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.
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Question: Passage: The book is partly autobiographical. It follows the adventures of a group of people the narrator Laurie, the eccentric Dorothea ffoulkes-Corbett (otherwise Aunt Dot), her High Anglican clergyman friend Father Hugh Chantry-Pigg (who keeps his collection of sacred relics in his pockets) travelling from Istanbul (or Constantinople as Fr. Chantry-Pigg would have it) to Trebizond. A Turkish feminist doctor attracted to Anglicanism acts as a foil to the main characters.
On the way, they meet magicians, Turkish policemen and juvenile British travel-writers, and observe the BBC and Billy Graham on tour. Aunt Dot proposes to emancipate the women of Turkey by converting them to Anglicanism and popularising the bathing hat, while Laurie has more worldly preoccupations. Historical references (British Christianity since the Dissolution of the Monasteries, nineteenth-century travellers to the Ottoman Empire, the First World War, the Fourth Crusade, St. Paul's third missionary journey, Troy) abound.
The geographical canvas is enlarged with the two senior characters eloping to the Soviet Union and the heroine meeting her lover in Turkey, and then her semi-estranged mother in Jerusalem. The final chapters raise multiple issues such as the souls of animals, and culminate in a fatal accident and its aftermath.
At another level the book, against its Anglo-Catholic backdrop, deals with the conflict between Laurie's attraction to Christianity and her adulterous love for a married man. This was a problem Macaulay had faced in her own life, having had an affair with the married novelist and former Roman Catholic priest Gerald O'Donovan (18711942) from 1920 until his death.
The book's opening sentence is,"Take my camel, dear", said my Aunt Dot, as she climbed down from this animal on her return from High Mass.

Answer: What is the thing that Laurie narrates?

Question: Passage: In June 1911, as part of the celebrations surrounding the coronation of King George V, Elgar was appointed to the Order of Merit, an honour limited to twenty-four holders at any time. The following year, the Elgars moved back to London, to a large house in Netherhall Gardens, Hampstead, designed by Norman Shaw. There Elgar composed his last two large-scale works of the pre-war era, the choral ode, The Music Makers (for the Birmingham Festival, 1912) and the symphonic study Falstaff (for the Leeds Festival, 1913). Both were received politely but without enthusiasm. Even the dedicatee of Falstaff, the conductor Landon Ronald, confessed privately that he could not "make head or tail of the piece," while the musical scholar Percy Scholes wrote of Falstaff that it was a "great work" but, "so far as public appreciation goes, a comparative failure."When World War I broke out, Elgar was horrified at the prospect of the carnage, but his patriotic feelings were nonetheless aroused. He composed "A Song for Soldiers", which he later withdrew. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the army. He composed patriotic works, Carillon, a recitation for speaker and orchestra in honour of Belgium, and Polonia, an orchestral piece in honour of Poland. Land of Hope and Glory, already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune.
By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 191920 season in October 1919. Apart from the Elgar work, which the composer conducted, the rest of the programme was conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." The critic of The Observer, Ernest Newman, wrote, "There have been rumours about during the week of inadequate rehearsal. Whatever the explanation, the sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself. ... The work itself is lovely stuff, very simple that pregnant simplicity that has come upon Elgar's music in the last couple of years but with a profound wisdom and beauty underlying its simplicity." Elgar attached no blame to his soloist, Felix Salmond, who played for him again later, including at the inaugural concert of the City of Birmingham Orchestra (later City of Birmingham Symphony Orchestra), which Elgar conducted. In contrast with the First Symphony and its hundred performances in just over a year, the Cello Concerto did not have a second performance in London for more than a year.

Answer: What are the exact titles of the two separate works that were both received politely but without enthusiasm?

Question: Passage: Trent and Rob have ordinary lives, but when they find a bundle of stolen ancient samurai swords, they are plunged into a world of darkness and chaos. Suddenly Trent knows how to deftly wield a katana, Rob is writing death threats in Japanese, and a villain named The Hunter, who is armed with two crossbows, is stalking their now-extraordinary lives. It's no secret: The city is a dangerous place to live in. There are gang murders, skinheads, and drunken stragglers with whom to contend, and the desensitivity of the city's denizens is rising. Still, best friends Rob and Trent find a comfortable degree of normalcy in their everyday lives. One night, however, the two return home and find that someone has stashed a mysterious parcel in the back of Trent's car. When they find out the parcel contains samurai swords, the first thing they do is get into a play fight. But in the middle of the night, Trent wakes up to find that Rob does not want to just play anymore; he wants a real 1400-Edo-style brawl. After Rob disappears, a dark villain known as The Hunter appears in his wake, asking for the swords. When he does not get what he wants, he takes Trent's girlfriend Brooke as collateral. In one heated moment Trent realizes that life will never be the same. Armed with a righteous vengeance and an adeptness with the newfound katana that contains a story of its own, Trent stalks the night in search of Rob and Brooke.

Answer:
Who gets into a play fight?