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.

Input: Consider Input: Passage: The 1919 plans incorporated a Mobile Naval Base Defence Organisation (MNBDO) which could develop and defend a forward base. The MNBDO had a strength of 7,000 and included a brigade of antiaircraft artillery, a brigade of coastal artillery and a battalion of infantry, all drawn from the Royal Marines. In one paper exercise, the Royal Marines occupied Nakagusuku Bay unopposed and the MNBDO developed a major base there from which the fleet blockaded Japan. Actual fleet exercises were conducted in the Mediterranean in the 1920s to test the MNBDO concept. However, the Royal Marines were not greatly interested in amphibious warfare, and lacking organisational backing, the techniques and tactics of amphibious warfare began to atrophy. By the 1930s the Admiralty was concerned that the United States and Japan were well ahead of Britain in this field and persuaded the Army and RAF to join with it in establishing the Inter-Service Training and Development Centre, which opened in July 1938. Under its first commandant, Captain Loben Edward Harold Maund, it began investigating the problems of amphibious warfare, including the design of landing craft.Nor was this the only field in which the Royal Navy was lagging in the 1930s. In the 1920s, Colonel the Master of Sempill led the semi-official Sempill Mission to Japan to help the Imperial Japanese Navy establish an air arm. At the time the Royal Navy was the world leader in naval aviation. The Sempill mission taught advanced techniques such as carrier deck landing, conducted training with modern aircraft, and provided engines, ordnance and technical equipment. Within a decade, Japan had overtaken Britain. The Royal Navy pioneered the armoured flight deck, which enabled carriers to absorb damage, but resulted in limiting the number of aircraft that a carrier could operate. The Royal Navy had great faith in the ability of ships' antiaircraft batteries, and so saw little need for high performance fighters. To maximise the benefit of the small numbers of aircraft that could be carried, the Royal Navy developed multi-role aircraft such as the Blackburn Roc, Fairey Fulmar, Fairey Barracuda, Blackburn Skua and Fairey Swordfish. As a result, the Royal Navy's aircraft were no match for their Japanese counterparts.The possibility of Japan taking advantage of a war in Europe was foreseen. In June 1939, the Tientsin Incident demonstrated another possibility: that Germany might attempt to take advantage of a war in the Far East. In the event of a worst-case scenario of simultaneous war with Germany, Italy and Japan, two approaches were considered. The first was to reduce the war to one against Germany and Japan only by knocking Italy out of the conflict as quickly as possible. The former First Sea Lord, Sir Reginald Drax, who was brought out of retirement to advise on strategy, called for a "flying squadron" of four or five battleships, along with an aircraft carrier, some cruisers and destroyers, to be sent to Singapore. Such a force would be too small to fight the Japanese main fleet, but could protect British trade in the Indian Ocean against commerce raiders. Drax argued that a small, fast force would be better in this role than a large, slow one. When more ships became available, it could become the nucleus of a full-sized battle fleet. Chatfield, now Minister for Coordination of Defence, disagreed with this concept. He felt that the flying squadron would become nothing more than a target for the Japanese fleet. Instead, he put forward a second approach, namely that the Mediterranean be abandoned and the fleet sent to Singapore. 
Question: What is the full name of the man who proposed sending a force that could protect British trade in the Indian Ocean?

Output: Reginald Drax.


Input: Consider Input: Passage: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters. During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, which he had previously seen in book illustrations. The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture. 
Question: What form became the primary motif of Moore's sculpture?

Output: the Chac Mool.


Input: Consider Input: Passage: The infrequency of Tchaikovsky's musical successes, won with tremendous effort, exacerbated his lifelong sensitivity to criticism. Nikolai Rubinstein's private fits of rage critiquing his music, most famously attacking the First Piano Concerto, did not help matters. His popularity grew, however, as several first-rate artists became willing to perform his compositions. Hans von Bülow premiered the First Piano Concerto and championed other Tchaikovsky works both as pianist and conductor. Other artists included Adele Aus der Ohe, Max Erdmannsdörfer, Eduard Nápravník and Sergei Taneyev.
Another factor that helped Tchaikovsky's music become popular was a shift in attitude among Russian audiences. Whereas they had previously been satisfied with flashy virtuoso performances of technically demanding but musically lightweight compositions, they gradually began listening with increasing appreciation of the music itself. Tchaikovsky's works were performed frequently, with few delays between their composition and first performances; the publication from 1867 onward of his songs and great piano music for the home market also helped boost the composer's popularity.During the late 1860s, Tchaikovsky began to compose operas. His first, The Voyevoda, based on a play by Alexander Ostrovsky, premiered in 1869. The composer became dissatisfied with it, however, and, having re-used parts of it in later works, destroyed the manuscript. Undina followed in 1870. Only excerpts were performed and it, too, was destroyed. Between these projects, Tchaikovsky started to compose an opera called Mandragora, to a libretto by Sergei Rachinskii; the only music he completed was a short chorus of Flowers and Insects.The first Tchaikovsky opera to survive intact, The Oprichnik, premiered in 1874. During its composition, he lost Ostrovsky's part-finished libretto. Tchaikovsky, too embarrassed to ask for another copy, decided to write the libretto himself, modelling his dramatic technique on that of Eugène Scribe. Cui wrote a "characteristically savage press attack" on the opera. Mussorgsky, writing to Vladimir Stasov, disapproved of the opera as pandering to the public. Nevertheless, The Oprichnik continues to be performed from time to time in Russia.The last of the early operas, Vakula the Smith (Op.14), was composed in the second half of 1874. The libretto, based on Gogol's Christmas Eve, was to have been set to music by Alexander Serov. With Serov's death, the libretto was opened to a competition with a guarantee that the winning entry would be premiered by the Imperial Mariinsky Theatre. Tchaikovsky was declared the winner, but at the 1876 premiere, the opera enjoyed only a lukewarm reception. After Tchaikovsky's death, Rimsky-Korsakov wrote the opera Christmas Eve, based on the same story.Other works of this period include the Variations on a Rococo Theme for cello and orchestra, the Third and Fourth Symphonies, the ballet Swan Lake, and the opera Eugene Onegin. 
Question: What is the name of the person whose music Rubinstein would fly into private fits of rage critiquing?


Output: Tchaikovsky.