input: In attempting to date the Great Peacemaker and Hiawatha, focus has come to an incident related to the founding of the Iroquois Confederacy, their lifework. One rendition of the oral history eventually written down by scholars involves a division among the Seneca nation, the last nation to join the original confederacy. A violent confrontation began and was suddenly stopped when the sun darkened, and it seemed like night. Scholars have successively studied the possibilities of this being a solar eclipse since 1902 when William Canfield wrote Legends of the Iroquois; told by "the Cornplanter". Successive other scholars who mention it were (chronologically): Paul A. W. Wallace, Elizabeth Tooker, Bruce E. Johansen, Dean R. Snow, Barbara A. Mann and Jerry L. Fields, William N. Fenton, David Henige, Gary Warrick, and Neta Crawford.  Since Canfield's first mention, and the majority view, scholars have supported the 1451 AD date for the plausible solar eclipse mention. Some argue it is an insufficient fit for the description and favor 1142 AD while a few question the whole idea.  Archaeological supporting arguments have progressed. In 1982 Dean Snow considered the mainstream view of the archaeology not to support any dates for an eclipse before 1350 AD (thus ruling out the 1142 AD date.) By 1998 Fenton considered an earlier eclipse than the 1451 AD majority view unlikely but possible as long as it was after 1000 AD - a window that allows the 1142 AD date. By 2007/8 reviews considered an 1142 AD eclipse as clearly possible even if most still supported 1451 AD as the safe choice.

Answer this question "What does Eclipse have to do with Hiawatha?"
output: In attempting to date the Great Peacemaker and Hiawatha, focus has come to an incident related to the founding of the Iroquois Confederacy,

input: The only members from the original lineup, Wright and Mike Harrison relaunched Spooky Tooth with Jones and Graham from Wonderwheel, and Chris Stewart, formerly the bassist with English singer Terry Reid. Salewicz visited the band while they were recording at Island's Notting Hill studio and remarked of Wright's role in the group, "it is clear who is the leader of this brand of Spooky Tooth, and, I suspect, of the original, too"; Salewicz described Wright as "urbane, loquacious with the remnants of a New Jersey accent, and a touch of Dudley Moore about the face".  On their new album, You Broke My Heart So I Busted Your Jaw (1973), Wright composed six of the eight tracks, including "Cotton Growing Man", "Wildfire" and "Self Seeking Man", and co-wrote the remaining two. With the group's standing having been elevated since 1970 - a situation that music journalist Steven Rosen likened at the time to the Yardbirds, the Move and other 1960s bands after their break-up - Spooky Tooth toured extensively to promote the album. Rolling Stone reviewer Jon Tiven praised Wright's songwriting on You Broke My Heart, adding: "there is tremendous consistency to these originals ... and 'Wildfire' is ample proof that Gary could have written for the Temptations if he really wanted to."  The band released a follow-up, Witness, in November 1973, by which point Graham had departed, with Mike Kellie returning on drums. By February 1974, Stewart and Harrison had also left. In January that year, Wright accompanied George Harrison to India, where they journeyed to Varanasi (Benares), the Hindu spiritual capital of India, and home to Harrison's friend Ravi Shankar. The visit would influence the spiritual quality of Wright's lyrics when he returned to his solo career.  In England, he and Harrison worked together on The Place I Love (1974), the debut album by English duo Splinter. In addition to playing keyboards, Wright served as what author Simon Leng terms "a sounding board and musical amanuensis" on the project, which was the first album released on Harrison's Dark Horse record label. Wright regrouped with Spooky Tooth for a final album, The Mirror (1974), with Mike Patto as their new vocalist. Following further personnel changes, The Mirror was issued by Goodear Records in the UK in October 1974, a month after Wright had disbanded the group.

Answer this question "What did he do in his solo career?"
output: 

input: Despite having stated his interest in innovation, Macedonski generally displayed a more conventional style in his Excelsior volume. It included Noaptea de mai, which Vianu sees as "one of the [vernacular's] most beautiful poems" and as evidence of "a clear joy, without any torment whatsoever". A celebration of spring partly evoking folkloric themes, it was made famous by the recurring refrain, Veniti: privighetoarea canta si liliacul e-nflorit ("Come along: the nightingale is singing and the lilac is in blossom"). Like Noaptea de mai, Lewki (named after and dedicated to the Snake Island), depicts intense joy, completed in this case by what Vianu calls "the restorative touch of nature." The series also returned to Levant settings and Islamic imagery, particularly in Acsam dovalar (named after the Turkish version of Witr). Also noted within the volume is his short "Modern Psalms" series, including the piece Iertare ("Forgiveness"), which is addressed to God:  Excelsior also included Noaptea de ianuarie ("January Night"), which encapsulates one of his best-known political statements. Anghelescu reads it as a "meditation on disillusionment that culminates in a vitality-laden exhortation of action." Its anti-bourgeois attitude, literary historian Z. Ornea argues, was one of the meeting points between Macedonski and Junimism. In what is seen as its most acid section, the text notably reads:  At the same time as being engaged in his most violent polemics, Macedonski produced meditative and serene poems, which were later judged to be among his best. Noaptea de decemvrie is the synthesis of his main themes and influences, rated by commentators as his "masterpiece". Partly based on an earlier poem (Meka, named after the Arab city), it tells the story of an emir, who, left unsatisfied by the shallow and opulent life he leads in Baghdad, decides to leave on pilgrimage. While critics agree that it is to be read as an allegory of Macedonski's biography, the ironic text does not make it clear whether the emir actually reaches his target, nor if the central metaphor of Mecca as a mirage means that the goal is not worth sacrificing for. While Mircea Anghelescu comments that Macedonski illustrates "unusual tension" by rigorously amplifying references to the color red, seen as a symbol of suffering, Calinescu notes that the sequence of lyrics has a studied "delirious" element, and illustrates this with the quote:

Answer this question "How well received were his works?"
output:
Vianu sees as "one of the [vernacular's] most beautiful poems" and as evidence of "a clear joy, without any torment whatsoever".