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.

Q: Passage: In 1870, 18-year-old Travis Coates is left in charge of his precocious 12-year-old brother, Arliss, on the family farm in Southwest Texas, while their parents visit an ailing grandmother. While Arliss and his dog, Savage Sam, are tracking a bobcat, Travis is warned by Bud Searcy that renegade Apaches are in the area. When Travis joins Bud's 17-year-old daughter, Lisbeth, in a search for Arliss, all three are captured by a band of Apaches led by a Comanche. The boys' Uncle Beck Coates witnesses the scene and manages to wound the Native American leader, but Beck's horse is shot by one of the braves, allowing the Comanche and his followers to escape with the captives. Beck alerts the U. S. Cavalry, but the Native Americans split into three groups and ride for the hills; in the confusion, Travis escapes but is knocked unconscious and left to die. Beck and his posse of five find Travis and his dog, set out in pursuit of the other captives, and eventually find the Indians in a valley fighting over Lisbeth. Although posse member Pack Underwood, bent on revenge for the massacre of his family, fires a shot that alerts the Indians to their planned ambush, the youngsters are saved and the renegades captured.

A: What are the first names of Beck Coates' nephews?
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Q: Passage: From the age of six and for the rest of his life Saint-Saens composed melodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protege Faure, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career Melodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Faure). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saens himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the melodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne a la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saens composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le deluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saens drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saens's treatment of the oratorio form impeded his success in it.

A: What were the names of the two people, who unlike Saint-Saens, were drawn to the song cycle?
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Q: Passage: Ottavio's marriage troubled Alessandro; he struggled with the burden of chastity and entertained fantasies of marrying a princess. He resented his younger brother's arrangement; during the wedding ceremony he "became more deathly pale than death itself, and, so they say, is unable to bear this thing, that he, the first-born, should see himself deprived of such splendid status and of the daughter of an Emperor." In 1546 Paul gave Pier Luigi the duchies of Parma and Piacenza as papal fiefs, a highly political move by the pope: in doing so he gave titles and wealth to Pier and appointed a lord who was subservient and owed a debt of gratitude, guaranteeing that the duchies would remain under papal control. At the same time, Ottavio was posted to the North of Italy to support Charles. By 1546 Ottavio was 22 years old, married to Margaret of Austria and an accomplished and distinguished individual. In 1547 his father was assassinated and Ottavio claimed the dukedom of Parma and Piacenza against the express wishes of both Charles, his father-in-law, and Paul. In doing so, Ottavio acted in opposition to the pope's desire to maintain the duchies as papal fiefs, and to Charles, whom he believed responsible for the plot to assassinate Pier Luigi.Titian was a personal friend of Charles; the commissioning of the portrait was most likely intended by Paul as a signal of allegiance to the emperor. Pressure from reforming monarchs in France and Spain, coupled with a general shift of influence in France's favour, ended the Farnese hold on the papacy soon after Paul's death. Ottavio excelled as a military commander and was awarded the Golden Fleece by the emperor. While the post had been given as a means to strengthen the family position, it did not come without cost. His success bred resentment amongst his family, as he began to see himself unaccountable to Rome.At the time of the portrait Paul had convinced Alessandro to retain the post, hinting that he would later succeed him as pope an aspiration that was ultimately frustrated. As Alessandro realised the emptiness of the promise he lost confidence in both his grandfather's word and political credibility.

A:
What is the name of the person who wanted to marry a princess?
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