111
Although the first of these comes from Act XIV and the other two from Act VIII they are not so widely separated as might appear, since the material interpolated between them is equivalent only to half the length of a normal act. The last two borrowings are on the same page of La Celestina.
112
The other fourteen borrowings are listed in Appendix II.
113
The De Remediis passages which Rojas borrows from this source come more from Book I than from Book II: 12 from Book I and 7 from Book II in the original version; 3 and 2 respectively in 1502.
114
Some support for this theory is provided by the fact that, of the five and a half pages occupied by the 'A' section, only the first three yield borrowings.
115
Those neglected are:
| anima | gloria | medicus | rex |
| avaricia | homo | memoria | solitudo |
| bonum | ingenium | paupertas | somnus |
| eloquentia | laus | philosophia | superbia |
| fama | libertas | poeta | vita |
116
Adversitas, with fewer than ten entries, cannot be regarded as one of the major themes.
117
'Fortunae prosperae regimen difficilius est quam adversae' (Book I, Praef. F). This sententia is borrowed by Rojas from the index. All references to Petrarch in this chapter and the next (except for works found only in the 1501 Venice Opera) are to the 1496 Basel Opera: the letter following the number of book, dialogue, chapter, or other unit is that printed in the margin of the Opera to mark the beginning of a section, and the numeral following the letter refers to the line-number within the section (these line-numbers are not printed in the Opera).
118
Op. cit. 159-60. The lack of originality and dramatic effect in the dialogue of De Remediis is emphasized by A. S. Bernardo's two studies, 'Dramatic Dialogue in the Prose Letters of Petrarch', Symposium, v (1951), 302-16, and 'Dramatic Dialogue in Petrarch's Works', ibid. vii (1953), 92-119. Bernardo is convinced of Petrarch's skill in constructing dramatic dialogue, and studies ten of the Latin and Italian works in order to establish his case; De Remediis is not among them, though the Secretum is. He illustrates many of the dramatic qualities which he finds in the Secretum; few of them are present in De Remediis. Further, he quotes without disagreement an unfavourable comment on the dialogue of De Remediis. K. Heitmann, 'La genesi del De Remediis...', Convivium, XXV (1957), 9-30, studies the date of composition and the projected titles of the work, but does not deal with the structural problem.
119
De Rem. ii. 91 B 1.
120
De Rem. ii. 90 D 6.