Roxas added twenty acts to this one. He increases the romantic and tragic interest of the tale. Celestina introduces herself into Melibea's house. She corrupts the servants by presents; deludes the unfortunate girl by incantations, and induces her, at last, to yield to her lover. Her parents discover the intrigue; Celestina is poisoned; Calisto stabbed; and Melibea throws herself from the top of a tower. According to some writers, where crime is punished in the end, the tale is moral: thus, this drama was regarded as a moral composition; at all events, it was popular: doubtless, it pictured the manners of the times, and interested the readers as the novels of the present day do, by shadowing forth the passions and events they themselves experienced. This was the first genuine Spanish play. In the beginning of the reign of Charles V., the theatre began to interest classic scholars; and the first step made towards improving the drama, was an attempt to introduce antique models. Villalobos, a physician of Charles V., translated the Amphitryon of Plautus, which was printed in 1515. Perez de Oliva made a literal translation of the Electra of Sophocles. Oliva was a man of infinite learning and zealous inquiry: passing through the universities of Salamanca and Alcala, he visited first Paris, and afterwards Rome, where he gave himself up to the study of letters. The road of advancement was open to him in the papal palace at Rome, but he renounced it to return to Spain. He became professor of philosophy and theology in the university of Salamanca. One of his chief studies was his own language, and he is much praised for the classical purity of his style. Sedano goes so far as to say that the diction of his translation, which he entitles "La Venganza de Agamemnon," or, Agamemnon Avenged, "is so perfect in all its parts--so full of harmony, elevation, purity, sweetness, and majesty, that it not only excuses the author for not having written in verse, but may rival the most renowned poetry." It seems strange to read this sentence, and to turn to the bald phraseology of the work itself: we cannot believe that this translation was ever acted. The first original tragedy published in Spain was the work of Geronimo Bermudez, a monk of the order of St. Dominic, a man of austere and pious life; but who joined a love of letters and poetry to his theological studies. He wrote "Nise Lastimosa," and "Nise Laureada." Ines de Castro, of whose name in the title he makes the anagram of Nise, but who is properly named in the play, is the heroine of these dramas. The first is by no means destitute of merit. The tale itself is of such tragic interest, that it naturally supports the dialogue, which is too long drawn, and interrupted by choruses. The fourth act, however, rises superior to the rest, and is extremely beautiful. Ines pleads before the king for her life. She uses every argument suggested by justice, mercy, and parental affection to move him.