Answer:
Miguel de Cervantes
Step-by-step explanation:
The Spanish writer was also a novelist, a playwright, and a poet. Aside from being a writer, he was also known as one of the world's pre-eminent novelists.
His novel Don Quixote has been translated, in full or in part, into more than 60 languages.
He left Spain for Italy. Whether this was because he was the “student” of the same name wanted by the law for involvement in a wounding incident is another mystery; the evidence is contradictory.
In any event, in going to Italy Cervantes was doing what many young Spaniards of the time did to further their careers in one way or another.
It seems that for a time he served as chamberlain in the household of Cardinal Giulio Acquaviva in Rome.
However, by 1570 he had enlisted as a soldier in a Spanish infantry regiment stationed in Naples, then a possession of the Spanish crown.
He was there for about a year before he saw active service.
Back in Spain, Cervantes spent most of the rest of his life in a manner that contrasted entirely with his decade of action and danger.
He would be constantly short of money and in tedious and exacting employment; it would be 25 years before he scored a major literary success with Don Quixote.
On his return home he found that prices had risen and the standard of living for many, particularly those of the middle class, including his family, had fallen.
The euphoria of Lepanto was a thing of the past.
Cervantes’s war record did not now bring the recompense he expected.
He applied unsuccessfully for several administrative posts in Spain’s American empire.
The most he succeeded in acquiring was a brief appointment as royal messenger to Oran, Algeria, in 1581.
In vain he followed Philip II and the court to Lisbon in newly annexed Portugal.
About this time he had an affair with a young married woman named Ana de Villafranca (or Ana Franca de Rojas), the fruit of which was a daughter.
Isabel de Saavedra, Cervantes’s only child, was later brought up in her father’s household.
Late in 1584 he married Catalina de Salazar y Palacios, 18 years his junior.
She had a small property in the village of Esquivias in La Mancha. Little is known about their emotional relationship.
There is no reason to suppose that the marriage did not settle down into an adequate companionableness, despite Cervantes’s enforced long absences from home.
Neither is there any special reason to suppose that Catalina was an inspiration or a model for characters in the poetry Cervantes was now writing or in his first published fiction, La Galatea (1585; Galatea: A Pastoral Romance), in the newly fashionable genre of the pastoral romance.
The publisher, Blas de Robles, paid him 1,336 reales for it, a good price for a first book.
The dedication of the work to Ascanio Colonna, a friend of Acquaviva, was a bid for patronage that does not seem to have been productive.
Doubtless helped by a small circle of literary friends, such as the poet Luis Gálvez de Montalvo, the book did bring Cervantes’s name before a sophisticated reading public.
But the only later editions in Spanish to appear in the author’s lifetime were those of Lisbon, 1590, and Paris, 1611.
La Galatea breaks off in mid-narrative; judging by his repeatedly expressed hopes of writing a sequel, Cervantes evidently maintained a lasting fondness for the work.
Cervantes also turned his hand to the writing of drama at this time, the early dawn of the Golden Age of the Spanish theatre.
He contracted to write two plays for the theatrical manager Gaspar de Porras in 1585, one of which, La confusa (“Confusion”), he later described as the best he ever wrote.
Many years afterward he claimed to have written 20 or 30 plays in this period, which, he noted, were received by the public without being booed off the stage or having the actors pelted with vegetables.
The number is vague; only two certainly survive from this time, the historical tragedy of La Numancia (1580s; Numantia: A Tragedy) and El trato de Argel (1580s; “The Traffic of Algiers”).
He names nine plays, the titles of a few of which sound like the originals of plays reworked and published years later in the collection Ocho comedias, y ocho entremeses nuevos (1615; “Eight Plays and Eight New Interludes”).
Fixed theatre sites were just becoming established in the major cities of Spain, and there was an expanding market geared to satisfying the demands of a public ever more hungry for entertainment.
Lope de Vega was about to respond to the call, stamping his personal imprint on the Spanish comedia and rendering all earlier drama, including that of Cervantes, old-fashioned or inadequate by comparison.
Though destined to be a disappointed dramatist, Cervantes went on trying to get managers to accept his stage works.
By 1587 it was clear that he was not going to make a living from literature, and he was obliged to turn in a very different direction.