Detailed Instructions: Write a question from the passage such that it identifies a character (a person or a thing) in the passage.
See one example below:
Problem: I really struggle to feel bad for people who actively choose to be miserable and manipulative. I'm dorky and like to use little proverbs all the time. One of my favorites is this: "you can lead a horse to water, but you can't make him drink." At the end of the day, if someone has a problem, they can never resolve it if they don't truly wish to. You can give someone all the resources in the world, but you can't force them to utilize them. When I was 16, I dated a horrible guy. He was abusive verbally, emotionally, and sexually. He was an incredibly troubled young man and refused to seek help for his severe mental health issues. I eventually came to understand that he reveled in his misery. It was his identity. He acted like he wanted a cure and I'd set him up with resources, but he refused every single one. He may have struggled with serious mental illnesses, but being miserable perversely made him happy and he loved to use his struggles to justify his inexcusable behavior. He wanted to drag as many people into his fiery pit of anguish as possible. I later suffered from severe depression myself, and I never once used it as an excuse to hurt other people. My ex wasn't struggling with his mental health in terms of deliberating and carefully harming others. He was simply exhibiting a personality trait, one he chose to cultivate and it wasn't my problem. I ended up cutting him off completely in spite of all the threats. I will never feel bad for the awful plight he refuses to help himself out of. I have no patience for that type of person. Know what we call them? Toxic. Poison. A waste of time.
Solution: Who was abusive to the author?
Explanation: The question is based on the following sentences in the passage - 'When I was 16, I dated a horrible guy. He was abusive verbally, emotionally, and sexually.'. The sentence clearly explains that the author's boyfriend was abusive to her.

Problem: Normal practice when handling ancient artifacts is to move carefully and minimize any sudden movements. Shaking the object is definitely not encouraged.
But that's exactly what wea group of museum curators and conservatorsdid when this exquisite Greek black-glazed kantharos (wine cup) was temporarily removed from display during the reinstallation of the Getty Museum's antiquities collection at the Getty Villa. One of just a handful of "rattling cups" that survive from the fifth and fourth centuries B.C., we wanted to learn more about how it was made.(1) Although we were eager to find out what was below the surface of the cup, we started by examining its exterior.
The kantharos's distinctive shape, with profiled lip, tall foot, and elegant, upward-sweeping handles, is characteristic of black-glazed pottery made in the second half of the fourth century B.C., and replicates the form of luxury vessels in metal. Although the cup is currently catalogued as South Italian, the shapeand its striking decorationare also typical of Athenian manufacture, and it may in fact have been produced there.(2) During the fourth century B.C., Athenian pottery was both imported into southern Italy and imitated by local craftsmen. The best South Italian versions were meant to be difficult to distinguish from Athenian examples, and we are continuing to investigate where ours may have been made.
A Greek inscription applied in gilt around the rim reads: ("KASTORPOLYDEUIKES"). Kastor and Polydeukes were twin sons of Zeusknown together as the Dioskouroiand were worshipped as protectors of sailors, horsemen, and chariot racing.(3) The inscription indicates that the kantharos was dedicated to them, perhaps as thanks foror in hope ofsafe passage at sea or a successful race. The gold decoration supports this idea: because each brother split his time between Mt. Olympus and Hades, they were often represented by stars, depicted here beneath the cup's rim. Further, the wreath, garlands, and bucrania (skulls of sacrificial bulls) decorating the cup's body all evoke religious ritual. Although a common decorative motif in ancient Greek art, the band of running waves must also have reminded viewers of the gods' special role as saviors of seafarers.
Solution:
Who shook the kantharos?