You will be given a summary of a story. You need to create a question that can be answered from the story. You can create a question about characters, events, facts and beliefs, etc. Your question should be specific, try not to use pronouns instead of full names. As the stories are sometimes movie plots, they will contain actor names in parentheses. You should not use those names. Only use character names. Try to ask a question about all parts of the plot, not just the beginning.

[Q]:  The story follows a dinner party given by Bertha Young and her husband, Harry. The writing shows Bertha depicted as a happy soul, though quite naive about the world she lives in and those closest to her. The story opened up a lot of questions, about deceit, about knowing oneself and also about the possibility of homosexuality at the start of the 20th century. The story gives us a bird's eye view of the dinner party, which is attended by a couple, Mr. and Mrs. Norman Knight, who are close friends to Bertha and Harry. Guest, Eddie Warren, is an effeminate character, who adds an interesting mix to the party. The only other guest, Pearl Fulton, is someone who Bertha is mysteriously drawn to for reasons unknown to her at the start. The interesting thing is that Bertha's husband is presented to the reader as Bertha perceives him in her mind. Because Bertha is so naive, the reader first gets the impression that Harry is a crude, disinterested person who has a strong dislike for Pearl by his conversational tone and curtness towards her as the conversation unfolds. As the dinner party progresses, Bertha questions her own interest and fascination towards Pearl. The fact that Eddie, who is most likely homosexual, is present, lends an air to the possibility that Bertha's interest in Pearl is more than a platonic feeling one has towards a friend of the same sex. It is only after Bertha analyzes her feelings towards Pearl that she realizes that the connection she feels with Pearl is their mutual attraction for Harry, and coming out of her "blissful" reverie she makes the discovery that Harry and Pearl are having an affair. The title to this story alludes to the sentiment that ignorance is bliss. The story leaves the question about whether it is best to live blissfully ignorant of the truth or live with the knowledge of a harsh reality.
[A]: Which character first comes across as crude?


[Q]:  The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. Men ndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.
[A]: Whose actions is Rosaura said to parallel?


[Q]:  Arbaces, King of Iberia, has been abroad, fighting in the wars, for many years; he returns home in triumph, bringing with him Tigranes, the defeated king of Armenia. He intends to marry his sister Panthea to Tigranes. Meanwhile, he learns that his mother, Arane, who hates him, has plotted his assassination. The regent Gobrius has foiled the plot. Tigranes' fiancee Spaconia accompanies him into exile, hoping to avert Arbaces' plans for the marriage alliance. Tigranes promises her he will remain faithful.
On his return Arbaces finds that he now has a powerful sexual attraction to his beautiful sister, the princess Panthea, whom he hasn't seen since childhood. Much of the play depicts his increasingly desperate struggle against his incestuous passion. Arbaces blames the protector Gobrius for his predicament; the minister had written Arbaces many letters during the king's years abroad, praising Panthea's beauty and her love for him. Panthea is also attracted to Arbaces, but her virtue restains them both. The king becomes so desperate that he decides to murder Gobrius, rape Panthea, and then commit suicide. Meanwhile, Tigranes too falls in love with Panthea, even though this means he breaks his faith with Spaconia. Tigranes exercises the self-discipline and rationality that Arbaces struggles to achieve, and rededicates himself to Spaconia.
Arbaces' dilemma is resolved when it is revealed that the situation is a complex hoax, staged by Arane and Gobrius to give an heir to the childless old king who was Arbaces' predecessor. Arane's plots against her supposed son were intended to restore the rightful succession. Arbaces is in fact Gobrius's son, and so Panthea is not actually his sister. Gobrius had plotted that his son would become the legitimate king, by marriage with Panthea; Arbaces does marry the princess, but steps down from the kingship.
Arbaces is presented as a mixed character, brave and formidable in battle, but boastful and somewhat vulgar. His character is explained by the trick of his birth: he cannot behave with the nobility of a king, because he isn't one by "blood." The comic relief in the play is provided by the cowardly Bessus and his cronies; their subplot turns on the customs of honorable duelling   and their comical violation. (Bessus was a well-known comic creation; Queen Henrietta Maria refers to Bessus in a 25 February 1643 letter to her husband, Charles I.)
A King and No King has a strong degree of commonality with the same authors' Thierry and Theodoret. The former might be regarded as the tragicomic version, and the latter the tragic, of the same story.
[A]:
Who does King Arbaces fall in love with?