Question: What is the first name of the person who decides to warn a fellow passenger? Answer the above question based on the context below: Theodore Honey, an eccentric "boffin" with the Royal Aircraft Establishment, is working on solving a difficult aviation crash problem. A widower with a 12-year-old daughter, Elspeth, Honey is sent from Farnborough to investigate the crash of a Rutland Reindeer airliner in Labrador, Canada. He theorizes the accident happened because of the tailplane's structural failure, caused by sudden metal fatigue after 1440 flight hours. To test the theory in his laboratory, a rear airframe is being vibrated at a very high rate in daily eight-hour cycles. It is not until Honey finds himself on board a Reindeer airliner that he realizes he is flying on an early production aircraft that is close to the number of hours his theory projects for the metal fatigue failure. Despite the fact that his theory is not yet proven, he decides to warn the aircrew and Hollywood actress Monica Teasdale, a fellow passenger. After the Reindeer safely lands at Gander Airport in Newfoundland, an inspection clears the aircraft to continue on its route. Honey then takes drastic action to stop the flight by activating the Reindeer's undercarriage lever, dropping the airliner on its belly and seriously damaging it. Shocked by the act, some of his colleagues demand that he be declared insane to discredit his unproved theory and save the reputation of British passenger aviation now awash in a sea of bad press. Teasdale and an airline stewardess Marjorie Corder both take a liking to Mr. Honey and Elspeth, who they discover is lonely and isolated from her schoolmates. Teasdale speaks to Honey's superiors on his behalf, claiming she believes in him. Corder, meanwhile, has stayed on with Honey and his daughter as a nurse. Having now observed Honey's many qualities beyond his minor eccentricities, and after becoming very close to Elspeth, she decides to make the arrangement permanent by marrying the engineer.
Answer: Theodore
[Q]: What is the name of the person who was jealous? Answer the above question based on the context below: In his tent on the beach, Zurga notes that the storm has abated, as has his rage; he now feels remorse for his anger towards Nadir ("L'orage est calme"). Leila is brought in; Zurga is captivated by her beauty as he listens to her pleas for Nadir's life, but his jealousy is rekindled. He confesses his love for her, but refuses mercy ("Je suis jaloux"). Nourabad and some of the fishermen enter to report that the funeral pyre is ready. As Leila is taken away, Zurga observes her giving one of the fishermen her necklace, asking for its return to her mother. With a shout, Zurga rushes out after the group and seizes the necklace. Outside the temple, Nadir waits beside the funeral pyre as the crowd, singing and dancing, anticipates the dawn and the coming double execution ("Des que le soleil"). He is joined by Leila; resigned now to their deaths, the pair sing of how their souls will soon be united in heaven. A glow appears in the sky, and Zurga rushes in to report that the fishermen's camp is ablaze. As the men hurry away to save their homes, Zurga frees Leila and Nadir. He returns the necklace to Leila, and reveals that he is the man she saved when she was a child. He recognises now that his love for her is in vain, and tells her and Nadir to flee. As the couple depart, singing of the life of love that awaits them, Zurga is left alone, to await the fishermen's return ("Plus de crainte...Reves d'amour, adieu!"). (In the revised version of the ending introduced after the opera's 1886 revival, Nourabad witnesses Zurga's freeing of the prisoners and denounces him to the fishermen, one of whom stabs Zurga to death as the last notes sound of Leila and Nadir's farewell song. In some variations Zurga meets his death in other ways, and his body is consigned to the pyre.)
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[A]: Zurga
input: Please answer the following: What is the name of the instrument for which Saint-Saens's pupil left no legacy of works? Answer the above question based on the context below: Nichols comments that, although as a famous pianist Saint-Saens wrote for the piano throughout his life, "this part of his oeuvre has made curiously little mark". Nichols excepts the Etude en forme de valse (1912), which he observes still attracts pianists eager to display their left-hand technique. Although Saint-Saens was dubbed "the French Beethoven", and his Variations on a Theme of Beethoven in E (1874) is his most extended work for unaccompanied piano, he did not emulate his predecessor in composing piano sonatas. He is not known even to have contemplated writing one. There are sets of bagatelles (1855), etudes (two sets 1899 and 1912) and fugues (1920), but in general Saint-Saens's works for the piano are single short pieces. In addition to established forms such as the song without words (1871) and the mazurka (1862, 1871 and 1882) popularised by Mendelssohn and Chopin, respectively, he wrote descriptive pieces such as "Souvenir d'Italie" (1887), "Les cloches du soir" ("Evening bells", 1889) and "Souvenir d'Ismailia" (1895). Unlike his pupil, Faure, whose long career as a reluctant organist left no legacy of works for the instrument, Saint-Saens published a modest number of pieces for organ solo. Some of them were written for use in church services "Offertoire" (1853), "Benediction nuptiale" (1859), "Communion" (1859) and others. After he left the Madeleine in 1877 Saint-Saens wrote ten more pieces for organ, mostly for concert use, including two sets of preludes and fugues (1894 and 1898). Some of the earlier works were written to be played on either the harmonium or the organ, and a few were primarily intended for the former.
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output:
organ