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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"content": "Which composer used this story to help him with Free Air?",
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"content": "Which HBO series shows a character reading Free Air?",
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] | 28,801 | [
" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"content": "Who plays the stories protagonist?",
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] | 28,802 | [
" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"Railroad",
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"content": "What was the most common form of transportation back in 1919?",
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"A snobby elitist",
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{
"content": "What was Claire most negatively known for being?",
"role": "user"
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] | 28,804 | [
" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
[
"railroad",
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"content": "What type of business does Claire's father in the story?",
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
[
"as snobs",
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"content": "How are upper-class people generally presented in the story?",
"role": "user"
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] | 28,807 | [
" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
[
"Pacific Northwest",
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"content": "Where does Claire's road trip take her?",
"role": "user"
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] | 28,808 | [
" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
[
"automobiles are democratic and railroads are aristocratic",
"Cars are more democratic as opposed to the aristocratic railroads during this time."
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"content": "What is the difference between automobiles and railroads in the story?",
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
[
"When she gets to the Pacific Northwest",
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{
"content": "When does Claire fall in love?",
"role": "user"
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] | 28,810 | [
" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"content": "How does Clarie travel from New York City?",
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
[
"because of the freedom they bring to the working and middle classes",
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"content": "Why are automobiles celebrated in the story?",
"role": "user"
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] | 28,812 | [
" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate." (From the Book Stub)
From a critical perspective, Free Air is consistent with Sinclair Lewis's lean towards egalitarian politics, which he displays in his other works (most notably in It Can't Happen Here). Examples of his politics in Free Air are found in Lewis's emphasis on the heroic role played by the book's protagonist, Milt Dagget, a working class everyman type. Conversely, Lewis presents nearly every upper-class character in Claire Boltwood's world (including her railroad-mogul father) as being snobby elitists. The story also champions the democratic nature of the automobile versus the more aristocratic railroad travel. Lewis's showing favoritism towards the freedom which automobiles would eventually accord the working and middle classes bolsters the egalitarian, democratic aesthetic. Free Air is one of the first novels about the road trip, a subject around which the Beats (most notably Jack Kerouac) would build a cult following in the mid-20th century.
Composer Ferde Grofe used the novel as the basis for the music to his adventurous composition Free Air.
In the HBO series Boardwalk Empire, set initially in 1920, Jimmy and his girlfriend Pearl are reading Free Air. The 18-year-old Chicago prostitute Pearl hopes to head West like the heroine, along with Jimmy. | [
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" \"This cheerful little road novel, published in 1919, is about Claire Boltwood, who, in the early days of the 20th century, travels by automobile from New York City to the Pacific Northwest, where she falls in love with a nice, down-to-earth young man and gives up her snobbish Estate.\" (From the Book Stub)\nFrom... | [
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28828,
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28824
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
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"content": "What does Stevens want to happen to him after the mission is over?",
"role": "user"
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28827,
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28825,
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"He gets off the train and leaves his wallet behind.",
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] | [
{
"content": "How does the bomber intend to fake his own death?",
"role": "user"
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28828,
28829,
28825,
28824
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"To save everyone on the train.",
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"content": "What does Stevens want one last try to do in the Source Code after the mission is complete?",
"role": "user"
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28829,
28825,
28824
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"Handcuffs Frost to a handrail.",
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{
"content": "How does Stevens subdue Frost (the bomber) on the train?",
"role": "user"
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] | 28,829 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28828,
28825,
28824
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
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{
"content": "In what guise does Stevens call his estranged father?",
"role": "user"
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28828,
28829,
28825,
28824
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
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{
"content": "Who disconnects Stevens from life support?",
"role": "user"
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] | 28,831 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28828,
28829,
28825,
28824
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28827,
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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28826,
28827,
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28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"Derek Frost",
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"content": "What is the bombers name?",
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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1.0000001192092896,
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28826,
28827,
28828,
28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"His wallet",
"his wallet"
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{
"content": "What does the bomber leave behind that reveals his identity?",
"role": "user"
}
] | 28,840 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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1.0000001192092896,
1.0000001192092896
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28826,
28827,
28828,
28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"Captain Goodwin",
"Captain Goodwin"
]
] | [
{
"content": "Who does Stevens email after catching the bomber?",
"role": "user"
}
] | 28,841 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896
] | [
28826,
28827,
28828,
28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"Downtown Chicago?",
"They walk towards the Cloud Gate. a sculpture"
]
] | [
{
"content": "Where do Stevens and Christina walk to towards the end of the story?",
"role": "user"
}
] | 28,842 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896
] | [
28826,
28827,
28828,
28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"The Cloud Gate",
"Cloud Gate"
]
] | [
{
"content": "What downtown Chicago sculpture is featured towards the end of the story?",
"role": "user"
}
] | 28,843 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896
] | [
28826,
28827,
28828,
28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"U.S. Army",
"Nellis Air Force Base"
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{
"content": "Which organization does Colter work for, according to the story?",
"role": "user"
}
] | 28,844 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896
] | [
28826,
28827,
28828,
28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"identify the bomber",
"To Catch Frost and disarm the bomb"
]
] | [
{
"content": "What is Stevens' mission?",
"role": "user"
}
] | 28,845 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896,
1.0000001192092896
] | [
28826,
28827,
28828,
28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"Sean Fentress",
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28828,
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28825,
28824
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"an experimental device called Source Code",
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{
"content": "What causes Colter to live the last few minutes of someone else's life?",
"role": "user"
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28827,
28828,
28829,
28825,
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"he was injured and lost most of his body",
"He was reported killed in action but in reality he was comatose and missing most of his body and been with the Source Code for 2 months"
]
] | [
{
"content": "What happened to Colter in Afghanastan?",
"role": "user"
}
] | 28,848 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28828,
28829,
28825,
28824
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"after his current mission",
"At the end of the mission"
]
] | [
{
"content": "When does Stevens want to be allowed to die?",
"role": "user"
}
] | 28,849 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28828,
28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"he left his wallet behind on the train",
"wallet ID"
]
] | [
{
"content": "How was the bomber identified?",
"role": "user"
}
] | 28,850 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28828,
28829,
28825,
28824
] | train |
U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"Colter remembered the license plate",
"Colter Stevens remembers the license plate and direction "
]
] | [
{
"content": "How was Frost's van identified?",
"role": "user"
}
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" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
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28829,
28825,
28824
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
[
"After he kissed Christina",
"when they disconnect his life supports"
]
] | [
{
"content": "When did Colter realize the alternate timeline had become real?",
"role": "user"
}
] | 28,852 | [
" U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentres... | [
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28826,
28827,
28828,
28829,
28825,
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U.S. Army pilot Captain Colter Stevens (Jake Gyllenhaal), last aware of being on a mission in Afghanistan, wakes up on a commuter train to Chicago, at 7:40 am. To the world around him â including his traveling partner Christina Warren (Michelle Monaghan) and the bathroom mirror â he appears to be Sean Fentress, a school teacher. As he comes to grips with this revelation, the train explodes, killing everyone aboard.
Stevens regains consciousness inside a dingy dim cockpit, leaking oil. Communicating through a video screen, Air Force Captain Colleen Goodwin (Vera Farmiga) verifies Stevens' identity, and insists he stay "on mission" to find the bomber before a large "dirty bomb" hits downtown Chicago in six hours. Inside the "Source Code" experimental device designed by scientist Dr. Rutledge (Jeffrey Wright), he experiences the last eight minutes of another compatible person's life within an alternative timeline.
Stevens is unwillingly sent back into the Source Code repeatedly in frustrating, exhausting attempts to learn the bomber's identity. He tries to warn authorities on the train and flee with Christina, escaping the explosion. Other times he cannot locate or disarm the bomb and dies on the train. But Rutledge insists the alternate timeline is not real. It is revealed that he has been "with them" for two months since being reported killed in action in Afghanistan. He is comatose and missing most of his body, hooked up to neural sensors. The cockpit capsule is in his imagination, his brain's way of making sense of a missing environment. A confused and frustrated Stevens asks, "As one soldier to another, am I dead?" Angry to learn that he is on life support, he asks to be disconnected after the mission. Rutledge agrees.
Stevens catches the bomber Derek Frost (Michael Arden), who leaves his wallet behind to fake his own death, and gets off at the last stop before Chicago. In one run-through, Frost kills both Fentress and Christina, and flees in a rented white van. Stevens remembers the license number and direction and the authorities use this information to catch the terrorist, preventing him from detonating the dirty bomb. The mission finished, Rutledge reneges on his promise, ordering Goodwin to wipe Stevens' memory for a future mission. Stevens convinces Goodwin to allow one more try, to save everyone on the train, despite Rutledge's insistence that everyone on the train had already been killed in the explosion.
Stevens is sent back into the Source Code where he disarms the bomb, subdues Frost and handcuffs him to a handrail inside the train. He reports the bomber to authorities, sends an email to Captain Goodwin, then calls to reconcile with his estranged father under the guise of a fellow soldier. He asks Christina what she would do if she knew that she only had seconds left to live, and starts to kiss her. At the same time, Goodwin approaches the air-tight chamber that contains the torso of Stevens' comatose mutilated body, disconnects the life support, and Stevens dies. Rutledge bangs on the outer door in vain. The scene cuts to Stevens finishing the kiss with Christina inside the Source Code, revealing that the alternate timeline of the Source Code has become real, contrary to what was proposed by Rutledge. They continue on the train, and then walk through downtown Chicago to the Cloud Gate, a sculpture whose image Stevens saw during transitions out of the Source Code. This prompts Stevens to ask Christina "Do you believe in fate?" As they stand in front of the mirrored sculpture, Stevens' reflection in the Cloud Gate is seen to be the image of Sean Fentress.
When the alternative-timeline Goodwin arrives for work at Nellis Air Force Base that morning, she receives the email from Stevens. While news breaks about the failed bomber on the Chicago train, the email informs Goodwin that they have changed history, and Goodwin seemingly recalls something. The email asks her to reassure this timeline's Stevens that "everything is gonna be okay". The scene cuts to Stevens who, in this timeline, is still comatose, hooked up to the neural sensors in the airtight chamber. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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"To submit to the teachings of the English Church, but not follow any factious parties.",
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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"Reding's father's death.",
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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Loss and Gain describes the religious climate of Oxford University during the 1840s, a time of great contention between various factions within the Church of England. Some factions advocated Protestant doctrines, renouncing the development of doctrine through tradition and instead emphasising private interpretation of scripture. Against these and other liberal religious factions, the Oxford Movement, of which Newman was a leading member, advocated a Catholic interpretation of the Church of England, claiming that the Church and its traditions were authoritative. Amongst all of these thinkers, however, the Roman Catholic Church was despised as having abdicated its claim to doctrinal authority by introducing superstition into its practice. Accordingly, when Newman converted to Roman Catholicism in 1845, he met with vehement criticism. In Loss and Gain, Newman's first publication after his conversion, he expressed the intellectual and emotional development that led him to Roman Catholicism and the response his conversion elicited. Newman was in his 40s and was an esteemed theologian at the time of his conversion, but in the novel he displaces his experience onto Charles Reding, a young student entering Oxford and experiencing its intellectual climate for the first time. Although Charles attempts to follow a conventional path and avoid being influenced by "parties" (i.e. cliques advocating trendy sectarian views), he soon discovers that he is inclined towards Roman Catholicism. He struggles against this inclination but eventually decides he must convert, a decision that causes great consternation to his family and friends but leads to personal fulfilment.Charles Reding arrives at Oxford University planning to follow the advice and example of his father, and to submit to the teachings of the Church of England without becoming involved in any factious parties. Reding is inclined towards a form of Latitudinarianism, following the maxim "Measure people by what they are, and not by what they are not." His conversations with his friend Sheffield convince him, however, that there must be right and wrong answers in doctrinal matters. To follow the right views, Reding seeks a source of Church authority, and is disappointed to find only party dissension and the Protestant doctrine of Private Judgment, which locates interpretive authority in the individual and thereby leads (in Newman's view) to the espousal of contradictory views. Furthermore, Reding begins to have doubts about the Thirty-nine Articles, to which he must subscribe to take his degree. His doubts are briefly dispelled following the death of his father, but return soon afterward. In particular, several brief encounters with Willis, a former Oxford peer who converted to Roman Catholicism, greatly excite and trouble him. Suspicious of his speculations, Jennings forces Reding to live away from Oxford while studying for his exams, so as not to corrupt other students. Reding confesses his doubts to his sister Mary, who does not understand them and loses trust in her brother. When Reding finally decides he must convert, Mary, his mother, and several family friends express resentment and anger. He travels to London, on the way receiving encouragement from a Catholic priest (perhaps Newman himself), the first he has ever met. While in London Reding is confronted by emissaries from various religious and philosophical sects who, hearing about his departure from the Anglican Church, want to recruit him for their own causes. Ultimately, however, Reding arrives at the Passionists Convent, where he joins the Roman Catholic Church. | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
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" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
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"Sir George Vernon.",
"Dorothy, Dorothy's aunt, and Madge"
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"content": "Who lives ar Haddon Hall?",
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" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"In France.",
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"content": "Where was Malcolm raised?",
"role": "user"
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] | 28,886 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
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"content": "How are Malcolm and Sir George related?",
"role": "user"
}
] | 28,887 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"At Lord Rutland's (Thomas Manners) estate.",
"France"
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{
"content": "Where does Queen Mary take refuge after she escapes from Scotland?",
"role": "user"
}
] | 28,888 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"Madge.",
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{
"content": "Who is Malcolm engaged to?",
"role": "user"
}
] | 28,889 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"The Earl of Derby and his son.",
"The Earl of Derby and his son"
]
] | [
{
"content": "Who are the Stanlys?",
"role": "user"
}
] | 28,890 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
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"content": "Who does Dorothy elope with?",
"role": "user"
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] | 28,891 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"1st Earl of Leicester.",
"Earl of Leicester"
]
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"content": "What is Robert Dudley's title?",
"role": "user"
}
] | 28,892 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"Madge.",
"Queen Mary"
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{
"content": "Who plans to accompany Malcolm to France?",
"role": "user"
}
] | 28,893 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"Malcolm Francois de Lorraine Vernon",
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{
"content": "Who is the story's narrator?",
"role": "user"
}
] | 28,894 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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28889,
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"John",
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{
"content": "Who does Dorothy fall in love with?",
"role": "user"
}
] | 28,895 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"She was jealous that John and Queen Mary were both hiding in the same house",
"Jealousy"
]
] | [
{
"content": "Why did Dorothy tell Queen Elizabeth the location of Queen Mary?",
"role": "user"
}
] | 28,896 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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28889,
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28884
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"For promising to help Queen Mary escape to France",
"Because the Earl of Leicester betrays Mary to Elizabeth."
]
] | [
{
"content": "Why was Malcolm arrested?",
"role": "user"
}
] | 28,897 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
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1.0000003576278687,
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1.0000003576278687,
1.0000003576278687
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28888,
28889,
28885,
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The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"Dorothy proved they were only trying to get Queen Mary out of Scotland and not trying to put her on the throne of England",
"Because Dorothy was able to prove that they had no part in the plan of putting Mary on the throne in England."
]
] | [
{
"content": "Why did the Queen exonerate John and his father?",
"role": "user"
}
] | 28,898 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
1.0000003576278687,
1.0000003576278687,
1.0000003576278687,
1.0000003576278687,
1.0000003576278687,
1.0000003576278687
] | [
28886,
28887,
28888,
28889,
28885,
28884
] | train |
The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish throne in July 1567, but in the novel, Malcolm receives word of Mary's capture in the Fall. He immediately flees to England, and heads to Haddon Hall to take refuge with Sir George. On the way, he meets and becomes friends with John Manners, son of Sir George's hated enemy Thomas Manners (Lord Rutland).
Years earlier, Sir George had suggested that Malcolm marry George's daughter Dorothy as a way to keep the Vernon properties held by Vernons. Dorothy at the time had been an awkward adolescent; she now is a mature, strong-willed, red-headed beauty. On his way to Haddon Hall, Malcolm (still in the company of John Manners) encounters Dorothy, her aunt, and her friend Madge, all of whom live at Haddon Hall. Catching glimpses of each other, John Manners and Dorothy instantly begin to be attracted to each other. Malcolm, by contrast, sees his cousin as too beautiful and strong-willed to make a good wife.
As the book progresses, Dorothy and John develop a secret romance, aided by Malcolm and hidden from her father, who first presses her to marry Malcolm, and then the son of the Earl of Derby. Various dramatic elements include a chapter in which Dorothy is imprisoned in her bedroom, but manages to disguise herself as Malcolm to escape and meet John; John fails to recognize her, thinking her a male stranger, and makes some embarrassing remarks about his previous love affairs, and then when he realizes she is a woman, fails to recognize her as Dorothy, but attempts to kiss her, causing her to reveal herself. Later, John disguises himself and takes a job as a household servant at Haddon Hall to be able to spend time with Dorothy; she fails to recognize him for days until he reveals himself.
This ruse ends when Dorothy quarrels with her father, who attempts to strike her. John jumps in the way and is struck unconscious, and a distraught Dorothy reveals that this is the lover her father suspected her of having. Her father orders him imprisoned in the dungeon, to be hanged the next day if the blow to his head does not kill him, but Malcolm, aided by Dorothy's Aunt (also named Dorothy), arrange for his escape.
Subsequently, Queen Mary escapes from Scotland and takes secret refuge at Lord Rutland's estate.
Queen Elizabeth arrives to visit Haddon Hall. Sir George brings the Stanlys (the Earl of Derby and his oafish son) to ratify the marriage contract before the Queen, but Dorothy publicly humiliates the Stanlys, ruining the arrangements and amusing the Queen. Meanwhile, her father has already begun to nurse a hope she might marry the Queen's favorite, Robert Dudley, 1st Earl of Leicester.
Unable to see John for an extended period of time, and knowing that the seductive Queen Mary is staying at his home, Dorothy becomes crazed with jealousy and tells Queen Elizabeth of Queen Mary's location. Elizabeth rouses a troop of soldiers to arrest Mary. Remorse-stricken, Dorothy attempts to arrive at Lord Rutland's before the troops, but fails, and John, his father, and Queen Mary are all arrested, and Dorothy's father finds out John's identity.
Malcolm shares a carriage with Queen Mary and a sleeping, exhausted, Dorothy for the return to Haddon Hall, and during the trip Mary manages to regain his allegiance and romantic interest (despite his being engaged to Madge) and he promises to help her escape to France. Mary also attempts to gain the allegiance of the Earl of Leicester, but he betrays her to Elizabeth, resulting in Malcolm's arrest.
Queen Elizabeth tells Dorothy she will free John and Lord Rutland if Dorothy can prove that they planned only to get Mary out of Scotland, and had no part in any conspiracy to place Mary on the throne of England. By speaking with him in the dungeon, which is equipped with a speaking tube for eavesdropping, Dorothy exonerates John and his father, and they are set free. Elizabeth decides Malcolm may go free as well, provided he leaves England and returns to France.
Sir George, furious at Malcolm's part in aiding Dorothy and John's romance, tells him to leave Haddon Hall, so Malcolm gathers his belongings and apologizes to Madge and prepares to head to Lord Rutland's estate, where he will await the passport allowing him to leave England. As he leaves, Madge joins him, forgiving him, and they plan that she will accompany him to France as his wife.
In the final chapter of the novel, during a party in Queen Elizabeth's honor, Dorothy tricks her father into letting her steal away for a few crucial minutes, supposedly to court the Earl of Leicester's affections. Instead, she is met by John, who literally carries her off despite her last-minute uncertainty, and they elope to his father's hall where they bid farewell to Malcolm and Madge, who move to France and don't see them again (as of the close of the novel, forty years later). | [
[
"Malcolm must leave England and return to France",
"He had to leave England and go back to France"
]
] | [
{
"content": "What condition did the Queen set for Malcolm to be free?",
"role": "user"
}
] | 28,899 | [
" The story is narrated by Sir George Vernon's 35-year-old cousin, Malcolm Franรงois de Lorraine Vernon. Raised in France, he became enamored of Mary, Queen of Scots, when she was a youth there, and followed her to Scotland. Historically speaking, Mary was captured, imprisoned, and forced to abdicate the Scottish t... | [
1.0000003576278687,
1.0000003576278687,
1.0000003576278687,
1.0000003576278687,
1.0000003576278687,
1.0000003576278687
] | [
28886,
28887,
28888,
28889,
28885,
28884
] | train |
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