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.

[EX Q]: 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.
[EX A]: What is the first name of the Magdalen who became associated with weeping and reading?

[EX Q]: Passage: Napoleon's armies occupied Württemberg from 1800–01, forcing the duke and duchess to flee to Vienna. The royals returned when Frederick II agreed in 1803 to pledge allegiance to Napoleon and part with Württemberg's territory on the Left Bank, an area of 388 square kilometers (150 sq mi). In exchange, according Treaty of Lunéville, Frederick II was named an Elector-prince and given 1,609 square kilometers (621 sq mi) of Right Bank territory. Frederick II, now Elector Frederick I, now tasked his court architect Nikolaus Friedrich von Thouret with renovating the palace in the Neoclassical style. Thouret started in the Ahengalerie and the Ordensbau, working there from 1803 to 1806. For two days in October 1805, Napoleon visited Ludwigsburg to coerce Frederick I into joining the Confederation of the Rhine and thus becoming his ally, compensating Württemberg with neighboring territories in the Holy Roman Empire and Frederick I with the title of King. Frederick I again tasked Thouret with a remodeling, from 1808 to 1811, of the Ordenskapelle and the king's apartment. The final modernizations ordered by the king took place from 1812 to 1816 in the Schlosstheater and Marble Hall. During this time, the ceiling frescoes of the Guard Room and the main staircases of the Neuer Hauptbau were repainted. By the time Frederick I died in 1816, the majority of the palace had been converted to reflect the latest style.Following her husband's death, Charlotte continued to reside at Ludwigsburg, receiving visitors such as her siblings. She tasked Thouret with the renovation of her own apartment, which was carried out between 1816 and 1824. The dowager queen died at the palace on 5 October 1828 following a bout of apoplexy. Charlotte was the last ruler of Württemberg to reside at Ludwigsburg, as Frederick's son and successor, William I, and future kings did not show any interest in the palace. Members of the House of Württemberg continued to reside at the palace into the early 20th century, while the Württembergs moved to Bebenhausen Abbey after the abolition of the monarchy in 1918.
[EX A]: What is the full name of the person who started in the Ahengalerie and the Ordensbau, working there from 1803 to 1806?

[EX Q]: Passage: A Catholic priest, Father Brian Finn, has been dedicated to his calling since he was a child and now shares the duties of a New York parish with an older priest, Fr. Havel. Rabbi Jacob "Jake" Schram, best friends with Brian since childhood, is the youngest rabbi at his synagogue, focused on his work to the detriment of his private life, much to the chagrin of his mother, Ruth. The two men show a close bond, even in their professions, where the two are planning the opening of a jointly-sponsored community center. The pair reminisce occasionally about Anna Reilly, their childhood friend. She met Jake and Brian in middle school, after beating up a bully who was picking on them. The three became great friends, and enjoyed their childhood together. Unfortunately, Anna's father got a new job that resulted in the Reillys moving to California, and ultimately she lost touch with Brian and Jake.
Sixteen years later, Anna moves to New York for work and calls her old friends out of the blue; the friendship is rekindled. Anna and Jake begin sleeping together, but he is reluctant to be involved in a serious relationship with her because she is not Jewish, a fact which could compromise his relationship with his congregation and also with his mother (who disowned her eldest son for marrying outside the faith). Between the religious conflict and their desire to spare Brian's feelings, the relationship is kept mostly secret. As the relationship continues, Jake remains unable and unwilling to view the relationship as a serious one, despite Anna dropping hints to him about her having been recently taking a class (but refusing to tell him what kind of class it is), and her becoming visibly upset when they run into members of Jake's congregation while on a date and Jake introducing her only as "my old friend Anna".
[EX A]:
What is the profession of the rabbi's best friend?