Problem: Background: Pierrot (French pronunciation:  [pjeRo]) is a stock character of pantomime and commedia dell'arte whose origins are in the late seventeenth-century Italian troupe of players performing in Paris and known as the Comedie-Italienne; the name is a diminutive of Pierre (Peter), via the suffix -ot. His character in contemporary popular culture--in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall--is that of the sad clown, pining for love of Columbine, who usually breaks his heart and leaves him for Harlequin. Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim, more rarely with a conical shape like a dunce's cap.
Context: He is sometimes said to be a French variant of the sixteenth-century Italian Pedrolino, but the two types have little but their names ("Little Pete") and social stations in common. Both are comic servants, but Pedrolino, as a so-called first zanni, often acts with cunning and daring, an engine of the plot in the scenarios where he appears. Pierrot, on the other hand, as a "second" zanni, is a static character in his earliest incarnations, "standing on the periphery of the action", dispensing advice that seems to him sage, and courting--unsuccessfully--his master's young daughter, Columbine, with bashfulness and indecision.  His origins among the Italian players in France are most unambiguously traced to Moliere's character, the lovelorn peasant Pierrot, in Don Juan, or The Stone Guest (1665). In 1673, probably inspired by Moliere's success, the Comedie-Italienne made its own contribution to the Don Juan legend with an Addendum to "The Stone Guest", which included Moliere's Pierrot. Thereafter the character--sometimes a peasant, but more often now an Italianate "second" zanni--appeared fairly regularly in the Italians' offerings, his role always taken by one Giuseppe Giaratone (or Geratoni, fl. 1639-1697), until the troupe was banished by royal decree in 1697.  Among the French dramatists who wrote for the Italians and who gave Pierrot life on their stage were Jean Palaprat, Claude-Ignace Brugiere de Barante, Antoine Houdar de la Motte, and the most sensitive of his early interpreters, Jean-Francois Regnard. He acquires there a very distinctive personality. He seems an anomaly among the busy social creatures that surround him; he is isolated, out of touch. Columbine laughs at his advances; his masters who are in pursuit of pretty young wives brush off his warnings to act their age. His is a solitary voice, and his estrangement, however comic, bears the pathos of the portraits--Watteau's chief among them--that we will encounter in the centuries to come.
Question: Where is Pierrot's origin traced to?
Answer: His origins among the Italian players in France are most unambiguously traced to Moliere's character,

Background: Graduel Christopher Darin Carter (born November 25, 1965) is a former American football player in the National Football League. He was a wide receiver for the Philadelphia Eagles (1987-89), the Minnesota Vikings (1990-2001) and the Miami Dolphins (2002). After starting for the Ohio State University Buckeyes, Carter was drafted by the Eagles in the fourth round of the 1987 NFL supplemental draft. While in Philadelphia, head coach Buddy Ryan helped to coin one of ESPN's Chris Berman's famous quotes about Carter: "All he does is catch touchdowns."
Context: Carter was heavily recruited out of high school for both basketball and football. He accepted the offer from Ohio State head coach Earle Bruce. Carter became a consensus All-America selection after his junior season, Ohio State's first All American at wide receiver.  Carter had intended to play both football and basketball at Ohio State, but decided to focus on football after making an immediate impact his freshman year. That year, he set a Rose Bowl record with nine receptions for 172 yards.  Carter was known for great hands, running precise routes, and for acrobatic leaps. He had remarkable body control and footwork when making catches near the sidelines. At the Citrus Bowl at the end of the 1985 season, Carter caught a ball that quarterback Jim Karsatos was intending to throw away. Karsatos has claimed that catch by Carter was the greatest in the history of college football: "When I finally saw it on film, he was tiptoeing the sidelines and he jumped up and caught the ball left-handed by the point of the football at least a yard out of bounds. Then he somehow levitated back in bounds to get both his feet in bounds. I swear to this day he actually levitated to get back in bounds. When I saw it on film, it just blew me away."  Prior to Carter's senior season, he secretly signed with notorious sports agent Norby Walters. When the contract was discovered, Carter was ruled ineligible. The absence of Carter in the 1987 offense contributed to a disappointing 6-4-1 season and the firing of Coach Bruce. Missing this season also cost him a chance at evening his personal record against Michigan; Carter finished 1-2, his lone taste of victory in the series being his freshman year.  Despite losing his senior year, Carter left Ohio State holding the school record for receptions (168). In 2000, he was selected as a member of the Ohio State Football All-Century Team. In 2003, he was inducted into the Ohio State Varsity O Hall of Fame.
Question: What was this about
Answer:
he was tiptoeing the sidelines and he jumped up and caught the ball left-handed by the point of the football at least a yard out of bounds.