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.

[Q]: Passage: In London, Professor Henry Higgins, a scholar of phonetics, believes that the accent and tone of one's voice determines a person's prospects in society ("Why Can't the English?"). At Covent Garden one evening, he meets Colonel Hugh Pickering, himself a phonetics expert who had come all the way from India to see him. Higgins boasts he could teach anyone to speak so well he could pass them off as a duke or duchess at an embassy ball, even the young woman with a strong Cockney accent named Eliza Doolittle who tries to sell them flowers. Eliza's ambition is to work in a flower shop, but her accent makes that impossible ("Wouldn't It Be Loverly"). The following morning, Eliza shows up at Higgins' home, seeking lessons. Pickering is intrigued and offers to cover all the attendant expenses if Higgins succeeds. Higgins agrees, and describes how women ruin lives ("I'm an Ordinary Man").
Eliza's father, Alfred P. Doolittle, a dustman, learns of his daughter's new residence ("With a Little Bit of Luck"). He shows up at Higgins' house three days later, ostensibly to protect his daughter's virtue, but in reality simply to extract some money from Higgins, and is bought off with £5. Higgins is impressed by the man's honesty, his natural gift for language, and especially his brazen lack of morals. Higgins recommends Alfred to a wealthy American who is interested in morality. 
Eliza endures Higgins' demanding teaching methods and treatment of her personally ("Just You Wait"). She makes little progress, but just as she, Higgins, and Pickering are about to give up, Eliza finally "gets it" ("The Rain in Spain"); she instantly begins to speak with an impeccable upper class accent ("I Could Have Danced All Night"). 
Question: What's the last name of the man that will pay for Eliza's lessons, if successful?
[A]: Pickering.


[Q]: Passage: Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan said, "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.". 
Question: What is the first name of the person who acknowledged Suze's influence?
[A]: Bob.


[Q]: Passage: In Las Meninas, the king and queen are supposedly "outside" the painting, yet their reflection in the back wall mirror also places them "inside" the pictorial space.Snyder proposes it is "a mirror of majesty" or an allusion to the mirror for princes. While it is a literal reflection of the king and queen, Snyder writes "it is the image of exemplary monarchs, a reflection of ideal character"  Later he focuses his attention on the princess, writing that Velázquez's portrait is "the painted equivalent of a manual for the education of the princess—a mirror of the princess". The painting is likely to have been influenced by Jan van Eyck's Arnolfini Portrait, of 1434. At the time, van Eyck's painting hung in Philip's palace, and would have been familiar to Velázquez. The Arnolfini Portrait also has a mirror positioned at the back of the pictorial space, reflecting two figures who would have the same angle of vision as does the viewer of Velázquez's painting; they are too small to identify, but it has been speculated that one may be intended as the artist himself, though he is not shown in the act of painting. According to Lucien Dällenbach:
The mirror [in Las Meninas] faces the observer as in Van Eyck's painting. But here the procedure is more realistic to the degree that the "rearview" mirror in which the royal couple appears is no longer convex but flat. Whereas the reflection in the Flemish painting recomposed objects and characters within a space that is condensed and deformed by the curve of the mirror, that of Velázquez refuses to play with the laws of perspective: it projects onto the canvas the perfect double of the king and queen positioned in front of the painting. Moreover, in showing the figures whom the painter observes, and also, through the mediation of the mirror, the figures who are observing him, the painter achieves a reciprocity of gazes that makes the interior oscillate with the exterior and which causes the image to "emerge from its frame" at the same time that it invites the visitors to enter the painting.
Jonathan Miller asks: "What are we to make of the blurred features of the royal couple? It is unlikely that it has anything to do with the optical imperfection of the mirror, which would, in reality, have displayed a focused image of the King and Queen". He notes that "in addition to the represented mirror, he teasingly implies an unrepresented one, without which it is difficult to imagine how he could have shown himself painting the picture we now see". 
Question: What is the full name of the person who painted a mirror positioned at the back of the pictorial space?
[A]:
Jan van Eyck.