input: Please answer the following: Given the below context:  Up to c. 1210, continental Arthurian romance was expressed primarily through poetry; after this date the tales began to be told in prose. The most significant of these 13th-century prose romances was the Vulgate Cycle (also known as the Lancelot-Grail Cycle), a series of five Middle French prose works written in the first half of that century. These works were the Estoire del Saint Grail, the Estoire de Merlin, the Lancelot propre (or Prose Lancelot, which made up half the entire Vulgate Cycle on its own), the Queste del Saint Graal and the Mort Artu, which combine to form the first coherent version of the entire Arthurian legend. The cycle continued the trend towards reducing the role played by Arthur in his own legend, partly through the introduction of the character of Galahad and an expansion of the role of Merlin. It also made Mordred the result of an incestuous relationship between Arthur and his sister Morgause and established the role of Camelot, first mentioned in passing in Chrétien's Lancelot, as Arthur's primary court. This series of texts was quickly followed by the Post-Vulgate Cycle (c. 1230–40), of which the Suite du Merlin is a part, which greatly reduced the importance of Lancelot's affair with Guinevere but continued to sideline Arthur, and to focus more on the Grail quest. As such, Arthur became even more of a relatively minor character in these French prose romances; in the Vulgate itself he only figures significantly in the Estoire de Merlin and the Mort Artu. During this period, Arthur was made one of the Nine Worthies, a group of three pagan, three Jewish and three Christian exemplars of chivalry. The Worthies were first listed in Jacques de Longuyon's Voeux du Paon in 1312, and subsequently became a common subject in literature and art.  Guess a valid title for it!
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output: King Arthur


input: Please answer the following: Given the below context:  In Santa Monica, California, a pair of Mormon missionaries—by-the-book Elder Farrell, and his soon-to-leave companion, Elder Lozano (Ignacio Serricchio)—proselytize until they are caught between a gang drive-by shooting targeting nearby thugs. The shootout kills one thug and wounds another, Carl, whom Elder Lozano saves. After being released from the hospital, Carl tracks down the two missionaries, thanking Lozano for saving his life, who gives Carl a Book of Mormon.  Later, the missionaries notice an unconscious street preacher lying behind a Dumpster. Despite Farrell's hesitation, the missionaries bring the man—later identified as Louis (Jo-sei Ikeda)—to rest in their apartment. Meanwhile, Carl, who has been reading the Bible and Book of Mormon, is eager to be baptized and begins taking lessons from the missionaries. While they do so, the missionaries ask their next-door neighbor, Holly, to check on the homeless preacher in their home. Upon their return, they have dinner with Holly and Louis and continue to do so for a few days.  In this time, the missionaries learn that Louis once was a preacher who lost his congregation due to alcoholism and that Holly—a struggling actress—acted in a few adult movies, her parents back home discovering and cutting off contact with her as a result. Elder Farrell promises that God will never stop loving her regardless of her mistakes. At a local ward luau, another missionary interviews Carl for baptism, teaching him the story of Ammon, a missionary who teaches a group of people  to give up their weapons and bury them deep in the ground, vowing never to use them again. The night before his baptism, Carl buries his weapons in the yard and Elder Lozano baptizes him the following day.  Guess a valid title for it!
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output: States of Grace


input: Please answer the following: Given the below context:  The boar was an important symbol in prehistoric Europe, where, according to the archaeologist Jennifer Foster, it was "venerated, eulogised, hunted and eaten ... for millennia, until its virtual extinction in recent historical time." Anglo-Saxon boar symbols follow a thousand years of similar iconography, coming after La Tène examples in the fourth century BC, Gaulish specimens three centuries later, and Roman boars in the fourth century AD. They likely represent a fused tradition of European and Mediterranean cultures. The boar is said to have been sacred to a mother goddess figure among linguistically Celtic communities in Iron Age Europe, while the Roman historian Tacitus, writing around the first century AD, suggested that the Baltic Aesti wore boar symbols in battle to invoke her protection. Boar-crested helmets are depicted on the turn-of-the-millennium Gundestrup cauldron, discovered in Denmark, and on a Torslunda plate from Sweden, made some five hundred years later. Though the Romans also included the boar in their stable of symbols—four legions, including the twentieth, adopted it as their emblem—it was only one among many. The boar nonetheless persisted in continental Germanic tradition during the nearly 400 years of Roman rule in Britain, such as in association with the Scandinavian gods Freyja and Freyr. Its return to prominence in the Anglo-Saxon period, as represented by the boars from Benty Grange, Wollaston, Guilden Morden, and Horncastle, may therefore suggest the post-Roman reintroduction of a Germanic tradition from Europe, rather than the continuation of a tradition in Britain through 400 years of Roman rule. Whatever its precise symbolism, the Anglo-Saxon boar appears to have been associated with protection; the Beowulf poet makes this clear, writing that boar symbols on helmets kept watch over the warriors wearing them.  Guess a valid title for it!
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output:
Guilden Morden boar 2