Found the following article online, use it to answer the question: Who plays the man who kills himself when he gets demoted? Ambitious, idealistic Stephen Chase goes to work for the Atlantis Oil Company and is sent to a remote outpost in rural China run by "No. 1 Boss" (Arthur Byron). After a while, he feels secure enough to send for his fiancee and goes to Yokohama to meet and marry her. However, when he gets there, all that is waiting for him is a telegram, in which she explains she is unwilling to live in such a backward country. He strikes up a conversation with Hester Adams. She had come to see China for the first time with her father, a professor of Oriental studies, only to have him die on the voyage. As they become better acquainted, Stephen comes up with an idea (partly to save himself from losing face). He asks Hester to marry him, explaining that it would be a partnership. She is impressed by his dream of modernizing China and accepts. It does not take long however for them to fall in love. No matter what happens, nothing shakes Stephen's faith in the company. When his friend, No. 1 Boss, is callously transferred to a lesser position, the old man commits suicide rather than accept the insult. The new boss, J.T. McCarger, orders Stephen to man an even more isolated post near Siberia. Stephen is reluctant to go since Hester is pregnant with their first child, but has no choice. Once there, he makes the agonized decision to go deal with a dangerous oil fire rather than stay and help the doctor deliver the baby. When he returns, he learns that the child is dead. This causes a temporary rift between him and his wife.
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Answer: Arthur Byron
Q: Found the following article online, use it to answer the question: What are the specific titles of the two separate works with identical names that were direct precursors of Monteverdi's L'Orfeo? Claudio Monteverdi, born in Cremona in 1567, was a musical prodigy who studied under Marc'Antonio Ingegneri, the maestro di cappella (head of music) at Cremona Cathedral. After training in singing, strings playing and composition, Monteverdi worked as a musician in Verona and Milan until, in 1590 or 1591, he secured a post as suonatore di vivuola (viola player) at Duke Vincenzo Gonzaga's court at Mantua. Through ability and hard work Monteverdi rose to become Gonzaga's maestro della musica (master of music) in 1601.Vincenzo Gonzaga's particular passion for musical theatre and spectacle grew from his family connections with the court of Florence. Towards the end of the 16th century innovative Florentine musicians were developing the intermedioa long-established form of musical interlude inserted between the acts of spoken dramasinto increasingly elaborate forms. Led by Jacopo Corsi, these successors to the renowned Camerata were responsible for the first work generally recognised as belonging to the genre of opera: Dafne, composed by Corsi and Jacopo Peri and performed in Florence in 1598. This work combined elements of madrigal singing and monody with dancing and instrumental passages to form a dramatic whole. Only fragments of its music still exist, but several other Florentine works of the same periodRappresentatione di Anima, et di Corpo by Emilio de' Cavalieri, Peri's Euridice and Giulio Caccini's identically titled Euridicesurvive complete. These last two works were the first of many musical representations of the Orpheus myth as recounted in Ovid's Metamorphoses, and as such were direct precursors of Monteverdi's L'Orfeo.The Gonzaga court had a long history of promoting dramatic entertainment. A century before Duke Vincenzo's time the court had staged Angelo Poliziano's lyrical drama La favola di Orfeo, at least half of which was sung rather than spoken. More recently, in 1598 Monteverdi had helped the court's musical establishment produce Giovanni Battista Guarini's play Il pastor fido, described...
A: Euridice
Found the following article online, use it to answer the question: What school did Lancaster graduate from in 1930? At the age of seventeen Lancaster passed his final school examinations and gained entrance to Lincoln College, Oxford, to study history. He persuaded his mother to allow him to leave Charterhouse at once, giving him several months between school and university, during which he enrolled on a course of life classes at the Byam Shaw School of Art in London. In October 1926 he started at Oxford. There, as at Charterhouse, he found two camps in which some students chose to group themselves: the "hearties" presented themselves as aggressively heterosexual and anti-intellectual; the "aesthetes" had a largely homosexual membership. Lancaster followed his elder contemporary Kenneth Clark in being contentedly heterosexual but nonetheless one of the aesthetes, and he was accepted as a leading member of their set. He cultivated the image of an Edwardian dandy, with large moustache, a monocle and check suits, modelling his persona to a considerable degree on Beerbohm, whom he admired greatly. He also absorbed some characteristics of the Oxford don Maurice Bowra; Lancaster's friend James Lees-Milne commented, "Bowra's influence over Osbert was marked, to the extent that he adopted the guru's booming voice, explosive emphasis of certain words and phrases, and habit in conversation of regaling his audiences with rehearsed witticisms and gossip." Lancaster's undergraduate set included Stephen Spender, Randolph Churchill, and most importantly John Betjeman, who became a close friend and lifelong influence.Lancaster tried rowing with the Oxford University Boat Club, but quickly discovered that he was no more suited to that than he had been to field games at school. He joined the Oxford University Dramatic Society (OUDS), acted in supporting roles, designed programme covers, wrote, and choreographed. He contributed prose and drawings to Isis and Cherwell magazines, engaged in student pranks, staged an exhibition of his pictures, attended life classes, and became established as a major figure in the Oxonian social scene. All...
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Answer:
Lincoln College, Oxford