TASK DEFINITION: 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.
PROBLEM: Passage: The end of the Middle Ages brought with it a waning of interest in King Arthur. Although Malory's English version of the great French romances was popular, there were increasing attacks upon the truthfulness of the historical framework of the Arthurian romances – established since Geoffrey of Monmouth's time – and thus the legitimacy of the whole Matter of Britain. So, for example, the 16th-century humanist scholar Polydore Vergil famously rejected the claim that Arthur was the ruler of a post-Roman empire, found throughout the post-Galfridian medieval "chronicle tradition", to the horror of Welsh and English antiquarians. Social changes associated with the end of the medieval period and the Renaissance also conspired to rob the character of Arthur and his associated legend of some of their power to enthrall audiences, with the result that 1634 saw the last printing of Malory's Le Morte d'Arthur for nearly 200 years. King Arthur and the Arthurian legend were not entirely abandoned, but until the early 19th century the material was taken less seriously and was often used simply as a vehicle for allegories of 17th- and 18th-century politics. Thus Richard Blackmore's epics Prince Arthur (1695) and King Arthur (1697) feature Arthur as an allegory for the struggles of William III against James II. Similarly, the most popular Arthurian tale throughout this period seems to have been that of Tom Thumb, which was told first through chapbooks and later through the political plays of Henry Fielding; although the action is clearly set in Arthurian Britain, the treatment is humorous and Arthur appears as a primarily comedic version of his romance character. John Dryden's masque King Arthur is still performed, largely thanks to Henry Purcell's music, though seldom unabridged. 
Question: What is the full name of the person Vergil rejected as the ruler of a post-Roman empire?

SOLUTION: King Arthur.

PROBLEM: Passage: The final large reception room on the first floor is the Hondecoeter Room (16), so named because of the three huge oil paintings by Melchior d'Hondecoeter (1636–1695), depicting scenes of birds in courtyards, which are fitted into the neo-Carolean panelling. The panelling was introduced to the room by the 3rd Earl Brownlow in 1876, when it was furnished as the principal dining room of the mansion. The room was initially created as a library in 1808 from the upper part of the earlier kitchen which had originally risen two stories. The West staircase (14) was originally a service stairs, and would have been plainer in decor, but by the late nineteenth century it was in regular use by the family.Either side of the Marble Hall, lie the Great Staircase (2) and the Tapestry Room (11), which contains a collection of early eighteenth century Mortlake tapestries. The Great Staircase to the east of the Marble Hall is unusually placed at Belton, as in a house of this period one would expect to find the staircase in the hall. The stairs rise in three flights around the west, north, and east walls to the former Great Dining Room above the Marble Hall. Thus the staircase served as an important state procession link between the three principal reception rooms of the house. The Great Dining Room, now the Library, has been greatly altered and all traces of Carolean decoration removed, first by James Wyatt in 1778 when it was transformed into a drawing room with a vaulted ceiling, and again in 1876, when its use was again changed, this time to a library. The room contains some 6000 volumes, a superb example of book collecting over 350 years. When Lord Tyrconnel died in 1754 a catalogue of his library identified almost 2,300 books. Almost all of these remain in the Belton library today. Rupert Gunnis attributed the carved marble chimneypiece depicting two Roman goddesses to Sir Richard Westmacott.Leading from the Library is the Queen's Room, the former "Best Bed Chamber". This panelled room was redecorated in 1841 for the visit of Queen Adelaide, widow of William IV, when its former function as a state bedroom was resurrected. It contains the great canopied Rococo-style bed in which the Queen slept, complete with the royal monogram "AR" (Adelaide Regina) embroidered on the bedhead. Other rooms on the second floor are mostly bedrooms, which include the Chinese Room (directly above the Tyrconnel Room) with its original hand-painted 18th-century Chinese wallpaper, the Yellow Room (directly above the Blue Room), and the Windsor Bedroom (directly above the School Room), so called following its use by King Edward VIII of the United Kingdom, who became the Duke of Windsor after the abdication crisis of 1936. Edward visited Belton in the 1930s with his mistress Wallis Simpson, and the 6th Baron Brownlow was heavily involved in the crisis thanks to his position as the King's Lord-in-waiting. Today, Belton has a permanent exhibition devoted to that event. Another royal visitor, Charles, Prince of Wales, also used the room frequently while a cadet at nearby RAF Cranwell. 
Question: What was the full name of the person who first removed all traces of Carolean decoration when the Great Dining Room was transformed into a drawing room?

SOLUTION: James Wyatt.

PROBLEM: Passage: With the piece set to open on 26 December, Gilbert first read the libretto to the cast on 14 December, but Toole, who was playing the central role of Thespis, did not return from a tour of the British provinces until 18 December. He then appeared in nine performances at the Gaiety in the six days immediately after his return, and other actors had similar commitments. In addition, Hollingshead had committed the company to perform a pantomime at The Crystal Palace on 21 December, which included many of the performers who would be in Thespis. Lastly, Thespis was to play as the afterpiece to an H. J. Byron comedy, Dearer than Life, which shared many of its actors, including Toole and Fred Sullivan, and had to be rehearsed at the same time.Despite the short time available for rehearsals, Sullivan recalled that Gilbert insisted that the chorus play a major role, as it would do in their later Savoy operas:
Until Gilbert took the matter in hand choruses were dummy concerns, and were practically nothing more than a part of the stage setting. It was in 'Thespis' that Gilbert began to carry out his expressed determination to get the chorus to play its proper part in the performance. At this moment it seems difficult to realise that the idea of the chorus being anything more than a sort of stage audience was, at that time, a tremendous novelty. In consequence of this innovation, some of the incidents at the rehearsal of 'Thespis' were rather amusing. I remember that, on one occasion, one of the principals became quite indignant and said, 'Really, Mr. Gilbert, why should I stand here? I am not a chorus-girl!' to which Gilbert replied curtly, 'No, madam, your voice is not strong enough, or no doubt you would be.'. 
Question: What is the last name of the person who had an expressed determination to get the chorus to play its proper part in the performance?

SOLUTION:
Gilbert.