Some context: Giuseppe Fortunino Francesco Verdi (Italian: [dZu'zeppe 'verdi]; 9 or 10 October 1813 - 27 January 1901) was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him. By his 30s, he had become one of the pre-eminent opera composers in history.
The writer Friedrich Schiller (four of whose plays were adapted as operas by Verdi) distinguished two types of artist in his 1795 essay On Naive and Sentimental Poetry. The philosopher Isaiah Berlin ranked Verdi in the 'naive' category--"They are not...self-conscious. They do not...stand aside to contemplate their creations and express their own feelings....They are able...if they have genius, to embody their vision fully." (The 'sentimentals' seek to recreate nature and natural feelings on their own terms--Berlin instances Wagner--"offering not peace, but a sword.") Verdi's operas are not written according to an aesthetic theory, or with a purpose to change the tastes of their audiences. In conversation with a German visitor in 1887 he is recorded as saying that, whilst "there was much to be admired in [Wagner's operas] Tannhauser and Lohengrin...in his recent operas [Wagner] seemed to be overstepping the bounds of what can be expressed in music. For him "philosophical" music was incomprehensible." Although Verdi's works belong, as Rosselli admits "to the most artificial of genres...[they] ring emotionally true: truth and directness make them exciting, often hugely so."  That is not to say his operas did not come as great innovations. What sounds to a modern listener as derivative of the bel canto, his first major success, Nabucco, came as a something entirely new. Never before had opera been so harmonically complex and direct. No longer was there the empty vocal display of the bel canto period composers. Granted, there is a significant amount of vocal fireworks, but they exist for the purpose of drama, not to show off singers. Aside from this, his use of the chorus was entirely new. Before Nabucco, an opera's chorus was limited to be only a background voice, another instrument. In Nabucco, this is abolished; he uses the chorus as character, to show the suffering and consensus of the people. The famous "Va, pensiero" is an example of this.  The first of his "big three" operas, Rigoletto, followed by La Traviata, and ending with Il Trovatore, also was revolutionary. In a letter to Rigoletto's librettist, Francesco Maria Piave, he says, "I conceived Rigoletto almost without arias, without finales but only an unending string of duets." And that it is. Rigoletto is one of, if not the earliest operas to abandon the traditional distinction between the sung aria, and the more speech-like recitative.  After these three operas, his works took an increasing amount of time to finish, were significantly longer, and more masterfully orchestrated.
What does Spirit relate to?
A: Verdi's operas are not written according to an aesthetic theory, or with a purpose to change the tastes of their audiences.

Some context: Anthony Neil Wedgwood Benn (3 April 1925 - 14 March 2014), originally known as Anthony Wedgwood Benn, but later as Tony Benn, was a British politician, writer, and diarist. He was a Member of Parliament (MP) for 47 years between the 1950 and 2001 general elections and a Cabinet minister in the Labour governments of Harold Wilson and James Callaghan in the 1960s and 1970s. Originally a moderate, he was identified as being on the party's hard left from the early 1980s, and was widely seen as a key proponent of democratic socialism within the party. Benn inherited a peerage on his father's death (as 2nd Viscount Stansgate), which prevented his continuing as an MP.
Benn's father had been created Viscount Stansgate in 1942 when Winston Churchill increased the number of Labour peers to aid political work in the House of Lords; at this time, Benn's elder brother Michael was intending to enter the priesthood and had no objections to inheriting a peerage. However, Michael was later killed in an accident while on active service in the Second World War, and this left Benn as the heir to the peerage. He made several unsuccessful attempts to renounce the succession.  In November 1960, Lord Stansgate died. Benn automatically became a peer, preventing him from sitting in the House of Commons. The Speaker of the Commons, Sir Harry Hylton-Foster, did not allow him to deliver a speech from the bar of the House of Commons in April 1961 when the by-election was being called. Continuing to maintain his right to abandon his peerage, Benn fought to retain his seat in a by-election caused by his succession on 4 May 1961. Although he was disqualified from taking his seat, he was re-elected. An election court found that the voters were fully aware that Benn was disqualified, and declared the seat won by the Conservative runner-up, Malcolm St Clair, who was at the time also the heir presumptive to a peerage.  Benn continued his campaign outside Parliament. Within two years, though, the Conservative Government of the time, which had members in the same or similar situation to Benn's (i.e., who were going to receive title, or who had already applied for writs of summons), changed the law. The Peerage Act 1963, allowing lifetime disclaimer of peerages, became law shortly after 6 pm on 31 July 1963. Benn was the first peer to renounce his title, doing so at 6.22 pm that day. St Clair, fulfilling a promise he had made at the time of his election, then accepted the office of Steward of the Manor of Northstead, disqualifying himself from the House (outright resignation not being possible). Benn returned to the Commons after winning a by-election on 20 August 1963.
Did Benn worked with anyone else to approve this law?
A:
St Clair,