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First published as the Comedia de Calisto y Melibea, then as the Tragicomedia de Calisto y Melibea, Femando de Rojas's only literary work and a masterpiece of the early Renaissance in Spain soon became known as Celestina d u e to the immediate popular interest in the central character, a crafty and even diabolical old trafficker in flesh, in appropriate recognition of "her living domination of the work" (Gilman 82).' Over

Fernando de Rojas' Pessimism: The Four Stages of Life for Women at the Margin