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.

Example Input: Passage: A tsunami is an unusual form of wave caused by an infrequent powerful event such as an underwater earthquake or landslide, a meteorite impact, a volcanic eruption or a collapse of land into the sea. These events can temporarily lift or lower the surface of the sea in the affected area, usually by a few feet. The potential energy of the displaced seawater is turned into kinetic energy, creating a shallow wave, a tsunami, radiating outwards at a velocity proportional to the square root of the depth of the water and which therefore travels much faster in the open ocean than on a continental shelf. In the deep open sea, tsunamis have wavelengths of around 80 to 300 miles (130 to 480 km), travel at speeds of over 600 miles per hour (970 km/hr) and usually have a height of less than three feet, so they often pass unnoticed at this stage. In contrast, ocean surface waves caused by winds have wavelengths of a few hundred feet, travel at up to 65 miles per hour (105 km/h) and are up to 45 feet (14 metres) high.A trigger event on the continental shelf may cause a local tsunami on the land side and a distant tsunami that travels out across the ocean. The energy of the wave is dissipated only gradually, but is spread out over the wave front, so as the wave radiates away from the source, the front gets longer and the average energy reduces, so distant shores will, on average, be hit by weaker waves. However, as the speed of the wave is controlled by the water depth, it does not travel at the same speed in all directions, and this affects the direction of the wave front - an effect known as refraction - which can focus the strength of the advancing tsunami on some areas and weaken it in others according to undersea topography.
As a tsunami moves into shallower water its speed decreases, its wavelength shortens and its amplitude increases enormously, behaving in the same way as a wind-generated wave in shallow water, but on a vastly greater scale. Either the trough or the crest of a tsunami can arrive at the coast first. In the former case, the sea draws back and leaves subtidal areas close to the shore exposed which provides a useful warning for people on land. When the crest arrives, it does not usually break but rushes inland, flooding all in its path. Much of the destruction may be caused by the flood water draining back into the sea after the tsunami has struck, dragging debris and people with it. Often several tsunami are caused by a single geological event and arrive at intervals of between eight minutes and two hours. The first wave to arrive on shore may not be the biggest or most destructive. Occasionally, a tsunami may transform into a bore, typically in a shallow bay or an estuary.
Example Output: What two types of tsunami's can a trigger event on the continental shelf cause?

Example Input: Passage: Burges's two finest gothic churches were also undertaken in the 1870s, the Church of Christ the Consoler, Skelton-on-Ure, and St Mary's, Studley Royal. His patron, George Robinson, 1st Marquess of Ripon, although not as rich as Bute, was his equal in romantic medievalism and had been a friend of Bute's at Oxford, which may account for the choice of Burges as architect. Both churches were built as memorial churches for Ripon's brother-in-law, Frederick Grantham Vyner, who was murdered by Greek bandits in 1870. Vyner's mother commissioned the Church of Christ the Consoler and his sister St Mary's. Both begun in 1870, Skelton was consecrated in 1876 and Studley Royal in 1878.The Church of Christ the Consoler, in the grounds of Newby Hall in North Yorkshire, is built in the Early English style. The exterior is constructed of grey Catraig stone, with Morcar stone for the mouldings. The interior is faced with white limestone, and richly fitted out with marble. The work was undertaken by members of Burges's usual team, Gualbert Saunders making the stained glass, from cartoons by Lonsdale, and Nicholls sculpting the carvings. Leach and Pevsner describe the scheme of stained glass as "uncommonly excellent." It is particularly interesting as representing an architectural move from Burges's favourite Early French style to an English inspiration. Pevsner considers it: "Of determined originality; the impression is one of great opulence, even if of a somewhat elephantine calibre."
The Church of St Mary, Studley Royal, is also in the Early English style and is located in the grounds of Studley Royal Park at Fountains Abbey, in North Yorkshire. As at Christ the Consoler, the exterior is of grey limestone, with a two-stage west tower topped with a soaring spire. The interior is equally spectacular, exceeding Skelton in richness and majesty, Leach commenting that "everything is precisely calculated as to its visual impact." The theme, previously used at Gayhurst, is Paradise Lost and Paradise Regained. The stained glass, by Saunders & Co, is of particularly high quality. Pevsner describes St Mary's as "a dream of Early English glory" and Crook writes, "[although] Cork Cathedral may stand as Burges's greatest Gothic work, Studley Royal is his 'ecclesiastical' masterpiece." Burges also constructed an estate cottage in 1873.In 1870, Burges was asked to draw up an iconographic scheme of internal decoration for St Paul's Cathedral, unfinished since the death of Sir Christopher Wren. In 1872, he was appointed architect and over the next five years produced what Crook describes as a "full-blown scheme of early Renaissance decoration" for the interior which he intended would eclipse that of St Peter's in Rome. However, as Crook writes, his plans were "rather too creative for most Classicists" and these artistic, and linked religious, controversies led to Burges's dismissal in 1877 with none of his plans undertaken.
Example Output: Whose patron was George Robinson?

Example Input: Passage: The focal point of the scene is the "Tree-Man", whose cavernous torso is supported by what could be contorted arms or rotting tree trunks. His head supports a disk populated by demons and victims parading around a huge set of bagpipesoften used as a dual sexual symbolreminiscent of human scrotum and penis. The tree-man's torso is formed from a broken eggshell, and the supporting trunk has thorn-like branches which pierce the fragile body. A grey figure in a hood bearing an arrow jammed between his buttocks climbs a ladder into the tree-man's central cavity, where nude men sit in a tavern-like setting. The tree-man gazes outwards beyond the viewer, his conspiratorial expression a mix of wistfulness and resignation. Belting wondered if the tree-man's face is a self-portrait, citing the figure's "expression of irony and the slightly sideways gaze [which would] then constitute the signature of an artist who claimed a bizarre pictorial world for his own personal imagination".Many elements in the panel incorporate earlier iconographical conventions depicting hell. However, Bosch is innovative in that he describes hell not as a fantastical space, but as a realistic world containing many elements from day-to-day human life.
Animals are shown punishing humans, subjecting them to nightmarish torments that may symbolise the seven deadly sins, matching the torment to the sin. Sitting on an object that may be a toilet or a throne, the panel's centerpiece is a gigantic bird-headed monster feasting on human corpses, which he excretes through a cavity below him, into the transparent chamber pot on which he sits. The monster is sometimes referred to as the "Prince of Hell", a name derived from the cauldron he wears on his head, perhaps representing a debased crown. To his feet a female has her face reflected on the buttocks of a demon. Further to the left, next to a hare-headed demon, a group of naked persons around a toppled gambling table are being massacred with swords and knives. Other brutal violence is shown by a knight torn down and eaten up by a pack of wolves to the right of the tree-man.
Example Output:
What has thorn-like branches which pierce the fragile body?