The great popularity of La Celestina soon causes enormous proliferation of various forms of imitation that begin to appear from 1513. Among diverse types of imitation of La Celestina, the Segunda Celestina of Feliciano de Silva holds a special place because it created a new form of imitation which may be called as “Continuation” or “Cyclic Literature.” Silva reconstructs the world created by Rojas through the resurrection of Celestina appropriating the characters associated with her and her memories of events in La Celestina. This memory in the Segunda Celestina mainly serves to justify the cyclical link between the two works and helps to solve the unfinished episodes in La Celestina. It also functions as a source of experience and a lesson, with which the characters behave in order to avoid disaster. This brings the modification of the structural framework and the drastic change in the ending of the work. Through this structuralization, Silva legitimizes his work as a true continuation of La Celestina. At the same time, Silva tries to create his own literary world within the structural framework built by Rojas. With the introduction of the double intrigue he intensifies the readers`` interest in the work and converts Celestina into a comic figure. In addition, by introducing the secret marriage, Silva distorts Rojas’ literary world which is filled with pessimism and gives a challenge against the ideology of the author of La Celestina. This defiant attitude of Silva will be followed up by later continuators.