[Q]: Given the below context:  York-born William Etty (1787–1849) had originally been an apprentice printer in Hull, but on completing his apprenticeship at the age of 18 moved to London to become an artist. Strongly influenced by the works of Titian and Rubens, he became famous for painting nude figures in biblical, literary and mythological settings. While many of his peers greatly admired him and elected him a full Royal Academician in 1828, others condemned the content of his work as indecent.Throughout his early career Etty was highly regarded by wealthy lawyer Thomas Myers, who had been educated at Eton College and thus had a good knowledge of classical mythology. From 1832 onwards Myers regularly wrote to Etty to suggest potential subjects for paintings. Myers was convinced that there was a significant market for very large paintings, and encouraged Etty to make such works. In 1834, he suggested the theme of Ulysses ("Odysseus" in the original Greek) encountering the Sirens, a scene from the Odyssey in which a ship's crew sails past the island home of the Sirens. The Sirens were famous for the beauty of their singing, which would lure sailors to their deaths. Ulysses wanted to hear their song, so had his crew lash him to the ship's mast under strict orders not to untie him, after which they blocked their ears until they were safely out of range of the island.The topic of Ulysses encountering the Sirens was well suited to Etty's taste; as he wrote at the time, "My aim in all my great pictures has been to paint some great moral on the heart ... the importance of resisting SENSUAL DELIGHTS". In his depiction of the scene, he probably worked from Alexander Pope's translation, "Their song is death, and makes destruction please. / Unblest the man whom music wins to stay / Nigh the curs'd shore, and listen to the lay ... In verdant meads they sport, and wide around / Lie human bones that whiten all the ground. / The ground polluted floats with human gore / And human carnage taints the dreadful shore."  Guess a valid title for it!
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[A]: The Sirens and Ulysses


[Q]: Given the below context:  On 1 January 1948 Ferrier left for a four-week tour of North America, the first of three transatlantic trips she would make during the next three years. In New York she sang two performances of Das Lied von der Erde, with Bruno Walter and the New York Philharmonic. Alma Mahler, the composer's widow, was present at the first of these, on 15 January. In a letter written the following day, Ferrier told her sister: "Some of the critics are enthusiastic, others unimpressed". After the second performance, which was broadcast from coast to coast, Ferrier gave recitals in Ottawa and Chicago before returning to New York and embarking for home on 4 February.During 1948, amid many engagements, Ferrier performed Brahms's Alto Rhapsody at the Proms in August, and sang in Bach's Mass in B minor at that year's Edinburgh Festival. On 13 October she joined Barbirolli and the Hallé Orchestra in a broadcast performance of Mahler's song cycle Kindertotenlieder. She returned to the Netherlands in January 1949 for a series of recitals, then left Southampton on 18 February to begin her second American tour. This opened in New York with a concert performance of Orfeo ed Euridice that won uniform critical praise from the New York critics. On the tour which followed, her accompanist was Arpád Sándor (1896–1972), who was suffering from a depressive illness that badly affected his playing. Unaware of his problem, in letters home Ferrier berated "this abominable accompanist" who deserved "a kick in the pants". When she found out that he had been ill for months, she turned her fury on the tour's promoters: "What a blinking nerve to palm him on to me". Eventually, when Sándor was too ill to appear, Ferrier was able to recruit a Canadian pianist, John Newmark, with whom she formed a warm and lasting working relationship.  Guess a valid title for it!
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[A]: Kathleen Ferrier


[Q]: Given the below context:  The Hut Point and Cape Evans huts remain, protected by the Antarctic Heritage Trust and the New Zealand government. Within the Cape Evans hut an inscription by Richards on the wall near his bunk, listing the names of those lost, can still be read, but the generally deteriorating condition of the huts has caused concern.The Aurora survived for less than a year after her final return from the Ross Sea. Shackleton had sold her for £10,000, and her new role was as a coal-carrier between Australia and South America.  She disappeared in the Pacific Ocean, on or about 2 January 1918, having either foundered in a storm or been sunk by an enemy raider.  Aboard her was James Paton of the Ross Sea ship's party, who was still serving as her boatswain. Ernest Wild was also a victim of the First World War.  He died of typhoid in Malta, on 10 March 1918, while serving with the Royal Navy in the Mediterranean.On 4 July 1923, Joyce and Richards were awarded Albert Medals by George V for their bravery and life-saving efforts during the second depot-laying journey.  Wild and Victor Hayward received the same award, posthumously. Many of the survivors enjoyed long and successful careers.  The young wireless operator, Lionel Hooke, joined Amalgamated Wireless Australasia Ltd and was responsible for many technological innovations.  He became the company's managing director in 1945 and its chairman in 1962, having been knighted for services to industry in 1957. Of the four dogs who survived the trek, Con was killed by the other dogs in a fight before the rescue. The others, Oscar, Gunner and Towser, returned in the ship to New Zealand and were placed in Wellington Zoo, where Oscar lived, allegedly, to the age of 25. Near the end of his life Dick Richards, the last survivor of the party, was without regrets and did not regard the struggle as futile.  Rather, he believed, it was something that the human spirit had accomplished, and that no undertaking carried through to conclusion was for nothing.  Guess a valid title for it!
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[A]:
Ross Sea party