The comic aspect of Celestina has been given short shrift in twentieth-century criticism. Its ironies have been studied, but principally its tragic ironies and not its comic ones. The relation of the work to its classical and Italian humorous antecedents has also been scrutinized, but mainly from the perspective of literary sources. Only parody has been studied from the humorous angle. Yet Rojas himself tells us that he began his work by finding a funny book. He decided to continue it in the same vein, although his own tragic ending altered the character of the work enough to force him to change the title into a hybrid form so that the Comedia de Calisto y Melibea became the Tragicomedia in its expanded version: