Problem: Read the following paragraph and extract the answer for the question: What event increased the reputation and standing of the society that was organized by nine prominent men? The Romney Literary Society, which built Literary Hall between 1869 and 1870, was organized by nine prominent men in Romney on January 30, 1819. With its establishment in 1819, the Romney Literary Society became the first literary organization of its kind in the present-day state of West Virginia, and one of the first in the United States. On February 4, 1819, the constitution of the society was adopted, which provided that the organization should be known as the "Polemic Society of Romney". The society founded its library in 1819 with the acquisition of two books, and by 1861 the society's humble library had grown to contain approximately 3,000 volumes, consisting of books on literature, science, history and art. The Romney Literary Society commenced a movement to establish an institution for "the higher education of the youth of the community". As a result of this initiative, the teaching of the classics was introduced into the curriculum of Romney Academy in 1820, thus making the institution the first school of higher education in the Eastern Panhandle. In 1846, the society constructed a new building to house the Romney Classical Institute and its library, both of which fell under the society's supervision.The Romney Literary Society and the Romney Classical Institute both flourished and continued to grow in importance and influence until the onset of the Civil War in 1861. During the war, many members fought for the Confederate States Army forces and were killed during the conflict. The contents of the society's library were plundered by Union Army forces, and many of its 3,000 volumes were either scattered or destroyed. Following the war's end, only 400 of those volumes could be recovered, with just 200 remaining on the library's shelves.The Romney Literary Society reorganized on May 15, 1869. Following the reorganization, the society built Literary Hall between 1869 and 1870 while also undertaking an initiative to bring the West Virginia Schools for the Deaf and Blind to its old Romney Classical...

A: Civil War
Problem: Given the question: Read the following paragraph and extract the answer for the question: What is the name of the person that George Copper let into the organ loft? Wood was born in Oxford Street, London, the only child of Henry Joseph Wood and his wife Martha, nee Morris. Wood senior had started in his family's pawnbroking business, but by the time of his son's birth he was trading as a jeweller, optician and engineering modeller, much sought-after for his model engines. It was a musical household: Wood senior was an amateur cellist and sang as principal tenor in the choir of St Sepulchre-without-Newgate, known as "the musicians' church". His wife played the piano and sang songs from her native Wales. They encouraged their son's interest in music, buying him a Broadwood piano, on which his mother gave him lessons. The young Wood also learned to play the violin and viola. Wood received little religious inspiration at St Sepulchre, but was deeply stirred by the playing of the resident organist, George Cooper, who allowed him into the organ loft and gave him his first lessons on the instrument. Cooper died when Wood was seven, and the boy took further lessons from Cooper's successor, Edwin M. Lott, for whom Wood had much less regard. At the age of ten, through the influence of one of his uncles, Wood made his first paid appearance as an organist at St Mary Aldermanbury, being paid half a crown. In June 1883, visiting the Fisheries Exhibition at South Kensington with his father, Wood was invited to play the organ in one of the galleries, making a good enough impression to be engaged to give recitals at the exhibition building over the next three months. At this time in his life, painting was nearly as strong an interest as music, and he studied in his spare time at the Slade School of Fine Art. He remained a life-long amateur painter.After taking private lessons from the musicologist Ebenezer Prout, Wood entered the Royal Academy of Music at the age of seventeen, studying harmony and composition with Prout, organ with Charles Steggall, and piano with Walter Macfarren. It is not clear whether he was a member of Manuel Garcia's singing class, but it is certain that he...
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The answer is:
Wood
[Q]: Read the following paragraph and extract the answer for the question: Who might be supposed to portray Iphigenia' friends mourning? Though she did not again win the Sulman, she was successful in having works hung in that competition on many occasions, including the 1946, 1947, 1948 and 1950 shows. Bellette continued to paint classical scenes, and around 1950 produced the work Chorus without Iphigenia. Purchased by the National Gallery of Australia in 1976, this oil painting shows five figures, "posed like statues in a tableau vivant, [and who] possess a kind of erotic energy". Anne Gray, the National Gallery's curator, interpreted the scene chosen by Bellette: Although nothing is happening in this image, we associate the figures with tragedy, with death and mourning with the classical reference in the painting's title. Iphigenia, Agamemnon's daughter, gave her life for her country when the goddess Artemis asked for it in exchange for favourable winds so that the Greek ships could sail to Troy. Bellette's melancholic painting might be supposed to portray Iphigenia's friends mourning her death. In 1951, Bellette came second in the Commonwealth Jubilee Art Competition, behind the young Jeffrey Smart. The following year, she won a competitive exhibition sponsored by Metro Goldwyn Mayer, with Girl With Still Life.Although Haefliger never critiqued his wife's exhibitions, others occasionally stepped in to provide reviews in the Herald. Describing her 1950 exhibition at the Macquarie Galleries, one critic considered it "one of the most stimulating and refreshing that has been seen here for a long time" and that "She paints with a strong, sombre palette and her forms are sculptured with great decision. She uses paint sensuously and passionately, as paint, not as so many contemporary Australians do, as mere colour".Two years later, the same reviewer, attending another of the artist's solo Sydney shows, observed that Bellette:
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[A]:
the figures