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This article analyzes the magic aspect of Orfeo y Eurídice. Entretenimiento, placed in Hernando de Ávila’s Comedia de Santa Catalina, which was represented in 1596. In this text, sorcery has an eminent function and there are various characters that practise it: the gipsies, that reflect popular or vulgar magic; Orpheus that performs invocations to Pluto; and Jumento, the burlesque opposition that enrages Hell. On the other hand, the work establishes interesting parallelisms between this text, Roja’s Celestina and other books belonging to the celestinesque gender, as there exist very important resemblances.

Celestina's studies have developed over time a comprehensive account of its evolution from its birth at Fernando de Rojas' hands. We have a well-stablished knowledge of the most outstanding aspects of the Tragicomedia's rewriting, but the more concrete details still need to be clarified. Such is the case of the changes that underwent the presence and use of magic and knowledge in the Comedia Thebayda and the Segunda Celestina by Feliciano de Silva from their use in the original Tragicomedy. In order to expound the transformation, magic and knowledge functions are elucidated in Rojas's text, analysing in detail the context in which they take place and the meaning acquired in the mentioned sequels, the comic branch of celestinesque texts.

In the present work, we analyse the textual references of La Celestina that prove the existence of the magic element in the play and its structural relevance. To achieve this purpose, new references are offered in favour of the hypothesis of Melibea’s falling in love as a consequence of Celestina’s spell. Besides, a comparative analyse between the two lovers and courtly love rhetoric is carried out in order to dismiss the implicit-time hypothesis and to provide a new interpretation of Calisto’s and Melibea’s love.

«Love», «magic» and «time» are integral topics in La Celestina thanks to, above all, the masterly alliance established among all three topics in order to bring the ultimate intention of the Tragicomedia to a literary success. Designed, first of all else, as a magnificent and forceful reprobatio amoris, both time and magic are manipulated with a particular skill to increase the effectiveness of the pursued lesson: the former is compressed to the maximum in a couple of represented days, while it is tacitily lengthened without deadline, in order to demonstrate the vertiginous haste of loving sin; the latter justifies, precisely, the immediacy of the passionate fall, aggravating the participant's guilt. Thus, a love comedy as conventional as anodyne, ends suddenly, hastened by magic arts, in an admirable tragicomedy.

This article seeks to offer a succinct description of Melibea's maidservant, Lucrecia, as well as detailing a brief state of the question. Some of the conclusions concerning magic arrived at by Alan Deyermond will also be examined in order to suggest that Lucrecia is also a victim of the demonic influence unleashed by Celestina. The final pages of this article offer a number of observations concerned with the maid's role in the closing scenes of the work.

Traditionally, we have come following Peter Russell's ideas in relation to the ac-tive role of magic in La Celestina. According to the critic, among others, the spell prepared by Celestina has much to do with Melibea’s falling in love, the behavior of Alisa and the tragic conclusion of the work. In the same line, Alan Deyermond added that the force of the spell also gets Calisto's inconceivable behavior. The current study takes a different direction, since it is argued that the characters of Fernando de Rojas are not moved by deterministic forces capable of changing or annulling their free will. On the contrary, each of them has will of decision what allows them to create their own future. The best example is Melibea, who shows to be in control of her life before and after Celestina arrives with the spell. The fact that Rojas includes the magic, it is not an indicator that he believed in it, but a form of giving verisimilitude to the text and pleasure to the reader for being a topic of interest in that moment.