[423] Rojas states these facts in his prefatory anonymous letter, already mentioned, and entitled “El Autor á un su Amigo”; and he declares his own name and authorship in an acrostic, called “El Autor excusando su Obra,” which immediately follows the epistle, and the initial letters of which bring out the following words: “El Bachiller Fernando de Rojas acabó la comedia de Calysto y Meliboea, y fue nascido en la puebla de Montalvan.” Of course, if we believe Rojas himself, there can be no doubt on this point. [424] Blanco White, in a criticism on the Celestina, (Variedades, Tom. I. pp. 224, 296,) expresses this opinion, which is also found in the Preface to M. Germond de Lavigne’s French translation of the Celestina. L. F. Moratin, too, (Obras, Tom. I. Parte I. p. 88,) thinks there is no difference in style between the two parts, though he treats them as the work of different writers. But the acute author of the “Diálogo de las Lenguas” (Mayans y Siscar, Orígenes, Madrid, 1737, 12mo, Tom. II. p. 165) is of a different opinion, and so is Lampillas, Ensayo, Madrid, 1789, 4to, Tom. VI. p. 54. But this is not the account given by Rojas himself. He says that he found the first act already written; and he begins the second with the impatience of Calisto, in urging Celestina to obtain access to the high-born and high-bred Melibœa. The low and vulgar woman succeeds, by presenting herself at the house of Melibœa’s father with lady-like trifles to sell, and, having once obtained an entrance, easily finds the means of establishing her right to return. Intrigues of the grossest kind amongst the servants and subordinates follow; and the machinations and contrivances of the mover of the whole mischief advance through the midst of them with great rapidity,--all managed by herself, and all contributing to her power and purposes. Nothing, indeed, seems to be beyond the reach of her unprincipled activity and talent. She talks like a saint or a philosopher, as it suits her purpose. She flatters; she threatens; she overawes; her unscrupulous ingenuity is never at fault; her main object is never forgotten or overlooked.