In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Example Input: Passage: Antoine's marriage to Marie of Lorraine was unhappy and yielded only two daughters. Monaco's constitution confined the throne to members of the Grimaldi family alone, and Antoine was thus keen for his daughter Princess Louise-Hippolyte (Illustration 11) to wed a Grimaldi cousin. However, the state of the Grimaldi fortunes, and the lack of (the politically necessary) approval from King Louis XIV, dictated otherwise. Louise-Hippolyte was married to Jacques de Goyon Matignon, a wealthy aristocrat from Normandy. Louise-Hippolyte succeeded her father as sovereign of Monaco in 1731 but died just months later. The King of France, confirming Monaco's subservient state to France, ignored the protests of other branches of the Grimaldi family, overthrew the Monégasque constitution, and approved the succession of Jacques de Goyon Matignon as Prince Jacques I.Jacques I assumed the name and arms of the Grimaldi, but the French aristocracy showed scant respect towards the new prince who had risen from their ranks and chose to spend his time absent from Monaco. He died in 1751 and was succeeded by his and Louise-Hippolyte's son Prince Honoré III.Honoré III married Catherine Brignole in 1757 and later divorced her. Before his marriage, Honoré III had been conducting an affair with his future mother-in-law.  After her divorce Marie Brignole married Louis Joseph de Bourbon, prince de Condé, a member of the fallen French royal house, in 1798.
Ironically, the Grimaldi fortunes were restored when descendants of both Hortense Mancini and Louis I married: Louise d'Aumont Mazarin married Honoré III's son and heir, the future Honoré IV. This marriage in 1776 was extremely advantageous to the Grimaldi, as Louise's ancestress Hortense Mancini had been the heiress of Cardinal Mazarin. Thus Monaco's ruling family acquired all the estates bequeathed by Cardinal Mazarin, including the Duchy of Rethel, and the Principality of Château-Porcien.
Honoré III was a soldier who fought at both Fontenoy and Rocourt. He was happy to leave Monaco to be governed by others, most notably a former tutor. It was on one of Honoré III's rare visits to the palace in 1767 that illness forced Edward, Duke of York, to land at Monaco. The sick duke was allocated the state bedchamber where he promptly died. Since that date the room has been known as the York Room.
Despite its lack of continuous occupancy, by the final quarter of the 18th century the palace was once again a "splendid place" (Illustration 12). However revolution was afoot, and in the late 1780s Honoré III had to make concessions to his people who had caught the revolutionary ideas from their French neighbours. This was only the beginning of the Grimaldi's problems. In 1793 the leaders of the French Revolution annexed Monaco. The prince was imprisoned in France and his property and estates, including the palace, were forfeited to France. 
Question: What is the name of the person that succeeded Prince Jacques 1?
Example Output: Prince Honoré III.

Example Input: Passage: In 1898 the RCM offered Holst a further year's scholarship, but he felt that he had learned as much as he could there and that it was time, as he put it, to "learn by doing". Some of his compositions were published and performed; the previous year The Times had praised his song "Light Leaves Whisper", "a moderately elaborate composition in six parts, treated with a good deal of expression and poetic feeling".Occasional successes notwithstanding, Holst found that "man cannot live by composition alone"; he took posts as organist at various London churches, and continued playing the trombone in theatre orchestras. In 1898 he was appointed first trombonist and répétiteur with the Carl Rosa Opera Company and toured with the Scottish Orchestra. Though a capable rather than a virtuoso player he won the praise of the leading conductor Hans Richter, for whom he played at Covent Garden. His salary was only just enough to live on, and he supplemented it by playing in a popular orchestra called the "White Viennese Band", conducted by Stanislas Wurm.Holst enjoyed playing for Wurm, and learned much from him about drawing rubato from players. Nevertheless, longing to devote his time to composing, Holst found the necessity of playing for "the Worm" or any other light orchestra "a wicked and loathsome waste of time". Vaughan Williams did not altogether agree with his friend about this; he admitted that some of the music was "trashy" but thought it had been useful to Holst nonetheless: "To start with, the very worst a trombonist has to put up with is as nothing compared to what a church organist has to endure; and secondly, Holst is above all an orchestral composer, and that sure touch which distinguishes his orchestral writing is due largely to the fact that he has been an orchestral player; he has learnt his art, both technically and in substance, not at second hand from text books and models, but from actual live experience."With a modest income secured, Holst was able to marry Isobel; the ceremony was at Fulham Register Office on 22 June 1901. Their marriage lasted until his death; there was one child, Imogen, born in 1907. In 1902 Dan Godfrey and the Bournemouth Municipal Orchestra premiered Holst's symphony The Cotswolds (Op. 8), the slow movement of which is a lament for William Morris who had died in October 1896, three years before Holst began work on the piece. In 1903 Adolph von Holst died, leaving a small legacy. Holst and his wife decided, as Imogen later put it, that "as they were always hard up the only thing to do was to spend it all at once on a holiday in Germany". 
Question: What is the name of the person whose orchestral writing, according to Vaughan Williams, is distinguished by a "sure touch" that is "due largely to the fact that he has been an orchestral player"?
Example Output: Holst.

Example Input: Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925. 
Question: What is the name of the person whose leanings were reportedly "towards a Mediterranean lyrical art"?
Example Output:
Milhaud.