I have a test where I am given the following article, what is an answer for the question: What were the names of the two people Saint-Saens modeled after their traditional genre? ? From the age of six and for the rest of his life Saint-Saens composed melodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protege Faure, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career Melodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Faure). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saens himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the melodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne a la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saens composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le deluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saens drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach...
Ans: Mendelssohn

I have a test where I am given the following article, what is an answer for the question: Who patterned the murder after the Four Horseman of the Apocalypse? ? Detective Aidan Breslin is a widower who has become emotionally distanced from his two sons, Alex and Sean. Due to his dental forensics expertise, Breslin is called to investigate a crime scene that includes human teeth and a painted message: "come and see". After matching the teeth to a missing man, Breslin investigates the murder of a woman, Mrs. Spitz, who was discovered hanging from a hook contraption in her bedroom; the same message appears on four walls. According to her autopsy report, she drowned in her own blood due to a precise stabbing. They also discover Mrs. Spitz had been pregnant, and the fetus was removed. Aidan speculates there were four attackers, who recorded the murder. After leaving the crime scene, Breslin comforts the Spitz's adopted daughter, Kristen. The next murder shares the same M.O.; the similar hook contraption leads Breslin to a tattoo parlor whose owner constructed four devices. Another murder occurs, this time with no hooks and a message on three walls. While Breslin reviews the evidence at his home, Sean stumbles on one of the photographs. Sean's insights point Breslin to the Bible, where he discovers the killings are patterned after the Four Horsemen of the Apocalypse. Each room corresponds to a horseman; the "come and see" message is a quotation from the Book of Revelation. Kristen contacts Breslin unexpectedly, and, during their conversation, Kristen produces the missing fetus, confessing to the stunned Breslin. During her interrogation, Breslin discovers the darker side of Kristen's personality, one similar to the horseman War.
Ans: Kristen

I have a test where I am given the following article, what is an answer for the question: What is the Serbian title of the first painting completed in 1896? ? Seoba Srba (English: Migration of the Serbs) is a set of four similar oil paintings by the Serbian artist Paja Jovanovic that depict Serbs, led by Archbishop Arsenije III, fleeing Old Serbia during the Great Serb Migration of 169091. The first was commissioned in 1895 by Georgije Brankovic, the Patriarch of Karlovci, to be displayed at the following year's Budapest Millennium Exhibition. In the view of the Serbian clergy, it would serve to legitimize Serb claims to religious autonomy and partial self-administration in Austria-Hungary by upholding the contention that Serbs left their homeland at the behest of the Holy Roman Emperor to protect the Habsburg Monarchy's borders. Measuring 380 by 580 centimetres (150 by 230 in), the first painting was completed in 1896, and presented to Patriarch Georgije later that year. Dissatisfied, the Patriarch asked Jovanovic to adjust his work to conform with the Church's view of the migration. Though Jovanovic made the changes relatively quickly, he could not render them in time for the painting to be displayed in Budapest, and it therefore had to be unveiled at the Archbishop's palace in Sremski Karlovci. Jovanovic went on to complete a total of four versions of the painting, three of which survive. The first version is on display at the patriarchate building of the Serbian Orthodox Church in Belgrade, the second at the Pancevo Museum, and the fourth at Princess Ljubica's Residence, in Belgrade. Migration of the Serbs holds iconic status in Serbian popular culture, and several authors repute it to be one of Jovanovic's finest achievements.
Ans: Seoba Srba

I have a test where I am given the following article, what is an answer for the question: What is the full name of the person Poundstone brushes off? ? On March 19, 2003, Iraqi General Mohammed Al-Rawi flees his residence amid the bombardment of Baghdad. Before leaving the compound, he passes a notebook to his aide Seyyed, instructing him to warn his officers to get to their safehouses and wait for his signal. Four weeks later, U.S. Army Chief Warrant Officer Roy Miller and his platoon check a warehouse for Iraqi weapons of mass destruction. To Miller's surprise, the warehouse has not been secured, with looters making their way in and out, as soldiers from the 101st Airborne Division are too few to do much. After a firefight with a sniper, Miller finds that the warehouse is empty, the third consecutive time an official mission has led to a dead end. Later, at a debriefing, Miller brings up the point that the majority of the intel given to him is inaccurate and anonymous. High-ranking officials quickly dismiss his concerns. Afterward, CIA agent Martin Brown tells him that the next place he is to search was inspected by a UN team two months prior and that it too has been confirmed empty. Meanwhile, U.S. Department of Defense official Clark Poundstone welcomes returning Iraqi exile politician Ahmed Zubaidi at the airport. There Poundstone is questioned by Wall Street Journal reporter Lawrie Dayne. She says she needs to speak directly to "Magellan", but Poundstone brushes her off.
Ans: Lawrie Dayne