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: British couple Nigel and Fiona Dobson are on a Mediterranean cruise ship to Istanbul en route to India. They encounter a beautiful French woman, Mimi, and that night Nigel meets her while dancing alone in the ship's bar. Later Nigel meets her much older and disabled American husband Oscar, who is acerbic and cynical, having been jaded and a failure as a writer. 
Oscar invites Nigel to his cabin where he tells Nigel in great detail how he and Mimi first met on a bus in Paris and fell passionately in love. Nigel relates all to Fiona. Both are appalled by Oscar's exhibitionism, but Nigel is also fascinated by Mimi, who provokes him. Later, Oscar narrates how they explored bondage, sadomasochism, and voyeurism. As a contrast to their sexual adventurousness, we see Nigel and Fiona meeting a distinguished Indian gentleman, Mr. Singh, who is traveling with his little daughter Amrita.
Invited by Mimi, Nigel, escaping from a bridge game, goes to meet her in her cabin, but it turns out she and Oscar have played a joke on him. Nigel wants to leave, but another session unfolds, with Oscar describing how their hate/love relationship developed. Bored, he tried to break up, but Mimi begged him to let her live with him under any conditions. He complied, but started to explore sadistic fantasies at her expense, humiliating her in public. When Mimi became pregnant, he made her have an abortion, saying that he would be a terrible father. When he visited her in hospital, he was shocked by her condition and almost relented in his attempts to drive her away. He promised her a holiday in the Caribbean, but he got off the plane just before take off. Mimi departed alone, crying.

Output: Which person got Mimi pregnant?


Input: Consider Input: Passage: At 53°27′46″N 2°25′54″W (53.4629, -2.4316), Chat Moss lies at the southern edge of the Lancashire Plain, an area of Bunter sandstones overlaid with marls laid down during the Late Triassic period. Those rocks are themselves overlaid by a layer of boulder clay deposited during the last ice age, about 10,000 years ago. The combination of the flat topography and the underlying clay resulted in extensive peat bogs developing along the Mersey Valley, and overflowing beyond the valley. The bogs in the area between the River Glaze in the west, and Worsley and Eccles in the east, to the north of what was the River Irwell – now the Manchester Ship Canal – are known collectively as Chat Moss.
Chat Moss is a lowland raised bog. In areas where drainage is poor, water-logging can slow down plant decomposition, producing peat, which over the years can raise the level of the bog above that of the surrounding land. The moss occupies an area of about 10.6 square miles (27.5 km2), and is about 5 miles (8 km) long, about 2.5 miles (4.0 km) across at its widest point, lying 75 feet (23 m) above sea level. Chat Moss lies mainly in Salford, but extends into Wigan. By the 1990s, an estimated 72 per cent of the bog had been reclaimed, most of it for agriculture. About 230 acres (93 ha) of degraded bog remain, with 766 acres (310 ha) of undamaged peat deposits in four former peat extraction sites. The peat varies in depth between 24 feet (7 m) and 30 feet (9 m).The main bog mosses found in the peat of Chat Moss are Sphagnum cuspidatum, S. imbricatum, and S. acutifolia. The peat up to about 7 feet (2 m) from the surface is mainly humidified S. acutifolia, with fresher S. imbricatum peat nearer the surface.A 228-acre (92 ha) area of Chat Moss, to the north of the Liverpool–Manchester railway line, notified as Astley & Bedford Mosses, was designated a Site of Special Scientific Interest in 1989. Astley & Bedford Mosses, along with Risley Moss and Holcroft Moss, is also a European Union designated Special Area of Conservation, known as Manchester Mosses.The major habitats in the moss are bog, heathland, woodland and acidic grassland, subject to varying degrees of wetness depending on the local drainage. The remaining areas of bog are dominated by common cottongrass Eriophorum angustifolium and.

Output: What are the major habitats of the location that lies at the southern edge of Lancashire Plain?


Input: Consider Input: Passage: Van der Weyden's depiction of the Magdalen is based on Mary of Bethany, identified by the time of Pope Gregory I as the repentant prostitute of Luke 7:36–50. She then became associated with weeping and reading: Christ's mercy causes the eyes of the sinner to be contrite or tearful. Early Renaissance artists often conveyed this idea by portraying contemplative eyes, associating tears with words, and in turn weeping with reading. Examples can be seen in 16th-century works by Tintoretto and Titian which show the Magdalen reading, often with her eyes averted towards her book (and presumably away from a male gaze), or looking up to the heavens or, sometimes, glancing coyly towards the viewer. Writing in "The Crying Face", Mosche Barasch explains that in van der Weyden's time the gesture of averting or concealing the eyes became a "pictorial formula for crying".
By the medieval period, reading became synonymous with devotion, which involved withdrawal from public view. Van der Weyden's placement of the Magdalen in an interior scene reflects the increasing literacy of domestic or laywomen in the mid-15th century. The increased production of devotional texts showed that noble women of the period routinely read texts such as a psalter or book of hours in the privacy of their homes. Whether the Magdalen herself was a reader, by the 17th century she was firmly established as such in the visual arts. Because the Magdalen was present at Christ's death and subsequent resurrection, she was seen as the bearer of news—a witness—and hence directly associated with the text.The Magdalen imagery further draws on the idea of Christ as the word, represented by a book, with the Magdalen as the reader learning of her own life story in a moment of reflection and repentance.  Her devotion to reading reflects her traditional status as the piously repentant harlot, as well as a prophetess or seer.  According to legend, the Magdalen lived the last 30 years of her life as a hermit in Sainte-Baume and is often shown with a book, reading or writing, symbolizing her later years of contemplation and repentance. By the 13th century she acquired the imagery of a once-shamed woman who, clothed in long hair, now hid her nakedness in exile and "borne by angels, floats between heaven and earth".The Magdalen's ointment jar was common in the lexicon of art in van der Weyden's period. Mary of Bethany may have used a jar when she repented of her sins at Christ's feet in her home; by the Renaissance, the image of the Magdalen was of the woman who bathed Christ's feet with her tears and dried them with her hair. She signified the "sacrament of anointing (Chrism and Unction)" by pouring precious spikenard on Christ's feet at his tomb.


Output: What is the first name of the Magdalen who became associated with weeping and reading?