[Q]: Who does Thespis suggests goes down to earth in disguise to mingle and judge for themselves what people think of them?  Answer the above question based on the context below:  Scene: A Ruined Temple on the Summit of Mount Olympus On Mount Olympus, the elderly deities complain of feeling old and lament their waning influence on Earth.  Mercury complains that the older gods are lazy and leave all their duties to him, while he gets no credit for all his drudgery.  Jupiter says that matters have reached a crisis, but he is unsure what can be done about it.  Just then, the gods see a swarm of mortals ascending the mountain and withdraw to observe them from a distance. Thespis's acting company enters for a picnic celebrating the marriage of two of its members, Sparkeion and Nicemis.  The actors, being cheap, have failed to contribute substantial food items to the picnic.  Sparkeion flirts with his former fiancée, Daphne, which annoys Nicemis.  In retaliation, Nicemis flirts with her old suitor, Thespis, but he declines to flirt back.  Thespis explains to his troupe that a successful manager must be aloof from those he manages, or he will lose his authority. Jupiter, Mars and Apollo enter.  All of the actors flee in terror, except for Thespis.  Jupiter asks Thespis whether he is impressed with the father of the gods.  Thespis replies that the gods are unimpressive and suggests that they go down to earth in disguise to "mingle" and judge for themselves what people think of them.  They agree to invest the actors with their powers, as they take a merry holiday below on Earth.  Thespis agrees that he and his company will keep things running on Mount Olympus during the gods' absence.  Each actor takes the place of one of the gods, with Thespis himself replacing Jupiter.  Mercury stays behind to offer any advice the actors may need.
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[A]: gods
input: Please answer the following: What is the last name of the person whose early separation from his mother for boarding school was followed by his mother's early death?  Answer the above question based on the context below:  Pyotr Ilyich Tchaikovsky (English:  chy-KOF-skee; Russian: Пётр Ильи́ч Чайко́вский, tr. Pyótr Ilʹyích Chaykóvskiy, IPA: [pʲɵtr ɪlʲˈjitɕ tɕɪjˈkofskʲɪj] (listen); 7 May 1840 [O.S. 25 April] – 6 November [O.S. 25 October] 1893), was a Russian composer of the romantic period, whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. He was honored in 1884 by Emperor Alexander III, and awarded a lifetime pension. Although musically precocious, Tchaikovsky was educated for a career as a civil servant. There was scant opportunity for a musical career in Russia at that time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching he received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five, with whom his professional relationship was mixed. Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From this reconciliation he forged a personal but unmistakably Russian style—a task that did not prove easy. The principles that governed melody, harmony and other fundamentals of Russian music ran completely counter to those that governed Western European music; this seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. This resulted in uncertainty among the intelligentsia about the country's national identity—an ambiguity...
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output: Tchaikovsky
Problem: What was the full name of the person Lennon become involved with in a protest?  Answer the above question based on the context below:  In 1970, Lennon and Ono went through primal therapy with Arthur Janov in Los Angeles, California. Designed to release emotional pain from early childhood, the therapy entailed two half-days a week with Janov for four months; he had wanted to treat the couple for longer, but they felt no need to continue and returned to London. Lennon's debut solo album, John Lennon/Plastic Ono Band (1970), was received with praise by many music critics, but its highly personal lyrics and stark sound limited its commercial performance. Critic Greil Marcus remarked, "John's singing in the last verse of 'God' may be the finest in all of rock." The album featured the song "Mother", in which Lennon confronted his feelings of childhood rejection, and the Dylanesque "Working Class Hero", a bitter attack against the bourgeois social system which, due to the lyric "you're still fucking peasants", fell foul of broadcasters. In January 1971, Tariq Ali expressed his revolutionary political views when he interviewed Lennon, who immediately responded by writing "Power to the People". In his lyrics to the song, Lennon reversed the non-confrontational approach he had espoused in "Revolution", although he later disowned the message, saying that it was borne out of guilt and a desire for approval from radicals such as Ali. Lennon became involved with Ali in a protest against the prosecution of Oz magazine for alleged obscenity. Lennon denounced the proceedings as "disgusting fascism", and he and Ono (as Elastic Oz Band) released the single "God Save Us/Do the Oz" and joined marches in support of the magazine. Eager for a major commercial success, Lennon adopted a more accessible sound for his next album, Imagine (1971). Rolling Stone reported that "it contains a substantial portion of good music" but warned of the possibility that "his posturings will soon seem not merely dull but irrelevant". The album's title track later became an anthem for anti-war movements, while the song "How Do You Sleep?" was a musical attack on McCartney in response...

A:
Tariq Ali