part of his efforts to warn Calisto about Celestina’s shady dealings to dissuade him from enlisting her services, the amount of detail and the intimate knowledge of the alcahueta’s home and its contents, the identity of those who seek out Celestina’s help, and his history of living with her in his youth, also contribute enormously to the reader’s understanding of Celestina and her place in the society of the Tragicomedia. His monologue, rather than a mere digression or a chance to give a laundry-list of Celes- tina’s «tools of her trades,» serves a structural purpose —giving us ample information about Celestina before we are witness to her initial dealings with Calisto, Pármeno, Melibea and Alisa (her mother), or Areúsa. Also, in Auto I, the author gives Celestina equal time to that conceded to Pármeno. When Sempronio and Calisto leave to retrieve monies to insure Celestina’s aid in the pursuit of Melibea, Celestina talks at length with Pármeno. When she discovers that he is the son of her former part- ner and best friend, Claudina, she first reminds him that «tan puta vieja era tu madre como yo» (120) —a phrase that will come back to haunt her later, as we shall see. Celestina then launches into a long fabrication about how she had another motive in coming to Calisto’s house beyond that of agreeing to help him win Melibea. In an elaborate lie, she tells Pármeno that, on his deathbed, Pármeno’s father had entrusted Celestina with an inheritance he had left for his son. Pármeno has had no contact with his father for years and has lived as a servant for almost his entire 4.– For a discussion of Celestina’s workshop see, Fuentes de Aynat, J. M., «La botica de la Celestina» in Medcamenta: Edición para el farmacéutico 5.44 (1951), 267-68 and, especially, Ar- demagni, Enrica J., «Celestina’s Laboratory: A Translator’s Dilemma» in Fernando de Rojas and ‘Celestina’: Approaching the Fifth Centenary, eds. Ivy A. Corfis and Joseph T. Snow (Madison, WI: Hispanic Seminary of Medieval Studies, 1993): 383-91. 5.– For a summary of various critical interpretations of this phrase see the edition of Seve- rin, p. 113, fn 70. Speaking of Celestina: Soliloquy and Monologue Celestinesca 36, 2012 213 life, but Celestina reassures Pármeno that she has spent many hours in prayer and searching for him to bring him this news. She adds that, only three days ago, she learned that Pármeno was serving in Calisto’s home —certainly a falsehood since she had reacted with such great surprise when Pármeno, just minutes before, revealed his identity to her. Suffice it to say that this inheritance, that Celestina values as «tal copia de oro y plata que basta más que la renta de tu amo Calisto» (121), will never appear and that it is but a ruse to dissuade the young man from trying to warn his master about Celestina’s deceits. In other words, a deceit to prevent Pármeno from revealing the truth about her deceits. Celestina continues her monologue by telling him that blind loyalty to Calisto, in the end, will not benefit him, calling such loyalty «necia» (122) especially given the character of «estos señores deste tiempo» (122)6 who make vain promises to their servants that they never make good on. She counsels him to make friends amongst those of his own status because it is impossible to have a relationship of true friendship with his master «por la diferencia de los estados o condiciones pocas vezes contezca» (122). She persuades him to become the friend of Sempronio who, she reminds him, has an ongoing relationship with Elicia, Areúsa’s cousin. With the mention of Areúsa, a woman Pármeno has lusted after, Celes- tina ends her long monologue since Pármeno immediately interrupts her when the alcahueta mentions this woman’s name. Pármeno is obviously interested in what Celestina can do on his behalf to win him Areúsa but he also expresses lingering doubts about any cooperation with Sempro- nio. At this point, Celestina becomes angry with him and threatens to leave. Pármeno reconsiders his position, asks Celestina for pardon, and the latter rewards him with more fond memories of his father and de- clares Pármeno, at that moment, to be the spitting image of his father —a fact that brings tears (or a semblance thereof) to the old woman’s eyes. In Auto iii, Celestina reprises a theme that she had begun in her ex- changes with Pármeno en Auto i —the foolishness of remaining loyal to one’s master at any cost. In dialogue with Sempronio, Celestina alludes to possible danger that they may encounter in helping Calisto to pursue Melibea. Sempronio declares that he will avoid harm at any cost and waxes at some length about the need to take advantage while they can because, when things move quickly, in an instant they can be forgot- ten. This digression on the fickleness of memory is an excellent example of a monologic discourse wrapped inside what is essentially a dialogic structure in which both Sempronio and Celestina air their views. When Sempronio asks Celestina about her private conversation with Pármeno, the old woman, in her reply, takes ample time to reminisce about her 6.– We will see this same theme of the disdain for the señorío of their time in Elicia’s and Areúsa’s opinions about Melibea and other ladies of her standing in Auto ix. 214 Celestinesca 36, 2012 Connie L. Scarborough relationship with Pármeno’s mother, Claudina. It is significant that Celes- tina’s long recounting of her life with Claudina is enhanced and amplified in the Tragicomedia in contrast to this section in the Comedia. Beyond the off-quoted section about the two being like «uña y carne» (142), in the Tragicomedia Celestina speaks about the great respect all showed towards Claudina, their generosity in rewarding her, especially in giving her good wine. The theme of Celestina’s fondness for wine will come up again and the addition here helps establish this attribute as repeating motif in the various instances, throughout the Tragicomedia, when the alcahueta reminisces about her past. Celestina also inserts into this conversation with Sempronio long pas- sages about women once their passions are aroused. She reminds Sem- pronio that she is speaking from long experience of persuading women to act on their desires. Once a woman consents to an affair, she knows no bounds: «Coxquillosicas son todas, mas después que una vez consi- enten la silla en el envés del lomo, nunca querrían holgar: por ellas queda el campo, muertas sí, cansadas, no» (144). The crudeness of Celestina’s metaphor of the mounted woman refers to the carnal relationship Cal- isto wants with Melibea, despite his clothing of his feelings and inten- tions in the rhetoric of courtly love.7 Sempronio warns Celestina about the dangers in pursuing Melibea, especially the ire of her father, but she dismisses his misgivings and asserts that Melibea is as good as al- ready won—«voy más consolada a casa de Melibea que si en la mano la toviesse» (145). The next instance of monologue occurs at the end of this same Auto iii —Celestina’s famous conjuring of the devil. Lida de Malkiel, rightly, does not label this a soliloquy because Celestina is not without an interlocutor (111). She is speaking directly to the devil whom she addresses as Plutón: «aquí Celestina habla con la intención urgente de imponer su voluntad a otro personaje, muy real para ella» (Lida de Malkiel 111-12). She asks the devil to cast a philocaptio spell8 on the thread she intends to sell to Melibea, thus literally and figuratively binding the young woman’s will so that she acts on her desires for Calisto. Celestina even threatens the devil should he not cooperate with her and ends by reiterating the same confidence in her own powers to win Melibea that she had shown in her recent conversation with Sempronio —«confiando en mi mucho poder, 7.– The classic study on Calisto as a parody of the courtly lover is June Hall Martin’s Love’s Fools: Aucassin, Troilus, Calisto and The Parody of the Courtly Lover (London: Tamesis, 1972). On this topic see also my study «The Tragic/Comic Calisto: Obsessed and Insecure.» 8.– For more information on philocaptio, see Jaime Leaños, «‘La Celestina’: ¿Philocaptio o apetito carnal?» Fifteenth-Century Studies 32 (2007): 68-82 and Dorothy Sherman Severin, «The Relationship between the Libro de buen amor and Celestina: Does Trotaconventos Perform a Philocaptio Spell on Doña Endrina?» in A Companion to the Libro de buen amor, ed. Louise O. Vasvári (Woodbridge, UK: Tamesis, 2004): 123-27. Speaking of Celestina: Soliloquy and Monologue Celestinesca 36, 2012 215 me parto para allá con mi hilado, donde creo te llevo ya embuelto» (148). However, we should note that Celestina’s use of the word creo here, as well as the exaggerated assuredness she had expressed to Sempronio, ac- tually hold clues to her own insecurities and fears, as we shall see. Auto iv begins with one of the longest and most revealing of Celes- tina’s true soliloquies. At the beginning of this act she is not involved in any dialogue and her discourse is not a digression or exegetic comment intended for another. She is truly alone with her own thoughts, doubts, anxieties, and, eventually, self-confidence. Immediately following the conjuring of the devil which ends Auto iii, Auto iv begins with Celestina ruminating on her way to Pleberio’s house where she hopes to be able to time to speak to Melibea alone. She begins by remembering the fears that Sempronio had expressed in the previous scene regarding her role in procuring Melibea for Calisto. In their conversation, we recall that Celes- tina reacted sharply and directly to Sempronio’s trepidations about the consequences that may befall them all if Melibea’s parents discover Ce- lestina’s true intentions. She had rebuffed his cautions stating, «¡Alahé, en mal hora a ti he yo menester para compañero, aun si quisieses avisar a Celestina en su officio! Pues quando tú naçiste ya comía yo pan con corteza; para adalid eres bueno, cargado de agüeros y recelo» (145). But, at the beginning of Auto iv, when she finds herself alone, she admits that she had been dissimulating in her conversation with Sempronio and that she, too, has her doubts and fears.9 She knows that if she is found out she may, indeed, pay with her life or, at the very least, receive a public flogging. The monies she received from Calisto now do not seem quite so attractive: «Pues amargas cient monedas serían éstas. ¡Ay, cuytada de mí, en qué lazo me he metido! que por me mostrar solícita y esforçada pongo mi persona al tablero» (149). And she doubts whether the other payments and awards she hopes to receive from Calisto will be worth the risks she is taking. She has a frank debate with herself about the pros and cons of continuing her pursuit of Melibea. She even imagines exactly what Calisto will say if he thinks she has deceived him or not worked diligently on his behalf. She is completely torn by conflicting emotions: «¡Pues triste yo, mal acá, mal acullá, pena en ambas partes! Quando a los estremos falta el medio, arrimarse el hombre al más sano es discreción» (150). Since she perceives danger whether she proceeds or not, she even- tually decides that it is best to be brave and forge ahead with her work on Calisto’s behalf, declaring that it is more shameful to be a coward than to face danger in completing one’s mission.10 Of course, we are invited to participate in the irony of this debate since the mission that Celestina has 9.– On Celestina’s posturing with Sempronio, see Snow, «Celestina and Pleberio…», pp. 386-87. 10.– On this point, Fraker asserts that Celestina puts pride before self-preservation (526). 216 Celestinesca 36, 2012 Connie L. Scarborough taken on is the ignominious one of enticing a young virgin to have sexual relations out of wedlock. But, after all, this is Celestina’s job. And she takes heart by recognizing that all the omens have been favorable along the way to Melibea’s house. This soliloquy contains all the elements al- ready described as common to soliloquies in the Tragicomedia —rhetori- cal questions, imagined dialogue, exclamations, and a generous inclusion of proverbs and folk sayings. Celestina’s soliloquy that opens Auto iv has been commented upon by numerous critics including Stephen Gilman, Joseph Snow, María Rosa Lida de Malkiel, Emilio de Miguel Martínez, and María Theresa Miaja. Gilman considers Celestina’s speech in this Auto as essential to our under- standing of her behavior in the rest of the work: The opening monologue of Act iv stands as a central moment of consciousness between the seemingly vain boasting of Act iii and the real accomplishment of the se- duction. It displays and emphasizes with fearful candor the new Celestina with whom we are to live for the rest of the act (94). The manipulation of Pármeno in Auto iii when Celestina claims to be holding his inheritance in trust and promises to win him the sexual fa- vors of Areúsa, gives way to a more thoughtful Celestina. All the bravado and self-assuredness, not to mention the outright lying, disappear and we see a more vulnerable Celestina, one who has self-doubts and genuine fears about her safety. Miaja points out that, in this soliloquy, Celestina debates with herself about the pros and cons of following through on her mission for Calisto (29) while Lida de Malkiel sees the soliloquy as essentially a vacillation between fear and honor (122).11 But, what wins out in the debate is Celestina’s pride in her profession and concern for her reputation should she fail to follow-through on her commitment (Gilman 152; Miaja 30; Miguel Martínez 175). On this point, Snow affirms that Celestina decides to go through with her visit to Melibea because not to do so would expose her to the wrath of Calisto and do irreparable dam- age to her chances for work in the future (20). Snow adds that another factor affecting her decision is a long-standing hostility which Celestina holds towards Pleberio, as a representative of the noble class who has prospered while her fortunes have waned (20-21).12 11.– According to Andres-Suárez in Celestina’s soliloquy in Auto iv «La vieja alcahueta, prototipo de la codicia y maldad, deja traslucir aquí sus emociones: la duda, la inseguridad, el ansia generada por los riesgos del oficio que practica. En suma en estos momentos la sen- timos más cerca de nosotros y, en cierta forma, más humana» (8). 12.– Russell simply states that this soliloquy «artísticamente, ensancha y humaniza la per- sonalidad de la vieja» (262). Speaking of Celestina: Soliloquy and Monologue Celestinesca 36, 2012 217 Auto iv also contains many long monologic commentaries which form part of the dialogue between Celestina and Melibea after the latter’s mother leaves to attend to her sick sister. In the first of these, Celestina bemoans her old age and her poverty. Lida de Malkiel observes that these long speeches are akin to rhetorical amplificatio but also maintains that Rojas is not plagiarizing a very similar passage as that found in Petrarch’s De remediis utriusque fortunae.13 This critic contends that «a diferencia de Pe- trarca, Rojas no se propone discurrir sobre estos temas sino mostrar a Ce- lestina en su maniobra para captarse la benevolencia de Melibea» (113).14 Celestina next waxes at length about the rich who are not without their own problems, especially the avarice of others, even of their own rel- atives who wish them dead so that they can enjoy a fine inheritance. These comments about the rich are amplified in the Tragicomedia, includ- ing numerous refrains and, again, rely heavily on Petrarch. Celestina’s purpose here is to soften Melibea’s defenses, but neither should we miss the irony that she is in conversation with a representative of the monied nobility and that the subject of inheritance will figure prominently in Ple- berio’s lament after Melibea commits suicide. While Celestina wants to appear as if she is merely imparting words of wisdom, proposing arguments that the young woman cannot dispute, she is slyly baiting her for when she begins to speak of the real motives for her visit and this conversation. Before she begins to allude to the fact that she has actually come to visit Melibea in service to another, she takes the time to conjure up memories of a happier past, before she was wid- owed, when wine was plentiful in her home. As we have seen previously the theme of wine, and its abundance as associated with better times, comes up at various stages when Celestina engages in conversation with other characters. She contrasts her present poverty with its paltry supply of wine —she has only «un jarrillo mal pegado…que no cabe dos açum- bres»— with her glory days when wine was plentiful —«sobrado estava un cuero en mi casa y uno lleno y otro vazío» (159). This passage, osten- sibly about wine, leads the alcahueta to the conclusion that life is hard (and wine hard to come by) when one is without a man. And finally she tells Melibea that she has come on behalf of «un enfermo a la muerte» (159). However, before revealing the identity of the one in need of Me- libea’s ministrations, she offers one more monologue about compassion for others, offering numerous examples from the animal kingdom of acts of self-sacrifice and kindness. She concludes by stating that if brute beasts are so inclined to act mercifully how much greater is humankind’s obliga- 13.– For the most complete study on Rojas’s use of Petrarch see Alan Deyermond’s classic study, The Petrarchan Sources of «La Celestina»(London, Oxford UP, 1961; 2nd ed. Westport, CT: Greenwood P, 1975). 14.– For a study of the theme of old age throughout Celestina, see my article «Celestina: The Power of Old Age.» 218 Celestinesca 36, 2012 Connie L. Scarborough tion to help others. Again, part of Celestina’s persuasive plan is to offer examples and arguments that Melibea will be hard pressed to dispute. However, when she mentions Calisto by name, Melibea explodes into fits of rage. The conversation that ensues alternates between Melibea’s outbursts and Celestina’s attempts to extract herself from blame and lead Melibea back to the path of submission. After calming Melibea and obtaining her cordón to cure Calisto’s sup- posed toothache,15 Celestina once again finds herself alone in the street and she pronounces the second of her soliloquies at the beginning of Auto V. During her meeting with Melibea in Auto iv, Celestina had suffered the young woman’s harsh reproach and she now expresses her anger and frustrations with Melibea but also a sense of satisfaction at having made a good beginning on her job for Calisto. ¡O rigurosos trances, o cuerda osadía, o gran sufrimien- to! Y qué tan cercana estuve de la muerte, si mi mucha astucia no rigera con el tiempo las velas de la petición. ¡O amenazas de donzella brava, o ayrada donzella! (171). She praises her own astuteness and rails against the verbal thrashing she had had to endure from Melibea. Despite her pride in her own per- suasive skills, she also recognizes the help of the devil to whom she at- tributes the opportune absence of Melibea’s mother that allowed her to speak alone with the young woman. Celestina engages in a kind of dia- logue with herself, fondly addressing herself as «vieja» —«O vieja Celes- tina, ¿vas alegre?... Pues alégrate, vieja, que más sacarás deste pleyto que de quinze virgos que renovaras» (171). Celestina here alludes to one of her chief occupations —that of restoring lost maidenheads— and to the fact that she has taken on this enterprise for Calisto precisely because she expects to be handsomely paid for her services. She also boasts to herself that if any other alcahueta had had to contend with Melibea, she would not have succeeded in winning over the offended woman —«¿Qué hi- zieran en tan fuerte estrecho estas nuevas maestras de mi officio sino re- sponder algo a Melibea por donde se perdiera quanto yo con buen callar he ganado?» (171-72).16 While speaking to herself , congratulating herself on her fine work with Melibea, Celestina runs into Sempronio who is shocked to see her mur- muring to herself, hurrying through the streets without meeting the gaze of anyone. Celestina refuses to reveal what had happened with Melibea until she is in the presence of Calisto, annoying Sempronio who had been impatiently waiting to know what had transpired during her visit to 15.– On Calisto’s toothache see especially Geoffrey West’s article, «The Unseemliness of Calisto’s Toothache,» Celestinesca 3.1 (1979): 3-10. 16.– On Celestina’s opinion about her rivals, see Lida de Malkiel, especially p, 124.