Question: Brown was born on July 28, 1891, in Holgate, Ohio, near Toledo, into a large family largely of Welsh descent. He spent most of his childhood in Toledo. In 1902, at the age of ten, he joined a troupe of circus tumblers known as the Five Marvelous Ashtons, who toured the country on both the circus and vaudeville circuits. Later he became a professional baseball player.

In late 1928, Brown began making films, starting the next year with Warner Bros.. He quickly became a favorite with child audiences, and shot to stardom after appearing in the first all-color all-talking musical comedy On with the Show (1929). He starred in a number of lavish Technicolor Warner Brothers musical comedies including: Sally (1929), Hold Everything (1930), Song of the West (1930), and Going Wild (1930). By 1931, Joe E. Brown had become such a star that his name was billed above the title in the films in which he appeared.  He appeared in Fireman, Save My Child (1932), a comedy in which he played a member of the St. Louis Cardinals, and in Elmer, the Great (1933) with Patricia Ellis and Claire Dodd and Alibi Ike (1935) with Olivia de Havilland, in both of which he portrayed ballplayers with the Chicago Cubs.  In 1933 he starred in Son of a Sailor with Jean Muir and Thelma Todd. In 1934, Brown starred in A Very Honorable Guy with Alice White and Robert Barrat, in The Circus Clown again with Patricia Ellis and with Dorothy Burgess, and with Maxine Doyle in Six-Day Bike Rider.  Brown was one of the few vaudeville comedians to appear in a Shakespeare film; he played Francis Flute in the Max Reinhardt/William Dieterle film version of Shakespeare's A Midsummer Night's Dream (1935) and was highly praised for his performance. He starred in Polo Joe (1936) with Carol Hughes and Richard "Skeets" Gallagher, and in Sons o' Guns. In 1933 and 1936, he became one of the top ten earners in films. He was sufficiently well known internationally by this point to be depicted in comic strips in the British comic Film Fun for twenty years from 1933.  He left Warner Brothers to work for producer David L. Loew, starring in When's Your Birthday? (1937). In 1938, he starred in The Gladiator, a loose film adaptation of Philip Gordon Wylie's 1930 novel Gladiator that influenced the creation of Superman. He gradually switched to making "B" pictures.

Using a quote from the above article, answer the following question: What about other films?
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Answer: Fireman, Save My Child (1932),


Question: Alexandru Macedonski (Romanian pronunciation: [alek'sandru matSe'donski]; also rendered as Al. A. Macedonski, Macedonschi or Macedonsky; March 14, 1854 - November 24, 1920) was a Wallachian, later Romanian poet, novelist, dramatist and literary critic, known especially for having promoted French Symbolism in his native country, and for leading the Romanian Symbolist movement during its early decades. A forerunner of local modernist literature, he is the first local author to have used free verse, and claimed by some to have been the first in modern European literature. Within the framework of Romanian literature, Macedonski is seen by critics as second only to national poet Mihai Eminescu; as leader of a cosmopolitan and aestheticist trend formed around his Literatorul journal, he was diametrically opposed to the inward-looking traditionalism of Eminescu and his school.

Macedonski also returned with a new volume of poetry, Excelsior (consecutive editions in 1895 and 1896), and founded Liga Ortodoxa ("The Orthodox League"), a magazine noted for hosting the debut of Tudor Arghezi, later one of the most celebrated figures in Romanian literature. Macedonski commended his new protege for reaching "the summit of poetry and art" at "an age when I was still prattling verses". Liga Ortodoxa also hosted articles against Caragiale, which Macedonski signed with the pseudonym Sallustiu ("Sallustius"). The magazine was additional proof of Macedonski's return to conservatism, and largely dedicated to defending the cause of Romanian Orthodox Metropolitan Ghenadie, deposed by the Romanian Synod following a political scandal. It defended Ghenadie up until he chose to resign, and subsequently went out of print. Macedonski was shocked to note that Ghenadie had given up his own defense.  In 1895, his Casa cu nr. 10 was translated into French by the Journal des Debats, whose editors reportedly found it picturesque. Two years later, Macedonski himself published French-language translations of his earlier poetry under the title Bronzes, a volume prefaced by his disciple, the critic and promoter Alexandru Bogdan-Pitesti. Although it was positively reviewed by Mercure de France magazine, Bronzes was largely unnoticed by the French audience, a fact which Tudor Vianu attributes to Bogdan-Pitesti's lack of qualification for the cultural mission Macedonski had trusted him with. By that time, his circle had come to be frequented with regularity by Bogdan-Pitesti's friend and collaborator, the celebrated painter Stefan Luchian, who was in the Symbolist and Art Nouveau stage of his career.  By 1898, Macedonski was again facing financial difficulties, and his collaborators resorted to organizing a fundraiser in his honor. His rejection of the Orthodox establishment was documented by his political tract, published that year as Falimentul clerului ortodox. Between that time and 1900, he focused on researching esoteric, occult and pseudoscientific subjects. Traian Demetrescu, who recorded his visits with Macedonski, recalled his former mentor being opposed to his positivist take on science, claiming to explain the workings of the Universe in "a different way", through "imagination", but also taking an interest in Camille Flammarion's astronomy studies. Macedonski was determined to interpret death through parapsychological means, and, in 1900, conferenced at the Atheneum on the subject Sufletul si viata viitoare ("The Soul and the Coming Life"). The focal point of his vision was that man could voluntarily stave off death with words and gestures, a concept he elaborated upon in his later articles. In one such piece, Macedonski argued: "man has the power [...] to compact the energy currents known as thoughts to the point where he changes them, according to his own will, into objects or soul-bearing creatures." He also attempted to build a machine for extinguishing chimney fires. Later, Nikita Macedonski registered the invention of nacre-treated paper, which is sometimes attributed to his father.

Using a quote from the above article, answer the following question: At this time, had he written any literature yet?
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Answer:
Macedonski also returned with a new volume of poetry, Excelsior (