about envy in La Celestina and related literature (meaning imitations, continuations, etc.), where he explained the motive of the gossipers and servants to be "greed and robbery", respectively, in the face of the motives of the nobles, which are raging lust and the defense of social and family honor. The private benefit of the lower-class characters forms a substitute for the love/lust present for the upper class. Fernando de Rojas liked to create characters in pairs, to help build character development through relationships between complementary or opposing characters. In the play in general there are two opposite groups of characters, the servants and the nobles, and within each group are characters divided into pairs: Pármeno and Sempronio, Tristán and Sosia, Elicia and Areúsa, in the group of servants, and Calisto and Melibea, Pleberio and Alisa, in the group of nobles. Only Celestina and Lucrecia do not have a corresponding character, but this is because they perform opposite roles in the plot: Celestina is the element that catalyzes the tragedy, and represents a life lived with wild abandon, while Lucrecia, Melibea's personal servant, represents the other extreme, total oppression. In this sense, the character of the rascal Centurio added in the second version is an addition with little function, although he has something to do with the disorder that calls the attention of Calisto and causes his death. Celestina Celestina is the most suggestive character in the work, to the point that she gives it its title. She is a colorful and vivid character, hedonistic, miserly, and yet full of life. She has such a deep understanding of the psychology of the other characters that she can convince even those who do not agree with her plans to accede to them. She uses people's greed, sexual appetite (which she helps create, then provides means to satisfy), and love to control them. She also represents a subversive element in the society, by spreading and facilitating sexual pleasure. She stands apart for her use of magic. Her character is inspired by the meddling characters of the comedies of Plautus and in works of the Middle Ages such as the Libro de Buen Amor (The Book of Good Love) by Juan Ruiz and Italian works like The Tale of Two Lovers by Enea Silvio Piccolomini and Elegía de madonna Fiammeta by Giovanni Boccaccio. She was once a prostitute, and now she dedicates her time