Ars dictaminis como Ars amatoria y su estrategia paródica en las continuaciones de La Celestina
Ars dictaminis as Ars amatoria and its Parodic Strategy in the Continuations of The Celestina
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The aim of this study is to reveal the literary historical background of the inclusion of love letters in the continuations of The Celestina as well as its function in the plot development. In fact, the use of love letters in literary works is not a new one. Before the celestinesque continuations appeared in the first half of the sixteenth century, the authors had used it in their works to attract the reader’s interest from the Heroides of Ovidius to the Spanish Sentimental Romance. Thus, the introduction of love letters in the celestinesque continuations is a reflection of the changing literary taste of the public. The formation of a new class of readers during the Renaissance demanded new types of literary genres, and to this demand the continuators responded with literary works that strengthen the popular aspects like the complicated love affairs between the characters. The inclusion of love letters also contributes to the creation of a dramatic work that is different from The Celestina through the degradation of the role of the matchmaker. Nevertheless, the function of love letters is not the same in the continuations according to the intention of the continuators. The introduction of love letters in the celestinesque continuations is an obvious proof of emulative consciousness of the authors to create a new literary world that is distinguished from the work of Rojas.
Abstract
The aim of this study is to reveal the literary historical background of the inclusion of love letters in the continuations of The Celestina as well as its function in the plot development. In fact, the use of love letters in literary works is not a new one. Before the celestinesque continuations appeared in the first half of the sixteenth century, the authors had used it in their works to attract the reader’s interest from the Heroides of Ovidius to the Spanish Sentimental Romance. Thus, the introduction of love letters in the celestinesque continuations is a reflection of the changing literary taste of the public. The formation of a new class of readers during the Renaissance demanded new types of literary genres, and to this demand the continuators responded with literary works that strengthen the popular aspects like the complicated love affairs between the characters. The inclusion of love letters also contributes to the creation of a dramatic work that is different from The Celestina through the degradation of the role of the matchmaker. Nevertheless, the function of love letters is not the same in the continuations according to the intention of the continuators. The introduction of love letters in the celestinesque continuations is an obvious proof of emulative consciousness of the authors to create a new literary world that is distinguished from the work of Rojas.
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