131
This is less definitive than the other borrowings, but the construction mayor...mayor, and the repetition of the operative verb peccare (in Petrarch, errar in Rojas) in different grammatical forms, seem to establish a conexion.
132
The only features common to Rojas and Petrarch are the two words nublados-suceder (nubilus-insequitur). The general idea of the passages is traditional in discussions of Fortune: Boethius has 'Licet caelo proferre lucidos dies eosdemque tenebrosis noctibus condere...' (De Consolatione Philosophiae, II, pr. ii). Further, a more likely, though not a definite, source for Rojas is the 8th eclogue of Petrarch's Bucolicum Carmen (see p. 75).
133
Towers are not mentioned by Petrarch, nor is the building of ships, though the use of them is; the verbal resemblance over honours is weak. Nevertheless, there does seem to be a connexion (the shipowner planting trees occurs in both passages), and there are two possible explanations besides the one mentioned above: a common source developed more fully by Petrarch than by Rojas; or an intermediate source drawing on Petrarch and used by Rojas. A possible common source familiar to both authors is Ecclesiastes ii. 4-12.
134
La Cel. ii. 83; 209-10, resembles, both in content and tone, De Remediis ii. 114 L, but there does not seem to have any borrowing.
135
This dialogue also mentions (A 10-11, C I) Aemilius Paulus, Pericles, Xenophon, and Anaxagoras, whose stories are borrowed from De Rebus familiaribus by Rojas as exemplaof paternal fortitude. No details are given in De Remediis, and no doubts arise as to the source of Roja's passage.
136
This is preceded in the text of La Celestina by a borrowing from De Remediis, ii. 43, which says the same thing in different words. The conjunction of these two borrowings is further evidence that Rojas knew the text of De Remediis well enough to find his way about it without the help of the index (cf. p. 59, n. 1). This passage is again echoed in La Cel. ii. 200; 294 ('Vn dolor sacó otro, vn sentimiento otro'). Such a reminiscence of an earlier Petrarchan borrowing seems to be the only one in Rojas's work, though there is in ii. 181; 280 (added in 1502) either a reminiscence of, or a deliberate parallel with, ii. 116; 237 (in the original version); but this is not Petrarchan.
137
Part of this (Opinio ... trahit) is in the index, where it is preceded by a possible index borrowing. As, however, the resemblance in that case is extremely doubtful, and as that index entry was used, if at all, only in 1502, it seems safe to say that the text of De Remediis is the source here.
138
Here, as elsewhere in this book, only the genuinely doubtful cases are given. The more remote possibilities of borrowing are not considered unless their claims have been pressed by Castro Guisasola or Gilman. Pedro Bohigas, 'De la Comedia...', says that ii. 44; 175 contains a borrowing from De Remediis i. 5, but the resemblance is very slight.
139
Although Gilman does not advance this as evidence that Rojas wrote Act I, but merely as support for the view that sources are unreliable evidence of authorship, the possibility of Rojas's having written Act I would be considerably strengthened if such a borrowing were proved. This passage is discussed from the point of view of style by Carmelo Samonà, Aspetti del Retoricismo nella 'Celestina' (Roma, 1954), 137-8. He divides it into a list of places where Celestina's fame circulates, and a list of people who know her. This, however, does not account satisfactorily for all the elements, and Gilman's analysis of it as a list of noises is more convincing.
140
This use of animals and inanimate objects occurs, for example, in Psalms (A. VN.) xix. 1-4, xcvi. 11-12, xcviii. 8-9, and cxlviii. 3-10; and in the Canticle Benedicite omnia opera. It occurs in medieval lyric and modern song: Nuno Fernández Torneol's cantiga d'amigo (Oxford Book of Portuguese Verse, either ed., no. 11), and the song beginning 'Every little breeze Seems to whisper Louise'. Curtius (op. cit. 160-2) considers the use of this widespread idea in the topic 'All sing his praises'.