QUEVEDO Y VILLEGAS, FRANCISCO G6MEZ DE (1580-1645), Spanish satirist and poet,
was born at Madrid, where his father, who came from the mountains of Burgos, was secretary to Anne of Austria, fourth wife of Philip II. Early left an orphan, Quevedo was educated at the university of Alcala, where he acquired a knowledge of classical and modern tongues �of Italian and French, Hebrew and Arabic, of philosophy, ;heology, civil law, and economics. His fame reached beyond Spain; at twenty-one he was in correspondence with Justus Lipsius on questions of Greek and Latin literature. His abstruse studies influenced Quevedo's style; to them are due the pedantic traits and mania for quotations which characterize most of his works.He betook himself to the court and mingled with the society that surrounded Philip III. The cynical greed ofministers, the meanness of their flatterers, the corruption of the royal officers, the financial scandals, afforded ample scope to Quevedo's talent as a painter of manners. At Valladolid,where the court resided from 1601 to 1606, he mingled freely with these intrigues and disorders,
and lost the purity of his morals but not his uprightness and integrity. In 1611 he fought a duel in which his adversary was killed, fled to Italy, and later on became secretary to Pedro Tellez Giron, duke de Osuna, and viceroy of Naples. Thus he learned. politics�the one science which he had perhaps till then neglected,�initiated himself into the questions that divided Europe, and penetrated the ambitions of the neighbours of Spain, as well as the secret history of the intriguers protected by the favour of Philip III. The result was that he wrote several political works, particularly a lengthy treatise, La Politico, de Dios (1626), in which he lays down the duties of kings by displaying to them how Christ has governed His church. The disgrace of Osuna (1620) compromised Quevedo, who was arrested and exiled to his estate at La Torre de Juan Abad in New Castile. Though involved in the process against the duke, Quevedo remained faithful to his patron, and bore banishment with resignation. On the death of Philip III. (3ist of March 1621) he he commended himself to the first minister of the new king by celebrating his accession to power and saluting him as the vindicator of public morality in an epistle in the style of Juvenal. Olivares recalled him from his exile and gave him an honorary post in the palace, and from this time Quevedo resided almost constantly at court, exercising a kind of political and literary jurisdiction due to his varied relations and knowledge, but especially to his biting wit, which had no respect for persons. General politics, social economy, war, finance, literary and religious questions, all came under his dissecting knife, and he had a dissertation, a pamphlet, or a song for everything. One day he is defending St James, the sole patron of Spain, against a powerful coterie that wished to associate St Theresa with him; next day he is writing against the duke of
Savoy, the hidden enemy of Spain, or against the measures taken to change the value of the currency; or once more he is engaged with the literary school of G6ngora, whose affectationsseem to him to sin against the genius of the Castilian tongue. And in the midst of this incessant controversy on every possible subject he finds time to compose a picaresque romance, the Historia de la Vida del Buscdn, Ilamado Don Pablos, Exemplo de Vagamundos, y Espejo de Tacanos (1626); to write his Suenos (1627), in which all classes are flagellated; to pen a dissertation on The Constancy and. Patience of Job (1631), to translate St Francis de Sales and Seneca, to compose thousands of verses, and to correspond with Spanish and foreign scholars.But Quevedo was not to maintain unscathed the high position won by his knowledge, talent, and biting wit. The governmentof Olivares, which he had welcomed as the dawn of a political and
social regeneration, made things worse instead of better, and led the country to ruin. Quevedo saw this and could not hold his peace. An anonymous petition in verse enumerating the
grievances of his subjects was found, in. December 1639, under the very napkin of Philip IV. It was shown. to Olivares, who exclaimed, �I am ruined �; but before his fall he sought vengeance on the libeller. His suspicions fell on Quevedo, who had enemies glad to confirm them. Quevedo was arrested on December 7, and carried under a strong escort to the monastery of St I~Iark atLeon, where he was kept in rigorous confinement till the fall of the minister (January 1643) restored him to light and freedom, but not to the health which he had lost in his dungeon. He had
little more than two years to live, and these were spent in inactive retreat, first at La Torre de Juan Abad, and then at the neighbouring Villanueva de los Infantes, where he died September 8, 1645.

Okay, now tell me that doesn�t hop out at you like one of the Arabian Nights Tales? It is the
same mindset with which Richard Burton doggedly penned his translation and footnotes of the
latter. The "betook" is good -- there's a certain Victorian antiquitarianism about the locution that is, at this distant, not as terrible as it would have been for the Bloomsbury crowd. And how about the napkin, man? This isn't an encyclopedia entry, it is a mini-Dumas novel, and Errol Flynn should definitely play Quevedo. Still, the tensions within the monument shouldn't be overlooked. It is easy to see how it would seem to the Edwardians that this was the way to impart the sum of knowledge. Knowledge was itself an imperial form. This entry couldn't have been written by a person who was not aware of the globetrotting spirit that animated his own society -- one that sought profits in Africa and Asia, one that depended on free trade, and hypocrisy, to pull through.

Now, here is the Quevado entry from Colombia Encyclopedia:

�Spanish satirist, novelist, and wit, b. Madrid. In 1611 he fled to Italy after a duel and became involved in revolutionary plottings. When Philip IV ascended the Spanish throne, Quevedo narrowly avoided a long prison term. He was later imprisoned (1639��43) as the presumed author of a satire on the king and his favorite, the conde de Olivares. Quevedo was one of the
great writers of the Spanish Golden Age. Los sue��os [visions] (1627) is a brilliant and bitterly satiric account, after Dante and Lucan, of the inhabitants of hell. Other major works include the philosophical treatise Providencia de Dios (1641), the political essay Pol��tica de Dios y gobierno de Cristo (1626��55), and the important picaresque novel La vida del Busc��n (1626). Also a major poet, his verse was collected in El Parnaso espa��ol (1648). His Ep��stola sat��rica
y censoria (1639), a poetic satire against Olivares, is well known. Quevedo was a determined
opponent of Gongorism (see G��ngora). 1 See studies by D. W. Blesnick (1972) and J. Iffland
(1978).�