The works Main sources on the life and the conceptions of Rilke are, in addition to its Florenzer Tagebuch (1898; Florentine Diary), the books of memories of L. Andreas-Salomé and J. R. von Salis. Introvert and incapable of maintaining relationships are durable, but very skillful in the win protections distinguished and in the entertain an incalculable number of letters (7 volumes, and between recipients Gide and Verhaeren), Rilke had an extraordinary ability to make his poetic the authors more representative both of his time both of the past (see its translations from E. Browning, Mallarmé, Verlaine, Gide, Valéry) and recepì equally literary influences (by Klopstock to Hölderlin), philosophical (by Kierkegaard to Nietzsche), figurative (from rodin to Cézanne). Aware of owning a poetic vocation of religious matrix, Rilke saw in its poetry is not a product of the will, but the sign of a submission to something bigger. The first great lyric collection of juvenile period Leben und Lieder (1894; life and songs) followed Stundenbuch (1899-1903; Book of Hours); after the Buch der Bilder (1898-1906; the picture book) publishes Neue Gedichte (1907-08; new poems) and the novel Aufzeichnungen des Malte Laurids Brigge (1910; Notebooks of Malte Laurids Brigge), works in which you hear the thrust received from familiarity with Rodin, toward a job very strict and patient. In this poetic conception are recognizable net an overrun of the fuzzy softness and sentimental of famous ballad in prose and verse Weise von Liebe und Tod des Cornets Christoph Rilke (1899-1906; Romance of love and death of Bishop Christopher Rilke) and the approach of Rilke a phenomenological themes. The next phase sees an accentuation of the lyrical component in a total presence of death and life. Of this period are the Duineser Elegien (elegies of Duino), start to Duino in 1912 and concluded in Muzot in 1922, and the Sonette an Orpheus (Sonnets to Orpheus), compounds of the jet in 1922, long poems dense concepts and images of extraordinary lyricism. After the 1923 Rilke composed almost entirely of poems in French, that gathered in Vergers (1926; Verzieri). The lyrical Rilke, pregna of the value of the exaltation of the life which is celebrated at the spiritual level in death, remains a point of reference for the poetry of the twentieth century, although the decisive events of European culture is undertaken elsewhere, in school psychoanalytical neopositivistica and of Vienna, Berlin and even provincial in Dublin. After the Second World War he was considered by some to be the "Heidegger poetic", but a good part of the criticism was repudiated as metaphysical and "prefascista", although his language was taken up by various poets, including P. Celan. Subsequently the lesson of Rilke has been collecting by artists of different nationalities, including the American R. Jarrel and czech V. Holan and was attempted an interpretation of Rilke in husserliana key. As regards the novel Malte Laurids Brigge, the recognized a prominent place in the narrative of the twentieth century that breaks with the epic schemes of the nineteenth century and proposes, surpassing in the diary and in the assay, the vast subject of anguish and alienation. The Youth French poet (Charleville 1854-Marseille 1891). The Son of a captain of infantry who left early in the family and the second son of five children, Jean-Arthur Rimbaud was educated by her mother in a bourgeois rigorismo that made him suffer enormously in solitude, deserted affections, where you saw plumbed. He studied at the Lyceum hometown and became immediately noticed for the precocity of intelligence and the predisposition to verseggiare. Assisted by the young professor Georges Izambard, his teacher and friend, Rimbaud wrote three poems that were not yet published. Admirer of V. Hugo, he was definitely influenced by simbolisti Izambard that had taught to read and to love. Rimbaud is without doubt one of the authors who have most anticipated the modern spirit of dispute. Spirit restless, reacted to the war of 1870 with Prussia and the fall of the second Empire with a empito of revolt and hatred against the bourgeois society. Rushed back to Paris (two previous evasion, including an attempt to settle in Belgium were finished in nothing) for share fraternal moments with the wardens of the Commune. It does not seem however that has fought alongside them. Certainly sympathised with their fight, but once again had to go Charleville. From here the 15 May 1871 wrote to his friend Démeny La Lettre du voyant (Letter of seer). The relationship with Verlaine In the zeal of reaction to the French literature in its entirety Rimbaud went in search of new sensations and it was discovered "Visionary" in the exercise of poetare, as this led to the liberation of primeval forces of the human soul, provided that it abandoned the school preconceptions and the worldly vanity and academic. In this context was born his first masterpiece, Le bateau ivre (1872; The Drunken Boat): rutilanti imaginations and fantastic looming in a manner that presupposes the influence of Poe and Coleridge, rather than of Baudelaire, with extraordinary imagination and great poetic freedom. The manuscript was sent to Verlaine, that as soon as he had read invited Rimbaud to travel to Paris. In the French capital, Rimbaud found friendship, contrasted, dramatic resulted in an intimate bond of Verlaine, and had the opportunity to get to know other poets who were, together with him, paintings in the famous corner of the table of Fantin-Latour. With Verlaine The report became stormy. Rimbaud realized that was destroying the marriage of the friend, which continued to be tied to his wife from a deep affection. The two friends went together in Belgium, England, then again in Belgium, where Verlaine in the course of an nth lite (10 July 1873) hurt, not seriously, Rimbaud with two shots of the revolver. Verlaine was arrested and Rimbaud returned in the family, in the farmhouse of Roche, at Vouziers. The works Main sources on the life and the conceptions of Rilke are, in addition to its Florenzer Tagebuch (1898; Florentine Diary), the books of memories of L. Andreas-Salomé and J. R. von Salis. Introvert and incapable of maintaining relationships are durable, but very skillful in the win protections distinguished and in the entertain an incalculable number of letters (7 volumes, and between recipients Gide and Verhaeren), Rilke had an extraordinary ability to make his poetic the authors more representative both of his time both of the past (see its translations from E. Browning, Mallarmé, Verlaine, Gide, Valéry) and recepì equally literary influences (by Klopstock to Hölderlin), philosophical (by Kierkegaard to Nietzsche), figurative (from rodin to Cézanne). Aware of owning a poetic vocation of religious matrix, Rilke saw in its poetry is not a product of the will, but the sign of a submission to something bigger. The first great lyric collection of juvenile period Leben und Lieder (1894; life and songs) followed Stundenbuch (1899-1903; Book of Hours); after the Buch der Bilder (1898-1906; the picture book) publishes Neue Gedichte (1907-08; new poems) and the novel Aufzeichnungen des Malte Laurids Brigge (1910; Notebooks of Malte Laurids Brigge), works in which you hear the thrust received from familiarity with Rodin, toward a job very strict and patient. In this poetic conception are recognizable net an overrun of the fuzzy softness and sentimental of famous ballad in prose and verse Weise von Liebe und Tod des Cornets Christoph Rilke (1899-1906; Romance of love and death of Bishop Christopher Rilke) and the approach of Rilke a phenomenological themes. The next phase sees an accentuation of the lyrical component in a total presence of death and life. Of this period are the Duineser Elegien (elegies of Duino), start to Duino in 1912 and concluded in Muzot in 1922, and the Sonette an Orpheus (Sonnets to Orpheus), compounds of the jet in 1922, long poems dense concepts and images of extraordinary lyricism. After the 1923 Rilke composed almost entirely of poems in French, that gathered in Vergers (1926; Verzieri). The lyrical Rilke, pregna of the value of the exaltation of the life which is celebrated at the spiritual level in death, remains a point of reference for the poetry of the twentieth century, although the decisive events of European culture is undertaken elsewhere, in school psychoanalytical neopositivistica and of Vienna, Berlin and even provincial in Dublin. After the Second World War he was considered by some to be the "Heidegger poetic", but a good part of the criticism was repudiated as metaphysical and "prefascista", although his language was taken up by various poets, including P. Celan. Subsequently the lesson of Rilke has been collecting by artists of different nationalities, including the American R. Jarrel and czech V. Holan and was attempted an interpretation of Rilke in husserliana key. As regards the novel Malte Laurids Brigge, the recognized a prominent place in the narrative of the twentieth century that breaks with the epic schemes of the nineteenth century and proposes, surpassing in the diary and in the assay, the vast subject of anguish and alienation. The Youth The works Main sources on the life and the conceptions of Rilke are, in addition to its Florenzer Tagebuch (1898; Florentine Diary), the books of memories of L. Andreas-Salomé and J. R. von Salis. Introvert and incapable of maintaining relationships are durable, but very skillful in the win protections distinguished and in the entertain an incalculable number of letters (7 volumes, and between recipients Gide and Verhaeren), Rilke had an extraordinary ability to make his poetic the authors more representative both of his time both of the past (see its translations from E. Browning, Mallarmé, Verlaine, Gide, Valéry) and recepì equally literary influences (by Klopstock to Hölderlin), philosophical (by Kierkegaard to Nietzsche), figurative (from rodin to Cézanne). Aware of owning a poetic vocation of religious matrix, Rilke saw in its poetry is not a product of the will, but the sign of a submission to something bigger. The first great lyric collection of juvenile period Leben und Lieder (1894; life and songs) followed Stundenbuch (1899-1903; Book of Hours); after the Buch der Bilder (1898-1906; the picture book) publishes Neue Gedichte (1907-08; new poems) and the novel Aufzeichnungen des Malte Laurids Brigge (1910; Notebooks of Malte Laurids Brigge), works in which you hear the thrust received from familiarity with Rodin, toward a job very strict and patient. In this poetic conception are recognizable net an overrun of the fuzzy softness and sentimental of famous ballad in prose and verse Weise von Liebe und Tod des Cornets Christoph Rilke (1899-1906; Romance of love and death of Bishop Christopher Rilke) and the approach of Rilke a phenomenological themes. The next phase sees an accentuation of the lyrical component in a total presence of death and life. Of this period are the Duineser Elegien (elegies of Duino), start to Duino in 1912 and concluded in Muzot in 1922, and the Sonette an Orpheus (Sonnets to Orpheus), compounds of the jet in 1922, long poems dense concepts and images of extraordinary lyricism. After the 1923 Rilke composed almost entirely of poems in French, that gathered in Vergers (1926; Verzieri). The lyrical Rilke, pregna of the value of the exaltation of the life which is celebrated at the spiritual level in death, remains a point of reference for the poetry of the twentieth century, although the decisive events of European culture is undertaken elsewhere, in school psychoanalytical neopositivistica and of Vienna, Berlin and even provincial in Dublin. After the Second World War he was considered by some to be the "Heidegger poetic", but a good part of the criticism was repudiated as metaphysical and "prefascista", although his language was taken up by various poets, including P. Celan. Subsequently the lesson of Rilke has been collecting by artists of different nationalities, including the American R. Jarrel and czech V. Holan and was attempted an interpretation of Rilke in husserliana key. As regards the novel Malte Laurids Brigge, the recognized a prominent place in the narrative of the twentieth century that breaks with the epic schemes of the nineteenth century and proposes, surpassing in the diary and in the assay, the vast subject of anguish and alienation. The Youth French poet (Charleville 1854-Marseille 1891). The Son of a captain of infantry who left early in the family and the second son of five children, Jean-Arthur Rimbaud was educated by her mother in a bourgeois rigorismo that made him suffer enormously in solitude, deserted affections, where you saw plumbed. He studied at the Lyceum hometown and became immediately noticed for the precocity of intelligence and the predisposition to verseggiare. Assisted by the young professor Georges Izambard, his teacher and friend, Rimbaud wrote three poems that were not yet published. Admirer of V. Hugo, he was definitely influenced by simbolisti Izambard that had taught to read and to love. Rimbaud is without doubt one of the authors who have most anticipated the modern spirit of dispute. Spirit restless, reacted to the war of 1870 with Prussia and the fall of the second Empire with a empito of revolt and hatred against the bourgeois society. Rushed back to Paris (two previous evasion, including an attempt to settle in Belgium were finished in nothing) for share fraternal moments with the wardens of the Commune. It does not seem however that has fought alongside them. Certainly sympathised with their fight, but once again had to go Charleville. From here the 15 May 1871 wrote to his friend Démeny La Lettre du voyant (Letter of seer). The relationship with Verlaine In the zeal of reaction to the French literature in its entirety Rimbaud went in search of new sensations and it was discovered "Visionary" in the exercise of poetare, as this led to the liberation of primeval forces of the human soul, provided that it abandoned the school preconceptions and the worldly vanity and academic. In this context was born his first masterpiece, Le bateau ivre (1872; The Drunken Boat): rutilanti imaginations and fantastic looming in a manner that presupposes the influence of Poe and Coleridge, rather than of Baudelaire, with extraordinary imagination and great poetic freedom. The manuscript was sent to Verlaine, that as soon as he had read invited Rimbaud to travel to Paris. In the French capital, Rimbaud found friendship, contrasted, dramatic resulted in an intimate bond of Verlaine, and had the opportunity to get to know other poets who were, together with him, paintings in the famous corner of the table of Fantin-Latour. With Verlaine The report became stormy. Rimbaud realized that was destroying the marriage of the friend, which continued to be tied to his wife from a deep affection. The two friends went together in Belgium, England, then again in Belgium, where Verlaine in the course of an nth lite (10 July 1873) hurt, not seriously, Rimbaud with two shots of the revolver. Verlaine was arrested and Rimbaud returned in the family, in the farmhouse of Roche, at Vouziers. The masterpieces of maturity At Vouziers Rimbaud shooting and concluded probably Les Easter (1886; Illuminations; the title has perhaps only the meaning of colorful prints, harking back to the English meaning of illumination) and Une saison en enfer (1898; a season in Hell). The dates indicate the year of publication: much is in fact discussed on the timeline in the composition of these works and on the possible priority of the second on the first. Both works are the fruit of a creative imagination exceptional, linked to a conception negatrice of the world and of civilization. If the Easter, first published without your knowledge of the author, as almost all his verses of rest, are considered to be his masterpiece in the absolute sense, they appear but as the result of different inspirations with vertices of exaltation and abysses desperate, Confessions of a tortured soul, not infrequently lit from drugs. Les Easter are the testimony of a poem high, of a purity perhaps never touched nor more reached, even in the Saison en enfer, rich in revelations of his tormented life time to the conquest of a different measure, in poetry and dream in life and creation which elevates the poet to sublime heights to leave, won, humble man returned and rooted in that earth, thing among things, which with a coup d'ala had wanted and managed to come off. Do not therefore cursed poet, but superb singer of a reality divined, Toccata, not conquered for ever. Rimbaud, negation of everything, is quiet and resigned: "Moi je suis rendu au sol" exclaims and yet, he who had blasphemed God, outraged society, denied Christ: "Pitié! Seigneur, j'ai peur" on completion of his poetic vocation. Off his muse Rimbaud lived his last years an adventurer. In 1874 it was in England, then travelled tirelessly: Batavia, Cyprus, Egypt and ten years in Ethiopia, at the time of the colonial campaign. He oversaw trade (not excluded, for some, that of slaves, from other denied) and made life harsh, until, for an infection to the right leg, which was amputated in Marseilles, died in removal more absolute from the things of the world, so much so that his death was considered by some as that of a religious martyr. Arguedas, José María Ethnologist and Peruvian narrator (Andahuaylas, Apurimac, 1911-Lima 1969). Her mother tongue was the Quechua, the language of the Incas; however no other writer has succeeded as him to express in Spanish the world of Indians of Peru, in which he had grown up, and the contrast with the world of whites. His masterpiece is the autobiographical novel Los RÃ os profundos (1958; the deep rivers) in which through the evocation of childhood emerges an irresistible attraction for nature. Among other narrative works of Arguedas, died suicide, remember: Agua (1935; water), Yawar fiesta (1941; Feast of blood), Diamantes y pedernales (1954; Diamonds and flints), El Sexto (1961; The Sexto), Todas las sangres (1964; all races), amor y mundo todos los cuentos (1967; love the world and all the stories), El zorro de arriba y el zorro de abajo (posthumously 1971; the fox above and the fox below).Zest, Manuel Peruvian narrator (Lima 1929-Madrid 1983). Forced into exile during the regime of the dictator M. A. Odría, lived in Europe and in Mexico. Back in Peru in 1978, played political activity in a party of the left. After four books of poetry, published between 1955 and 1970, peel passed with success on the narrative. In the cycle of five novels started with Redoble para Rancas (1971; drum rolls for Rancas) and continued with Historia de Garabombo el invisible (1972; history of Garabombo the invisible), Cantar de Agapito Robles (1977; Sing Agapito Robles), El jinete insomme (1977; the sleepless knight) and blaze (1980), zest effectively reconstructs the peruvian reality, dominated by the conflicts between indigenous and white population, giving body to an epic suspended between truth and magic. In the subsequent tests, the tumba of relámpago (1979; The tomb of lightning) and dance inmóvil (1981; dance property), showed a growing originality, through the research of a language more autonomously narrative and of a more tense and substantial psychological truth. After his death in an air disaster, were published some unpublished books. The luck of the rate has been immense and profound, starting from his biography, which has been enriched over the centuries of romance meanings up to identify rate, in the romantic era with the exemplary figure of the lonely genius and misunderstood, foreigner among men: this is the theme of the drama goethiano (Torquato Tasso, 1790), while G. Leopardi, the Canzone Ad Angelo Mai, places the humanity of the rate in a sphere of more high suggestion with respect to the same poetic production; C. Baudelaire, finally, tracing the portrait of the poet closed in prison and embedded in a "scale of vertigo" (Sur Taxs en prison, in Les Fleurs du mal), infuses into the personality of rate a modern existential anxiety. Impossible is to provide documentation about the influence of the Tasso poetry in european literature: suffice it to recall how the whole century baroque has recognized in Rate a precursor and a master and as echoes and suggestions of the Tasso opera are recognizable in the production of H. d'Urfé in France, L. F. Lope de Vega in Spain, J. Milton in England, F. G. Klopstock in Germany; and finally, as regards our literature, poetry Tasso fruttificato has in P. Metastasio and V. Alfieri, and has been incorporated in a whole current of taste that goes from U. Foscolo to Carducci, until Ungaretti the sentiment of time. Garcilaso de la Vega, said el Inca Writer and historian Peruvian Cuzco (1539-Cordoba, Spain, 1616). The Son of a spanish conqueror and a Princess Inca, lived in Peru up to 21 years, and then he settled in Spain. Its condition of mestizo sharer in the two cultures, the European renaissance and the indigenous American, is reflected in his literary work begun after 50 years with the excellent spanish translation of the dialogs of love of Leo Jew (1590). Was oriented afterwards toward the historical theme of conquest of the New World with the Florida del Inca (1605; La Florida), in which he tells the tragic expedition of Hernando De Soto, and with the Comentarios reales de los Incas (real Commentaries of the Incas), his most important work, published in two parts: the first (1609) is of the origins, costumes and the domain of the Incas, the second, posthumous output with the title Historia general del Peru (1617; General History of Peru) narrates the discovery, the conquest and the civil wars of Peru. Previous chronicles, legends and traditions incaiche (often gathered orally during the years of childhood), personal memories converge in the first part to compose the idyllic vision of a mythical Golden Age Inca, evoked with nostalgia in a prose that reflects the full dominion of the Castilian literature. French poet (Charleville 1854-Marseille 1891). The Son of a captain of infantry who left early in the family and the second son of five children, Jean-Arthur Rimbaud was educated by her mother in a bourgeois rigorismo that made him suffer enormously in solitude, deserted affections, where you saw plumbed. He studied at the Lyceum hometown and became immediately noticed for the precocity of intelligence and the predisposition to verseggiare. Assisted by the young professor Georges Izambard, his teacher and friend, Rimbaud wrote three poems that were not yet published. Admirer of V. Hugo, he was definitely influenced by simbolisti Izambard that had taught to read and to love. Rimbaud is without doubt one of the authors who have most anticipated the modern spirit of dispute. Spirit restless, reacted to the war of 1870 with Prussia and the fall of the second Empire with a empito of revolt and hatred against the bourgeois society. Rushed back to Paris (two previous evasion, including an attempt to settle in Belgium were finished in nothing) for share fraternal moments with the wardens of the Commune. It does not seem however that has fought alongside them. Certainly sympathised with their fight, but once again had to go Charleville. From here the 15 May 1871 wrote to his friend Démeny La Lettre du voyant (Letter of seer). The relationship with Verlaine In the zeal of reaction to the French literature in its entirety Rimbaud went in search of new sensations and it was discovered "Visionary" in the exercise of poetare, as this led to the liberation of primeval forces of the human soul, provided that it abandoned the school preconceptions and the worldly vanity and academic. In this context was born his first masterpiece, Le bateau ivre (1872; The Drunken Boat): rutilanti imaginations and fantastic looming in a manner that presupposes the influence of Poe and Coleridge, rather than of Baudelaire, with extraordinary imagination and great poetic freedom. The manuscript was sent to Verlaine, that as soon as he had read invited Rimbaud to travel to Paris. In the French capital, Rimbaud found friendship, contrasted, dramatic resulted in an intimate bond of Verlaine, and had the opportunity to get to know other poets who were, together with him, paintings in the famous corner of the table of Fantin-Latour. With Verlaine The report became stormy. Rimbaud realized that was destroying the marriage of the friend, which continued to be tied to his wife from a deep affection. The two friends went together in Belgium, England, then again in Belgium, where Verlaine in the course of an nth lite (10 July 1873) hurt, not seriously, Rimbaud with two shots of the revolver. Verlaine was arrested and Rimbaud returned in the family, in the farmhouse of Roche, at Vouziers. The masterpieces of maturity At Vouziers Rimbaud shooting and concluded probably Les Easter (1886; Illuminations; the title has perhaps only the meaning of colorful prints, harking back to the English meaning of illumination) and Une saison en enfer (1898; a season in Hell). The dates indicate the year of publication: much is in fact discussed on the timeline in the composition of these works and on the possible priority of the second on the first. Both works are the fruit of a creative imagination exceptional, linked to a conception negatrice of the world and of civilization. If the Easter, first published without your knowledge of the author, as almost all his verses of rest, are considered to be his masterpiece in the absolute sense, they appear but as the result of different inspirations with vertices of exaltation and abysses desperate, Confessions of a tortured soul, not infrequently lit from drugs. Les Easter are the testimony of a poem high, of a purity perhaps never touched nor more reached, even in the Saison en enfer, rich in revelations of his tormented life time to the conquest of a different measure, in poetry and dream in life and creation which elevates the poet to sublime heights to leave, won, humble man returned and rooted in that earth, thing among things, which with a coup d'ala had wanted and managed to come off. Do not therefore cursed poet, but superb singer of a reality divined, Toccata, not conquered for ever. Rimbaud, negation of everything, is quiet and resigned: "Moi je suis rendu au sol" exclaims and yet, he who had blasphemed God, outraged society, denied Christ: "Pitié! Seigneur, j'ai peur" on completion of his poetic vocation. Off his muse Rimbaud lived his last years an adventurer. In 1874 it was in England, then travelled tirelessly: Batavia, Cyprus, Egypt and ten years in Ethiopia, at the time of the colonial campaign. He oversaw trade (not excluded, for some, that of slaves, from other denied) and made life harsh, until, for an infection to the right leg, which was amputated in Marseilles, died in removal more absolute from the things of the world, so much so that his death was considered by some as that of a religious martyr. Arguedas, José María Ethnologist and Peruvian narrator (Andahuaylas, Apurimac, 1911-Lima 1969). Her mother tongue was the Quechua, the language of the Incas; however no other writer has succeeded as him to express in Spanish the world of Indians of Peru, in which he had grown up, and the contrast with the world of whites. His masterpiece is the autobiographical novel Los RÃ os profundos (1958; the deep rivers) in which through the evocation of childhood emerges an irresistible attraction for nature. Among other narrative works of Arguedas, died suicide, remember: Agua (1935; water), Yawar fiesta (1941; Feast of blood), Diamantes y pedernales (1954; Diamonds and flints), El Sexto (1961; The Sexto), Todas las sangres (1964; all races), amor y mundo todos los cuentos (1967; love the world and all the stories), El zorro de arriba y el zorro de abajo (posthumously 1971; the fox above and the fox below).Zest, Manuel Peruvian narrator (Lima 1929-Madrid 1983). Forced into exile during the regime of the dictator M. A. Odría, lived in Europe and in Mexico. Back in Peru in 1978, played political activity in a party of the left. After four books of poetry, published between 1955 and 1970, peel passed with success on the narrative. In the cycle of five novels started with Redoble para Rancas (1971; drum rolls for Rancas) and continued with Historia de Garabombo el invisible (1972; history of Garabombo the invisible), Cantar de Agapito Robles (1977; Sing Agapito Robles), El jinete insomme (1977; the sleepless knight) and blaze (1980), zest effectively reconstructs the peruvian reality, dominated by the conflicts between indigenous and white population, giving body to an epic suspended between truth and magic. In the subsequent tests, the tumba of relámpago (1979; The tomb of lightning) and dance inmóvil (1981; dance property), showed a growing originality, through the research of a language more autonomously narrative and of a more tense and substantial psychological truth. After his death in an air disaster, were published some unpublished books. The luck of the rate has been immense and profound, starting from his biography, which has been enriched over the centuries of romance meanings up to identify rate, in the romantic era with the exemplary figure of the lonely genius and misunderstood, foreigner among men: this is the theme of the drama goethiano (Torquato Tasso, 1790), while G. Leopardi, the Canzone Ad Angelo Mai, places the humanity of the rate in a sphere of more high suggestion with respect to the same poetic production; C. Baudelaire, finally, tracing the portrait of the poet closed in prison and embedded in a "scale of vertigo" (Sur Taxs en prison, in Les Fleurs du mal), infuses into the personality of rate a modern existential anxiety. Impossible is to provide documentation about the influence of the Tasso poetry in european  literature: suffice it to recall how the whole century baroque has recognized in Rate a precursor and a master and as echoes and suggestions of the Tasso opera are recognizable in the production of H. d'Urfé in France, L. F. Lope de Vega in Spain, J. Milton in England, F. G. Klopstock in Germany; and finally, as regards our literature, poetry Tasso fruttificato has in P. Metastasio and V. Alfieri, and has been incorporated in a whole current of taste that goes from U. Foscolo to Carducci, until Ungaretti the sentiment of time. Garcilaso de la Vega, said el Inca Writer and historian Peruvian Cuzco (1539-Cordoba, Spain, 1616). The Son of a spanish conqueror and a Princess Inca, lived in Peru up to 21 years, and then he settled in Spain. Its condition of mestizo sharer in the two cultures, the European renaissance and the indigenous American, is reflected in his literary work begun after 50 years with the excellent spanish translation of the dialogs of love of Leo Jew (1590). Was oriented afterwards toward the historical theme of conquest of the New World with the Florida del Inca (1605; La Florida), in which he tells the tragic expedition of Hernando De Soto, and with the Comentarios reales de los Incas (real Commentaries of the Incas), his most important work, published in two parts: the first (1609) is of the origins, costumes and the domain of the Incas, the second, posthumous output with the title Historia general del Peru (1617; General History of Peru) narrates the discovery, the conquest and the civil wars of Peru. Previous chronicles, legends and traditions incaiche (often gathered orally during the years of childhood), personal memories converge in the first part to compose the idyllic vision of a mythical Golden Age Inca, evoked with nostalgia in a prose that reflects the full dominion of the Castilian literature. The masterpieces of maturity At Vouziers Rimbaud shooting and concluded probably Les Easter (1886; Illuminations; the title has perhaps only the meaning of colorful prints, harking back to the English meaning of illumination) and Une saison en enfer (1898; a season in Hell). The dates indicate the year of publication: much is in fact discussed on the timeline in the composition of these works and on the possible priority of the second on the first. Both works are the fruit of a creative imagination exceptional, linked to a conception negatrice of the world and of civilization. If the Easter, first published without your knowledge of the author, as almost all his verses of rest, are considered to be his masterpiece in the absolute sense, they appear but as the result of different inspirations with vertices of exaltation and abysses desperate, Confessions of a tortured soul, not infrequently lit from drugs. Les Easter are the testimony of a poem high, of a purity perhaps never touched nor more reached, even in the Saison en enfer, rich in revelations of his tormented life time to the conquest of a different measure, in poetry and dream in life and creation which elevates the poet to sublime heights to leave, won, humble man returned and rooted in that earth, thing among things, which with a coup d'ala had wanted and managed to come off. Do not therefore cursed poet, but superb singer of a reality divined, Toccata, not conquered for ever. Rimbaud, negation of everything, is quiet and resigned: "Moi je suis rendu au sol" exclaims and yet, he who had blasphemed God, outraged society, denied Christ: "Pitié! Seigneur, j'ai peur" on completion of his poetic vocation. Off his muse Rimbaud lived his last years an adventurer. In 1874 it was in England, then travelled tirelessly: Batavia, Cyprus, Egypt and ten years in Ethiopia, at the time of the colonial campaign. He oversaw trade (not excluded, for some, that of slaves, from other denied) and made life harsh, until, for an infection to the right leg, which was amputated in Marseilles, died in removal more absolute from the things of the world, so much so that his death was considered by some as that of a religious martyr. Arguedas, José María Ethnologist and Peruvian narrator (Andahuaylas, Apurimac, 1911-Lima 1969). Her mother tongue was the Quechua, the language of the Incas; however no other writer has succeeded as him to express in Spanish the world of Indians of Peru, in which he had grown up, and the contrast with the world of whites. His masterpiece is the autobiographical novel Los RÃ os profundos (1958; the deep rivers) in which through the evocation of childhood emerges an irresistible attraction for nature. Among other narrative works of Arguedas, died suicide, remember: Agua (1935; water), Yawar fiesta (1941; Feast of blood), Diamantes y pedernales (1954; Diamonds and flints), El Sexto (1961; The Sexto), Todas las sangres (1964; all races), amor y mundo todos los cuentos (1967; love the world and all the stories), El zorro de arriba y el zorro de abajo (posthumously 1971; the fox above and the fox below).Zest, Manuel Peruvian narrator (Lima 1929-Madrid 1983). Forced into exile during the regime of the dictator M. A. Odría, lived in Europe and in Mexico. Back in Peru in 1978, played political activity in a party of the left. After four books of poetry, published between 1955 and 1970, peel passed with success on the narrative. In the cycle of five novels started with Redoble para Rancas (1971; drum rolls for Rancas) and continued with Historia de Garabombo el invisible (1972; history of Garabombo the invisible), Cantar de Agapito Robles (1977; Sing Agapito Robles), El jinete insomme (1977; the sleepless knight) and blaze (1980), zest effectively reconstructs the peruvian reality, dominated by the conflicts between indigenous and white population, giving body to an epic suspended between truth and magic. In the subsequent tests, the tumba of relámpago (1979; The tomb of lightning) and dance inmóvil (1981; dance property), showed a growing originality, through the research of a language more autonomously narrative and of a more tense and substantial psychological truth. After his death in an air disaster, were published some unpublished books. The luck of the rate has been immense and profound, starting from his biography, which has been enriched over the centuries of romance meanings up to identify rate, in the romantic era with the exemplary figure of the lonely genius and misunderstood, foreigner among men: this is the theme of the drama goethiano (Torquato Tasso, 1790), while G. Leopardi, the Canzone Ad Angelo Mai, places the humanity of the rate in a sphere of more high suggestion with respect to the same poetic production; C. Baudelaire, finally, tracing the portrait of the poet closed in prison and embedded in a "scale of vertigo" (Sur Taxs en prison, in Les Fleurs du mal), infuses into the personality of rate a modern existential anxiety. Impossible is to provide documentation about the influence of the Tasso poetry in european literature: suffice it to recall how the whole century baroque has recognized in Rate a precursor and a master and as echoes and suggestions of the Tasso opera are recognizable in the production of H. d'Urfé in France, L. F. Lope de Vega in Spain, J. Milton in England, F. G. Klopstock in Germany; and finally, as regards our literature, poetry Tasso fruttificato has in P. Metastasio and V. Alfieri, and has been incorporated in a whole current of taste that goes from U. Foscolo to Carducci, until Ungaretti the sentiment of time. Garcilaso de la Vega, said el Inca Writer and historian Peruvian Cuzco (1539-Cordoba, Spain, 1616). The Son of a spanish conqueror and a Princess Inca, lived in Peru up to 21 years, and then he settled in Spain. Its condition of mestizo sharer in the two cultures, the European renaissance and the indigenous American, is reflected in his literary work begun after 50 years with the excellent spanish translation of the dialogs of love of Leo Jew (1590). Was oriented afterwards toward the historical theme of conquest of the New World with the Florida del Inca (1605; La Florida), in which he tells the tragic expedition of Hernando De Soto, and with the Comentarios reales de los Incas (real Commentaries of the Incas), his most important work, published in two parts: the first (1609) is of the origins, costumes and the domain of the Incas, the second, posthumous output with the title Historia general del Peru (1617; General History of Peru) narrates the discovery, the conquest and the civil wars of Peru. Previous chronicles, legends and traditions incaiche (often gathered orally during the years of childhood), personal memories converge in the first part to compose the idyllic vision of a mythical Golden Age Inca, evoked with nostalgia in a prose that reflects the full dominion of the Castilian literature.