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.

[EX Q]: 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?
[EX A]: King Arthur.

[EX Q]: Passage: In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No. 4 (1977), the String Quartet No. 4 (1978), and the Triple Concerto for violin, viola and cello (1979).  The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing. This effect was initially provided by a wind machine, although other means have been tried, with mixed results—according to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello".   The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt. In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments  perform individually rather than as a formal grouping. The work acknowledges Tippett's past with quotations from The Midsummer Marriage.
 
Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts  with an ultimately lofty message". Mellers called the work "a mind-boggling cosmic history of the universe".   Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask  revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions.Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year.  Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life. Donal Henahan was dismissive of the music: "... the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works." In Byzantium (1990), Tippett set the five stanzas of W. B. Yeats's poem, with added orchestral interludes. By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him. In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it". After the String Quartet No. 5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty ... a worthy ending to a remarkable career". 
Question: What was the name of the instrumental works by Tippett that was written in a manner of the tone poem or symphonic fantasia exemplified by Sibelius?
[EX A]: Symphony No. 4.

[EX Q]: Passage: In New Orleans, Louisiana, a man named John arrives at a bar searching for the "evilest" prostitute he can take home. He is directed to Shirley, who agrees to leave with him for two-hundred dollars. At his home, he asks her to lie on a table. She undresses, and John re-enters the room in a robe and wearing a mysterious metal mask. He begins massaging her, and then ties her to the table and eviscerates her, removes her heart, and offers it on an altar in an Aztec sacrifice to the goddess Coatl.
Sergeant Frank Hebert and his partner are assigned to Shirley's murder case after her body is found on train tracks in the city. When questioning other local prostitutes, Hebert meets Sherry, and discovers from her that the man whom Shirley had left with the night she died wore an unusual gold ring. 
Meanwhile, John continues to stalk local strip clubs and bars for further female victims, performing the same evisceration and sacrificial murders on them. Hebert eventually comes upon a delivery man who helps lead police to the apartment belonging to John, where he has three women held hostage for a ritual sacrifice planned for the Mardi Gras celebration.
The police raid the apartment and save the three women, but John escapes on foot, finds a car, and begins a high-speed chase that ends with him crashing in the Gulf of Mexico. When they pull the car from the Gulf, they find the ritual mask, but John is nowhere to be found. 
Question: Who offers two hundred dollars?
[EX A]:
John.