Question: What is the first name of the person that falls in love with Norah? Answer the above question based on the context below: Sensitive, club-footed artist Philip Carey is a Briton who has been studying painting in Paris for four years. His art teacher tells him his work lacks talent, so he returns to London to become a medical doctor, but his moodiness and chronic self-doubt make it difficult for him to keep up in his schoolwork. Philip falls passionately in love with vulgar tearoom waitress Mildred Rogers, even though she is disdainful of his club foot and his obvious interest in her. Although he is attracted to the anemic and pale-faced woman, she is manipulative and cruel toward him when he asks her out. Her constant response to his romantic invitations is "I don't mind," an expression so uninterested that it infuriates him which only causes her to use it all the more. His daydreams about her (her image appears over an illustration in his medical school anatomy textbook, and a skeleton in the classroom is transformed into Mildred) cause him to be distracted from his studies, and he fails his medical examinations. When Philip proposes to her, Mildred declines, telling him she will be marrying a loutish salesman Emil Miller instead. The self-centered Mildred vindictively berates Philip with nasty insults for becoming romantically interested in her. Philip begins to forget Mildred when he falls in love with Norah, an attractive and considerate romance writer working under a male pseudonym. She slowly cures him of his painful addiction to Mildred. But just when it appears that Philip is finding happiness, Mildred returns, pregnant and claiming that Emil has abandoned her. Philip provides a flat for her, arranges to take care of her financially, and breaks off his relationship with Norah. Norah and Philip admit how interpersonal relationships may amount to bondage (Philip was bound to Mildred, as Norah was to Philip, and as Mildred was to Miller).
Answer: Philip
[Q]: What is the name of the building constructed in 1872 by the former Union army private? Answer the above question based on the context below: Ricketts Glen State Park is in the Susquehanna River drainage basin, the earliest recorded inhabitants of which were the Iroquoian-speaking Susquehannocks. Their numbers were greatly reduced by disease and warfare with the Five Nations of the Iroquois, and by 1675 they had died out, moved away, or been assimilated into other tribes. After this, the lands of the Susquehanna valley were under the nominal control of the Iroquois, who encouraged displaced tribes from the east to settle there, including the Shawnee and Lenape (or Delaware).On November 5, 1768, the British acquired land, known in Pennsylvania as the New Purchase, from the Iroquois in the Treaty of Fort Stanwix; this included what is now Ricketts Glen State Park. After the American Revolutionary War, Native Americans almost entirely left Pennsylvania. Luzerne County was formed in 1786 from part of Northumberland County, and Fairmount Township, where the waterfalls are, was settled in 1792 and incorporated in 1834. About 1890 a Native American pot, decorated in the style of "the peoples of the Susquehanna region", was found under a rock ledge on Kitchen Creek by Murray Reynolds, for whom a waterfall is named.The Ricketts family began acquiring land in and around what became the park in 1851, when Elijah Ricketts and his brother Clemuel bought about 5,000 acres (2,000 ha) on North Mountain around what is now known as Ganoga Lake. By 1852 they had built a stone house on the lake shore, which they ran "as a lodge and tavern". Elijah's son Robert Bruce Ricketts, for whom the park is named, joined the Union Army as a private at the outbreak of the American Civil War and rose through the ranks to become a colonel. After the war, R. B. Ricketts returned to Pennsylvania and began purchasing the land around the lake from his father in 1869; eventually he controlled or owned more than 80,000 acres (32,000 ha), including the glens and waterfalls.Ricketts and the other settlers living in the area were not aware of the glens and their waterfalls until about 1865,...
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[A]: North Mountain House hotel
input: Please answer the following: What are the exact titles of the two separate works that were both received politely but without enthusiasm? Answer the above question based on the context below: In June 1911, as part of the celebrations surrounding the coronation of King George V, Elgar was appointed to the Order of Merit, an honour limited to twenty-four holders at any time. The following year, the Elgars moved back to London, to a large house in Netherhall Gardens, Hampstead, designed by Norman Shaw. There Elgar composed his last two large-scale works of the pre-war era, the choral ode, The Music Makers (for the Birmingham Festival, 1912) and the symphonic study Falstaff (for the Leeds Festival, 1913). Both were received politely but without enthusiasm. Even the dedicatee of Falstaff, the conductor Landon Ronald, confessed privately that he could not "make head or tail of the piece," while the musical scholar Percy Scholes wrote of Falstaff that it was a "great work" but, "so far as public appreciation goes, a comparative failure."When World War I broke out, Elgar was horrified at the prospect of the carnage, but his patriotic feelings were nonetheless aroused. He composed "A Song for Soldiers", which he later withdrew. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the army. He composed patriotic works, Carillon, a recitation for speaker and orchestra in honour of Belgium, and Polonia, an orchestral piece in honour of Poland. Land of Hope and Glory, already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune. By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 191920 season in October 1919. Apart from the Elgar work, which the composer conducted, the rest of the programme was conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." The critic of The Observer, Ernest Newman, wrote, "There have been rumours about during the week of inadequate rehearsal....
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output:
The Music Makers