Please answer this: Given the below context:  In April 1942 in the Philippines, an American motor torpedo boat is destroyed by Japanese planes. The survivors, among them Ensign Chuck Palmer, make their way ashore on Cebu. Their commander orders them to split up. Chuck pairs up with Jim Mitchell and reaches Colonel Benson on Leyte, only to be told that he has been ordered by General Douglas MacArthur to surrender his forces soon. Chuck helps Jeanne Martinez, a Frenchwoman married to a Filipino planter, get medical assistance for a pregnant woman. Jeanne pleads with Chuck to stay and fight, but he buys an outrigger canoe and recruits a crew of Air Corps soldiers in a desperate, but unsuccessful attempt to sail to Australia. When the boat founders, the crew is rescued by Miguel, a member of the Filipino resistance. The Americans evade capture and Chuck eventually meets Jeanne again, as well as her husband Juan, a secret supporter of the resistance movement. Chuck is ordered to stay in the Philippines to help set up a network to gather intelligence on the Japanese. Later, Juan is beaten to death in front of Jeanne in an attempt to find out where the guerrillas are hiding out. Jeanne joins the resistance and is reunited with Chuck at Christmas 1943. They begin to fall in love. After three years of fighting, Chuck, Jeanne, Jim and the rest of their band are trapped in a church by a Japanese patrol. Just when it looks as if they will be wiped out, squadrons of American planes appear overhead and explosions are heard, announcing the liberation of the Philippines is underway. The Japanese leave to face this greater threat.  Guess a valid title for it!
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Answer: American Guerrilla in the Philippines


Problem: 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!

A: The Sirens and Ulysses


Q: Given the below context:  Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...  Guess a valid title for it!
A:
Camille Saint-Saëns