input: Please answer the following: This article: With MacCallum's year of financial support over, Thomson's financial future became uncertain. He briefly looked into applying for a position as a park ranger, but balked after seeing that it could take months for the application to go through. Instead, he considered working in an engraving shop over the winter. He made little effort to sell his paintings, preferring to give them away, though he brought in some money from the paintings he sold. In mid-November, he donated In Algonquin Park to an exhibition organized to raise money for the Canadian Patriotic Fund. It was sold to Marion Long for $50 (equivalent to CAD$1,100 in 2018).In the spring of 1915, Thomson returned to Algonquin Park earlier than he had in any previous year and had already painted twenty-eight sketches by April 22. From April through July, he spent much of his time fishing, assisting groups on several different lakes, and sketching when he had time. In July, he was invited to send paintings to the Nova Scotia Provincial Exhibition in September. Because he was in Algonquin Park, his friends selected three works to sendtwo unidentified works from 1914 and the sketch Canadian Wildflowers. From the end of September to mid-October, he spent his time at Mowat, a village on the north end of Canoe Lake. By November, he was at Round Lake with Tom Wattie and Dr. Robert McComb. In late November, he returned to Toronto and moved into a shack behind the Studio Building that Harris and MacCallum fixed up for him, renting it for $1 a month.In 1915, MacCallum commissioned MacDonald, Lismer and Thomson to paint decorative panels for his cottage on Go-Home Bay. In October of that year, MacDonald went up to take dimensions. Thomson produced four panels which were probably meant to go over the windows. In April 1916, when MacDonald and Lismer went to install them, they found that MacDonald's measurements were incorrect and the panels did not fit. contains an answer for the question: What is the name of the person who made little effort in selling his paintings?, what is it ?
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output: Thomson

Please answer this: This article: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcicallike Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascendero" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score. contains an answer for the question: What are the names of the characters who are considered morally contemptible?, what is it ?
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Answer: Agrippina

Problem: This article: Throughout the early years of the July Monarchy, Alkan continued to teach and play at public concerts and in eminent social circles. He became a friend of many who were active in the world of the arts in Paris, including Franz Liszt (who had been based there since 1827), George Sand, and Victor Hugo. It is not clear exactly when he first met Frederic Chopin, who arrived in Paris in September 1831. In 1832 Alkan took the solo role in his first Concerto da camera for piano and strings at the Conservatoire. In the same year, aged 19, he was elected to the influential Societe Academique des Enfants d'Apollon (Society of the Children of Apollo), whose members included Luigi Cherubini, Fromental Halevy, the conductor Francois Habeneck, and Liszt, who had been elected in 1824 at the age of twelve. Between 1833 and 1836 Alkan participated at many of the Society's concerts. Alkan twice competed unsuccessfully for the Prix de Rome, in 1832 and again in 1834; the cantatas which he wrote for the competition, Hermann et Ketty and L'Entree en loge, have remained unpublished and unperformed.In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau, which was to result in an extended and often intimate correspondence which only came to light in 2009. Like virtually all of Alkan's correspondence, this exchange is now one-sided; all of his papers (including his manuscripts and his extensive library) were either destroyed by Alkan himself, as is clear from his will, or became lost after his death. Later in 1834 Alkan made a visit to England, where he gave recitals and where the second Concerto da camera was performed in Bath by its dedicatee Henry Ibbot Field; it was published in London together with some solo piano pieces. A letter to Masarnau and a notice in a French journal that Alkan played in London with Moscheles and Cramer, indicate that he returned to England in 1835. Later that year, Alkan, having found a place of retreat at Piscop outside Paris, completed his first truly original works for solo... contains an answer for the question: Who became a friend of Franz Liszt?, what is it ?

A: Alkan

input question: This article: Patrick Foley is dying of cancer and decides to return to the outback where he was born. He has stopped taking his medicine and is at peace with his decision to die alone in the woods. On his journey, he notices a family camping. From a neighbouring peak, Foley watches as Shawn, a 10-year-old boy, begins collecting firewood. The father attempts to move the camper away from the edge. Unfortunately, the camper rolls off the cliff and crashes to the bottom of the cliff with Shawn's parents inside. Shawn climbs down from the cliff finding the camper crushed upside down and realizes his parents are dead. Foley has an ethical dilemma: take the stranded ten-year-old back to civilization, and lose his own wish to die where he was born, or continue his personal mission and let the boy die alone in the wilderness. He decides to take the boy with him, and teaches him along the way how to survive in the wilderness. A striking moment is teaching the boy to tickle trout in a stream with your fingers, to lull them to be caught. A strong bond grows between the two, and when Foley finally dies, Shawn is equipped to travel out of the outback alone. contains an answer for the question: What does the man who wants to die along in the woods teach the 10-year-old to tickle trout in order to do?, what is it ????
output answer:
lull them to be caught