instruction:
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.
question:
Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.
answer:
What were the names of the two people, who unlike Saint-Saëns, were drawn to the song cycle?


question:
Passage: Structure 12 lies to the east of Structure 11. It has also been excavated and, like Structure 11, it is covered with rounded boulders held together with clay. It lies to the east of the plaza in the southern area of the Central Group. The structure is a three-tiered platform with stairways on the east and west sides. The visible remains date to the Early Classic but they overlie Late Preclassic construction. A row of sculptures lines the west side of the structure, including six monuments, a stela and an altar. Further monuments line the east side, one of which may be the head of a crocodilian, the others are plain. Sculpture 69 is located on the south side of the structure.Structure 17 is located in the South Group, on the Santa Margarita plantation. It contained a Late Preclassic cache of 13 prismatic obsidian blades.Structure 32 is located near the western edge of the West Group.Structure 34 is in the West Group, at the eastern corner of Terrace 6.Structures 38, 39, 42 and 43 are joined by low platforms on the east side of a plaza on Terrace 7, aligned north–south. Structures 40, 47 and 48 are on south, west and north sides of this plaza. Structures 49, 50, 51, 52 and 53 form a small group on the west side of the terrace, bordered on the north by Terrace 9. Structure 42 is the tallest structure in the North Group, measuring about 11.5 metres (38 ft) high. All of these structures are mounds.Structure 46 is a mound at the edge of Terrace 8 in the North Group and dates from the Terminal Classic through to the Postclassic. The west side of the structure has been cut by a modern road.Structure 54 is built upon Terrace 8, to the north of Structure 46, in the North Group. It is surrounded by an open area without mounds that was probably a mixed residential and agricultural area. It dates from the Terminal Classic through to the Postclassic.Structure 57 is a large mound at the southern limit of the Central Group with an excellent view across the coastal plain. The structure was built in the Late Preclassic and underwent a second phase of construction in the Late Classic. It may have served as a look-out point.
answer:
Which structure dates from the Terminal Classic through to the Postclassic?


question:
Passage: Three princely states bordering India—Nepal, Bhutan and Sikkim—were not integrated into the Republic of India in the period between 1947 and 1950. Nepal had been recognised by the British and the Government of India as being de jure independent. Bhutan had in the British period been considered a protectorate outside the international frontier of India. The Government of India entered into a treaty with Bhutan in 1949 continuing this arrangement, and providing that Bhutan would abide by the advice of the Government of India in the conduct of its external affairs.Historically, Sikkim was a British dependency, with a status similar to that of the other princely states, and was therefore considered to be within the frontiers of India in the colonial period. On independence, however, the Chogyal of Sikkim resisted full integration into India. Given the region's strategic importance to India, the Government of India signed first a Standstill Agreement and then in 1950 a full treaty with the Chogyal of Sikkim which in effect made it a protectorate which was no longer part of India. India had responsibility for defence, external affairs and communications, and ultimate responsibility for law and order, but Sikkim was otherwise given full internal autonomy. In the late 1960s and early 1970s, the Chogyal Palden Thondup Namgyal, supported by the minority Bhutia and Lepcha upper classes, attempted to negotiate greater powers, particularly over external affairs, to give Sikkim more of an international personality. These policies were opposed by Kazi Lhendup Dorji and the Sikkim State Congress, who represented the ethnic Nepali middle classes and took a more pro-Indian view.In April 1973, anti-Chogyal agitation broke out and protestors demanded popular elections. The Sikkim police were unable to control the demonstrations, and Dorji asked India to exercise its responsibility for law and order and intervene. India facilitated negotiations between the Chogyal and Dorji, and produced an agreement, which envisaged the reduction of the Chogyal to the role of a constitutional monarch and the holding of elections based on a new ethnic power-sharing formula. The Chogyal's opponents won an overwhelming victory, and a new Constitution was drafted providing for Sikkim to be associated with the Republic of India. On 10 April 1975, the Sikkim Assembly passed a resolution calling for the state to be fully integrated into India. This resolution was endorsed by 97 percent of the vote in a referendum held on 14 April 1975, following which the Indian Parliament amended the constitution to admit Sikkim into India as its 22nd state.
answer:

What state did the Government of India sign a Standstill Agreement with first?