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 crew of a malfunctioning alien cargo ship make an emergency landing on Earth. This draws the attention of four sexually-frustrated humans in a nearby park: Oliver and Prudence (a mild-mannered professional and his highly-strung fiancée), Willy (a bumbling shop assistant) and Cliff (a middle-aged man).
Oliver, Prudence, Willy and Cliff wander into the ship and encounter three aliens resembling human women: engineer Partha, nurse Cosia and the captain, known only as Skipper. Willy inadvertently drops some pornographic magazines that he has recently bought. The aliens mistake some approaching cows for a hostile force and hurriedly take off, despite warnings from the long-suffering computer about the precarious state of the ship's systems. Resuming their original course, they study their guests in detail. Fascinated by the anatomy of the males, they decide to sell them to a zoo for exotic lifeforms on a distant planet. They also debate the significance of the acts depicted in Willy's magazines. Partha is particularly keen to emulate them and enthusiastically has sex with Cliff.
Skipper, Cosia and Partha subject the males to a series of tests to learn more about their abilities. Oliver and Cliff fail miserably. However, Willy, looking for his magazines, beats Skipper's combat simulation by unknowingly evading her attacks, causing her to collapse with exhaustion and infer that he is a stronger being. While conducting a physical examination on Willy, Cosia discovers that his biology is more advanced than anything known to their species; encouraging Cosia with exaggerated claims about his sexual prowess, Willy loses his virginity to her. Later, he passes an intelligence test by a fluke and has sex with Partha.

Output: Who mistakes some approaching cows for a hostile force?


Input: Consider Input: Passage: Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

Output: What books of the Bible are the prescribed readings for the feast day taken from?


Input: Consider Input: Passage: Early in his Provisional Theatre conductorship Smetana had made a powerful enemy in František Pivoda, the Director of the Prague School of Singing. Formerly a supporter of Smetana's, Pivoda was aggrieved when the conductor recruited singing talent from abroad rather than from Pivoda's school. In an increasingly bitter public correspondence, Pivoda claimed that Smetana was using his position to further his own career, at the expense of other composers.Pivoda then took issue with Dalibor, calling it an example of extreme "Wagnerism" and thus, unsuited as a model for Czech national opera. "Wagnerism" meant the adoption of Wagner's theories of a continuous role for the orchestra and the building of an integrated musical drama, rather than a stringing together of lyrical numbers. The Provisional Theatre's chairman, František Rieger, had first accused Smetana of Wagnerist tendencies after the first performance of The Brandenburgers, and the issue eventually divided Prague's musical society. The music critic Otakar Hostinský believed that Wagner's theories should be the basis of the national opera, and argued that Dalibor was the beginning of the "correct" direction. The opposite camp, led by Pivoda, supported the principles of Italian opera, in which the voice rather than the orchestra was the predominant dramatic device.Even within the theatre itself there was division. Rieger led a campaign to eject Smetana from the conductorship and reappoint Maýr, and in December 1872 a petition signed by 86 subscribers to the theatre called for Smetana's resignation. Strong support from vice-chairman Antonín Čísek, and an ultimatum from prominent musicians among whom was Antonín Dvořák, ensured Smetana's survival. In January 1873 he was reappointed, with a bigger salary and increased responsibility as Artistic Director.Smetana gradually brought more operas by emergent Czech composers to the theatre, but little of his own work. By 1872 he had completed his monumental fourth opera, Libuše, his most ambitious work to date, but was withholding its premiere for the future opening of the forthcoming  National Theatre. The machinations of Pivoda and his supporters distracted Smetana from composition, and he had further vexation when The Bartered Bride was produced in Saint Petersburg, in January 1871. Although the audience was enthusiastic, press reports were hostile, one describing the work as "no better than that of a gifted fourteen-year-old boy." Smetana was deeply offended, and blamed his old adversary, Balakirev, for inciting negative feelings against the opera.


Output: What is the first name of the person who supported the principles of Italian opera, in which the voice rather than the orchestra was the predominant dramatic device?