In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Passage: Scene: A Ruined Temple on the Summit of Mount Olympus
On Mount Olympus, the elderly deities complain of feeling old and lament their waning influence on Earth. Mercury complains that the older gods are lazy and leave all their duties to him, while he gets no credit for all his drudgery. Jupiter says that matters have reached a crisis, but he is unsure what can be done about it. Just then, the gods see a swarm of mortals ascending the mountain and withdraw to observe them from a distance.
Thespis's acting company enters for a picnic celebrating the marriage of two of its members, Sparkeion and Nicemis. The actors, being cheap, have failed to contribute substantial food items to the picnic. Sparkeion flirts with his former fiancee, Daphne, which annoys Nicemis. In retaliation, Nicemis flirts with her old suitor, Thespis, but he declines to flirt back. Thespis explains to his troupe that a successful manager must be aloof from those he manages, or he will lose his authority.
Jupiter, Mars and Apollo enter. All of the actors flee in terror, except for Thespis. Jupiter asks Thespis whether he is impressed with the father of the gods. Thespis replies that the gods are unimpressive and suggests that they go down to earth in disguise to "mingle" and judge for themselves what people think of them. They agree to invest the actors with their powers, as they take a merry holiday below on Earth. Thespis agrees that he and his company will keep things running on Mount Olympus during the gods' absence. Each actor takes the place of one of the gods, with Thespis himself replacing Jupiter. Mercury stays behind to offer any advice the actors may need.
What are the names of the gods that see a swarm of mortals ascending the mountain?

Passage: Drake ended his studies at Cambridge nine months before graduation, and in autumn 1969 moved to London. His father remembered "writing him long letters, pointing out the disadvantages of going away from Cambridge ... a degree was a safety net, if you manage to get a degree, at least you have something to fall back on; his reply to that was that a safety net was the one thing he did not want." Drake spent his first few months in London drifting from place to place, occasionally staying at his sister's Kensington flat but usually sleeping on friends' sofas and floors. Eventually, in an attempt to bring some stability and a telephone into Drake's life, Boyd organised and paid for a ground floor bedsit in Belsize Park, Camden.
On 5 August 1969, Drake recorded five songs for the BBC's John Peel show ("Cello Song", "Three Hours", "River Man", "Time of No Reply" and an early version of "Bryter Layter"), three of which were broadcast on the following night. A month later, on 24 September, he opened for Fairport Convention at the Royal Festival Hall in London, followed by appearances at folk clubs in Birmingham and Hull. Folk singer Michael Chapman said of the performances:The folkies did not take to him; [they] wanted songs with choruses. They completely missed the point. He didn't say a word the entire evening. It was actually quite painful to watch. I don't know what the audience expected, I mean, they must have known they weren't going to get sea-shanties and sing-alongs at a Nick Drake gig!
The experience reinforced Drake's decision to retreat from live appearances; the few concerts he did play around this time were usually brief, awkward, and poorly attended. Drake seemed reluctant to perform and rarely addressed his audience. As many of his songs were played in different tunings, he frequently paused to retune between numbers.
Where did the man who did not like to play in front of live audiences end his studies?

Passage: Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite A Somerset Rhapsody (190607), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's Norfolk Rhapsody, Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of ... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of A Somerset Rhapsody did much to banish the chromaticisms that had dominated his early compositions. In the Two Songs without Words of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy Songs of the West, also written in 1906, was withdrawn by the composer and never published, although it emerged in the 1980s in the form of an arrangement for wind band by James Curnow.
In the years before the First World War, Holst composed in a variety of genres. Matthews considers the evocation of a North African town in the Beni Mora suite of 1908 the composer's most individual work to that date; the third movement gives a preview of minimalism in its constant repetition of a four-bar theme. Holst wrote two suites for military band, in E flat (1909) and F major (1911) respectively, the first of which became and remains a brass-band staple. This piece, a highly original and substantial musical work, was a signal departure from what Short describes as "the usual transcriptions and operatic selections which pervaded the band repertoire". Also in 1911 he wrote Hecuba's Lament, a setting of Gilbert Murray's translation from Euripides built on a seven-beat refrain designed, says Dickinson, to represent Hecuba's defiance of divine wrath. In 1912 Holst composed two psalm settings, in which he experimented with plainsong; the same year saw the enduringly popular St Paul's Suite (a "gay but retrogressive" piece according to Dickinson), and the failure of his large scale orchestral work Phantastes.
What two compositions did Holst write in 1906?