input: Jose Marti is usually honored as a great poet, patriot and martyr of Cuban Independence, but he was also a translator of some note. Although he translated literary material for the sheer joy of it, much of the translating he did was imposed on him by economic necessity during his many years of exile in the United States. Marti learned English at an early age, and had begun to translate at thirteen. He continued translating for the rest of his life, including his time as a student in Spain, although the period of his greatest productivity was during his stay in New York from 1880 until he returned to Cuba in 1895.  In New York he was what we would call today a "freelancer" as well as an "in house" translator. He translated several books for the publishing house of D. Appleton, and did a series of translations for newspapers. As a revolutionary activist in Cuba's long struggle for independence he translated into English a number of articles and pamphlets supporting that movement. In addition to fluent English, Marti also spoke French, Italian, Latin and Classical Greek fluently, the latter learned so he could read the Greek classical works in the original.  There was clearly a dichotomy in Marti's feeling about the kind of work he was translating. Like many professionals, he undertook for money translation tasks which had little intellectual or emotional appeal for him. Although Marti never presented a systematic theory of translation nor did he write extensively about his approach to translation, he did jot down occasional thoughts on the subject, showcasing his awareness of the translator's dilemma of the faithful versus the beautiful and stating that "translation should be natural, so that it appears that the book were written in the language to which it has been translated".

Answer this question "Are there any other interesting aspects about this article?"
output: Marti also spoke French, Italian, Latin and Classical Greek fluently, the latter learned so he could read the Greek classical works in the original.

Problem: Background: Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
Context: In 1932, Tashman entered the hospital in New York City for an appendectomy that is now considered a concealment for abdominal cancer. She left the hospital thin and weak. Although she made five films in her last years, performing with her usual artistry and professionalism, she weakened significantly in the months following her hospitalization and her role in Riptide was trimmed because of her ever-worsening health.  In February 1934, she flew to New York City to film Frankie and Johnny for All Star Productions (released by Republic Pictures) but her condition necessitated a week of rest in Connecticut with Lowe. She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10. When she entered the hospital for surgery on March 16, it was too late for the doctors to help her.  Tashman died of cancer at Doctor's Hospital in New York City on March 21, 1934 at the age of 37. Her funeral was held on March 22 in New York City synagogue Temple Emanu-El with Sophie Tucker, Mary Pickford, Fanny Brice, Cecil Beaton, Jack Benny, and other distinguished celebrities in attendance. Eddie Cantor delivered the eulogy. The burial in Brooklyn's Washington Cemetery attracted 10,000 fans, mourners, and curious onlookers; it became a near riot when people were injured and a gravestone was toppled. Tashman left no will, but the distribution of her $31,000 in cash and $121,000 in furs and jewels provoked contentious discussion among her husband and sisters, Hattie and Jennie. Her last film, Frankie and Johnny, was released posthumously in May 1936 with her role as Nellie Bly cut to a cameo.
Question: What happened following this?
Answer: She resumed work in March, completing her film role on March 8 and then appearing at the Israel Orphan's Home benefit on March 10.

Question: Frederick II (26 December 1194 - 13 December 1250; Sicilian: Fidiricu, Italian: Federico, German: Friedrich) was King of Sicily from 1198, King of Germany from 1212, King of Italy and Holy Roman Emperor from 1220 and King of Jerusalem from 1225. His mother Constance was Queen of Sicily and his father was Henry VI of the Hohenstaufen dynasty. Frederick's reign saw the Holy Roman Empire reaching its all time territorial peak.

Historians rate Frederick II as a highly significant European monarch of the Middle Ages. This reputation was present even in Frederick's era. Lansing and English, two British historians, argue that medieval Palermo has been overlooked in favor of Paris and London:  One effect of this approach has been to privilege historical winners, [and] aspects of medieval Europe that became important in later centuries, above all the nation state.... Arguably the liveliest cultural innovation in the 13th century was Mediterranean, centered on Frederick II's polyglot court and administration in Palermo.... Sicily and the Italian South in later centuries suffered a long slide into overtaxed poverty and marginality. Textbook narratives therefore focus not on medieval Palermo, with its Muslim and Jewish bureaucracies and Arabic-speaking monarch, but on the historical winners, Paris and London.  Modern medievalists no longer accept the notion, sponsored by the popes, of Frederick as an anti-Christian. They argue that Frederick understood himself as a Christian monarch in the sense of a Byzantine emperor, thus as God's "viceroy" on earth. Whatever his personal feelings toward religion, certainly submission to the pope did not enter into the matter in the slightest. This was in line with the Hohenstaufen Kaiser-Idee, the ideology claiming the Holy Roman Emperor to be the legitimate successor to the Roman Emperors.  20th century treatments of Frederick vary from the sober (Wolfgang Sturner) to the dramatic (Ernst Kantorowicz). However, all agree on Frederick II's significance as Holy Roman Emperor. In the judgment of British historian Geoffrey Barraclough, Frederick's extensive concessions to German princes--which he made in the hopes of securing his base for his Italian projects--undid the political power of his predecessors and postponed German unity for centuries.  However, the modern approach to Frederick II tends to be focused on the continuity between Frederick and his predecessors as Kings of Sicily and Holy Roman Emperors, and the similarities between him and other thirteenth-century monarchs. David Abulafia, in a biography subtitled "A Medieval Emperor," argues that Frederick's reputation as an enlightened figure ahead of his time is undeserved, and that Frederick was mostly a conventionally Christian monarch who sought to rule in a conventional medieval manner.

Using a quote from the above article, answer the following question: what time period was this
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Answer:
Middle Ages.