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During the Hundred Years' War a French attack (1340) burned a manor house and took some prisoners, but failed to get into the town. In 1403 the town was burned by Breton raiders. In the late fifteenth century a 'castle quadrate' was constructed close to the area now known as The Barbican; it included four round towers, one at each corner, as featured on the city coat of arms. The castle served to protect Sutton Pool, which is where the fleet was based in Plymouth prior to the establishment of Plymouth Dockyard. In 1512 an Act of Parliament was passed for further fortifying Plymouth, and a series of fortifications were then built, including defensive walls at the entrance to Sutton Pool (across which a chain would be extended in time of danger). Defences on St Nicholas Island also date from this time, and a string of six artillery blockhouses were built, including one on Fishers Nose at the south-eastern corner of the Hoe. This location was further strengthened by the building of a fort (later known as Drake's Fort) in 1596, which itself went on to provide the site for the Citadel, established in the 1660s (see below).
In what year did Parliament pass a notable law that led to the building of fortifications in Plymouth?
A: 1512

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Possibly the first venture into fictional treatments of Chopin's life was a fanciful operatic version of some of its events. Chopin was written by Giacomo Orefice and produced in Milan in 1901. All the music is derived from that of Chopin.
Who is responsible for the first fictionalized account of Chopin's life?
A: Giacomo Orefice

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Initially, Burke did not condemn the French Revolution. In a letter of 9 August 1789, Burke wrote: "England gazing with astonishment at a French struggle for Liberty and not knowing whether to blame or to applaud! The thing indeed, though I thought I saw something like it in progress for several years, has still something in it paradoxical and Mysterious. The spirit it is impossible not to admire; but the old Parisian ferocity has broken out in a shocking manner". The events of 56 October 1789, when a crowd of Parisian women marched on Versailles to compel King Louis XVI to return to Paris, turned Burke against it. In a letter to his son, Richard Burke, dated 10 October he said: "This day I heard from Laurence who has sent me papers confirming the portentous state of Francewhere the Elements which compose Human Society seem all to be dissolved, and a world of Monsters to be produced in the place of itwhere Mirabeau presides as the Grand Anarch; and the late Grand Monarch makes a figure as ridiculous as pitiable". On 4 November Charles-Jean-Francois Depont wrote to Burke, requesting that he endorse the Revolution. Burke replied that any critical language of it by him should be taken "as no more than the expression of doubt" but he added: "You may have subverted Monarchy, but not recover'd freedom". In the same month he described France as "a country undone". Burke's first public condemnation of the Revolution occurred on the debate in Parliament on the army estimates on 9 February 1790, provoked by praise of the Revolution by Pitt and Fox:
When did Burke write to Laurence?
A: unanswerable

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Coulton Waugh attempted the first comprehensive history of American comics with The Comics (1947). Will Eisner's Comics and Sequential Art (1985) and Scott McCloud's Understanding Comics (1993) were early attempts in English to formalize the study of comics. David Carrier's The Aesthetics of Comics (2000) was the first full-length treatment of comics from a philosophical perspective. Prominent American attempts at definitions of comics include Eisner's, McCloud's, and Harvey's. Eisner described what he called "sequential art" as "the arrangement of pictures or images and words to narrate a story or dramatize an idea"; Scott McCloud defined comics "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer", a strictly formal definition which detached comics from its historical and cultural trappings. R. C. Harvey defined comics as "pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa". Each definition has had its detractors. Harvey saw McCloud's definition as excluding single-panel cartoons, and objected to McCloud's de-emphasizing verbal elements, insisting "the essential characteristic of comics is the incorporation of verbal content". Aaron Meskin saw McCloud's theories as an artificial attempt to legitimize the place of comics in art history.
Who put together a history of American comics in 1974?
A:
unanswerable