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.

Input: Consider Input: Passage: Set during the Middle Ages in Europe, a king is seeking a brave warrior to kill a giant which has been terrorizing the small kingdom. There is much discussion in the village, but no one is willing to take on the task. Nearby in the same village, a young peasant tailor kills seven flies at once while at his work, and accidentally interjects several other peasants' discussion of the problems with the giant to brag loudly about his accomplishment:

Peasant (to his friends): "Say, did you ever kill a giant?"
Mickey (interjecting unwittingly): "I killed seven with one blow!"Gossip that Mickey has killed seven giants with one blow quickly spreads around the kingdom. The king summons Mickey, and asks if he really "killed seven at one blow". Mickey goes into an elaborate re-telling of how he killed the seven (flies, not giants as the king believes), which impresses the king enough to appoint Mickey "Royal High Killer of the Giant". Upon learning the misunderstanding, all of Mickey's confidence disappears and he attempts to stammer his way out of the assignment. The king offers Mickey both vast riches and the hand of his only daughter, Princess Minnie, in marriage if he can kill (or at least subdue) the giant. Smitten with the princess, Mickey proclaims that he'll "cut [the giant] down to my size", and sets off for the giant's lair.
After only a few minutes, however, he is ready to turn back and give up, but the townspeople and Minnie are counting on him. "Gosh," Mickey sighs to himself, wondering what to do. "I dunno how to catch a giant.".

Output: Who kills seven flies at once while at work?


Input: Consider Input: Passage: Stephen Thomas Erlewine of AllMusic said that releasing the Spanish-language Fijación Oral, Vol. 1 after the success of the English-language Laundry Service was a "sharp move", complimenting the album for demonstrating that Shakira "can not only return to her roots, but expand upon them". He described "La Tortura" as a "natural for American radio", and felt that the parent album generated anticipation for the upcoming Oral Fixation, Vol. 2. Writing for PopMatters, Matt Cibula praised the album for its musical departure from Laundry Service, applauding the integration of subtle samples across several songs as "great nods to the sounds of the 1980s". Dave Simpson of The Guardian compared Shakira to a "Latin American Madonna", describing her vocals as reminiscent of "Cher and Hazel O'Connor, produced by Julio Iglesias".Jon Pareles of The New York Times found Shakira's "smart or ambitious" image to be uncharacteristic of a sex symbol. He praised the versatility of her multilingual lyrics and her experimentation in a number of genres, citing the "multiplicity" in "the arrangements, in the mixed emotions of the lyrics, [and] in Shakira's mercurial voice". Writing for Paste, Mark Kemp complimented Shakira for dispelling notions she is "the Latin Britney, the female Ricky Martin [and] the pretty pop tart who sings in Spanish and sounds like Alanis"; he compared the mix of musical elements in Fijación Oral, Vol. 1 to a Pop-Tart with a "rich and nutritious filling". Tom Townsend of Yahoo! Music called her "the greatest pop star we have", comparing her "consuming artistry" to that of Madonna and Prince. He credited the album for inspiring a revival of pop music, saying that the release proved that the genre "wasn't dead, just sleeping".Shakira's international success was solidified with Fijación Oral, Vol. 1's strong commercial performance. After it debuted at number 4 on the US Billboard 200 and became the highest-debuting full-length Spanish album in the country, her label Epic Records called her "the biggest female crossover artist in the world". The album is her third-highest-charting release in the nation, behind Laundry Service's peak position at number 3 and Shakira's number 2 peak. According to Billboard, it was the second best-selling Latin album of the decade in the US after Barrio Fino by Daddy Yankee.

Output: Who compared the mix of musical elements with "a rich and nutritious filling"?


Input: Consider Input: Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, 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 protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). 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-Saëns 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 mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à 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-Saëns 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 déluge (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-Saëns 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-Saëns's treatment of the oratorio form impeded his success in it.
Output: What were the names of the two people, who unlike Saint-Saëns, were drawn to the song cycle?