Rolfe put down the little dog he had been holding, and went out into the hall. The dog accompanied him, frisking about him in friendly fashion. Rolfe first examined the bedroom that he had seen Inspector Chippenfield enter. It was a small room, containing a double bed. It was prettily furnished in white, with white curtains, and toilet-table articles in ivory to match. A glance round the room convinced Rolfe that it was impossible for a man to secrete himself in it. The door of the wardrobe had been flung open by the inspector, and the dresses and other articles of feminine apparel it contained flung out on the floor. There was no other hiding-place possible, except beneath the bed, and the ruthless hand of the inspector had torn off the white muslin bed hangings, revealing emptiness underneath. Rolfe went out into the hall again, and entered the room next the bedroom. This apartment was apparently used as a dining-room, for it contained a large table, a few chairs, a small sideboard, a spirit-stand, a case of books and ornaments, and two small oak presses. Plainly, there was no place in it where a man could hide himself. The next room was the bathroom, which was also empty. Opposite the bathroom was a small bedroom, very barely furnished, offering no possibility of concealment. Then the passage opened into a large roomy kitchen, the full width of the rooms on both sides of the hall, and the kitchen completed the flat.
What question would one ask from this paragraph?

QUESTION: What was the room next to the bedroom used for?

The Glory of Melaka: In the early days, if you were not a pirate or a mosquito, Melaka was not much of a place to live. The land was infertile, just a swampy plain, the river small and sluggish. But it had a sheltered harbor, protected from the monsoons by neighboring Sumatra. Later, the strategic location and deep-water channel close to the coast brought in the bigger vessels of the trade-wind traffic crossing the Indian Ocean. The first to realize the larger commercial potential, as so often throughout the country's subsequent history, were the Chinese. In 1409, under a new directive from Emperor Chu Ti to pursue trade in the South Seas and the Indian Ocean, a Chinese fleet of 50 ships headed by Admiral Cheng Ho called in at Melaka. They made Parameswara an offer he could not refuse: port facilities and an annual financial tribute in exchange for Chinese protection against the marauding Thais. In 1411, Parameswara took the money to Beijing himself, and the emperor gratefully made him a vassal king. Twenty years later, the Chinese withdrew again from the South Seas trade. The new ruler of Melaka, Sri Maharajah, switched his allegiance to the Muslim trading fraternity by marrying into the Muslim faith, wedding the daughter of a sultan in Sumatra. Islam won its place in Malaya not by conquestas had been the case in North Africa and Europebut by trade, dynastic alliances, and peaceful preaching. Bengali peddlers had already brought the faith to the east coast. In Melaka and throughout the peninsula, Islam thrived as a strong, male-dominated religion of individuality, offering dynamic leadership and preaching brotherhood and self-relianceall qualities ideally suited to the coastal trade. At the same time, Sufi mystics synthesized Islamic teaching with local Malay traditions of animistic magic and charisma, though Islam did not become the state religion until Muzaffar Shah became sultan of Melaka (14461459). But the key figure in the sultanate was Tun Perak, bendahara (prime minister) and military commander. He expanded Melaka's power along the west coast and down to Singapore and the neighboring Bintan islands. He also had orang laut pirates patrolling the seas to extort tribute from passing ships. After Ailied district chiefs had repelled assaults from Thai-controlled armies from Pahang, Tun Perak personally led a famous victory over a Thai fleet off Batu Pahat in 1456.
What question would one ask from this paragraph?

QUESTION: Why was Melaka not an ideal place for most people to live in its early days?

Charlie Mershone had no difficulty in securing his release when Parker came on duty at six o'clock. He called up a cab and went at once to his rooms at the Bruxtelle; and Fogerty followed him. While he discarded his dress-coat, took a bath and donned his walking suit Mershone was in a brown study. Hours ago Louise had been safely landed at the East Orange house and placed in the care of old Madame Cerise, who would guard her like an ogre. There was no immediate need of his hastening after her, and his arrest and the discovery of half his plot had seriously disturbed him. This young man was no novice in intrigue, nor even in crime. Arguing from his own stand-point he realized that the friends of Louise were by this time using every endeavor to locate her. They would not succeed in this, he was positive. His plot had been so audacious and all clews so cleverly destroyed or covered up that the most skillful detective, knowing he had abducted the girl; would be completely baffled in an attempt to find her.
What question would one ask from this paragraph?

QUESTION: Who did Charlie believe were trying and failing to find Louise?

Modern criticism of Pope focuses on the man, his circumstances and motivations, prompted by theoretical perspectives such as Marxism, feminism and other forms of post-structuralism. Brean Hammond focuses on Pope's singular achievement in making an independent living solely from his writing. Laura Brown (1985) adopts a Marxist approach and accuses Pope of being an apologist for the oppressive upper classes. Hammond (1986) has studied Pope's work from the perspectives of cultural materialism and new historicism. Along Hammond's lines, Raymond Williams explains art as a set of practices influenced by broad cultural factors rather than simply the vague ideas of genius alone. Hayden Carruth, wrote that it was "Pope's rationalism and pandeism with which he wrote the greatest mock-epic in English literature." In Politics and Poetics of Transgression (1985) Peter Stallybrass and Allon White charge that Pope drew upon the low culture which he despised in order to produce his own "high art". They assert Pope was implicated in the very material he was attempting to exclude, not dissimilar to observations made in Pope's time. Colin Nicholson reads the poetry in terms of the Financial Revolution, showing how Pope responded to the corruption of the traditional 'landed interest' by the newly dominant 'moneyed interest'. Feminists have also criticised Pope's works. Ellen Pollak's The Poetics of Sexual Myth (1985) argues that Pope followed an anti-feminist tradition, that regarded women as inferior to men both intellectually and physically. Carolyn Williams contends that a crisis in the male role during the 18th century in Britain impacted Pope and his writing.
What question would one ask from this paragraph?

QUESTION:
Who are Pope's supporters?