Watering
History: the disintegration of the Mongol Empire
With Qubilai, which in 1264 transferred the capital from the Karakoram in Beijing, begins the dismemberment of the Mongol Empire, the premises of which had already been placed by Genghis Khan when he was divided into fiefdoms the territories conquered, distributing them among his sons. As the Mongols were attracted by the superior civilization with which they come into contact, local needs ended up gradually with the emergence on imperial. The same Qubilai underwent strongly the influence of the Chinese civilization, while the authority of his sovereign lord of all Mongols was opposed by other branches of the family gengiskhanide and even when it was recognized, had for the most part a purely nominal. On the other hand, precisely in this period were more evident the positive aspects of the Mongolian expansion beyond the first wave of destruction that had accompanied. For the first time in history, in fact, the Far East was connected to the west by a continuity policy and planning that in addition to encourage trading, made possible a direct exchange of knowledge and the opening of new horizons of geographical and cultural. It is in this context that explains the voyage of Marco Polo. The pax mongolica however was of short duration. After Qubilai, the history of the Mongol Empire splits into that of individual khanates of which it was made. The dynasty of the Ilkhan of Persia lasted until 1336. The Khanate of the Golden Horde, Southern Russia was already in an advanced stage of disintegration, when in the XVI century received the decisive blows by Ivan the Terrible; however the Mongolian dynasty of Crimea survived under the ottoman protection, up to the XVIII century. As regards the Khanate of descendants of Cagatai, second son of Genghis Khan, which originally included the Transoxiana, Kashgaria and the region of the IL1, it passed through various dismemberment: Transoxiana fell in the XIV century, under the dominion of Timur, who made it the center of his kingdom, while in the region of the Ili The Cagataidi, now turchizzati, resisted until the XVI century, and in Kashgaria until the XVII century. After the expulsion of the Mongols from China (1368), various attempts were made in Mongolia to resume the legacy gengiskhanide. The events of this period appear to be characterised by fierce rivalry that divided the western Mongols, originating in the region of the Baikal, by the Mongols Oriental. In the first half of the fifteenth century took over the western Mongols: the League of Oirat managed to constitute a vast empire and to threaten more times the Chinese border. It was then the turn of the Mongols in eastern countries, which under a descendant of Genghis Khan, Dayan (1470-1543), rebuilt temporarily the Mongolian unit. During the reign of a nephew of Dayan, Altan Khan, took place in the XVI century the conversion of the Mongols to lamaismo tibetan. The rise of Manciù in XVII century marked the beginning of a new period in the history of the Mongols. Even before the Manciù conquistassero China in 1644, the tribes of the eastern part of Inner Mongolia recognized their sovereignty. In 1691 also the Khalkha tribes who occupied the Outer Mongolia, rather than give in to Oirat, subjugated to Manciù. The Oirat, who had reconstituted a strong state in Zungaria and in the valley of the Ili were the last heirs of tradition Mongolian Imperial. Their fight against the empire cino-manciù lasted until 1756-57 and ended with their destruction. The artillery cino-manciù had reason definitively the Mongolian cavalry. With the fall of the dynasty Manciù in 1911, the Mongolian aristocracy of Outer Mongolia proclaimed its independence, while the Inner Mongolia remained joined to China. For the recent history, see Inner Mongolia and Mongolia.
Literature
The Mongolian literature of the time of Genghis Khan remains very little: decrees (yasa) and judgments (bilik) in fragmentary form. Chronologically the first document is constituted by the stone of Genghis Khan of 1225. In the same period also belongs the epic of the origin of the Mongols and the kingdoms of Genghis Khan and Ögödei Secret History of the Mongols, drawn up in the original Mongolian around the middle of the XIIITH century and maintained in phonetic transcription Chinese, in an editorial staff of the second half of the XIV century. The Mongolian literature of the XIV century is constituted by numerous monuments epigraphical and by the first translations of Buddhist works from Tibetan, which contributed to the enrichment of the Mongolian. The term "golden" of Mongolian literature falls in the XVII and XVIII centuries: the two historical works more important are the Button d'oro of Lubdzandandzin of 1667 and the history of the Mongolians of Sanang Sätsän of 1662. From the seventeenth century is the translation of the canon Tibetan kanjur, as well as the collection of comments Tibetan buddhist tanjur. Of great interest also the epic cycle of the hero Gäsäi Khan, Tibetan origin, with elements chinese epic. From the seventeenth century to the end of XIX the Mongolian literature underwent the influence literary and linguistic in China: were translated, adapted, reworked the most famous works of classical Chinese from the history of the Three Kingdoms to wonderful tales of the study Liao to dream of the red room. In the first decades of the XX century began in Mongolia the tendency to replace the literary language with the different dialects vulgar: you are so well developed numerous autonomous literatures at popular character.
Art
The limited knowledge of the Mongolian art is based on the study of architectural testimonies not prior to the XVII century, i.e. subsequent to the conversion of the Mongols to lamaismo (XVI century), on which weigh strong influences the Tibetan and Chinese. The same conditions are encountered also in poor documentation of painting and sculpture, expressions of a religious art which developed in the same scope of influences. Greater importance is the role played by the Mongols in relations between East and West through the influences of China Yüan in art iranica ilkhanid and vice versa arabic-shutters in the Chinese one. In this feature through the artistic taste Mongolian did not fail to produce interesting encounters and certainly important trade. Characters more authentic taste of Mongolia are identifiable in some expressions of popular art, especially in the production of jewelry (feminine ornaments) and in the processing of metals in general where mingle experiences related to art animalistica.
Biography
The Spanish writer (Alcalá de Henares 1547-Madrid 1616). The fourth of seven children of a poor "surgeon" (medicastro without graduating and without social prestige), always full of debts and perhaps - something very serious in Spain in recent years of Charles V and the long reign of Philip II - of Jewish origin, Cervantes followed the family, wandering from one city to another (Valladolid, Cordova, Seville, Madrid) and could not perform regular studies, if not for short periods at the Jesuits, Cordova and Seville, and at the Municipal School of Madrid, directed by erasmiano López de Hoyos. These presented in 1568 the first verses of Cervantes in a collection dedicated to the memory of the Queen Isabella of Valois, third wife of Philip II, calling him "my dear and beloved disciple". In substance Cervantes was a self-taught, but its humanistic culture and renaissance was equally wide and relatively deep, because it always supported by an unquenchable desire to read and to know (read, tell later he himself, even the pieces of paper found along the roads). In 1569, wanted by police madrilena for having wounded in a brawl a certain Antonio Sigura and sentenced in absentia, Cervantes fled in Italy. Here he spent six years - absolutely decisive for his formation of man and writer - first in Rome, at the service of Cardinal Giulio Acquaviva, and then as a soldier of the Spanish army, in Naples, Sicily and probably also in Sardinia and in various cities of the continent. On 7 October 1571, at the edge of the Venetian galley Marchesa, took part in the battle of Lepanto, bringing serious wounds to his chest and the left hand, that the military surgeons the bore then definitively storpia. After several months in hospital of Messina taken part in other shipping in the Mediterranean, staying in intervals, in Naples, the city that had to be then always dearest and where perhaps left an illegitimate son, natogli by a mysterious woman and cruel, he remembered in the Galatea and other pages under the name of "Silena". During his stay in Italy the singular soldier lesse enormously: classical Latin and Italian humanists, etc., and wrote poems and prose in part lost, partly used then in Galatea. The 20 September 1575 embarked in Naples on galera El Sol, directed in Spain, where probably intended to continue the military career; but after six days near Marseille, was captured by pirates Moreschi, together with his brother Rodrigo, and transported in Algiers. For his redemption was secured an exorbitant price, that only five years after could be paid, indebitando even more the poor family of the writer. Those five years of slavery in Algiers were terrible, for continuous physical and moral sufferings; Cervantes li endured heroically, exiting spiritually stronger. Finally, in October of 1580, called a foothold in Spain after eleven years of absence; but, if he had hoped to see recognized in homeland their merits, had to disilludersi soon. In Spain of Philip II the veterans pullulavano unemployed, like the rest of the intellectuals and the actors (with the imperious rising star of Lope de Vega); for Cervantes , unknown and poor, open a way had to be almost impossible. After having tried without success tracks bureaucratic - the committed only a modest office in Oran, who had not followed - thought to the theater, the great popular discovery of the moment. The Italian Comedy of Art (Ganassa, Martinelli) mietevano great successes of the public in the early theaters stable (corrales) of Madrid and Spanish airlines emulavano them, traveling around the country, especially on the occasion of festivals of Corpus Christi, a pretext for showy performances outdoors. Cervantes composed theatrical works and the saw represented: "twenty or thirty", as recalled by himself, with melancholic irony, thirty years after, in the prologue of Ocho comedias (1615), "and all you recitarono without which it would pay homage to cucumbers or other material from bombardment; they ran their career without whistles, wail nor baraonde". Of these "twenty or thirty" dramas only two there are reached in defective texts published for the first time in 1784 by Antonio Sancha: El i try de Numancia (the siege of Numanzia) and El trato de Argel (the market of Algiers). Other (how?) were lost; and especially lamentabile is the loss of one to which Cervantes was to take much, because the appointment several times: La batalla naval, that with every probability you are referring to the battle of Lepanto, the day the most glorious of the existence of the writer. The quality of the two tragedies that we have received does however regret the loss of the other. Cervantes was always convinced that they have a genuine vocation theatrical, born in the distant years of childhood, when he attended the college of the Jesuits, where the theater was a normal didactic instrument, and through the streets of Seville, where she watched with admiring wonder to recite of Lope de Rueda, first student of Italian comedians. But the adverse circumstances frustrated that vocation; and if ne dolse several times, also and especially when, on the eve of his death (1615), could only publish, without being able to never see represented, Ocho comedias y ocho entremeses nuevos nunca representados (Eight comedies and eight new interludes never represented). But at the same time at the Teatro Cervantes tried another track: the novel. In 1585 a modest publisher of Alcalá de Henares, Juan Gracian, published the first part of the Galatea, a pastoral novel in prose and verse, probably begun in Italy on the model of the Arcadia of Sannazzaro, but that was never completed, although Cervantes promettesse several times - the last time three days before dying - to give the second and last part. Little appreciated, in general, by critics, the Galatea has instead a considerable importance, not only because it contains many autobiographical data and memories of many dear friends of years of Italy (not all identified under their "Disguise pastoral"), but also because you are asking for the first time themes cervantini typically resumed later in the major works. The same year 1585 records but a real coup scene in the life of the writer: the abandonment, in final appearance of every literary activity. "I had other things to do - he wrote laconically cited in the prologue of 1615 -, I left the pen and comedies...". And he left not only the pen, but also Madrid, to dedicate themselves, in Andalucia, a humble profession: the collection of food for the expedition that Philip II prepared against the heretic England, the famous Armada, intended to complete failure (1588). Contributed, perhaps, to hit the scene, the strange marriage (December 1584) of the now trentasettenne writer with a young rural hidalga: Catalina Salazar, born and lived in a village of La Mancha toledana Esquivias, (the country of Don Quixote). Strange marriage for the difference in age, education and ideas that exist between the two spouses, which however had no sons (single direct descendant of Cervantes , in addition to the elusive son napoletano, will remain Isabel de Saavedra, born in November 1584 by loves with a actress Ana Franca de Rojas, and officially recognized by the writer). From 1585 to the early years of the seventeenth century the biography of Cervantes is, at least in appearance, empty of literary facts.
Works: the masterpiece of Don Quixote
The gramo craft - after harvest food for the army, buscandosi inter alia an excommunication from the Chapter of the cathedral of Seville, did the collector of taxs (alcabalero), the dependencies of greedy and dishonest contractors - The fruttò, with some ephemeral moment of affluence, especially disgusti and woe to not finish, so much so that at a certain point (1590) churches of leave for America, with the probable intention of expatriate forever: if a bureaucrat any not had bluntly answered no, perhaps the Don Quijote (Don Quixote) would never have been written. In 1597 the bankruptcy and the escape of a banker-contractor the procured a stay of some months in prison of Seville; and here, probably for "dar pastime spirit melancholic and killed", began to compose the Don Quixote, in the form of short novella. In these years he certainly had continued to read a lot and to write something: verses, theater, novellas to Italian, perhaps even for contacts with writers sivigliani (as Mateo Alemán, whose Guzmán de Alfarache opened at the end of the XVI century, the era of the picaresque novel). Finally leaving the Andalusia, at the beginning of the Seventeenth Century, to relocate to Valladolid, seat of the Court and of the government, to put his complicated accounts with the tax authorities, Cervantes wore seco a remarkable literary baggage: different novellas, including the wonderful Rinconete y Cortadillo, and almost the whole of the first part of Don Quixote, for which she asked and obtained in 1604 the prescribed "privilege". The year after the work was published in Madrid on a bad edition of the publisher Juan de la Cuesta, and the success was immediate as unexpected. Left Valladolid - where he had had other annoyance with justice for the murder of a certain Ezpeleta, in which the poor Cervantes there came absolutely - the writer he moved to Madrid, where he was to spend the last ten years of life (with some traveling to Esquivias, where he continued to reside in the wife). The success of Don Quixote (various editions, even pirate, and a first English translation) not brought him certain the affluence, nor the freed from many woe, debts, family pies. In 1610 tried in vain to leave for Naples in the wake of the new Viceroy Lemos; and perhaps the latter setback and presentiment of the next end the induced to intensify the literary activity: in 1613 went out the beautiful Novelas ejemplares Novelle specimens), in 1614 the Viaje of Parnassus (Journey of Parnassus), in 1615 the second part of Don Quixote and the Ocho comedias y ocho entremeses, and finally in 1617 Los trabajos de Persiles y Sigismunda (the sufferings of Persile Sigismonda and), posthumously however, since Cervantes was dead on 22 April of the previous year of diabetes and arteriosclerosis. The letter of dedication of Persile to the count of Lemos, dated 19 April 1616, is a wonderful document of resigned melancholy; and among other things it promised new works, such as the second part of the Galatea, Semanas of jardín (Weeks of garden), perhaps a collection of novellas as the Decameron, and Bernardo, lost or not ever written. What remained, however, was more than enough to do Cervantes one of the greatest writers of all times.
History: the disintegration of the Mongol Empire
With Qubilai, which in 1264 transferred the capital from the Karakoram in Beijing, begins the dismemberment of the Mongol Empire, the premises of which had already been placed by Genghis Khan when he was divided into fiefdoms the territories conquered, distributing them among his sons. As the Mongols were attracted by the superior civilization with which they come into contact, local needs ended up gradually with the emergence on imperial. The same Qubilai underwent strongly the influence of the Chinese civilization, while the authority of his sovereign lord of all Mongols was opposed by other branches of the family gengiskhanide and even when it was recognized, had for the most part a purely nominal. On the other hand, precisely in this period were more evident the positive aspects of the Mongolian expansion beyond the first wave of destruction that had accompanied. For the first time in history, in fact, the Far East was connected to the west by a continuity policy and planning that in addition to encourage trading, made possible a direct exchange of knowledge and the opening of new horizons of geographical and cultural. It is in this context that explains the voyage of Marco Polo. The pax mongolica however was of short duration. After Qubilai, the history of the Mongol Empire splits into that of individual khanates of which it was made. The dynasty of the Ilkhan of Persia lasted until 1336. The Khanate of the Golden Horde, Southern Russia was already in an advanced stage of disintegration, when in the XVI century received the decisive blows by Ivan the Terrible; however the Mongolian dynasty of Crimea survived under the ottoman protection, up to the XVIII century. As regards the Khanate of descendants of Cagatai, second son of Genghis Khan, which originally included the Transoxiana, Kashgaria and the region of the IL1, it passed through various dismemberment: Transoxiana fell in the XIV century, under the dominion of Timur, who made it the center of his kingdom, while in the region of the Ili The Cagataidi, now turchizzati, resisted until the XVI century, and in Kashgaria until the XVII century. After the expulsion of the Mongols from China (1368), various attempts were made in Mongolia to resume the legacy gengiskhanide. The events of this period appear to be characterised by fierce rivalry that divided the western Mongols, originating in the region of the Baikal, by the Mongols Oriental. In the first half of the fifteenth century took over the western Mongols: the League of Oirat managed to constitute a vast empire and to threaten more times the Chinese border. It was then the turn of the Mongols in eastern countries, which under a descendant of Genghis Khan, Dayan (1470-1543), rebuilt temporarily the Mongolian unit. During the reign of a nephew of Dayan, Altan Khan, took place in the XVI century the conversion of the Mongols to lamaismo tibetan. The rise of Manciù in XVII century marked the beginning of a new period in the history of the Mongols. Even before the Manciù conquistassero China in 1644, the tribes of the eastern part of Inner Mongolia recognized their sovereignty. In 1691 also the Khalkha tribes who occupied the Outer Mongolia, rather than give in to Oirat, subjugated to Manciù. The Oirat, who had reconstituted a strong state in Zungaria and in the valley of the Ili were the last heirs of tradition Mongolian Imperial. Their fight against the empire cino-manciù lasted until 1756-57 and ended with their destruction. The artillery cino-manciù had reason definitively the Mongolian cavalry. With the fall of the dynasty Manciù in 1911, the Mongolian aristocracy of Outer Mongolia proclaimed its independence, while the Inner Mongolia remained joined to China. For the recent history, see Inner Mongolia and Mongolia.
Literature
The Mongolian literature of the time of Genghis Khan remains very little: decrees (yasa) and judgments (bilik) in fragmentary form. Chronologically the first document is constituted by the stone of Genghis Khan of 1225. In the same period also belongs the epic of the origin of the Mongols and the kingdoms of Genghis Khan and Ögödei Secret History of the Mongols, drawn up in the original Mongolian around the middle of the XIIITH century and maintained in phonetic transcription Chinese, in an editorial staff of the second half of the XIV century. The Mongolian literature of the XIV century is constituted by numerous monuments epigraphical and by the first translations of Buddhist works from Tibetan, which contributed to the enrichment of the Mongolian. The term "golden" of Mongolian literature falls in the XVII and XVIII centuries: the two historical works more important are the Button d'oro of Lubdzandandzin of 1667 and the history of the Mongolians of Sanang Sätsän of 1662. From the seventeenth century is the translation of the canon Tibetan kanjur, as well as the collection of comments Tibetan buddhist tanjur. Of great interest also the epic cycle of the hero Gäsäi Khan, Tibetan origin, with elements chinese epic. From the seventeenth century to the end of XIX the Mongolian literature underwent the influence literary and linguistic in China: were translated, adapted, reworked the most famous works of classical Chinese from the history of the Three Kingdoms to wonderful tales of the study Liao to dream of the red room. In the first decades of the XX century began in Mongolia the tendency to replace the literary language with the different dialects vulgar: you are so well developed numerous autonomous literatures at popular character.
Art
The limited knowledge of the Mongolian art is based on the study of architectural testimonies not prior to the XVII century, i.e. subsequent to the conversion of the Mongols to lamaismo (XVI century), on which weigh strong influences the Tibetan and Chinese. The same conditions are encountered also in poor documentation of painting and sculpture, expressions of a religious art which developed in the same scope of influences. Greater importance is the role played by the Mongols in relations between East and West through the influences of China Yüan in art iranica ilkhanid and vice versa arabic-shutters in the Chinese one. In this feature through the artistic taste Mongolian did not fail to produce interesting encounters and certainly important trade. Characters more authentic taste of Mongolia are identifiable in some expressions of popular art, especially in the production of jewelry (feminine ornaments) and in the processing of metals in general where mingle experiences related to art animalistica.
Biography
The Spanish writer (Alcalá de Henares 1547-Madrid 1616). The fourth of seven children of a poor "surgeon" (medicastro without graduating and without social prestige), always full of debts and perhaps - something very serious in Spain in recent years of Charles V and the long reign of Philip II - of Jewish origin, Cervantes followed the family, wandering from one city to another (Valladolid, Cordova, Seville, Madrid) and could not perform regular studies, if not for short periods at the Jesuits, Cordova and Seville, and at the Municipal School of Madrid, directed by erasmiano López de Hoyos. These presented in 1568 the first verses of Cervantes in a collection dedicated to the memory of the Queen Isabella of Valois, third wife of Philip II, calling him "my dear and beloved disciple". In substance Cervantes was a self-taught, but its humanistic culture and renaissance was equally wide and relatively deep, because it always supported by an unquenchable desire to read and to know (read, tell later he himself, even the pieces of paper found along the roads). In 1569, wanted by police madrilena for having wounded in a brawl a certain Antonio Sigura and sentenced in absentia, Cervantes fled in Italy. Here he spent six years - absolutely decisive for his formation of man and writer - first in Rome, at the service of Cardinal Giulio Acquaviva, and then as a soldier of the Spanish army, in Naples, Sicily and probably also in Sardinia and in various cities of the continent. On 7 October 1571, at the edge of the Venetian galley Marchesa, took part in the battle of Lepanto, bringing serious wounds to his chest and the left hand, that the military surgeons the bore then definitively storpia. After several months in hospital of Messina taken part in other shipping in the Mediterranean, staying in intervals, in Naples, the city that had to be then always dearest and where perhaps left an illegitimate son, natogli by a mysterious woman and cruel, he remembered in the Galatea and other pages under the name of "Silena". During his stay in Italy the singular soldier lesse enormously: classical Latin and Italian humanists, etc., and wrote poems and prose in part lost, partly used then in Galatea. The 20 September 1575 embarked in Naples on galera El Sol, directed in Spain, where probably intended to continue the military career; but after six days near Marseille, was captured by pirates Moreschi, together with his brother Rodrigo, and transported in Algiers. For his redemption was secured an exorbitant price, that only five years after could be paid, indebitando even more the poor family of the writer. Those five years of slavery in Algiers were terrible, for continuous physical and moral sufferings; Cervantes li endured heroically, exiting spiritually stronger. Finally, in October of 1580, called a foothold in Spain after eleven years of absence; but, if he had hoped to see recognized in homeland their merits, had to disilludersi soon. In Spain of Philip II the veterans pullulavano unemployed, like the rest of the intellectuals and the actors (with the imperious rising star of Lope de Vega); for Cervantes , unknown and poor, open a way had to be almost impossible. After having tried without success tracks bureaucratic - the committed only a modest office in Oran, who had not followed - thought to the theater, the great popular discovery of the moment. The Italian Comedy of Art (Ganassa, Martinelli) mietevano great successes of the public in the early theaters stable (corrales) of Madrid and Spanish airlines emulavano them, traveling around the country, especially on the occasion of festivals of Corpus Christi, a pretext for showy performances outdoors. Cervantes composed theatrical works and the saw represented: "twenty or thirty", as recalled by himself, with melancholic irony, thirty years after, in the prologue of Ocho comedias (1615), "and all you recitarono without which it would pay homage to cucumbers or other material from bombardment; they ran their career without whistles, wail nor baraonde". Of these "twenty or thirty" dramas only two there are reached in defective texts published for the first time in 1784 by Antonio Sancha: El i try de Numancia (the siege of Numanzia) and El trato de Argel (the market of Algiers). Other (how?) were lost; and especially lamentabile is the loss of one to which Cervantes was to take much, because the appointment several times: La batalla naval, that with every probability you are referring to the battle of Lepanto, the day the most glorious of the existence of the writer. The quality of the two tragedies that we have received does however regret the loss of the other. Cervantes was always convinced that they have a genuine vocation theatrical, born in the distant years of childhood, when he attended the college of the Jesuits, where the theater was a normal didactic instrument, and through the streets of Seville, where she watched with admiring wonder to recite of Lope de Rueda, first student of Italian comedians. But the adverse circumstances frustrated that vocation; and if ne dolse several times, also and especially when, on the eve of his death (1615), could only publish, without being able to never see represented, Ocho comedias y ocho entremeses nuevos nunca representados (Eight comedies and eight new interludes never represented). But at the same time at the Teatro Cervantes tried another track: the novel. In 1585 a modest publisher of Alcalá de Henares, Juan Gracian, published the first part of the Galatea, a pastoral novel in prose and verse, probably begun in Italy on the model of the Arcadia of Sannazzaro, but that was never completed, although Cervantes promettesse several times - the last time three days before dying - to give the second and last part. Little appreciated, in general, by critics, the Galatea has instead a considerable importance, not only because it contains many autobiographical data and memories of many dear friends of years of Italy (not all identified under their "Disguise pastoral"), but also because you are asking for the first time themes cervantini typically resumed later in the major works. The same year 1585 records but a real coup scene in the life of the writer: the abandonment, in final appearance of every literary activity. "I had other things to do - he wrote laconically cited in the prologue of 1615 -, I left the pen and comedies...". And he left not only the pen, but also Madrid, to dedicate themselves, in Andalucia, a humble profession: the collection of food for the expedition that Philip II prepared against the heretic England, the famous Armada, intended to complete failure (1588). Contributed, perhaps, to hit the scene, the strange marriage (December 1584) of the now trentasettenne writer with a young rural hidalga: Catalina Salazar, born and lived in a village of La Mancha toledana Esquivias, (the country of Don Quixote). Strange marriage for the difference in age, education and ideas that exist between the two spouses, which however had no sons (single direct descendant of Cervantes , in addition to the elusive son napoletano, will remain Isabel de Saavedra, born in November 1584 by loves with a actress Ana Franca de Rojas, and officially recognized by the writer). From 1585 to the early years of the seventeenth century the biography of Cervantes is, at least in appearance, empty of literary facts.
Works: the masterpiece of Don Quixote
The gramo craft - after harvest food for the army, buscandosi inter alia an excommunication from the Chapter of the cathedral of Seville, did the collector of taxs (alcabalero), the dependencies of greedy and dishonest contractors - The fruttò, with some ephemeral moment of affluence, especially disgusti and woe to not finish, so much so that at a certain point (1590) churches of leave for America, with the probable intention of expatriate forever: if a bureaucrat any not had bluntly answered no, perhaps the Don Quijote (Don Quixote) would never have been written. In 1597 the bankruptcy and the escape of a banker-contractor the procured a stay of some months in prison of Seville; and here, probably for "dar pastime spirit melancholic and killed", began to compose the Don Quixote, in the form of short novella. In these years he certainly had continued to read a lot and to write something: verses, theater, novellas to Italian, perhaps even for contacts with writers sivigliani (as Mateo Alemán, whose Guzmán de Alfarache opened at the end of the XVI century, the era of the picaresque novel). Finally leaving the Andalusia, at the beginning of the Seventeenth Century, to relocate to Valladolid, seat of the Court and of the government, to put his complicated accounts with the tax authorities, Cervantes wore seco a remarkable literary baggage: different novellas, including the wonderful Rinconete y Cortadillo, and almost the whole of the first part of Don Quixote, for which she asked and obtained in 1604 the prescribed "privilege". The year after the work was published in Madrid on a bad edition of the publisher Juan de la Cuesta, and the success was immediate as unexpected. Left Valladolid - where he had had other annoyance with justice for the murder of a certain Ezpeleta, in which the poor Cervantes there came absolutely - the writer he moved to Madrid, where he was to spend the last ten years of life (with some traveling to Esquivias, where he continued to reside in the wife). The success of Don Quixote (various editions, even pirate, and a first English translation) not brought him certain the affluence, nor the freed from many woe, debts, family pies. In 1610 tried in vain to leave for Naples in the wake of the new Viceroy Lemos; and perhaps the latter setback and presentiment of the next end the induced to intensify the literary activity: in 1613 went out the beautiful Novelas ejemplares Novelle specimens), in 1614 the Viaje of Parnassus (Journey of Parnassus), in 1615 the second part of Don Quixote and the Ocho comedias y ocho entremeses, and finally in 1617 Los trabajos de Persiles y Sigismunda (the sufferings of Persile Sigismonda and), posthumously however, since Cervantes was dead on 22 April of the previous year of diabetes and
arteriosclerosis. The letter of dedication of Persile to the count of Lemos, dated 19 April 1616, is a wonderful document of resigned melancholy; and among other things it promised new works, such as the second part of the Galatea, Semanas of jardín (Weeks of garden), perhaps a collection of novellas as the Decameron, and Bernardo, lost or not ever written. What remained, however, was more than enough to do Cervantes one of the greatest writers of all times.