In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Input: Consider Input: Passage: The boar was an important symbol in prehistoric Europe, where, according to the archaeologist Jennifer Foster, it was "venerated, eulogised, hunted and eaten ... for millennia, until its virtual extinction in recent historical time." Anglo-Saxon boar symbols follow a thousand years of similar iconography, coming after La Tène examples in the fourth century BC, Gaulish specimens three centuries later, and Roman boars in the fourth century AD. They likely represent a fused tradition of European and Mediterranean cultures. The boar is said to have been sacred to a mother goddess figure among linguistically Celtic communities in Iron Age Europe, while the Roman historian Tacitus, writing around the first century AD, suggested that the Baltic Aesti wore boar symbols in battle to invoke her protection. Boar-crested helmets are depicted on the turn-of-the-millennium Gundestrup cauldron, discovered in Denmark, and on a Torslunda plate from Sweden, made some five hundred years later. Though the Romans also included the boar in their stable of symbols—four legions, including the twentieth, adopted it as their emblem—it was only one among many. The boar nonetheless persisted in continental Germanic tradition during the nearly 400 years of Roman rule in Britain, such as in association with the Scandinavian gods Freyja and Freyr. Its return to prominence in the Anglo-Saxon period, as represented by the boars from Benty Grange, Wollaston, Guilden Morden, and Horncastle, may therefore suggest the post-Roman reintroduction of a Germanic tradition from Europe, rather than the continuation of a tradition in Britain through 400 years of Roman rule. Whatever its precise symbolism, the Anglo-Saxon boar appears to have been associated with protection; the Beowulf poet makes this clear, writing that boar symbols on helmets kept watch over the warriors wearing them.

Output: What represents a fused tradition of European and Mediterranean cultures?


Input: Consider Input: Passage: Set in the town of Wetherby in West Yorkshire, the film focuses on Jean Travers, a middle-aged spinster schoolteacher. One evening, she invites married friends for a dinner party, only to have some terrible repressions and past traumas dredged up when guest John Morgan expresses his emotional pain. The strange young man arrives at Jean's cottage the next morning with a gift of pheasants. While sitting at the kitchen table waiting for tea, he puts the barrel of a gun in his mouth and kills himself.
From this point onward, the film's story is told in chronologically discrete, interlocking flashbacks to the recent and distant past, showing actions and events as seen and experienced from various points of view. The central mystery of Morgan's suicide is the fulcrum around which the narrative turns. The narrative construction of the film resembles a jigsaw puzzle and, in keeping with Hare's style of exposition, frequently appears to have key pieces missing.
There are further scenes of the dinner party as well as scenes of the police investigation into the suicide. We learn Morgan had not been an invited guest—he walked in with others who assumed he was an acquaintance of Jean's, and Jean assumed that her friends had brought him with them.

Output: Who has past traumas brought up when someone else expresses their own emotional pain?


Input: Consider Input: Passage: The Catacombs of Rome contain most of the surviving Christian art of the Early Christian period, mainly in the form of frescos and sculpted sarcophagi. They show a Christian iconography emerging, initially from Roman popular decorative art, but later borrowing from official imperial and pagan motifs.  Initially, Christians avoided iconic images of religious figures, and sarcophagi were decorated with ornaments, Christian symbols like the Chi Rho monogram and, later, narrative religious scenes. The Early Christians' habit, after the end of their persecution, of building churches (most famously St Peter's, Rome) over the burial places of martyrs who had originally been buried discreetly or in a mass grave perhaps led to the most distinctive feature of Christian funerary art, the church monument, or tomb inside a church. The beliefs of many cultures, including Judaism and Hinduism as well as classical paganism, consider the dead ritually impure and avoid mixing temples and cemeteries (though see above for Moche, and below for Islamic culture).


Output: What show a Christian iconography emerging, initially from Roman popular decorative art, but later borrowing from official imperial and pagan motifs?