Answer the question at the end by quoting:

Sir Arthur John Evans (8 July 1851 - 11 July 1941) was an English archaeologist and pioneer in the study of Aegean civilization in the Bronze Age. He is most famous for unearthing the palace of Knossos on the Greek island of Crete. Evans continued Heinrich Schliemann's concept of a Mycenaean civilization, but found that he needed to distinguish another civilization, the Minoan, from the structures and artifacts found there and throughout the eastern Mediterranean. Evans was also the first to define Cretan scripts Linear A and Linear B, as well as an earlier pictographic writing.
Arthur matriculated on 9 Jun 1870 and attended Brasenose College, Oxford. His housemaster at Harrow, F. Rendall, had eased the way to his acceptance with the recommendation that he was "a boy of powerful original mind." At Brasenose he chose to read modern history, a new curriculum, which was nearly a disaster, as his main interests were in archaeology and classical studies. His summertime activities with his brothers and friends were perhaps more important to his subsequent career. Having been given an ample allowance by his father, he went looking for adventure on the continent, deliberately seeking out circumstances that might be considered dangerous by some. In June 1871, he and Lewis visited Hallstatt, where his father had excavated in 1866, adding some of the artifacts to his collection. Arthur had made himself familiar with these. Subsequently, they went on to Paris and then to Amiens. The Franco-Prussian War had just concluded the month before. Arthur had been told at the French border to remove the dark cape he was wearing so that he would not be shot for a spy. Amiens was occupied by the Prussian army. Arthur found them prosaic and preoccupied with souvenir-hunting. He and Lewis hunted for stone-age artifacts in the gravel quarries, Arthur remarking that he was glad the Prussians were not interested in flint artifacts. In 1872 he and Norman adventured into Ottoman territory in the Carpathians, already in a state of political tension. They crossed borders illegally at high altitudes, "revolvers at the ready." This was Arthur's first encounter with Turkish people and customs. He bought a complete set of clothes of a wealthy Turkish man, complete with red fez, baggy trousers and embroidered, short-sleeved tunic. His detailed, enthusiastic account was published in Fraser's Magazine for May 1873. In 1873 he and Balfour tramped over Lapland, Finland, and Sweden. Everywhere he went he took copious anthropological notes and made numerous drawings of the people, places and artifacts. During the Christmas holidays of 1873, Evans cataloged a coin collection being bequeathed to Harrow by John Gardner Wilkinson, the father of British Egyptology, who was too ill to work on it himself. The headmaster had suggested "my old pupil, Arthur John Evans - a remarkably able young man."

Did he dig a lot with his father

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Seether are a South African rock band founded in May 1999 in Pretoria, Gauteng, South Africa. The band originally performed under the name Saron Gas until 2002, when they moved to the United States and changed it to Seether to avoid confusion with the deadly chemical known as sarin gas. Disclaimer is their original album and major label debut. They gained mainstream popularity in 2002 with their US Active Rock number one single "Fine Again", and their success was sustained in 2004 with the single "Broken" which peaked at number 20 on the Billboard Hot 100.
The band's follow-up album, Karma and Effect, was released in May 2005. Originally titled Catering to Cowards, the name was changed at the record label's demand. "Karma and Effect" debuted at number 8 on the US Billboard 200 album charts, and was certified gold in the US and Canada. The album spawned three singles, "Remedy", "Truth", and "The Gift". "Remedy" reached number 1 on the US Mainstream Rock Charts, Seether's first number 1 hit. Seether released an acoustic CD/DVD set titled One Cold Night, recorded at Grape Street, in Philadelphia, on 22 February 2006. Morgan had been suffering from a stomach ailment, and decided to do an acoustic performance of their set rather than cancel the show. The exclusion of "Needles" and "Burrito" from the album is due to the label's desire that it contain no obscenities. Lead guitarist Patrick Callahan's departure from the band was announced in June 2006. No reason was given, but he apparently did not enjoy Seether's new material. Shaun Morgan commented: "Um... relieved a little... actually a lot. He was the guy in the band that was always our naysayer, and he was the negative energy as far as writing. I personally have no love lost, which is weird for some reason 'cause he was my friend for four years. But when he walked out, it kinda walked out with him." Morgan entered a rehabilitation program for what he felt was "dependence on a combination of substances" in August 2006, which forced the band to cancel a tour with Staind and Three Days Grace.

What were some singles from the album?

The Gift".

Answer the question at the end by quoting:

Herman Northrop Frye (July 14, 1912 - January 23, 1991) was a Canadian literary critic and literary theorist, considered one of the most influential of the 20th century. Frye gained international fame with his first book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature."
Once asked whether his critical theory was Romantic, Frye responded, "Oh, it's entirely Romantic, yes" (Stingle 1). It is Romantic in the same sense that Frye attributed Romanticism to Blake: that is, "in the expanded sense of giving a primary place to imagination and individual feeling" (Stingle 2). As artifacts of the imagination, literary works, including "the pre-literary categories of ritual, myth, and folk-tale" (Archetypes 1450) form, in Frye's vision, a potentially unified imaginative experience. He reminds us that literature is the "central and most important extension" of mythology: ". . . every human society possesses a mythology which is inherited, transmitted and diversified by literature" (Words with Power xiii). Mythology and literature thus inhabit and function within the same imaginative world, one that is "governed by conventions, by its own modes, symbols, myths and genres" (Hart 23). Integrity for criticism requires that it too operates within the sphere of the imagination, and not seek an organizing principle in ideology. To do so, claims Frye, . . . leaves out the central structural principles that literature derives from myth, the principles that give literature its communicating power across the centuries through all ideological changes. Such structural principles are certainly conditioned by social and historical factors and do not transcend them, but they retain a continuity of form that points to an identity of the literary organism distinct from all its adaptations to its social environment (Words with Power xiii). Myth therefore provides structure to literature simply because literature as a whole is "displaced mythology" (Bates 21). Hart makes the point well when he states that "For Frye, the story, and not the argument, is at the centre of literature and society. The base of society is mythical and narrative and not ideological and dialectical" (19). This idea, which is central in Frye's criticism, was first suggested to him by Giambattista Vico.

did he have any other works?
(Words with Power xiii