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: Marty is a high-powered single literary agent in Manhattan. Marie (also Moore) is a widow in Provence with two daughters and a peaceful life. Marty has been seeing a therapist to deal with her vivid dreams of Marie's life; when Marie falls asleep she dreams Marty's life, but is much less disturbed by it. Each woman is convinced that the other is a figment of her imagination. When Marty meets Aaron they become friends and eventually lovers; terrified that her vivid other life means that she's losing her mind, Marty does not want to tell Aaron about it but finally does. Marie, meanwhile, has met William; she too is reluctant to tell William about her dreams, particularly since she (as Marty) is falling in love with Aaron, but realizes that she cannot keep such an important part of her life a secret.
The two men react very differently: William is jealous, while Aaron is skeptical but not at all threatened, and wants only for Marty to be happy. Dreams and real life begin to merge when Marie goes on holiday with William to Paris, and Marty wakes up with an ashtray from the hotel on her night stand. Eventually Marty/Marie must come to terms with reality and choose which life is real and which is illusion.

Output: Who has dreams about Moore's life?


Input: Consider Input: Passage: In June 1911, as part of the celebrations surrounding the coronation of King George V, Elgar was appointed to the Order of Merit, an honour limited to twenty-four holders at any time. The following year, the Elgars moved back to London, to a large house in Netherhall Gardens, Hampstead, designed by Norman Shaw. There Elgar composed his last two large-scale works of the pre-war era, the choral ode, The Music Makers (for the Birmingham Festival, 1912) and the symphonic study Falstaff (for the Leeds Festival, 1913). Both were received politely but without enthusiasm. Even the dedicatee of Falstaff, the conductor Landon Ronald, confessed privately that he could not "make head or tail of the piece," while the musical scholar Percy Scholes wrote of Falstaff that it was a "great work" but, "so far as public appreciation goes, a comparative failure."When World War I broke out, Elgar was horrified at the prospect of the carnage, but his patriotic feelings were nonetheless aroused. He composed "A Song for Soldiers", which he later withdrew. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the army. He composed patriotic works, Carillon, a recitation for speaker and orchestra in honour of Belgium, and Polonia, an orchestral piece in honour of Poland. Land of Hope and Glory, already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune.
By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 1919–20 season in October 1919. Apart from the Elgar work, which the composer conducted, the rest of the programme was conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." The critic of The Observer, Ernest Newman, wrote, "There have been rumours about during the week of inadequate rehearsal. Whatever the explanation, the sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself. ... The work itself is lovely stuff, very simple – that pregnant simplicity that has come upon Elgar's music in the last couple of years – but with a profound wisdom and beauty underlying its simplicity." Elgar attached no blame to his soloist, Felix Salmond, who played for him again later, including at the inaugural concert of the City of Birmingham Orchestra (later City of Birmingham Symphony Orchestra), which Elgar conducted. In contrast with the First Symphony and its hundred performances in just over a year, the Cello Concerto did not have a second performance in London for more than a year.

Output: What are the exact titles of the two separate works that were both received politely but without enthusiasm?


Input: Consider Input: Passage: On an island near Antarctica, a male penguin named Peter sees a female named Polly, and attempts to woo her. First he offers her an ice cream made of snow and icicle, which she accepts. Next, he tries catching her a fish, but only succeeds in catching a pufferfish. Polly accepts it graciously, but when she swallows it, she begins inflating and deflating repeatedly until Peter makes her spit out the fish, which then returns to water.
Peter shrugs in embarrassment, but, feeling humiliated, Polly slaps him and leaves to swim on a small iceberg. On the shore, Peter kicks himself for letting her get away, but then notices a sharkfin moving towards Polly's iceberg. He squawks a danger warning to her, but Polly ignores him, thinking that he's just begging for forgiveness that he won't get. Soon enough, the shark attacks Polly, who swims away in panic. Needing to act, Peter picks up a stick and charges out to help. 
The shark chases Polly around the bay for several minutes. When it looks like he has her cornered, Peter arrives and clobbers him on the nose. Enraged, the shark starts chasing after Peter. After several minutes of fighting and swimming away from the shark, Peter tries to escape by climbing up onto a cliff with a boulder on top. Peter unintentionally dislodges the boulder, which falls into the shark's mouth, who then swallows it. Due to the boulder's weight, the shark sinks to the bottom of the bay. The shark struggles until he's too tired to move. Passing fish begin to poke fun at him.
Meanwhile, Polly and Peter reconcile and fall in love, thus Peter's wooing succeeded. They cuddle, and their bodies form a heart-shaped silhouette on the horizon.


Output: Who accepts an offer of ice cream?