Chinese Influences: The Japanese were forced out of the Korean peninsula in the sixth century, but not before the Koreans had bequeathed to the Yamato court copies of the sacred images and scriptures of Chinese Buddhism. Just as Christianity introduced Mediterranean culture into northern Europe, so Buddhism brought Chinese culture into Japanese society. Throughout the seventh and eighth centuries numerous Japanese monks, scholars, and artists made the perilous trip west across the Sea of Japan to study Chinese religion, history, music, literature, and paintinglater to be brought back for further development in Japan. An outstanding figure of this time was Prince Shotoku, who in 604 developed the "Seventeen-Article Constitution," outlining a code of human conduct and the ideals of state as a basic law for the nation. He also established relations with the Sui dynasty in China. Through him, the Japanese imperial court developed Chinese patterns of centralized government, with its formal bureaucracy of eight court ranks. The Chinese calendar was used to calculate the year of Japan's foundation by counting back the 1,260 years of the Chinese cosmological cycle. Thus, 660 b.c. is still the official date celebrated nationwide. At this early stage in its history Japan was already (for the most part) only nominally ruled by the emperor. De facto power was exercised by the militarily and economically strongest family. The Sogas had promoted Buddhism as an imperially sanctioned counterweight to the native Shinto religion, along with the new Chinese customs, to weaken the influence of their more conservative rivals. But they in turn were ousted in a.d. 645 by Nakatomi Kamatari, founder of the great Fujiwara clan, which was to rule Japanese affairs for hundreds of years and provide prominent advisers to the emperor even up to the 19th century.
What question would one ask from this paragraph?

QUESTION: Who established relations with the Sui dynasty?

The little party in the cabin, so disastrously begun, finished, under the mellowing influence of wine and woman, in excellent feeling and with some hilarity. Mamie, in a plush Gainsborough hat and a gown of wine-coloured silk, sat, an apparent queen, among her rude surroundings and companions. The dusky litter of the cabin set off her radiant trimness: tarry Johnson was a foil to her fair beauty; she glowed in that poor place, fair as a star; until even I, who was not usually of her admirers, caught a spark of admiration; and even the captain, who was in no courtly humour, proposed that the scene should be commemorated by my pencil. It was the last act of the evening. Hurriedly as I went about my task, the half-hour had lengthened out to more than three before it was completed: Mamie in full value, the rest of the party figuring in outline only, and the artist himself introduced in a back view, which was pronounced a likeness. But it was to Mamie that I devoted the best of my attention; and it was with her I made my chief success.
What question would one ask from this paragraph?

QUESTION: Was the author usually an admirer of the women in a plush Gainsborough hat and a gown of wine-coloured silk.

Madame White Snake: East Asian Femme Fatale of Old The Chinese legend of Madame White Snake, the snake demon that takes human form and becomes the wife of a man, has exerted a lasting influence over East Asian folktales and fiction for centuries. Two quintessential novellas, "The Lust of the White Serpant" from Ugetsu Monogatari by the Japanese author Ueda Akinari and "Eternal Prisoner under Thunder Peak Pagoda" a traditional Chinese story, are both relatively complex and demonstrate not only the evolution of the White Snake figure to become a more believable human, but also what aspects may have given her enduring appeal. While both these stories are ostensibly morality tales about the dangerous beauty of this femme fatale, the true source of pleasure from these narratives is the femme fatale's transgressive behavior, not her eventual punishment for it. Early tales of Madame White Snake appeared in China as early as the Song Dynasty, and initially her portrayal was fairly direct, as a villainous demon who drains the life force out of her human husband. But over time, characterizations of her became more complex, and the persona of Madame White Snake became more sympathetic, and perhaps even a model of the ideal Confucian wife, particularly in "Pagoda". Whalen Lai notes, "She was a loving wife, a caring mother, rescuer of her family from the first flood, and, at that point, a general benefactor of man. She took on the virtues of a traditional Chinese female, particularly forbearance". But if she were really an ideal wife, why could she not live happily with her human mate? Her dangerous sexuality is the key. Femme fatale might seem an unusual term to apply to a character from pre-modern Chinese and Japanese literature who may exemplify the virtues of an ideal Confucian wife, since it is primarily associated with film characters, particularly those of the film noir genre. But this term, which is relatively speaking, a neologism (The earliest uses were around the beginning of the 20th century
What question would one ask from this paragraph?

QUESTION: What was Early tales of Madame White Snake initial portrayal?

We drove about a great deal--the country at the back of Deauville, going away from the sea, is lovely--very like England--charming narrow roads with high banks and hedges on each side--big trees with spreading branches meeting overhead--stretches of green fields with cows grazing placidly and horses and colts gambolling about. It is a great grazing and breeding country. There are many haras (breeding stables) in the neighbourhood, and the big Norman posters are much in demand. I have friends who never take their horses to the country. They hire for the season a pair of strong Norman horses that go all day up and down hill at the same regular pace and who get over a vast amount of country. We stopped once or twice when we were a large party, two or three carriages, and had tea at one of the numerous farmhouses that were scattered about. Boiling water was a difficulty--milk, cider, good bread and butter, cheese we could always find--sometimes a galette, but a kettle and boiling water were entirely out of their habits. They used to boil the water in a large black pot, and take it out with a big spoon. However, it amused us, and the water really did boil.
What question would one ask from this paragraph?

QUESTION:
Describe what about the area makes this a good place to raise horses?