The life The Italian poet (Florence 1265-Ravenna 1321). Was born by Alighiero Bellincione to and from Nice in a family of small nobility town (the great-great-grandparent Cacciaguida, knight of Conrad II, had died in the crusade of 1147) not supplied with large resources. Lost in the infancy the mother, promised by 1277 to Gemma Donati (the marriage took place around 1285), lived adolescence and youth in the usual occupations to young people of its environment: grammar studies and rhetorical, literary friendships, meetings with personages of the established culture of the time. First among these is the Guelfo Brunetto Latini, maximum exponent of the rhetorical culture encyclopedic-of the thirteenth century, which was due to the disclosure in Florence of the French enciclopedismo. Other cultural component of the time, the so-called Poetical School "Sicilian", and then of the lyric poets-siculo Toscani, among which had great highlights the artistic personality of Guittone d'Arezzo: readings for this type influenced the first time poetic of Dante and the disposero to fundamental encounter (1283) with another poet, already affirmed and greater age, Guido Cavalcanti, defined in the new life "first friend". In these years the literary experience and the life itself of the poet received an original impression and abiding by the encounter with Beatrice Portinari: vital moment, whose meaning is explained by the new life. The death of his beloved woman (1290) and the search for a comfort to your pain Dante went to a more profound meditation and a more extensive studies of philosophy which followed soon (1295) The participation in public life. He had already served the municipality (1289) fighting at Campaldino (against Arezzo) and Caprona (against Pisa); but, in the Guelfa Florence divided into black part (headed by the powerful Donati and sustained by the pope) and white part (guided by circles, more moderate and supporters of an autonomous policy), Dante, spontaneously adhering to the whites and opposing to the interference of Boniface VIII in the life of the city, primeggiò among the leaders of Florentine politics. Ambassador of the town San Gemignano and prior in 1300, was sent to embassy to the Pope in 1301, when Charles of Valois (officially paciere between the parties, but hidden supporter of donated) approached in Florence. With the entry of Charles in town the Blacks won power: in 1302, accused of baratteria, Dante was condemned before the exile and then to death. The Bandit, he was one of the signatories, at San Godenzo, of the covenant with the Ubaldini to wage war in Florence; therefore sought aid for the exiling in Forlì and Verona and hoped finally, unnecessarily, in the pacification of the parties attempted in 1304 by Cardinal Nicolò da Prato. Detached from the companions, not participated in an armed attempt against Florence (the plate, July 1304) and began the lonely wanderings for every part of Italy. Between 1304 and 1306 was in Bologna: there taken to compose the De vulgari eloquentia and the Convivio, which mark the further widen and deepen cultural interests and civilians. After a stay in Lunigiana at the Malaspina (1306), Dante was in Lucca (1308), then in the Casentino. In the same year the election of Henry of Luxembourg to Emperor did reborn the hopes of an exile, convinced that the disinterest of past emperors and prolonged holiday of the Empire were determinants of political disorder and moral of Italy and Europe and that the coming in Italy of Henry VII would have restored order and peace. But the death of Henry (1313), after that his mission was opposed, beyond that from Florence, from the papal curia and by the king of Naples, troncò every dream of peace; and Dante, around 1316, repaired in Verona at Cangrande della Scala, and later in Ravenna, at Guido da Polenta: here he accomplished the comedy and here he overtook him death, on 14 September 1321. The life The Italian poet (Florence 1265-Ravenna 1321). Was born by Alighiero Bellincione to and from Nice in a family of small nobility town (the great-great-grandparent Cacciaguida, knight of Conrad II, had died in the crusade of 1147) not supplied with large resources. Lost in the infancy the mother, promised by 1277 to Gemma Donati (the marriage took place around 1285), lived adolescence and youth in the usual occupations to young people of its environment: grammar studies and rhetorical, literary friendships, meetings with personages of the established culture of the time. First among these is the Guelfo Brunetto Latini, maximum exponent of the rhetorical culture encyclopedic-of the thirteenth century, which was due to the disclosure in Florence of the French enciclopedismo. Other cultural component of the time, the so-called Poetical School "Sicilian", and then of the lyric poets-siculo Toscani, among which had great highlights the artistic personality of Guittone d'Arezzo: readings for this type influenced the first time poetic of Dante and the disposero to fundamental encounter (1283) with another poet, already affirmed and greater age, Guido Cavalcanti, defined in the new life "first friend". In these years the literary experience and the life itself of the poet received an original impression and abiding by the encounter with Beatrice Portinari: vital moment, whose meaning is explained by the new life. The death of his beloved woman (1290) and the search for a comfort to your pain Dante went to a more profound meditation and a more extensive studies of philosophy which followed soon (1295) The participation in public life. He had already served the municipality (1289) fighting at Campaldino (against Arezzo) and Caprona (against Pisa); but, in the Guelfa Florence divided into black part (headed by the powerful Donati and sustained by the pope) and white part (guided by circles, more moderate and supporters of an autonomous policy), Dante, spontaneously adhering to the whites and opposing to the interference of Boniface VIII in the life of the city, primeggiò among the leaders of Florentine politics. Ambassador of the town San Gemignano and prior in 1300, was sent to embassy to the Pope in 1301, when Charles of Valois (officially paciere between the parties, but hidden supporter of donated) approached in Florence. With the entry of Charles in town the Blacks won power: in 1302, accused of baratteria, Dante was condemned before the exile and then to death. The Bandit, he was one of the signatories, at San Godenzo, of the covenant with the Ubaldini to wage war in Florence; therefore sought aid for the exiling in Forlì and Verona and hoped finally, unnecessarily, in the pacification of the parties attempted in 1304 by Cardinal Nicolò da Prato. Detached from the companions, not participated in an armed attempt against Florence (the plate, July 1304) and began the lonely wanderings for every part of Italy. Between 1304 and 1306 was in Bologna: there taken to compose the De vulgari eloquentia and the Convivio, which mark the further widen and deepen cultural interests and civilians. After a stay in Lunigiana at the Malaspina (1306), Dante was in Lucca (1308), then in the Casentino. In the same year the election of Henry of Luxembourg to Emperor did reborn the hopes of an exile, convinced that the disinterest of past emperors and prolonged holiday of the Empire were determinants of political disorder and moral of Italy and Europe and that the coming in Italy of Henry VII would have restored order and peace. But the death of Henry (1313), after that his mission was opposed, beyond that from Florence, from the papal curia and by the king of Naples, troncò every dream of peace; and Dante, around 1316, repaired in Verona at Cangrande della Scala, and later in Ravenna, at Guido da Polenta: here he accomplished the comedy and here he overtook him death, on 14 September 1321. The youthful works and the Rhymes Character of franca tutorial, especially linguistic and metric, have two literary compositions attributed to Dante in force of the style, the Detto d'amore and the Flower, born in the context of the ideal lesson of Brunetto Latini. The said, poem mutilated in distici of seven-syllables are rhymed couplets, is youth reworking of a part of the Roman de la Rose. More late, far more spigliato, most breath, the Flower, "crown" of 232 sonnets, parafrasa and summarizes skills with the parties the narrative of Roman same omettendone, the doctrinal digressions, but not the ideas controversial. The first work of uncontested paternity and content absolutely original is the new life (ca. 1293), which collects 31 lyrics in a frame of prose, a celebration of the poet's love for Beatrice, and is not only the first autobiographical novel of our literature, but also the manifesto of personal conception that, although within the stilnovo, Dante had of love and poetry to it inspired. In recounting the first and second meeting with Beatrice, the miraculous effects of his greeting and suffering for the loss of it, the interiorizzarsi of feeling, the premonition of the death of the beloved and the anguish for his disappearance; recalling the search for comfort in the love of a "friendly woman" and the interior struggle that it follows up to the victorious prevail of the thought of Beatrice and the intention to say her "what never fue said d'No', Dante lays the foundations for the future the first nucleus of the Comedy. At the same time exceeds the ways and the contents of the stilnovo, elaborating its own concept of love, not just the fruit of spiritual nobility and a source of inner renewal, but absolute sentiment that finds himself into his own reward and opens up to man the knowledge (analog) of the Divine, through the contemplation of the perfection and beauty of the Beloved. For the particular character which the new life assumes in its human itinerary and poetic of Dante, there is included only a part of the poems composed in the decade 1283-93. In other rhymes (the production ends around 1308), a moment sicilianeggiante and guittoniano, marked by a provenzalismo manner, happen the testimonies of the accession of the poet to stilnovismo, first generic and school, then scopertamente cavalcantiano, then adhering to the modules of the great maestro, Guinizzelli. Other stimuli is example the "tenzone" with Forese Donati (ca. 1293-96), realistic in the forms and pungent in content: it, drops the hypothesis of apocrifità, remains as evidence of gender and language, remarkable in itself and for future use in the Comedy. The contemporary songs allegorical doctrinal and (including the three then commented on in the Convivio), while moving again by stilnovistica thematic and guinizzelliana (with ascendants guittoniane), show a new Dante, fact poet of virtue and science, while in rime rich equivocal and of "petrose" (modeled, with obvious technical loans and thematic, on trobar clus of provencal Arnault Daniel) a high research in art and style triggers the theme of a burning passion is not paid. The allegorical songs doctrinal and tie back many of the compositions of the Exile (including the song on justice three women), witnesses of a full possession of the style and vigorous moral and civil commitment. But do not disappear altogether the ancient themes: resumes the poetic correspondence with Cino da Pistoia (already prior to the exile), returns with his song "Montanina", the representation of love despotic in toni stilnovo; the latter experiment closes (if you neglect numerous Rime of dubious allocation) the lyrical cycle of Dante Alighieri, essential not only for the understanding of the personality of the author (stretched to experiment and play originally the forms and content poetic different more), but also for the future conduct of Italian opera. The problem of the language and style At the critical work and poetics of Dante Alighieri goes the merit to have given to the vulgar italian dignity of the language of art. If the new life is limited to justify the use of the vernacular on the level of praxis poetics of lyric poets of love, in ConvivioDante starts a speech more general on the Italian language, riconoscendole, in the introductory Treaty, those traits of kindness, wealth, property, goodness which until then were attributed only to the Latin (and French). The same type of vernacular prose used in the Convivio (periodare from complex and high, modeled on that latin-school) and the content of lyrics commented in the opera will detach from the youth operetta (and Dante himself is aware), as is appropriate to the different experience of the author, gained from exile, and to the subject matter hereof, fruit of philosophical studies and of civil and political commitment. The vernacular will then be "sun new", that will illuminate on the road to understanding those which "the sun used", i.e. the Latin, "not light". It is the recognition of the validity ideal and practice of vulgar italian as the language of science and art. The conduct timely, theory and applications together, this thesis is contained in the De vulgari eloquentia (1304-05), Latin work designed in 4 books, but stopped at Chapter XIV of Book II. From the statements of the author, which leads to the example himself as a poet of virtue, it seems clear that the language of which he treats is that of art: in particular, is the language and the style of the same Dante, in its highest lyric production of ethical inspiration. In this sense the treaty on language reconnects to the Convivio, the great songs in it commented out (concrete application of the theory), to all the stylistic research of Dante, opened by the new life and the Rhymes and summarized and concluded by the comedy. In it the language lives at the same time as a means of communication and as artistic creation in turn innovated, as the "sun new" of which the author had felt the need conceptual and ethical-political and as the realization of very precise stylistic choices. 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. The youthful works and the Rhymes Character of franca tutorial, especially linguistic and metric, have two literary compositions attributed to Dante in force of the style, the Detto d'amore and the Flower, born in the context of the ideal lesson of Brunetto Latini. The said, poem mutilated in distici of seven-syllables are rhymed couplets, is youth reworking of a part of the Roman de la Rose. More late, far more spigliato, most breath, the Flower, "crown" of 232 sonnets, parafrasa and summarizes skills with the parties the narrative of Roman same omettendone, the doctrinal digressions, but not the ideas controversial. The first work of uncontested paternity and content absolutely original is the new life (ca. 1293), which collects 31 lyrics in a frame of prose, a celebration of the poet's love for Beatrice, and is not only the first autobiographical novel of our literature, but also the manifesto of personal conception that, although within the stilnovo, Dante had of love and poetry to it inspired. In recounting the first and second meeting with Beatrice, the miraculous effects of his greeting and suffering for the loss of it, the interiorizzarsi of feeling, the premonition of the death of the beloved and the anguish for his disappearance; recalling the search for comfort in the love of a "friendly woman" and the interior struggle that it follows up to the victorious prevail of the thought of Beatrice and the intention to say her "what never fue said d'No', Dante lays the foundations for the future the first nucleus of the Comedy. At the same time exceeds the ways and the contents of the stilnovo, elaborating its own concept of love, not just the fruit of spiritual nobility and a source of inner renewal, but absolute sentiment that finds himself into his own reward and opens up to man the knowledge (analog) of the Divine, through the contemplation of the perfection and beauty of the Beloved. For the particular character which the new life assumes in its human itinerary and poetic of Dante, there is included only a part of the poems composed in the decade 1283-93. In other rhymes (the production ends around 1308), a moment sicilianeggiante and guittoniano, marked by a provenzalismo manner, happen the testimonies of the accession of the poet to stilnovismo, first generic and school, then scopertamente cavalcantiano, then adhering to the modules of the great maestro, Guinizzelli. Other stimuli is example the "tenzone" with Forese Donati (ca. 1293-96), realistic in the forms and pungent in content: it, drops the hypothesis of apocrifità, remains as evidence of gender and language, remarkable in itself and for future use in the Comedy. The contemporary songs allegorical doctrinal and (including the three then commented on in the Convivio), while moving again by stilnovistica thematic and guinizzelliana (with ascendants guittoniane), show a new Dante, fact poet of virtue and science, while in rime rich equivocal and of "petrose" (modeled, with obvious technical loans and thematic, on trobar clus of provencal Arnault Daniel) a high research in art and style triggers the theme of a burning passion is not paid. The allegorical songs doctrinal and tie back many of the compositions of the Exile (including the song on justice three women), witnesses of a full possession of the style and vigorous moral and civil commitment. But do not disappear altogether the ancient themes: resumes the poetic correspondence with Cino da Pistoia (already prior to the exile), returns with his song "Montanina", the representation of love despotic in toni stilnovo; the latter experiment closes (if you neglect numerous Rime of dubious allocation) the lyrical cycle of Dante Alighieri, essential not only for the understanding of the personality of the author (stretched to experiment and play originally the forms and content poetic different more), but also for the future conduct of Italian opera. The life The Italian poet (Florence 1265-Ravenna 1321). Was born by Alighiero Bellincione to and from Nice in a family of small nobility town (the great-great-grandparent Cacciaguida, knight of Conrad II, had died in the crusade of 1147) not supplied with large resources. Lost in the infancy the mother, promised by 1277 to Gemma Donati (the marriage took place around 1285), lived adolescence and youth in the usual occupations to young people of its environment: grammar studies and rhetorical, literary friendships, meetings with personages of the established culture of the time. First among these is the Guelfo Brunetto Latini, maximum exponent of the rhetorical culture encyclopedic-of the thirteenth century, which was due to the disclosure in Florence of the French enciclopedismo. Other cultural component of the time, the so-called Poetical School "Sicilian", and then of the lyric poets-siculo Toscani, among which had great highlights the artistic personality of Guittone d'Arezzo: readings for this type influenced the first time poetic of Dante and the disposero to fundamental encounter (1283) with another poet, already affirmed and greater age, Guido Cavalcanti, defined in the new life "first friend". In these years the literary experience and the life itself of the poet received an original impression and abiding by the encounter with Beatrice Portinari: vital moment, whose meaning is explained by the new life. The death of his beloved woman (1290) and the search for a comfort to your pain Dante went to a more profound meditation and a more extensive studies of philosophy which followed soon (1295) The participation in public life. He had already served the municipality (1289) fighting at Campaldino (against Arezzo) and Caprona (against Pisa); but, in the Guelfa Florence divided into black part (headed by the powerful Donati and sustained by the pope) and white part (guided by circles, more moderate and supporters of an autonomous policy), Dante, spontaneously adhering to the whites and opposing to the interference of Boniface VIII in the life of the city, primeggiò among the leaders of Florentine politics. Ambassador of the town San Gemignano and prior in 1300, was sent to embassy to the Pope in 1301, when Charles of Valois (officially paciere between the parties, but hidden supporter of donated) approached in Florence. With the entry of Charles in town the Blacks won power: in 1302, accused of baratteria, Dante was condemned before the exile and then to death. The Bandit, he was one of the signatories, at San Godenzo, of the covenant with the Ubaldini to wage war in Florence; therefore sought aid for the exiling in Forlì and Verona and hoped finally, unnecessarily, in the pacification of the parties attempted in 1304 by Cardinal Nicolò da Prato. Detached from the companions, not participated in an armed attempt against Florence (the plate, July 1304) and began the lonely wanderings for every part of Italy. Between 1304 and 1306 was in Bologna: there taken to compose the De vulgari eloquentia and the Convivio, which mark the further widen and deepen cultural interests and civilians. After a stay in Lunigiana at the Malaspina (1306), Dante was in Lucca (1308), then in the Casentino. In the same year the election of Henry of Luxembourg to Emperor did reborn the hopes of an exile, convinced that the disinterest of past emperors and prolonged holiday of the Empire were determinants of political disorder and moral of Italy and Europe and that the coming in Italy of Henry VII would have restored order and peace. But the death of Henry (1313), after that his mission was opposed, beyond that from Florence, from the papal curia and by the king of Naples, troncò every dream of peace; and Dante, around 1316, repaired in Verona at Cangrande della Scala, and later in Ravenna, at Guido da Polenta: here he accomplished the comedy and here he overtook him death, on 14 September 1321. The youthful works and the Rhymes Character of franca tutorial, especially linguistic and metric, have two literary compositions attributed to Dante in force of the style, the Detto d'amore and the Flower, born in the context of the ideal lesson of Brunetto Latini. The said, poem mutilated in distici of seven-syllables are rhymed couplets, is youth reworking of a part of the Roman de la Rose. More late, far more spigliato, most breath, the Flower, "crown" of 232 sonnets, parafrasa and summarizes skills with the parties the narrative of Roman same omettendone, the doctrinal digressions, but not the ideas controversial. The first work of uncontested paternity and content absolutely original is the new life (ca. 1293), which collects 31 lyrics in a frame of prose, a celebration of the poet's love for Beatrice, and is not only the first autobiographical novel of our literature, but also the manifesto of personal conception that, although within the stilnovo, Dante had of love and poetry to it inspired. In recounting the first and second meeting with Beatrice, the miraculous effects of his greeting and suffering for the loss of it, the interiorizzarsi of feeling, the premonition of the death of the beloved and the anguish for his disappearance; recalling the search for comfort in the love of a "friendly woman" and the interior struggle that it follows up to the victorious prevail of the thought of Beatrice and the intention to say her "what never fue said d'No', Dante lays the foundations for the future the first nucleus of the Comedy. At the same time exceeds the ways and the contents of the stilnovo, elaborating its own concept of love, not just the fruit of spiritual nobility and a source of inner renewal, but absolute sentiment that finds himself into his own reward and opens up to man the knowledge (analog) of the Divine, through the contemplation of the perfection and beauty of the Beloved. For the particular character which the new life assumes in its human itinerary and poetic of Dante, there is included only a part of the poems composed in the decade 1283-93. In other rhymes (the production ends around 1308), a moment sicilianeggiante and guittoniano, marked by a provenzalismo manner, happen the testimonies of the accession of the poet to stilnovismo, first generic and school, then scopertamente cavalcantiano, then adhering to the modules of the great maestro, Guinizzelli. Other stimuli is example the "tenzone" with Forese Donati (ca. 1293-96), realistic in the forms and pungent in content: it, drops the hypothesis of apocrifità, remains as evidence of gender and language, remarkable in itself and for future use in the Comedy. The contemporary songs allegorical doctrinal and (including the three then commented on in the Convivio), while moving again by stilnovistica thematic and guinizzelliana (with ascendants guittoniane), show a new Dante, fact poet of virtue and science, while in rime rich equivocal and of "petrose" (modeled, with obvious technical loans and thematic, on trobar clus of provencal Arnault Daniel) a high research in art and style triggers the theme of a burning passion is not paid. The allegorical songs doctrinal and tie back many of the compositions of the Exile (including the song on justice three women), witnesses of a full possession of the style and vigorous moral and civil commitment. But do not disappear altogether the ancient themes: resumes the poetic correspondence with Cino da Pistoia (already prior to the exile), returns with his song "Montanina", the representation of love despotic in toni stilnovo; the latter experiment closes (if you neglect numerous Rime of dubious allocation) the lyrical cycle of Dante Alighieri, essential not only for the understanding of the personality of the author (stretched to experiment and play originally the forms and content poetic different more), but also for the future conduct of Italian opera. The problem of the language and style At the critical work and poetics of Dante Alighieri goes the merit to have given to the vulgar italian dignity of the language of art. If the new life is limited to justify the use of the vernacular on the level of praxis poetics of lyric poets of love, in ConvivioDante starts a speech more general on the Italian language, riconoscendole, in the introductory Treaty, those traits of kindness, wealth, property, goodness which until then were attributed only to the Latin (and French). The same type of vernacular prose used in the Convivio (periodare from complex and high, modeled on that latin-school) and the content of lyrics commented in the opera will detach from the youth operetta (and Dante himself is aware), as is appropriate to the different experience of the author, gained from exile, and to the subject matter hereof, fruit of philosophical studies and of civil and political commitment. The vernacular will then be "sun new", that will illuminate on the road to understanding those which "the sun used", i.e. the Latin, "not light". It is the recognition of the validity ideal and practice of vulgar italian as the language of science and art. The conduct timely, theory and applications together, this thesis is contained in the De vulgari eloquentia (1304-05), Latin work designed in 4 books, but stopped at Chapter XIV of Book II. From the statements of the author, which leads to the example himself as a poet of virtue, it seems clear that the language of which he treats is that of art: in particular, is the language and the style of the same Dante, in its highest lyric production of ethical inspiration. In this sense the treaty on language reconnects to the Convivio, the great songs in it commented out (concrete application of the theory), to all the stylistic research of Dante, opened by the new life and the Rhymes and summarized and concluded by the comedy. In it the language lives at the same time as a means of communication and as artistic creation in turn innovated, as the "sun new" of which the author had felt the need conceptual and ethical-political and as the realization of very precise stylistic choices. 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. The problem of the language and style At the critical work and poetics of Dante Alighieri goes the merit to have given to the vulgar italian dignity of the language of art. If the new life is limited to justify the use of the vernacular on the level of praxis poetics of lyric poets of love, in ConvivioDante starts a speech more general on the Italian language, riconoscendole, in the introductory Treaty, those traits of kindness, wealth, property, goodness which until then were attributed only to the Latin (and French). The same type of vernacular prose used in the Convivio (periodare from complex and high, modeled on that latin-school) and the content of lyrics commented in the opera will detach from the youth operetta (and Dante himself is aware), as is appropriate to the different experience of the author, gained from exile, and to the subject matter hereof, fruit of philosophical studies and of civil and political commitment. The vernacular will then be "sun new", that will illuminate on the road to understanding those which "the sun used", i.e. the Latin, "not light". It is the recognition of the validity ideal and practice of vulgar italian as the language of science and art. The conduct timely, theory and applications together, this thesis is contained in the De vulgari eloquentia (1304-05), Latin work designed in 4 books, but stopped at Chapter XIV of Book II. From the statements of the author, which leads to the example himself as a poet of virtue, it seems clear that the language of which he treats is that of art: in particular, is the language and the style of the same Dante, in its highest lyric production of ethical inspiration. In this sense the treaty on language reconnects to the Convivio, the great songs in it commented out (concrete application of the theory), to all the stylistic research of Dante, opened by the new life and the Rhymes and summarized and concluded by the comedy. In it the language lives at the same time as a means of communication and as artistic creation in turn innovated, as the "sun new" of which the author had felt the need conceptual and ethical-political and as the realization of very precise stylistic choices. 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.