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.

Ex Input:
Passage: In his field and day, Wright was certainly eclipsed by his rival the more prolific Lely, to whom he is often compared. One critic, Millar, observes that any comparisons undertaken would "ruthlessly expose Wright's weaknesses and mannerisms" but that positively "they would also demonstrate his remarkable independence, his unfailing integrity and charm, the sources of which must partly lie in his unusual origins, fragmented career and attractive personality". Millar suggests that a particularly useful comparison can be made between Lely and Wright's respective portrayals of the Duchess of Clevland (Barbara Villiers) (above). Whereas Lely portrayed her as a "full-blown and palpably desirable strumpet", the more seriously minded Wright, who was not really in sympathy with the morality of the new court and its courtesans, rendered a more puppet-like figure.However, even if Lely was considered the more masterly and fashionable of the two in seventeenth-century Britain, Wright is generally accepted as portraying the more lively and realistic likenesses of his subjects, a fact that reinforces Pepys's observation that Lely's work was "good but not like". Neither should Wright's realism be confused with a prudishness; as can be seen, for example, in his portrait the lady, thought to be Ann Davis (right). The picture, with the sitter's clothing left undone and her modesty barely preserved by a red drape, has been described as exhibiting a fresh – even risky – reality: erotic by contemporary standards. Whereas Wright's contemporaries might have used the ‘disguise’ of presenting the sitter in the guise of a classical goddess to protect against accusation of  salaciousness, Wright's portrait rather depends on his realism, notably in his flesh tones, and depth.

Ex Output:
What is the name of the person who was portrayed as a "full-blown and palpably desirable strumpet?"?


Ex Input:
Passage: By the time Hope was exhibited, Watts had already committed himself to donate his most significant works to the nation, and although he received multiple offers for the painting he thought it inappropriate not to include Hope in this donation, in light of the fact that it was already being considered one of his most important pictures. In mid-1886 Watts and his assistant Cecil Schott painted a duplicate of the piece, with the intention that this duplicate be donated to the nation allowing him to sell the original. Although the composition of this second painting is identical, it is radically different in feel. The central figure is smaller in relation to the globe, and the colours darker and less sumptuous, giving it an intentionally gloomier feel than the original.In late 1886 this second version was one of nine paintings donated to the South Kensington Museum (now the Victoria and Albert Museum) in the first instalment of Watts's gift to the nation. Meanwhile, the original was briefly displayed in Nottingham before being sold to the steam tractor entrepreneur Joseph Ruston in 1887. Its whereabouts was long unknown until in 1986 it was auctioned at Sotheby's for £869,000 (about £2,500,000 in 2019 terms), 100 years after its first exhibition.On their donation to the South Kensington Museum, the nine works donated by Watts were hung on the staircase leading to the library, but Hope proved a popular loan to other institutions as a symbol of current British art. At the Royal Jubilee Exhibition of 1887 in Manchester, an entire wall was dedicated to the works of Watts. Hope, only recently completed but already the most famous of Watts's works, was placed at the centre of this display. It was then exhibited at the 1888 Melbourne Centennial Exhibition and the 1889 Exposition Universelle in Paris, before being moved to Munich for display at the Glaspalast. In 1897 it was one of the 17 Watts works transferred to the newly created National Gallery of British Art (commonly known as the Tate Gallery, now Tate Britain); at the time, Watts was so highly regarded that an entire room of the new museum was dedicated to his works. The Tate Gallery considered Hope one of the highlights of their collection and did not continue the South Kensington Museum's practice of lending the piece to overseas exhibitions.

Ex Output:
What is the last name of the person who wanted to donate a duplicate to the nation so he could sell the original?


Ex Input:
Passage: At Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, "Maltworms". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as "a very quiet, attractive girl, quite different from Phil's usual types". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the "Five Bells" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in England. He also wrote a general study of Elizabethan music, The English Ayre.In January 1927, Heseltine's string serenade was recorded for the National Gramophonic Society, by John Barbirolli and an improvised chamber orchestra. A year later, HMV recorded the ballad "Captain Stratton's Fancy", sung by Peter Dawson. These two are the only recordings of Heseltine's music released during his lifetime. His association with the poet and journalist Bruce Blunt led to the popular Christmas anthem "Bethlehem Down", which the pair wrote in 1927 to raise money for their Christmas drinking. By the summer of 1928 his general lifestyle had created severe financial problems, despite his industry. In October he was forced to give up the cottage at Eynsford, and returned to Cefn Bryntalch.

Ex Output:
What is the name of the person who rarely worked with Heseltine, although they had much in common?