Some context: Mihail Sadoveanu (Romanian: [miha'il sado'veanu]; occasionally referred to as Mihai Sadoveanu; November 5, 1880 - October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947-1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Samanatorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viata Romaneasca journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history.
In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnisoara M din Falticeni ("Miss M from Falticeni") and signed Mihai din Pascani ("Mihai from Pascani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieata Noua in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea.  Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Balu, with whom he settled in Falticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Fratii Potcoava ("The Potcoava Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Targu Ocna, and inspired by the experience to write some of his first social criticism narratives.  After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creanga, before they commissioned a new building, famed for its surrounding Gradina Linistii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea campului... ("Like the Flower of the Field...") which was published posthumously.
Where did they get married?
A: settled in Falticeni,
Some context: Cleese was born in Weston-super-Mare, Somerset, the only child of Reginald Francis Cleese (1893-1972), an insurance salesman, and his wife Muriel Evelyn (nee Cross; 1899-2000). His family's surname was originally Cheese, but his father had thought it was embarrassing and changed it when he enlisted in the Army during the First World War. As a child, Cleese supported Bristol City FC and Somerset County Cricket Club. Cleese was educated at St Peter's Preparatory School, where he received a prize for English and did well at cricket and boxing.
Along with Gilliam's animations, Cleese's work with Graham Chapman provided Python with its darkest and angriest moments, and many of his characters display the seething suppressed rage that later characterised his portrayal of Basil Fawlty.  Unlike Palin and Jones, Cleese and Chapman wrote together in the same room; Cleese claims that their writing partnership involved Cleese doing most of the work, while Chapman sat back, not speaking for long periods before suddenly coming out with an idea that often elevated the sketch to a new level. A classic example of this is the "Dead Parrot sketch", envisaged by Cleese as a satire on poor customer service, which was originally to have involved a broken toaster and later a broken car (this version was actually performed and broadcast on the pre-Python special How to Irritate People). It was Chapman's suggestion to change the faulty item into a dead parrot, and he also suggested that the parrot be specifically a "Norwegian Blue", giving the sketch a surreal air which made it far more memorable.  Their humour often involved ordinary people in ordinary situations behaving absurdly for no obvious reason. Like Chapman, Cleese's poker face, clipped middle class accent, and intimidating height allowed him to appear convincingly as a variety of authority figures, such as policemen, detectives, Nazi officers or government officials--which he would then proceed to undermine. Most famously, in the "Ministry of Silly Walks" sketch (actually written by Palin and Jones), Cleese exploits his stature as the crane-legged civil servant performing a grotesquely elaborate walk to his office.  Chapman and Cleese also specialised in sketches where two characters would conduct highly articulate arguments over completely arbitrary subjects, such as in the "cheese shop", the "dead parrot" sketch and "Argument Clinic", where Cleese plays a stone-faced bureaucrat employed to sit behind a desk and engage people in pointless, trivial bickering. All of these roles were opposite Palin (who Cleese often claims is his favourite Python to work with)--the comic contrast between the towering Cleese's crazed aggression and the shorter Palin's shuffling inoffensiveness is a common feature in the series. Occasionally, the typical Cleese-Palin dynamic is reversed, as in "Fish Licence", wherein Palin plays the bureaucrat with whom Cleese is trying to work.  Though the programme lasted four series, by the start of series 3, Cleese was growing tired of dealing with Chapman's alcoholism. He felt, too, that the show's scripts had declined in quality. For these reasons, he became restless and decided to move on. Though he stayed for the third series, he officially left the group before the fourth season. Despite this, he remained friendly with the group, and all six began writing Monty Python and the Holy Grail; Cleese received a credit on three episodes of the fourth series which used material from these sessions, though he was officially unconnected with the fourth series. Cleese returned to the troupe to co-write and co-star in the Monty Python films Monty Python and the Holy Grail, Monty Python's Life of Brian and Monty Python's The Meaning of Life, and participated in various live performances over the years.
What are some activities that Graham and John did when they wrote together?
A:
Cleese claims that their writing partnership involved Cleese doing most of the work, while Chapman sat back, not speaking for long periods before suddenly coming out with an idea