nc33/multispan_quoref huggingface dataset:
Bach is known as a prolific composer of cantatas. When he assumed the position as Thomaskantor (director of church music) in Leipzig in 1723, he began the project to write church cantatas for the occasions of the liturgical year – Sundays and feast days – a project that he pursued for three years.Bach was appointed organist and chamber musician in Weimar at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August on 25 June 1708. He had composed sacred cantatas before, some during his tenure in Mühlhausen from 1706 to 1708. Most were written for special occasions and were based mainly on biblical texts and hymns. Examples include: Aus der Tiefen rufe ich, Herr, zu dir, BWV 131; the early chorale cantata Christ lag in Todes Banden, BWV 4 for Easter; Gott ist mein König, BWV 71, to celebrate the inauguration of the new city council on 4 February 1708; and the Actus Tragicus for a funeral.
In Weimar, Bach first concentrated on the organ, composing major works for the instrument, including the Orgelbüchlein, the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. Christoph Wolff suggests that Bach may have studied musical material belonging to the Hofkapelle, ("court capelle" or court orchestra), and that he copied and studied works by Johann Philipp Krieger, Christoph Graupner, Georg Philipp Telemann, Marco Giuseppe Peranda and Johann David Heinichen in the period from 1711 to 1713. In early 1713 Bach composed his first cantatas in the new style that included recitatives and arias: the so-called Hunting Cantata, BWV 208, as a homage cantata for Christian, Duke of Saxe-Weissenfels, celebrated on 23 February, and possibly the church cantata for Sexagesima (the second Sunday before Lent) Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18, on a text by Erdmann Neumeister.In 1713, he was asked to apply for the position of music director of the Marktkirche in Halle, succeeding Friedrich Wilhelm Zachow. Zachow had taught the young George Frideric Handel, and  composed many church cantatas in the new style, adopting recitatives and arias from the Italian opera. Bach was successful in his application for the position, but declined after Duke Wilhelm Ernst increased his salary and offered him a promotion.

Question: What is the last name of the person who succeeded Friedrich Wilhelm Zachow?
Answer: Bach
Bach is known as a prolific composer of cantatas. When he assumed the position as Thomaskantor (director of church music) in Leipzig in 1723, he began the project to write church cantatas for the occasions of the liturgical year – Sundays and feast days – a project that he pursued for three years.Bach was appointed organist and chamber musician in Weimar at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August on 25 June 1708. He had composed sacred cantatas before, some during his tenure in Mühlhausen from 1706 to 1708. Most were written for special occasions and were based mainly on biblical texts and hymns. Examples include: Aus der Tiefen rufe ich, Herr, zu dir, BWV 131; the early chorale cantata Christ lag in Todes Banden, BWV 4 for Easter; Gott ist mein König, BWV 71, to celebrate the inauguration of the new city council on 4 February 1708; and the Actus Tragicus for a funeral.
In Weimar, Bach first concentrated on the organ, composing major works for the instrument, including the Orgelbüchlein, the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. Christoph Wolff suggests that Bach may have studied musical material belonging to the Hofkapelle, ("court capelle" or court orchestra), and that he copied and studied works by Johann Philipp Krieger, Christoph Graupner, Georg Philipp Telemann, Marco Giuseppe Peranda and Johann David Heinichen in the period from 1711 to 1713. In early 1713 Bach composed his first cantatas in the new style that included recitatives and arias: the so-called Hunting Cantata, BWV 208, as a homage cantata for Christian, Duke of Saxe-Weissenfels, celebrated on 23 February, and possibly the church cantata for Sexagesima (the second Sunday before Lent) Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18, on a text by Erdmann Neumeister.In 1713, he was asked to apply for the position of music director of the Marktkirche in Halle, succeeding Friedrich Wilhelm Zachow. Zachow had taught the young George Frideric Handel, and  composed many church cantatas in the new style, adopting recitatives and arias from the Italian opera. Bach was successful in his application for the position, but declined after Duke Wilhelm Ernst increased his salary and offered him a promotion.

Question: What is the first name of the person who taught the young George Frideric Handel?
Answer: Friedrich
Bach is known as a prolific composer of cantatas. When he assumed the position as Thomaskantor (director of church music) in Leipzig in 1723, he began the project to write church cantatas for the occasions of the liturgical year – Sundays and feast days – a project that he pursued for three years.Bach was appointed organist and chamber musician in Weimar at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August on 25 June 1708. He had composed sacred cantatas before, some during his tenure in Mühlhausen from 1706 to 1708. Most were written for special occasions and were based mainly on biblical texts and hymns. Examples include: Aus der Tiefen rufe ich, Herr, zu dir, BWV 131; the early chorale cantata Christ lag in Todes Banden, BWV 4 for Easter; Gott ist mein König, BWV 71, to celebrate the inauguration of the new city council on 4 February 1708; and the Actus Tragicus for a funeral.
In Weimar, Bach first concentrated on the organ, composing major works for the instrument, including the Orgelbüchlein, the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. Christoph Wolff suggests that Bach may have studied musical material belonging to the Hofkapelle, ("court capelle" or court orchestra), and that he copied and studied works by Johann Philipp Krieger, Christoph Graupner, Georg Philipp Telemann, Marco Giuseppe Peranda and Johann David Heinichen in the period from 1711 to 1713. In early 1713 Bach composed his first cantatas in the new style that included recitatives and arias: the so-called Hunting Cantata, BWV 208, as a homage cantata for Christian, Duke of Saxe-Weissenfels, celebrated on 23 February, and possibly the church cantata for Sexagesima (the second Sunday before Lent) Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18, on a text by Erdmann Neumeister.In 1713, he was asked to apply for the position of music director of the Marktkirche in Halle, succeeding Friedrich Wilhelm Zachow. Zachow had taught the young George Frideric Handel, and  composed many church cantatas in the new style, adopting recitatives and arias from the Italian opera. Bach was successful in his application for the position, but declined after Duke Wilhelm Ernst increased his salary and offered him a promotion.

Question: What was the first name of the person who composed many church cantatas in the new style, adopting recitatives and arias from the Italian opera?
Answer: Friedrich
Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

Question: What books of the Bible are the prescribed readings for the feast day taken from?
Answer: Acts of the Apostles, Gospel of John
Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

Question: What are the three high holidays?
Answer: Pentecost, Christmas, Easter
Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

Question: What is the full name of the person whose text shows elements of early Pietism?
Answer: Salomon Franck
Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

Question: What verse from the Gospel text does Franck paraphrase?
Answer: 23
Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

Question: What are the two things that Movement 6 continues the theme of unity between?
Answer: Soul, Spirit
Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

Question: What is the last name of the person who the poetry of Bach's cantatas is attributed to?
Answer: Franck
"Erschallet, ihr Lieder" (literally: sound, you songs) is a festive concerto, marked Coro by Bach. Words and music are possibly based on an earlier lost secular Glückwunschkantate (congratulatory cantata). A printing of Franck's works contains a cantata for New Year's Day, Erschallet nun wieder, glückwünschende Lieder (Sound again, congratulating songs) that may have served as a model. The movement is in da capo form: the first section is repeated after a contrasting middle section. It is scored for three "choirs": one of trumpets, another of strings and bassoon, and a four-part chorus. The number three, symbolizing the Trinity, appears again in the 3/8 time signature and in the use of three trumpets. The first part opens with trumpet fanfares, alternating with flowing coloraturas in the strings. The voices enter as a third homophonic choir. They repeat the first measure of the fanfare motif on the word "Erschallet" (resound!), as the trumpets echo the motif. The voices repeat the motif from the second measure of the fanfare on "ihr Lieder", and the trumpets echo it again. The chorus repeats measures 3 and 4 on "erklinget, ihr Saiten", commanding the strings to play. As a culmination, the first syllable of "seligste Zeiten" (most blessed times) is held on a seventh chord (first in measure 53), during which the instruments play their motifs.In the middle section in A minor the trumpets rest while the other instruments play colla parte with the voices. Polyphonic imitation expands on the idea that God will prepare the souls to be his temples. The first sequence progresses from the lowest to the highest voice, with entrances after two or three measures. The highest voice begins the second sequence, and the other voices enter in closer succession, one or two measures apart. Gardiner interprets the polyphony as "conjuring before us the elegant tracery of those 'temples' which God promises to make of our souls". The first part is repeated as da capo.The movement is comparable to the opening of Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214 (Resound, ye drums! Ring out, ye trumpets!) composed in 1733 on another text calling instruments to sound, which Bach later used with a different text to open his Christmas Oratorio. Bach used a festive scoring with three trumpets in triple meter in his 1733  Missa for the court in Dresden, in the Gloria, in  contrast to the preceding Kyrie.

Question: What repeats the first measure of the fanfare motif on the word "Erschallet"?
Answer: voices
Curiously, it appears that the Greeks did not "breed" their slaves, at least during the Classical Era, though the proportion of houseborn slaves appears to have been rather large in Ptolemaic Egypt and in manumission inscriptions at Delphi. Sometimes the cause of this was natural; mines, for instance, were exclusively a male domain. On the other hand, there were many female domestic slaves. The example of African slaves in the American South on the other hand demonstrates that slave populations can multiply.Xenophon advised that male and female slaves should be lodged separately, that "…nor children born and bred by our domestics without our knowledge and consent—no unimportant matter, since, if the act of rearing children tends to make good servants still more loyally disposed, cohabiting but sharpens ingenuity for mischief in the bad." The explanation is perhaps economic; even a skilled slave was cheap, so it may have been cheaper to purchase a slave than to raise one. Additionally, childbirth placed the slave-mother's life at risk, and the baby was not guaranteed to survive to adulthood.Houseborn slaves (oikogeneis) often constituted a privileged class. They were, for example, entrusted to take the children to school; they were "pedagogues" in the first sense of the term. Some of them were the offspring of the master of the house, but in most cities, notably Athens, a child inherited the status of its mother.

Question: What were entrusted to take children to school?
Answer: oikogeneis
Curiously, it appears that the Greeks did not "breed" their slaves, at least during the Classical Era, though the proportion of houseborn slaves appears to have been rather large in Ptolemaic Egypt and in manumission inscriptions at Delphi. Sometimes the cause of this was natural; mines, for instance, were exclusively a male domain. On the other hand, there were many female domestic slaves. The example of African slaves in the American South on the other hand demonstrates that slave populations can multiply.Xenophon advised that male and female slaves should be lodged separately, that "…nor children born and bred by our domestics without our knowledge and consent—no unimportant matter, since, if the act of rearing children tends to make good servants still more loyally disposed, cohabiting but sharpens ingenuity for mischief in the bad." The explanation is perhaps economic; even a skilled slave was cheap, so it may have been cheaper to purchase a slave than to raise one. Additionally, childbirth placed the slave-mother's life at risk, and the baby was not guaranteed to survive to adulthood.Houseborn slaves (oikogeneis) often constituted a privileged class. They were, for example, entrusted to take the children to school; they were "pedagogues" in the first sense of the term. Some of them were the offspring of the master of the house, but in most cities, notably Athens, a child inherited the status of its mother.

Question: What were pedagogues in the first sense of the term?
Answer: oikogeneis
Athenian slaves were the property of their master (or of the state), who could dispose of them as he saw fit. He could give, sell, rent, or bequeath them. A slave could have a spouse and child, but the slave family was not recognized by the state, and the master could scatter the family members at any time. Slaves had fewer judicial rights than citizens and were represented by their master in all judicial proceedings. A misdemeanour that would result in a fine for the free man would result in a flogging for the slave; the ratio seems to have been one lash for one drachma. With several minor exceptions, the testimony of a slave was not admissible except under torture. Slaves were tortured in trials because they often remained loyal to their master. A famous example of a trusty slave was Themistocles's Persian slave Sicinnus (the counterpart of Ephialtes of Trachis), who, despite his Persian origin, betrayed Xerxes and helped Athenians in the Battle of Salamis. Despite torture in trials, the Athenian slave was protected in an indirect way: if he was mistreated, the master could initiate litigation for damages and interest (δίκη βλάβης / dikē blabēs). Conversely, a master who excessively mistreated a slave could be prosecuted by any citizen (γραφὴ ὕβρεως / graphē hybreōs); this was not enacted for the sake of the slave, but to avoid violent excess (ὕβρις / hubris).Isocrates claimed that "not even the most worthless slave can be put to death without trial"; the master's power over his slave was not absolute. Draco's law apparently punished with death the murder of a slave; the underlying principle was: "was the crime such that, if it became more widespread, it would do serious harm to society?" The suit that could be brought against a slave's killer was not a suit for damages, as would be the case for the killing of cattle, but a δίκη φονική (dikē phonikē), demanding punishment for the religious pollution brought by the shedding of blood. In the 4th century BC, the suspect was judged by the Palladion, a court which had jurisdiction over unintentional homicide; the imposed penalty seems to have been more than a fine but less than death—maybe exile, as was the case in the murder of a Metic.

Question: What is the name of the court that exiled people?
Answer: Palladion
However, slaves did belong to their master's household. A newly-bought slave was welcomed with nuts and fruits, just like a newly-wed wife. Slaves took part in most of the civic and family cults; they were expressly invited to join the banquet of the Choes, second day of the Anthesteria, and were allowed initiation into the Eleusinian Mysteries. A slave could claim asylum in a temple or at an altar, just like a free man. The slaves shared the gods of their masters and could keep their own religious customs if any.Slaves could not own property, but their masters often let them save up to purchase their freedom, and records survive of slaves operating businesses by themselves, making only a fixed tax-payment to their masters. Athens also had a law forbidding the striking of slaves: if a person struck what appeared to be a slave in Athens, that person might find himself hitting a fellow-citizen, because many citizens dressed no better. It astonished other Greeks that Athenians tolerated back-chat from slaves. Athenian slaves fought together with Athenian freemen at the battle of Marathon, and the monuments memorialize them. It was formally decreed before the battle of Salamis that the citizens should "save themselves, their women, children, and slaves".Slaves had special sexual restrictions and obligations. For example, a slave could not engage free boys in pederastic relationships ("A slave shall not be the lover of a free boy nor follow after him, or else he shall receive fifty blows of the public lash."), and they were forbidden from the palaestrae ("A slave shall not take exercise or anoint himself in the wrestling-schools."). Both laws are attributed to Solon. Fathers wanting to protect their sons from unwanted advances provided them with a slave guard, called a paidagogos, to escort the boy in his travels.
The sons of vanquished foes would be enslaved and often forced to work in male brothels, as in the case of Phaedo of Elis, who at the request of Socrates was bought and freed from such an enterprise by the philosopher's rich friends. On the other hand, it is attested in sources that the rape of slaves was prosecuted, at least occasionally.

Question: What is the name of the man who put forth a law preventing slaves from engaging free boys in pederastic relationships?
Answer: Solon
The earthquake was preceded by a foreshock, which, although modest, was strong enough to cause chaos and force people to flee from their homes into the streets. The main shock originated southeast of Ambato. When the primary shock hit Ambato's main cathedral and military barracks collapsed, as did most of the city's buildings, scores of young girls preparing for their First Communion perished in the cathedral. The shaking ruptured water mains, disabled communication lines, opened cracks in the earth, reduced bridges to rubble, and derailed a train. The earthquake demolished buildings in rural hamlets; closer to the nearest mountains of the Andes, landslides destroyed roads and blocked rivers. The village of Libertad near Pelileo sank 460 m (1,509 ft) into a huge hole about 800 m (2,625 ft) in diameter with all of its 100 inhabitants. Shaking up to intensity IV extended as far away as Quito and Guayaquil.Initial reports (around August 7) estimated the death toll at 2,700 people.  The cities of Patate and Pelileo suffered the most with 1,000 and 1,300 dead respectively. In Ambato reports of the death toll ranged from 400 to 500, and the  Ecuadorean Embassy in Washington, D.C., estimated that 1,000 to more than 2,000 people were injured. The town of Pillaro, destroyed by the quake, had more than 20 dead, and in Latacunga, 11 were killed and 30 injured; 50 homes, two churches, and the local government building were also ruined. Fifteen other towns and cities were also badly affected, including Guano which was devastated.Later counts assumed around 3,200 casualties in Pelileo; the total death toll estimates were adjusted to around 4,000 people. Officials reported that many of the dead had been inside buildings as they buckled or were killed by flooding brought about by the blockage of a  drainage canal. Others were crushed by landslides from nearby mountains. No homes in the city of Pelileo were left standing, many buildings were flattened, and large cracks formed in the ground. In Ambato alone 75 percent of the homes still standing had to be demolished. On August 8, an aftershock with "considerable strength" struck near Ambato.The final death toll according to the United States Geological Survey was 5,050. The earthquake severely affected some 30 communities and left approximately 100,000 people homeless.

Question: What city suffered with 1000 dead after the earthquake?
Answer: Patate
The earthquake was preceded by a foreshock, which, although modest, was strong enough to cause chaos and force people to flee from their homes into the streets. The main shock originated southeast of Ambato. When the primary shock hit Ambato's main cathedral and military barracks collapsed, as did most of the city's buildings, scores of young girls preparing for their First Communion perished in the cathedral. The shaking ruptured water mains, disabled communication lines, opened cracks in the earth, reduced bridges to rubble, and derailed a train. The earthquake demolished buildings in rural hamlets; closer to the nearest mountains of the Andes, landslides destroyed roads and blocked rivers. The village of Libertad near Pelileo sank 460 m (1,509 ft) into a huge hole about 800 m (2,625 ft) in diameter with all of its 100 inhabitants. Shaking up to intensity IV extended as far away as Quito and Guayaquil.Initial reports (around August 7) estimated the death toll at 2,700 people.  The cities of Patate and Pelileo suffered the most with 1,000 and 1,300 dead respectively. In Ambato reports of the death toll ranged from 400 to 500, and the  Ecuadorean Embassy in Washington, D.C., estimated that 1,000 to more than 2,000 people were injured. The town of Pillaro, destroyed by the quake, had more than 20 dead, and in Latacunga, 11 were killed and 30 injured; 50 homes, two churches, and the local government building were also ruined. Fifteen other towns and cities were also badly affected, including Guano which was devastated.Later counts assumed around 3,200 casualties in Pelileo; the total death toll estimates were adjusted to around 4,000 people. Officials reported that many of the dead had been inside buildings as they buckled or were killed by flooding brought about by the blockage of a  drainage canal. Others were crushed by landslides from nearby mountains. No homes in the city of Pelileo were left standing, many buildings were flattened, and large cracks formed in the ground. In Ambato alone 75 percent of the homes still standing had to be demolished. On August 8, an aftershock with "considerable strength" struck near Ambato.The final death toll according to the United States Geological Survey was 5,050. The earthquake severely affected some 30 communities and left approximately 100,000 people homeless.

Question: What city suffered with 1,300 dead following the earthquake?
Answer: Pelileo
The earthquake was preceded by a foreshock, which, although modest, was strong enough to cause chaos and force people to flee from their homes into the streets. The main shock originated southeast of Ambato. When the primary shock hit Ambato's main cathedral and military barracks collapsed, as did most of the city's buildings, scores of young girls preparing for their First Communion perished in the cathedral. The shaking ruptured water mains, disabled communication lines, opened cracks in the earth, reduced bridges to rubble, and derailed a train. The earthquake demolished buildings in rural hamlets; closer to the nearest mountains of the Andes, landslides destroyed roads and blocked rivers. The village of Libertad near Pelileo sank 460 m (1,509 ft) into a huge hole about 800 m (2,625 ft) in diameter with all of its 100 inhabitants. Shaking up to intensity IV extended as far away as Quito and Guayaquil.Initial reports (around August 7) estimated the death toll at 2,700 people.  The cities of Patate and Pelileo suffered the most with 1,000 and 1,300 dead respectively. In Ambato reports of the death toll ranged from 400 to 500, and the  Ecuadorean Embassy in Washington, D.C., estimated that 1,000 to more than 2,000 people were injured. The town of Pillaro, destroyed by the quake, had more than 20 dead, and in Latacunga, 11 were killed and 30 injured; 50 homes, two churches, and the local government building were also ruined. Fifteen other towns and cities were also badly affected, including Guano which was devastated.Later counts assumed around 3,200 casualties in Pelileo; the total death toll estimates were adjusted to around 4,000 people. Officials reported that many of the dead had been inside buildings as they buckled or were killed by flooding brought about by the blockage of a  drainage canal. Others were crushed by landslides from nearby mountains. No homes in the city of Pelileo were left standing, many buildings were flattened, and large cracks formed in the ground. In Ambato alone 75 percent of the homes still standing had to be demolished. On August 8, an aftershock with "considerable strength" struck near Ambato.The final death toll according to the United States Geological Survey was 5,050. The earthquake severely affected some 30 communities and left approximately 100,000 people homeless.

Question: What was the name of the town that was devastated?
Answer: Guano
Four days after the events of Rush Hour, LAPD Detective James Carter is on vacation in Hong Kong visiting his friend, Hong Kong Police Force Chief Inspector Lee, whom he met and befriended after working together to save the Chinese Consul Han's daughter, Soo Yung, in Los Angeles. Their leisure is temporarily put on hold as soon as a bomb explodes at the United States Consulate General, murdering two undercover U.S. Customs agents inside of it. Inspector Lee is assigned to the case, which becomes personal when it is discovered that it somehow involves Ricky Tan, his late police officer father's former partner. Ricky, who was suspected of having a role in elder Lee's death (although never proven), is now a leader of the Triads. This, however, causes Lee and Carter to get into a brawl between them and Ricky's bodyguards, with Carter becoming shocked with Lee as they were busy with their vacation.
The U.S. Secret Service, led by Agent Sterling, and the Hong Kong Police Force soon get into a fight over the jurisdiction of the case. Suddenly, Lee's office that Carter was in is bombed, causing Lee to believe he's dead and grieve for him. Carter is revealed to be alive, leaving the room before it exploded. He and a relieved Lee cross paths at Ricky's yacht where he is holding a dinner party. Ricky scolds his underling, Hu Li, who then leaves as Lee and Carter confront her boss. Just as Ricky asks for protection, Hu Li shoots him and makes her escape in the chaos. An angry Sterling holds Lee responsible for Ricky's death, and orders him off the case. Carter is ordered back to Los Angeles for involving himself and Lee volunteers to take him to the airport. However, at the airport, Carter gets Lee to return to LA with him.

Question: Where did James Carter and Inspector Lee become friends?
Answer: Los Angeles
Four days after the events of Rush Hour, LAPD Detective James Carter is on vacation in Hong Kong visiting his friend, Hong Kong Police Force Chief Inspector Lee, whom he met and befriended after working together to save the Chinese Consul Han's daughter, Soo Yung, in Los Angeles. Their leisure is temporarily put on hold as soon as a bomb explodes at the United States Consulate General, murdering two undercover U.S. Customs agents inside of it. Inspector Lee is assigned to the case, which becomes personal when it is discovered that it somehow involves Ricky Tan, his late police officer father's former partner. Ricky, who was suspected of having a role in elder Lee's death (although never proven), is now a leader of the Triads. This, however, causes Lee and Carter to get into a brawl between them and Ricky's bodyguards, with Carter becoming shocked with Lee as they were busy with their vacation.
The U.S. Secret Service, led by Agent Sterling, and the Hong Kong Police Force soon get into a fight over the jurisdiction of the case. Suddenly, Lee's office that Carter was in is bombed, causing Lee to believe he's dead and grieve for him. Carter is revealed to be alive, leaving the room before it exploded. He and a relieved Lee cross paths at Ricky's yacht where he is holding a dinner party. Ricky scolds his underling, Hu Li, who then leaves as Lee and Carter confront her boss. Just as Ricky asks for protection, Hu Li shoots him and makes her escape in the chaos. An angry Sterling holds Lee responsible for Ricky's death, and orders him off the case. Carter is ordered back to Los Angeles for involving himself and Lee volunteers to take him to the airport. However, at the airport, Carter gets Lee to return to LA with him.

Question: What is the full name of the person that Lee grieves for?
Answer: James Carter
Three sailors – Gabey, Chip, and Ozzie – begin their shore leave, excited for their 24 hours in New York. Riding the subway, Gabey falls in love with the picture of "Miss Turnstiles", who is actually called Ivy Smith, and fantasizes about what she's like in real life.  The sailors race around New York attempting to find her in the brief period they have. 
They are assisted by, and become romantically involved with, two women, and pair up: Ozzie with Claire, an anthropologist; and Chip with Hildy Esterhazy, an aggressively amorous taxi driver.  Claire claims that she's found her passionate "Prehistoric Man" in Ozzie at the Museum of Anthropological History. Hildy invites Chip to "Come Up to My Place". Finally finding Ivy, Gabey takes her on an imaginary date down his home town "Main Street" in a studio in Symphonic Hall - not realising that she is also from the same town.  Later, Chip sincerely falls for Hildy telling her "You're Awful" – that is, awful nice to be with. That evening, all the couples meet at the top of the Empire State Building to celebrate a night "On the Town".
But when an ashamed Ivy walks out on Gabey to get to her late night work as a cooch dancer, the friends tell a despondent Gabey, "You Can Count on Me", joined by Hildy's annoying, but well-meaning roommate, Lucy Schmeeler. They have a number of adventures before reuniting with Ivy at Coney Island just as their 24-hour leave ends and they must return to their ship to head off to sea. Although their future is uncertain, the boys and girls share one last kiss on the pier as a new crew of sailors heads out into the city for their leave ("New York, New York" reprise).

Question: What is the pseudonym of the person who is fantasized about?
Answer: Miss Turnstiles
Three sailors – Gabey, Chip, and Ozzie – begin their shore leave, excited for their 24 hours in New York. Riding the subway, Gabey falls in love with the picture of "Miss Turnstiles", who is actually called Ivy Smith, and fantasizes about what she's like in real life.  The sailors race around New York attempting to find her in the brief period they have. 
They are assisted by, and become romantically involved with, two women, and pair up: Ozzie with Claire, an anthropologist; and Chip with Hildy Esterhazy, an aggressively amorous taxi driver.  Claire claims that she's found her passionate "Prehistoric Man" in Ozzie at the Museum of Anthropological History. Hildy invites Chip to "Come Up to My Place". Finally finding Ivy, Gabey takes her on an imaginary date down his home town "Main Street" in a studio in Symphonic Hall - not realising that she is also from the same town.  Later, Chip sincerely falls for Hildy telling her "You're Awful" – that is, awful nice to be with. That evening, all the couples meet at the top of the Empire State Building to celebrate a night "On the Town".
But when an ashamed Ivy walks out on Gabey to get to her late night work as a cooch dancer, the friends tell a despondent Gabey, "You Can Count on Me", joined by Hildy's annoying, but well-meaning roommate, Lucy Schmeeler. They have a number of adventures before reuniting with Ivy at Coney Island just as their 24-hour leave ends and they must return to their ship to head off to sea. Although their future is uncertain, the boys and girls share one last kiss on the pier as a new crew of sailors heads out into the city for their leave ("New York, New York" reprise).

Question: What are the names of the people who race around New York?
Answer: Gabey, Chip, Ozzie
Three sailors – Gabey, Chip, and Ozzie – begin their shore leave, excited for their 24 hours in New York. Riding the subway, Gabey falls in love with the picture of "Miss Turnstiles", who is actually called Ivy Smith, and fantasizes about what she's like in real life.  The sailors race around New York attempting to find her in the brief period they have. 
They are assisted by, and become romantically involved with, two women, and pair up: Ozzie with Claire, an anthropologist; and Chip with Hildy Esterhazy, an aggressively amorous taxi driver.  Claire claims that she's found her passionate "Prehistoric Man" in Ozzie at the Museum of Anthropological History. Hildy invites Chip to "Come Up to My Place". Finally finding Ivy, Gabey takes her on an imaginary date down his home town "Main Street" in a studio in Symphonic Hall - not realising that she is also from the same town.  Later, Chip sincerely falls for Hildy telling her "You're Awful" – that is, awful nice to be with. That evening, all the couples meet at the top of the Empire State Building to celebrate a night "On the Town".
But when an ashamed Ivy walks out on Gabey to get to her late night work as a cooch dancer, the friends tell a despondent Gabey, "You Can Count on Me", joined by Hildy's annoying, but well-meaning roommate, Lucy Schmeeler. They have a number of adventures before reuniting with Ivy at Coney Island just as their 24-hour leave ends and they must return to their ship to head off to sea. Although their future is uncertain, the boys and girls share one last kiss on the pier as a new crew of sailors heads out into the city for their leave ("New York, New York" reprise).

Question: What are the names of the people who are assisted by two women?
Answer: Gabey, Chip, Ozzie