input: Julia Stephen fell ill with influenza in February 1895, and never properly recovered, dying on 5 May, when Virginia was only 13. This was a pivotal moment in her life and the beginning of her struggles with mental illness. Essentially, her life had fallen apart. The Duckworths were travelling abroad at the time of their mother's death, and Stella returned immediately to take charge and assume her role. That summer, rather than return to the memories of St Ives, the Stephens went to Freshwater, Isle of Wight, where a number of their mother's family lived. It was there that Virginia had the first of her many nervous breakdowns, and Vanessa was forced to assume some of her mother's role in caring for Virginia's mental state. Stella became engaged to Jack Hills the following year and they were married on 10 April 1897, making Virginia even more dependent on her older sister.  George Duckworth also assumed some of their mother's role, taking upon himself the task of bringing them out into society. First Vanessa, then Virginia, in both cases an equal disaster, for it was not a rite of passage which resonated with either girl and attracted a scathing critique by Virgina regarding the conventional expectations of young upper class women "Society in those days was a perfectly competent, perfectly complacent, ruthless machine. A girl had no chance against its fangs. No other desires - say to paint, or to write - could be taken seriously". Rather her priorities were to escape from the Victorian conventionality of the downstairs drawing room to a "room of one's own" to pursue her writing aspirations. She would revisit this criticism in her depiction of Mrs Ramsay stating the duties of a Victorian mother in To the Lighthouse "an unmarried woman has missed the best of life".  The death of Stella Duckworth, her pregnant surrogate mother, on 19 July 1897, after a long illness, was a further blow to Virginia's sense of self, and the family dynamics. Woolf described the period following the death of both her mother and Stella as "1897-1904 -- the seven unhappy years", referring to "the lash of a random unheeding flail that pointlessly and brutally killed the two people who should, normally and naturally, have made those years, not perhaps happy but normal and natural". In April 1902 their father became ill, and although he underwent surgery later that year he never fully recovered, dying on 22 February 1904. Virginia's father's death precipitated a further breakdown. Later, Virginia would describe this time as one in which she was dealt successive blows as a "broken chrysalis" with wings still creased. Chrysalis occurs many times in Woolf's writing but the "broken chrysalis" was an image that became a metaphor for those exploring the relationship between Woolf and grief. At his death, Leslie Stephen's net worth was PS15,715 6s. 6d. (probate 23 March 1904)

Answer this question "What is said about Virgina's life after her the death of her mother?"
output: Virginia had the first of her many nervous breakdowns, and Vanessa was forced to assume some of her mother's role in caring for Virginia's mental state.

input: In 1995 Hilfiger launched The Tommy Hilfiger Corporate Foundation. With an emphasis on health, educational and cultural programs, the organization supports charities that focus on at-risk American youth. In 1998 Hilfiger was one of several sponsors along with Moet and Chandon, Christie's Auction House, and The Advocate of the charity LIFEbeat - The Music Industry Fights AIDS. He is also personally involved in charities and causes such as Autism Speaks and the MLK, Jr. National Memorial Project Foundation, and he has served on the board of directors for The Fresh Air Fund, a New York-based group that helps underprivileged children attend summer camp. The Fresh Air Fund's Camp Pioneer program was renamed Camp Tommy in 1999, in honor of Hilfiger's patronage.  Since 2008, Hilfiger has designed limited-edition handbags in support Breast Health International (BHI), an international organization focused on finding a cure for breast cancer. A portion of the handbag sales proceeds are donated to BHI's Fund For Living program, with celebrity ambassadors appointed for each seasonal campaign. In 2013, Claudia Schiffer and Naomi Campbell modeled the BHI bag in a photo shoot with photographer Patrick Demarchelier.  Millennium Promise, a non-profit organization focused on eradicating extreme poverty, hunger and preventable disease in impoverished regions, classifies Hilfiger as a Millennium Promise MDG Global Leader, and in 2009 Hilfiger made a five-year $2 million commitment to Millennium Promise. The donation went towards relief efforts in a Ugandan city, with the aim of improving residents' access to necessities like clean water, education, and farming techniques. In 2012, all philanthropic activities of The Tommy Hilfiger Corporate Foundation were renamed Tommy Cares, a wider-reaching global initiative that further integrates the brand's non-profit partnerships, charitable contributions, and employee involvement. On a global scale, Tommy Cares continues to support organizations such as Save the Children, the World Wildlife Fund, War Child, and Millennium Promise. Hilfiger and his wife are on the board of Autism Speaks as of 2012, and through the organization, Hilfiger became a sponsor of the Golden Door Film Festival in September 2014.

Answer this question "How did the charities respond to Hilfiger's involvement with them?"
output: The Fresh Air Fund's Camp Pioneer program was renamed Camp Tommy in 1999, in honor of Hilfiger's patronage.

input: He is sometimes said to be a French variant of the sixteenth-century Italian Pedrolino, but the two types have little but their names ("Little Pete") and social stations in common. Both are comic servants, but Pedrolino, as a so-called first zanni, often acts with cunning and daring, an engine of the plot in the scenarios where he appears. Pierrot, on the other hand, as a "second" zanni, is a static character in his earliest incarnations, "standing on the periphery of the action", dispensing advice that seems to him sage, and courting--unsuccessfully--his master's young daughter, Columbine, with bashfulness and indecision.  His origins among the Italian players in France are most unambiguously traced to Moliere's character, the lovelorn peasant Pierrot, in Don Juan, or The Stone Guest (1665). In 1673, probably inspired by Moliere's success, the Comedie-Italienne made its own contribution to the Don Juan legend with an Addendum to "The Stone Guest", which included Moliere's Pierrot. Thereafter the character--sometimes a peasant, but more often now an Italianate "second" zanni--appeared fairly regularly in the Italians' offerings, his role always taken by one Giuseppe Giaratone (or Geratoni, fl. 1639-1697), until the troupe was banished by royal decree in 1697.  Among the French dramatists who wrote for the Italians and who gave Pierrot life on their stage were Jean Palaprat, Claude-Ignace Brugiere de Barante, Antoine Houdar de la Motte, and the most sensitive of his early interpreters, Jean-Francois Regnard. He acquires there a very distinctive personality. He seems an anomaly among the busy social creatures that surround him; he is isolated, out of touch. Columbine laughs at his advances; his masters who are in pursuit of pretty young wives brush off his warnings to act their age. His is a solitary voice, and his estrangement, however comic, bears the pathos of the portraits--Watteau's chief among them--that we will encounter in the centuries to come.

Answer this question "In Don Juan was Pierrot a antagonist?"
output: