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: Sam Clayton is too good for his own good. A sermon by Rev. Daniels persuades him to help others in every way he can, including his wife Lu's good-for-nothing brother, Claude, who's been living with them rent-free for six months, and their neighbors the Butlers, who need a car for a vacation when theirs breaks down.
Sam is a department store manager whose boss, H.C. Borden, wants him to sell more and socialize less. Sam's a shoulder for clerk Shirley Mae to cry on when her romance breaks up. He also gives a $5,000 loan, without his wife's knowledge, to Mr. and Mrs. Adams, who need it to save a gas station they bought.
Lu is fed up with Sam's generosity, particularly when he ends up paying for the Butlers' car repairs, then letting the mechanic come over for home-cooked meals. The last straw for Lu comes when she learns they have a chance to put a down payment on a new house, except Sam has lent their nest egg to the Adamses.
Sam is unhappy, too. He's annoyed with the Butlers, who have crashed his car and can't pay to fix it. He also wants Claude to move out. Shirley Mae's troubles come to his door after she takes too many pills. Sam even gets robbed, and the bank refuses to make him a loan.
He is at his wit's end when the Adamses surprise him with a check for $6,000. They also give Claude a job, and Shirley Mae suddenly thinks she and Claude could have a future together. Sam and Lu feel better about life, particularly when Borden surprises him with a promotion at work. 
Question: Who is given a promotion at work?

A: Sam Clayton.
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Q: Passage: As the British fleet closed with the opposing combined fleets of France and Spain, Lord Nelson signalled all the necessary battle instructions to his ships. Aware of the momentousness of events to come, Lord Nelson felt that something extra was required. He instructed his signal officer, Lieutenant John Pasco, to signal to the fleet, as quickly as possible, the message "England confides that every man will do his duty." Pasco suggested to Nelson that expects be substituted for confides (i.e. is confident), since the former word was in the signal book, whereas confides would have to be spelt out letter-by-letter. Nelson agreed to the change (even though it produced a less trusting impression):
His Lordship came to me on the poop, and after ordering certain signals to be made, about a quarter to noon, he said, 'Mr. Pasco, I wish to say to the fleet, ENGLAND CONFIDES THAT EVERY MAN WILL DO HIS DUTY' and he added 'You must be quick, for I have one more to make which is for close action.' I replied, 'If your Lordship will permit me to substitute the confides for expects the signal will soon be completed, because the word expects is in the vocabulary, and confides must be spelt,' His Lordship replied, in haste, and with seeming satisfaction, 'That will do, Pasco, make it directly.'
Thus, at around 11:45 a.m. on 21 October 1805, the signal was sent. The exact time the signal was sent is not known (one account puts it as early as 10:30), as the message was repeated throughout the fleet, but Pasco puts it at "about a quarter to noon" and logs from other ships of the line also put it close to this time. 
Question: What is the full name of the person who came to Pasco on the poop, and ordered certain signals to be made, about a quarter to noon?

A: Lord Nelson.
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Q: Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it. 
Question: What were the names of the melodies written for voice and orchestra?

A:
Le lever du soleil sur le Nil.
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