Background: Aeschylus (UK: , US: ; Greek: Aiskhulos Aiskhulos; Ancient Greek: [ais.khy.los]; c. 525/524 - c. 456/455 BC) was an ancient Greek tragedian. He is often described as the father of tragedy. Academics' knowledge of the genre begins with his work, and understanding of earlier tragedies is largely based on inferences from his surviving plays.
Context: One hallmark of Aeschylean dramaturgy appears to have been his tendency to write connected trilogies, in which each play serves as a chapter in a continuous dramatic narrative. The Oresteia is the only extant example of this type of connected trilogy, but there is evidence that Aeschylus often wrote such trilogies. The comic satyr plays that follow his trilogies also drew upon stories derived from myths. For example, the Oresteia's satyr play Proteus treated the story of Menelaus' detour in Egypt on his way home from the Trojan War. Based on the evidence provided by a catalogue of Aeschylean play titles, scholia, and play fragments recorded by later authors, it is assumed that three other of his extant plays were components of connected trilogies: Seven against Thebes being the final play in an Oedipus trilogy, and The Suppliants and Prometheus Bound each being the first play in a Danaid trilogy and Prometheus trilogy, respectively (see below). Scholars have moreover suggested several completely lost trilogies derived from known play titles. A number of these trilogies treated myths surrounding the Trojan War. One, collectively called the Achilleis, comprised the titles Myrmidons, Nereids and Phrygians (alternately, The Ransoming of Hector). Another trilogy apparently recounts the entry of the Trojan ally Memnon into the war, and his death at the hands of Achilles (Memnon and The Weighing of Souls being two components of the trilogy); The Award of the Arms, The Phrygian Women, and The Salaminian Women suggest a trilogy about the madness and subsequent suicide of the Greek hero Ajax; Aeschylus also seems to have written about Odysseus' return to Ithaca after the war (including his killing of his wife Penelope's suitors and its consequences) in a trilogy consisting of The Soul-raisers, Penelope and The Bone-gatherers. Other suggested trilogies touched on the myth of Jason and the Argonauts (Argo, Lemnian Women, Hypsipyle); the life of Perseus (The Net-draggers, Polydektes, Phorkides); the birth and exploits of Dionysus (Semele, Bacchae, Pentheus); and the aftermath of the war portrayed in Seven against Thebes (Eleusinians, Argives (or Argive Women), Sons of the Seven).
Question: What happened during the Trojan Ally Memnon?
Answer: his death at the hands of Achilles (Memnon and The Weighing of Souls being two components of the trilogy);

Background: Henry Franklin Winkler was born on October 30, 1945 on the West Side of Manhattan, New York, the son of homemaker Ilse Anna Marie (nee Hadra; 1913-2002) and lumber company president Harry Irving Winkler (1903-1995). His parents were German Jews who emigrated from Berlin to the U.S. in 1939, on the eve of World War II. Winkler said that his parents came to the U.S. for a six-month business trip but knew they were never going back. His father smuggled the only assets the family had left (family jewels disguised as a box of chocolates) that he carried under his arm.
Context: Although Winkler had already shot the film The Lords of Flatbush, he was relatively unknown. In 1973, a year before that film was released, producer Tom Miller was instrumental in Winkler getting cast for the role of Arthur Herbert Fonzarelli, nicknamed "The Fonz" or "Fonzie", in Happy Days, which first aired in January 1974. For Happy Days, director/producer Garry Marshall originally had in mind a completely opposite physical presence. Marshall sought to cast a hunky, blonde, Italian model-type male in the role of Fonzie, intended as a stupid foil to the real star, Ron Howard. However, when Winkler interpreted the role in auditions, Marshall immediately snapped him up. According to Winkler, "The Fonz was everybody I wasn't. He was everybody I wanted to be." Winkler's character, though remaining very much a rough-hewn outsider, gradually became the focus of the show as time passed (in particular after the departure of Ron Howard). Initially, ABC executives did not want to see the Fonz wearing leather, thinking the character would appear to be a criminal. The first 13 episodes show Winkler wearing two different kinds of windbreaker jackets, one of which was green. As Winkler said in a TV Land interview, "It's hard to look cool in a green windbreaker". Marshall argued with the executives about the jacket. In the end, a compromise was made. Winkler could only wear the leather jacket in scenes with his motorcycle, and from that point on, the Fonz was never without his motorcycle until season 2. Happy Days ended its run in 1984.
Question: Was the role of arthur major?
Answer:
Winkler's character, though remaining very much a rough-hewn outsider, gradually became the focus of the show as time passed