You will be given a summary of a story. You need to create a question that can be answered from the story. You can create a question about characters, events, facts and beliefs, etc. Your question should be specific, try not to use pronouns instead of full names. As the stories are sometimes movie plots, they will contain actor names in parentheses. You should not use those names. Only use character names. Try to ask a question about all parts of the plot, not just the beginning.

[Q]:  The play is set in Paris, and opens with two Frenchmen, the friends Dinant and Cleremont, discussing the ethics and manners of duelling. Dinant is disconsolate, because the woman he loves, Lamira, is marrying a rich old man named Champernell. Champernell won fame and fortune fighting at sea; but now he is crippled in an arm and a leg. Dinant and Cleremont confront the wedding party as they leave the church; the two mock and insult the new-made man and wife. Champernell tries to fight back, but his injuries prevent him; both groom and bride are reduced to tears of frustration (him) and embarrassment (her). They are not without defenders, however: afterward, Lamira's brother Beaupre and Champernell's nephew Verdone meet Dinant and Cleremont, and challenge them to meet on the "field of honor".
The challenge is spied upon, by Lamira's old Nurse; Lamira foresaw this event, and is terrified that her brother will be killed by Dinant. To avoid this, Lamira summons Dinant, and complains that her honor has been insulted. Dinant agrees to meet her slanderer and defend her, even though he will miss his appointment with Beaupre and Verdone. Cleremont makes that appointment in a cold dawn, and is distressed to find himself alone against two potential combatants. To avoid fighting both or yielding his sword, he must obtain a second. He solicits passers-by but finds no one, until he encounters a diminutive lawyer named La-Writ, who is poring over his court documents as he walks toward the city. Cleremont manages to bully, cajole, and persuade the attorney to second him in the duel, even though La-Writ has never drawn his sword in anger in his life. Through a stroke of beginner's luck, La-Writ manages to disarm Beaupre, and then rescue Cleremont by disarming Verdone too. The two losers have to return to the city without their swords, and a buoyant-spirited La-Writ resumes his way.
Meanwhile, Dinant has wasted two hours, waiting to encounter a person who does not exist. As he suspects he's been fooled, he meets a swaggering and wild-talking La-Writ, and believes he's found the man he means to fight. Before they can duel, Cleremont breaks in upon them, and informs Dinant that the little lawyer is the man who saved his honor by taking his place in the morning's duel. La-Writ is now so transported with exaltation that he neglects his law practice to devote his time to quarreling with the town bravos.
When Champernell learns that Verdone and Beaupre have been defeated, he is irate and disgusted. Verdone explains that Dinant did not appear that morning, but that his place was taken by "a Devil hir'd from some Magician,/ I'th' shape of an Attorney". Verdone accuses Dinant of cowardice   and Lamira surprises everyone by defending her former suitor's reputation. Champernell is distressed and angered by this; but Lamira takes the upper hand by threatening to run away if he doubts her virtue. Her husband backs down, and Lamira decides to teach Dinant a lesson for hoping to make her an adulteress.
Lamira summons Dinant to a tryst; Cleremont comes with him. To complete their tryst, Lamira tells Cleremont that he must take her place in bed with her husband: the old man has a habit of reaching out to feel if she's still in bed, and if he feels no one, he'll be alarmed. Cleremont is humiliated to be put in this position   but his friendship for Dinant leads him to agree. Dinant thinks that he will finally enjoy Lamira; but she talks loudly, lights the lights, and has music played, spoiling the secrecy of the moment. It turns out that Cleremont has been lying in bed not with the old man, but with his sixteen-year-old niece Anabel. Champernell, Beaupre, and Verdone laugh at the discomfiture of their two rivals.
La-Writ is now so passionate about quarreling that he fails to appear in court, and his cases are dismissed by the judge Vertaigne (who is also Lamira's father). La-Writ writes a challenge to the judge, and asks Cleremont to deliver it. This presents Cleremont with a dilemma: the code of duelling will not allow him to refuse to deliver the challenge   but delivering it to a judge will quickly land him in jail. He handles the matter by pretending that the challenge is a joke. Vertaigne takes it so, and sends his kinsman Sampson, another lawyer, to meet La-Writ in his place. When the two meet, their seconds, in pretending to observe the punctillios of the duelling code, deprive them of their swords and doublets   and then run off, leaving the two would-be duellists without swords, horses, or coats in the cold morning air.
Dinant and Cleremont plan to gain revenge on those who have embarrassed them. As Champernell, Vertaigne and their party are travelling to a country house, they are waylaid by a group of pretended bandits. Dinant and Cleremont appear to come to their rescue, and in the tumult and confusion the party is separated and the two old men are left alone in the woods. Champernell and Vertaigne soon stumble into La-Writ and Sampson. La-Writ is still talking big, full of his fictitious prowess; an irritated Champernell finally knocks him to the ground. Sampson is driven off, and Champernell beats La-Writ until the repentant attorney agrees to give up fighting and return to lawyering once again.
In the clutches of the feigned bandits, Lamira is frightened, but Anabel is determined to fight to preserve her honor. Cleremont, pretending to be a rescuer, absconds with Anabel to a waiting priest. Dinant confronts Lamira, who is repentant for tricking him, but still determined to preserve her virtue; and Dinant reconciles with her. At the end of the play, hard feelings are dispelled with a new understanding and tolerance, and a new couple in Cleremont and Anabel.
[A]: What is the name of Lamira's new husband?


[Q]:  Set in a small town in Edwardian England, Regiment of Women is about the relationship between two teachers at a private (and elitist) girls' school. One of them, Clare Hartill, is in her mid-thirties and runs the school in all but name, the ageing and sickly headmistress depending on her whenever a decision has to be taken concerning the school or any of its pupils. Most of the girls are devoted to Hartill and gladly suffer under her strict but charismatic rule and the loads of homework she sets them, mainly to prove to her and to themselves that they are more academically advanced than she told them they were. Hartill lives alone near the school in a small, old-fashioned flat full of books but without gas or electricity.
The other teacher is Alwynne Durand, an attractive nineteen-year-old woman without any formal training who lives with Elsbeth Loveday, her unmarried aunt and guardian. When Durand starts teaching at the school she is immediately popular with her students but also excites Hartill's attention   not just because the young mistress is as enthusiastic about teaching as herself, but also because Hartill is always on the lookout for companionship. The two women become close friends, and Durand spends more and more of her spare time in Hartill's flat, occasionally not returning to her aunt's for days. The couple also travel abroad together during the summer holidays. Although Loveday and Hartill hardly ever meet, a strange kind of antagonism develops between them, each woman fighting to spend more time than they do with Alwynne Durand and to be the dominant person in Alwynne's life.
In the course of the schoolyear one of Hartill's prot g es, an unfortunate fourteen-year-old called Louise who has disappointed Hartill by failing an important exam, commits suicide by jumping from an upper floor window of the school building. The suicide is successfully hushed up, pronounced a case of accidental death, and quickly forgotten. What Hartill deliberately fails to mention, however, is that Louise's death, which happened on the night of the school play, was apparently triggered by her harsh criticism of Louise's excellent performance in the play. In the months that follow, Hartill even manages to shift the burden of guilt onto Durand's shoulders, persuading the young mistress that she ought to have detected any suicidal tendencies in Louise while giving her extra lessons.
Hartill's increasingly bizarre and offensive behaviour and her naive niece's growing dependence on her older friend call Elsbeth Loveday to action. When, on top of her shattered nerves, Alwynne Durand comes down with the flu, Loveday insists on her not returning to school for the rest of the term and on recuperating from her illness in the country instead. Alwynne agrees, if reluctantly at first, to spend some time with distant relatives she has never met before. The idyllic spring landscape she encounters after leaving town actually soothes her nerves, and Alwynne grows more and more fond of country life and the people she meets in her new surroundings.
But Elsbeth Loveday's scheme includes more than her niece's mere convalescence. As planned by her aunt, Alwynne Durand finds a confidant, and secret admirer, in thirty-year-old Roger Lumsden, a good-hearted, intelligent and handsome man who runs his own gardening business. Completely inexperienced with men except for what she has read in novels, Alwynne does not recognise her feelings for Lumsden as love, and she still looks forward to her reunion with Hartill. When she eventually returns to her home town, Lumsden follows her, proposes to her, and, naturally, is rejected. Only when Hartill, too sure of her seemingly inseparable bond with Alwynne, continues treating her badly does Alwynne wake up to reality. She sends Hartill a telegram telling her she has taken the train to the country in order to get married.
[A]: Why does Hartill immediately want to connect with Durand?


[Q]:  The Rosaura subplot has been subjected to much criticism in the past as not belonging to the work. Men ndez y Pelayo saw it as a strange and exotic plot, like a parasitical vine. Rosaura has also been dismissed as the simple stock character of the jilted woman. With the British School of Calderonistas, this attitude changed. A. E. Sloman explained how the main and secondary actions are linked. Others like E. M. Wilson and William M. Whitby consider Rosaura to be central to the work since she parallels Segismundo's actions and also serves as Segismundo's guide, leading him to a final conversion. For some Rosaura must be studied as part of a Platonic ascent on the part of the Prince. Others compare her first appearance, falling from a horse/hippogriff to the plot of Ariosto's Orlando furioso where Astolfo (the name of the character who deceives Rosaura in our play), also rides the hippogriff and witnesses a prophecy of the return of the mythical Golden Age. For Frederick de Armas, Rosaura hides a mythological mystery already utilized by Ariosto. When she goes to Court, she takes on the name of Astraea, the goddess of chastity and justice. Astraea was the last of the immortals to leave earth with the decline of the ages. Her return signals the return of a Golden Age. Many writers of the Renaissance and early modern periods used the figure of Astraea to praise the rulers of their times. It is possible that Rosaura (an anagram of auroras, "dawns") could represent the return of a Golden Age during the reign of Segismundo, a figure that represents King Philip IV of Spain.
[A]:
Whose actions is Rosaura said to parallel?