input: In 1901 Tagore moved to Santiniketan to found an ashram with a marble-floored prayer hall--The Mandir--an experimental school, groves of trees, gardens, a library. There his wife and two of his children died. His father died in 1905. He received monthly payments as part of his inheritance and income from the Maharaja of Tripura, sales of his family's jewellery, his seaside bungalow in Puri, and a derisory 2,000 rupees in book royalties. He gained Bengali and foreign readers alike; he published Naivedya (1901) and Kheya (1906) and translated poems into free verse.  In November 1913, Tagore learned he had won that year's Nobel Prize in Literature: the Swedish Academy appreciated the idealistic--and for Westerners--accessible nature of a small body of his translated material focused on the 1912 Gitanjali: Song Offerings. He was awarded a knighthood by King George V in the 1915 Birthday Honours, but renounced it after the 1919 Jallianwala Bagh massacre.  In 1921, Tagore and agricultural economist Leonard Elmhirst set up the "Institute for Rural Reconstruction", later renamed Shriniketan or "Abode of Welfare", in Surul, a village near the ashram. With it, Tagore sought to moderate Gandhi's Swaraj protests, which he occasionally blamed for British India's perceived mental -- and thus ultimately colonial -- decline. He sought aid from donors, officials, and scholars worldwide to "free village[s] from the shackles of helplessness and ignorance" by "vitalis[ing] knowledge". In the early 1930s he targeted ambient "abnormal caste consciousness" and untouchability. He lectured against these, he penned Dalit heroes for his poems and his dramas, and he campaigned--successfully--to open Guruvayoor Temple to Dalits.

Answer this question "What did he say in his lecture?"
output: He lectured against these, he penned Dalit heroes for his poems and his dramas, and he campaigned--successfully--to open Guruvayoor Temple to Dalits.

input: In an attempt to crack the American market, there were some attempts to produce a US version of the show. A 45-minute 'made for market' show by the original Spitting Image team, titled Spitting Image: Down and Out in the White House was produced in 1986 by Central for the NBC network.  Introduced by David Frost, it departed from the sketch-based format in favour of an overall storyline involving the upcoming (at that time) Presidential election. The plot involved a conspiracy to replace Ronald Reagan with a double (actually actor Dustin Hoffman in disguise). This plan was hatched by the Famous Corporation, a cabal of the ultra-rich headed by Johnny Carson's foil Ed McMahon (in the show, Carson was his ineffectual left-hand man) who met in a secret cavern hollowed out behind the facade of Mount Rushmore. Eventually, their plot foiled, the famous corporation activated their escape pod - Abraham Lincoln's nose - and left Earth for another planet, but (in a homage to the beginning of the Star Wars movies) were destroyed during a collision with 'a nonsensical prologue in gigantic lettering'.  The show was not very successful with its target audience, possibly because its humour was still very British and it was so irreverent about Ronald Reagan at a time when he was enormously popular with the American public. It did, however, receive great praise from critics and it was followed by several more television specials: The Ronnie & Nancy Show (also satirising the Reagans), The 1987 Movie Awards (sending up the Academy Awards), Bumbledown: The Life and Times of Ronald Reagan (a quasi-documentary about the President), and The Sound of Maggie (satirising Thatcher and parodying several musicals such as Oliver!, West Side Story and many others).

Answer this question "Were the attempts at it successful?"
output: A 45-minute 'made for market' show by the original Spitting Image team, titled Spitting Image: Down and Out in the White House was produced

input: Strauss wrote two early symphonies: Symphony No. 1 (1880) and Symphony No. 2 (1884). However, Strauss's style began to truly develop and change when, in 1885, he met Alexander Ritter, a noted composer and violinist, and the husband of one of Richard Wagner's nieces. It was Ritter who persuaded Strauss to abandon the conservative style of his youth and begin writing tone poems. He also introduced Strauss to the essays of Wagner and the writings of Arthur Schopenhauer. Strauss went on to conduct one of Ritter's operas, and at Strauss's request Ritter later wrote a poem describing the events depicted in Strauss's tone poem Death and Transfiguration.  The new influences from Ritter resulted in what is widely regarded as Strauss's first piece to show his mature personality, the tone poem Don Juan (1888), which displays a new kind of virtuosity in its bravura orchestral manner. Strauss went on to write a series of increasingly ambitious tone poems: Death and Transfiguration (1889), Till Eulenspiegel's Merry Pranks (1895), Thus Spoke Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), Symphonia Domestica (1903) and An Alpine Symphony (1911-1915). One commentator has observed of these works that "no orchestra could exist without his tone poems, written to celebrate the glories of the post-Wagnerian symphony orchestra."  James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893. It was after this point that Strauss rejected the philosophy of Schopenhauer and began more forcefully critiquing the institution of the symphony and the symphonic poem, thereby differentiating the second cycle of tone poems from the first.

Answer this question "Are there any other interesting aspects about this article?"
output:
James Hepokoski notes a shift in Strauss's technique in the tone poems, occurring between 1892 and 1893.