[Q]: Given the following context: Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes. Gilbert's Robert the Devil (a burlesque of the opera Robert le Diable) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques. How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premiering that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in... answer the following question: What are the full names of the two individuals for whom the how and why of their collaboration on Thespis is unknown?
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[A]: W. S. Gilbert

[Q]: Given the following context: Altar 1 is found at the base of Stela 1. It is rectangular in shape with carved molding on its side.Altar 2 is of unknown provenance, having been moved to outside the administrator's house on the San Isidro Piedra Parada plantation. It is 1.59 metres (63 in) long, about 0.9 metres (35 in) wide and about 0.5 metres (20 in) high. It represents an animal variously identified as a toad and a jaguar. The body of the animal was sculptured to form a hollow 85 centimetres (33 in) across and 26 centimetres (10 in) deep. The sculpture was broken into three pieces.Altar 3 is a roughly worked flat, circular altar about 1 metre (39 in) across and 0.3 metres (12 in) high. It was probably associated originally with a stela but its original location is unknown, it was moved near to the manager's house on the San Isidro Piedra Parada plantation.Altar 5 is a damaged plain circular altar associated with Stela 2.Altar 7 is near the southern edge of the plaza on Terrace 3, where it is one of five monuments in a line running east-west.Altar 8 is a plain monument associated with Stela 5, positioned on the west side of Structure 12.Altar 9 is a low four-legged throne placed in front of Structure 11.Altar 10 was associated with Stela 13 and was found on top of the large offering of ceramics associated with that stela and the royal tomb in Structure 7A. The monument was originally a throne with cylindrical supports that was reused as an altar in the Classic period.Altar 12 is carved in the early Maya style and archaeologists consider it to be an especially early example dating to the first part of the Late Preclassic. Because of the carvings on the upper face of the altar, it is supposed that the monument was originally erected as a vertical stela in the Late Preclassic, and was reused as a horizontal altar in the Classic. At this time 16 hieroglyphs were carved around the outer rim of the altar. The carving on the upper face of the altar represents a standing human figure portrayed in profile, facing left. The figure is flanked by... answer the following question: What is the name of the sculpture that was broken into three pieces?
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[A]: Altar 2

[Q]: Given the following context: Husband and wife Rawdon and Miranda are soulmates. Their love for each other is palpable as they lie in bed treasuring their 6 month old daughter Quincey. Miranda fantasizes about the speech she plans to make when, one day in their future, she will give this tiny infant away at her wedding. Tragically, when Quincey is 3, Miranda is killed in a car accident and Rawdon is left alone, unmoored, to continue life without the love of his life. Fortunately Rawdon still has Quincey. Staying as strong as he can he takes her to the roof of a skyscraper and explains that Mommy is now an angel. It is up here that for the first time they see a vision of Miranda as an angel. Rawdon continues to see visions of her. Initially these visions help himat home she gives him advice about parenting; in Portugal she softens his hardness; when he hides in the closet to isolate himself she snaps some sense into him and insists that Rawdon keep her mother, father and brotherQuincey's Grandparents and Uncle Jack firmly in Quincey's life. Rawdon explains these visions to his therapist Paula as she helps him with the long grieving process and over a period of years, with Quincey growing before our eyes, Rawdon tries to move on with his life. He tries to date other women. Disastrously. He falls instantly in love with Sam who ends up becoming his good friend and a surrogate Aunt to Quincey. He dates other including Kimberly (Joely Fisher) who Quincey wisely suggests is far better suited to her Uncle Jack. And she is right. When Jack and Kimberly get married, Rawdon is their best man. answer the following question: Who gave Rawdon advice about parenting?
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[A]:
Miranda